PipeChat Digest #2356 - Saturday, September 8, 2001
 
Re: to " Sibelius"  users.
  by "Bruce Miles" <bruce@gbmuk.fsnet.co.uk>
Re: Paris Churches
  by <WiegandCJ@aol.com>
Re: setting the value of a pipe organ
  by "Wayne Grauel" <wgvideo@attglobal.net>
RE: setting the value of a pipe organ
  by "Andrew Mead" <mead@eagle.ca>
expressions layout
  by "Wayne Grauel" <wgvideo@attglobal.net>
Re: expressions layout
  by <ScottFop@aol.com>
Re: expressions layout
  by <RonSeverin@aol.com>
Re: expressions layout
  by <quilisma@socal.rr.com>
Ranking Costs
  by <TubaMagna@aol.com>
the Cathedral Concert Series 2001-2002 Thirty-Third Season
  by "Marika E. Buchberger, LRPS" <marika57@earthlink.net>
Re: expressions layout and location
  by <TubaMagna@aol.com>
Expression layout dictated by logic?
  by "The Schneider Family" <arpschneider@starband.net>
Brahms Requiem Organ Score (X-posted)
  by <quilisma@socal.rr.com>
Re: Expression layout dictated by logic?
  by <RonSeverin@aol.com>
Re: Expression layout dictated by logic?
  by <TEvans1032@aol.com>
A nice "quiet" afternoon (NOT!) (X-posted)
  by <quilisma@socal.rr.com>
Re: Value of pipe organ$?
  by "Douglas A Campbell" <dougcampbell@juno.com>
 

(back) Subject: Re: to " Sibelius" users. From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Sat, 8 Sep 2001 10:41:49 +0100   Hugh,   Sharpeye (www.visiv.co.uk) will handle both .tiff and .niff so you may be able to use it to do what you require.   To get Sharpeye to export niff I think you would have to do your editing = in there, otherwise the extra info needed by the niff format just would not = be there. I'm not sure about this but it's worth a look as Sharpeye is 30 day shareware and quite inexpensive. The cheaper of the two versions may be adequate.   HTH   Bruce Miles     mail to:- bruce@gbmuk.fsnet.co.uk website:- www.gbmuk.fsnet.co.uk     ----- Original Message ----- From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca>   Sent: Friday, September 07, 2001 4:27 PM Subject: to " Sibelius" users.     > > Do any of you know of a utility that will convert a .tiff file into = .niff > format. I understand that .niff is the format of preference for = importing > scores into Sibelius, for editing. > > HD >   > >    
(back) Subject: Re: Paris Churches From: <WiegandCJ@aol.com> Date: Sat, 8 Sep 2001 07:48:32 EDT   In einer eMail vom 08.09.01 00:57:49 (MEZ) - Mitteleurop. Sommerzeit schreib= t=20 westbach@t-online.de:   > St. Sulpice has fantastic organ music - one of C-C's greatest instruments=20= -=20 > and=20 > the service is nice, but again in French naturally.=20   Titulaire at St. Sulpice is Daniel Roth, assistant is Sophie-V=E9ronique=20 Choplin. Between the services you can hear short recitals on sunday morning= ..   You might be able to hear N. Hakim (Trinite), > his=20 > wife( N.D.des Champs), Alain (St. Germain-des-Pres or Laye, I am not sure= =20 > which), etc.=20   M.C. Alain never had a position as church organist in Paris. St.=20 Germain-en-Laye is a small town near Paris; organist there since 1929 was=20 Olivier Alain, brother of Jehan and Marie-Claire. He was successor of their=20 father Albert in this position.   Titulaires at the Eglise Saint-Germain des Pr=E9s are Jean-Paul Serra and=20 (honoraire) his predecessor Andr=E9 Isoir .   >There are so many well known organists there.=20 > =20 > Services at ND (where the G.O. is played):10, 11:30, 12:30; there may be=20 an=20 > organ=20 > "audition" at 5:15pm.   At 16:30 are the vespers Marcel Dupr=E9 once improvised his V=EApres des F= =EAtes du=20 Commun de la Ste-Vierge in this service and later on write it down) and just= =20 after the "audition" is another service. So you should spend the morning at=20 other churches and the afternoon at Notre Dame.   Titulaires at Notre Dame are Olivier Latry, Philippe Lefebvre, Jean-Pierre=20 Leguay. =20   And: don't forget Jean Costa at St. Vincent-de-Paul, Fran=E7ois-Henri Houbar= t=20 at the Eglise de la Madeleine, Pierre Pincemaille at the Basilique de=20 Saint-Denis, Thierry Escaich at Saint-Etienne-du-Mont (successor of M. and M= ..=20 Durufl=E9 in this position), Susan Landale at Saint-Louis des Invalides, and= :=20 Jean Guillou at Saint-Eustache with it's V/105- van den Heuvel-organ.   Carl  
(back) Subject: Re: setting the value of a pipe organ From: "Wayne Grauel" <wgvideo@attglobal.net> Date: Sat, 08 Sep 2001 07:52:51 -0400     For goodness sake, instead of all of this ridiculous speculation about = this builder charges this and that, I get digest forms here and I have still yet to = hear what this organ is, so if I'm off base with my comment here excuse me but......   This could be some worthless piece of crap off of EBAY for all we know.   If you want to set the value of something, then go out and hire a local = organ builder or at least call a local organ tech and get their opinion. Just by the = general tone of the question I would say it may not be worth the trip to the dump! = That's the reality of organs! Replacement cost has nothing to do with an organ that = is worthless tonally!   Wayne    
(back) Subject: RE: setting the value of a pipe organ From: "Andrew Mead" <mead@eagle.ca> Date: Sat, 8 Sep 2001 08:14:58 -0400   Relax. I simply asked the question as I must provide a customer with the value = of the organ in their building for the sake of insurance. Why on earth would you think it might be a "worthless piece of crap"? I'm in the pipe organ business full time but I do not pretend to know everything about pipe organs, so I asked for and received some valuable information from those on this list who have more knowledge about the contents of the question than myself.   Andrew Mead   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of = Wayne Grauel Sent: Saturday, September 08, 2001 7:53 AM To: PipeChat Subject: Re: setting the value of a pipe organ     For goodness sake, instead of all of this ridiculous speculation about = this builder charges this and that, I get digest forms here and I have still yet to = hear what this organ is, so if I'm off base with my comment here excuse me but......   This could be some worthless piece of crap off of EBAY for all we know.   If you want to set the value of something, then go out and hire a local organ builder or at least call a local organ tech and get their opinion. Just by the general tone of the question I would say it may not be worth the trip to the dump! That's the reality of organs! Replacement cost has nothing to do with an organ that is worthless tonally!   Wayne     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org      
(back) Subject: expressions layout From: "Wayne Grauel" <wgvideo@attglobal.net> Date: Sat, 08 Sep 2001 11:25:56 -0400   Ladies and Gentleman   What is the proper layout for a 3 man. organ with all divisions under expression and the Crescendo on the right.   this would be "Standard" for American Consoles from left to right   Thanks Wayne    
(back) Subject: Re: expressions layout From: <ScottFop@aol.com> Date: Sat, 8 Sep 2001 11:30:36 EDT     --part1_7d.1a8ec1dd.28cb939c_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   On a three manual/three division instrument with everything under = expression, the pedals should be arranged as follows (from left to right):   Great Choir Swell Crescendo   --part1_7d.1a8ec1dd.28cb939c_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#0000a0" SIZE=3D2>On a = three manual/three division instrument with everything under expression, <BR>the pedals should be arranged as follows (from left to right): <BR> <BR>Great <BR>Choir <BR>Swell <BR>Crescendo</FONT></HTML>   --part1_7d.1a8ec1dd.28cb939c_boundary--  
(back) Subject: Re: expressions layout From: <RonSeverin@aol.com> Date: Sat, 8 Sep 2001 12:25:01 EDT   Hi Wayne:   The 1932 report of the AGO states: In a three Manual organ, the Great shoe supplants the position of the solo shoe(Next to the cresc. shoe on the right), the swell shoe in the middle, and the choir shoe on the left. If Great/ Pedal is unenclosed: Choir, Swell, Cresc.   A four manual organ: Left to right (experssion shoes in order) Choir, Swell, Great, Solo. Cresc. If Great/Pedal is unenclosed: Choir, Swell, Solo Cresc.   A five manual organ: Left to right: Echo/Bombard, Choir, Swell, Great, Solo, Cresc. If Great/Pedal is unenclosed: Echo/Bombard, Choir, Swell, Solo and Cresc.   A two manual organ: Left to right: Swell, Great/Pedal Cresc. If the Great/Pedal is unenclosed: Swell, Cresc.   I think that covers all the bases!   Ron Severin   PS These are the AGO standards usually followed since 1932, and perhaps long before, the prononcement and definition.  
(back) Subject: Re: expressions layout From: <quilisma@socal.rr.com> Date: Sat, 08 Sep 2001 09:29:05 -0700   I've never played an organ with a separate shoe for the Great ... most had Great/Choir on one shoe, but I THINK the A.G.O. console standards say that when there IS a separate Great shoe, the order from left to right is: Great, Choir, Swell, Crescendo, probably because the Great shoe would be the least used (?).   Cheers,   Bud   Wayne Grauel wrote:   > Ladies and Gentleman > > What is the proper layout for a 3 man. organ with all divisions under > expression and the Crescendo on the right. > > this would be "Standard" for American Consoles from left to right > > Thanks > Wayne > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org    
(back) Subject: Ranking Costs From: <TubaMagna@aol.com> Date: Sat, 8 Sep 2001 12:45:34 EDT   OBVIOUSLY a 16' Gamba, with overlength, slotting, and bridges, is going to = be considerably more costly than a 2' Recorder or 4' Principal. We can, however, admit that there is some "law of averaging" here, in that we are probably NOT pricing an organ with 32' stops.   $30,000 per rank is perverse, as is charging $80,000 for the low twelve = notes of a 32' Bombarde without windchest. These companies need to hire = business managers to check why it costs them so much to make these things, OR their =   CLIENTS have to examine why they find it so alluring and rewarding to be taken to the cleaners. There is a balance between seeking out the = cheapest builder who throws in eight organs a month, and the costliest builder = whose appeal comes solely from their own attitude.   My firm has always been asked to price the 32' stops separately, and in = two ways: First, the amount if the client invests in it NOW, as part of the = main organ project, and Secondly, the anticipated cost if it is added to the = organ in the future, which will involve materials, parts, and labor escalation, = as well as partial dismantling and re-erection of the instrument and an additional period of installation disruption to the life of the church or synagogue.   Six- or seven-figure pipe organ building contracts take many months to negotiate, and in my experience are gone over with a fine-toothed comb by teams of attorneys on both sides. Those investing in these instruments do =   not necessarily want line items for every block of tin and every hide of leather, but they DO look for gross disparities and outlandish ratios. If =   twelve notes of a pedal reed, with windchest, cost more than their chapel organ, they're gonna rake you over the coals, big time. A good client understands that a major part of cost of a fine pipe organ lies in specialized labor, and that organbuilders are NOT plumbers or mechanics, = but artists and artisans.   I once bid on the restoration of a rare and essentially unaltered, unrespecified, 26-rank cinema organ, years ago. My bid came to 265,000 dollars, and the other bid came to 40,000 dollars. Well, when you get = that kind of extreme difference in bidding, ONE of them is wrong. Needless to say, the other man got the job (on top of his regular, full-time job in = the advertising world, since organbuilding was his "hobby." In his = advertising, he only dealt with what he termed "worthy" instruments). The organ is currently unplayable.   Organbuilding projects require common sense on both sides; if somebody = says they are going to "give" you a five-manual pipe organ from a Canadian = hotel, and they are going to add one hundred ranks to it in memory of their = mother, and all you have to do is pay the shipping costs... well, YOU read the = court documents. If it sounds too good to be true, it most likely IS. And if you've gone from a long list of six builders to a short list of three, and =   one of the bids is twice that of the others, find out WHY. Maybe it's = worth it, maybe not. Do not necessarily run away from high bids, but find out = what makes those instruments more pricey. The difference in quality, detail, scholarship, and finished elegance may make the difference to you and your =   successors. This is stuff we ALL really DO know in the back of our minds.   Sebastian Matthaus Gluck New York City  
(back) Subject: the Cathedral Concert Series 2001-2002 Thirty-Third Season From: "Marika E. Buchberger, LRPS" <marika57@earthlink.net> Date: Sat, 08 Sep 2001 12:54:34 -0400   Cathedral Basilica of the Sacred Heart 89 Ridge Street Newark, New Jersey 07104 (973) 484-2400 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D   September 16, 2001 Sunday at 4:00 p.m. Suggested Donation: $10.00 Organ Recital with Organist Craig Cramer   October 21, 2001 Sunday at 4:00 p.m. Suggested Donation: $10.00 Organ Recital with Organist Mary Beth Bennett   November 18, 2001 Sunday at 4:00 p.m. Suggested Donation: $10.00 An Instrumental Intermezzo featuring David Glukh, trumpeter Christopher Collins Lee, violinist Linda Larkin, oboist Andre' Tarantiles, harpist   December 11, 2001 Tuesday at 8:00 p.m. Free-will offering The Thirty-First Annual Christmas Carol Sing with the Cathedral Choir, organ, brass and percussion.   February 10, 2002 Sunday at 4:00 p.m. Suggested Donation: $10.00 CONCORA (Connecticut Choral Artists) In a Tribute to Maurice Durufle' Rick Coffey, director & Larry Allen, organist   March 29, 2002 Friday at 8:00 p.m. Free-will offering Choral Meditations on the Stations of the Cross with the Cathedral Choir   April 21, 2002 Sunday at 4:00 p.m. Suggested Donation: $10.00 The Ridgewood Concert Band featuring new music of contemporary American composer Michael Valenti Christian Wilhjelm, conductor & John J. Miller, Cathedral organist   May 19, 2002 Sunday at 4:00 p.m. Free-will offering Organ Recital with Cathedral Organists John J. Miller & Pablo Fernandez   June 16, 2002 SPECIAL ADDED PERFORMANCE! Sunday at 4:00 p.m. Free-will offering A preview of the Cathedral Choir's European Tour Concert!   (Travel with the Cathedral Choir!) you can join them on their tour as "friends of the Cathedral Choir" Call the Office of Music Ministry at (973) 484-2400 to receive a complete itinerary and brochure.         -- ***************************************************** Healthcare references for everyone. "Recipient of the year 2000 Featured Site Award at healthAtoZ.com" http://home.earthlink.net/~marika57/m_erika.html   Internet Safety Lessons. Must reading for everyone. http://home.earthlink.net/~marika57/safetylessons.html *****************************************************      
(back) Subject: Re: expressions layout and location From: <TubaMagna@aol.com> Date: Sat, 8 Sep 2001 13:00:18 EDT   First and foremost, no matter what, the Swell shoe invariably is planted centered between the gap between E and F. That is where everybody expects = to find it, and you will have many aggravated people on your hands if you do = it differently.   The most recent (December 11, 1961) AGO Report on the Standardization of = the console does NOT provide a suggestion for the placement of expression = shoes in which all three manual divisions are separately enclosed.   The normal left-to-right is Choir, Swell, Solo, Register Crescendo, so in = the interests of sanity, one might wish to put the Great shoe in place of the Solo. As one who does not use the Register Crescendo in organ playing, I really have little practical advice, except that it would seem most = logical that if you're going to get LOUD, place the Great and Crescendo shoes adjacently so that they can be moved with the same paw.   Sebastian  
(back) Subject: Expression layout dictated by logic? From: "The Schneider Family" <arpschneider@starband.net> Date: Sat, 08 Sep 2001 13:37:01 -0500   ScottFop@aol.com wrote: > On a three manual/three division instrument with everything under > expression, > the pedals should be arranged as follows (from left to right): > Great > Choir > Swell > Crescendo   Sometimes, physical layout comes into play here. We're currently finishing up the installation of an instrument where the divisions "wrap around" the Choir Loft in a panoramic "u" configuration. To the left of the organist is the Choir Division. In the center, there's the Great, and on the far right, there's the Swell.   Consulting with the organist, and trying to think about it logically in terms of "intuition" (if there can BE such a thing when it comes to Swell control!), we elected to designate the Expression Shoes in their layout sequence. That is to say: The Choir is the left-most shoe, followed by the Great in the middle, and then the Swell is the right-most shoe. Of course, we also positioned the LED Bargraph displays for the Expression stages in the same order as the Pedals.   So, the only things that really changed positions from what would be expected is the Swell and Choir Shoes.   Now, if the Swell was on the right, I think that would be an altogether different matter, as I think that the Swell shoe ought to always be up against the Crescendo Pedal whenever possible.   This organ also has a "Master Expression" Tablet, so that all of the Chambers can be hooked to the Swell pedal, so I really don't think that this layout would have any faults.   Of course, this is a special instance due to the nature of the layout, and in other cases where there is not quite the spatial separation, the more convention layout that Scott mentions is what we would likely use ourselves.   Just one possible solution based on our practical experience.   Faithfully,   Richard Schneider, PRES/CEO SCHNEIDER PIPE ORGANS, Inc. Pipe Organ Builders 41-43 Johnston St./P.O. Box 137 Kenney, IL 61749-0137 (217) 944-2454 VOX (217) 944-2527 FAX mailto:arpschneider@starband.net HOME EMAIL mailto:arp@schneiderpipeorgans.com SHOP EMAIL http://www.schneiderpipeorgans.com WEB PAGE URL  
(back) Subject: Brahms Requiem Organ Score (X-posted) From: <quilisma@socal.rr.com> Date: Sat, 08 Sep 2001 11:37:43 -0700   It's listed in the G. Schirmer online catalog:   50329690 - Requiem Op. 45 (Organ Score) - ED2385 - $21.95   Cheers,   Raymond H. "Bud" Clark St. Matthew's Church Newport Beach CA USA    
(back) Subject: Re: Expression layout dictated by logic? From: <RonSeverin@aol.com> Date: Sat, 8 Sep 2001 15:10:05 EDT   Hi Richard:   As Sebastian has suggested, the Swell needs to be in the E-F gap. Your present configuration idea, the Great shoe occupies that position. The 1932 AGO standard is left to right: Choir, Swell, Great. Cresc. no matter where the pipes are spacially. Sebastian also points out that the 1961 suppliment of AGO standards doesn't mention it. It would be assumed that the 1932 standards still apply in that case. I would recommend giving this idea a lot of thought before finalizing it! The Swell is automatically placed in the E-F gap as a defacto placement.   Ron Severin  
(back) Subject: Re: Expression layout dictated by logic? From: <TEvans1032@aol.com> Date: Sat, 8 Sep 2001 15:24:24 EDT     --part1_fe.bd1826c.28cbca68_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 9/8/01 1:35:41 PM Central Daylight Time, arpschneider@starband.net writes:   Here is one of those instances where problems will most definitely occur. =   This is fine for this organist, but what about the next organist, or a = guest organist. They are not going to know the layout of the pipe chambers = without being told, and the shoe configuration. The AGO came up with guidelines = to prevent organist from having to worry about little nuances like this from organ to organ.   If you apply this logic to other arrangements, it just does not make = sense. So why throw out the guidelines we are all used to just because it makes sense to a the current organist. We need to have instruments built to be accessible to all organists. Thats like switching drawknob/stop order. = We all know Principals come first, maybe some organist wants the flutes = first because their reasoning is they are softer, and they want the softest = first then the fuller stops next. The next organist comes along looking for the = 8' Principal looks where it should be and its not there.   If I'm going to sub (which doesn't happen much) at a church or do a = recital the last thing I want to have to keep reminding myself of is something = like this that oh the swell shoe ISN'T where it should be.   Travis     > Consulting with the organist, and trying to think about it logically in > terms of "intuition" (if there can BE such a thing when it comes to > Swell control!), we elected to designate the Expression Shoes in their > layout sequence. That is to say: The Choir is the left-most shoe, > followed by the Great in the middle, and then the Swell is the > right-most shoe. Of course, we also positioned the LED Bargraph > displays for the Expression stages in the same order as the Pedals. > > So, the only things that really changed positions from what would be > expected is the Swell and Choir Shoes. > > Now, if the Swell was on the right, I think that would be an altogether > different matter, as I think that the Swell shoe ought to always be up > against the Crescendo Pedal whenever possible. >       --part1_fe.bd1826c.28cbca68_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 9/8/01 1:35:41 PM Central Daylight Time, <BR>arpschneider@starband.net writes: <BR> <BR>Here is one of those instances where problems will most definitely = occur. &nbsp; <BR>This is fine for this organist, but what about the next organist, = &nbsp;or a guest <BR>organist. &nbsp;They are not going to know the layout of the pipe = chambers without <BR>being told, &nbsp;and the shoe configuration. &nbsp;The AGO came up = with guidelines to <BR>prevent organist from having to worry about little nuances like this = from <BR>organ to organ. <BR> <BR>If you apply this logic to other arrangements, it just does not make = sense. &nbsp; <BR>So why throw out the guidelines we are all used to just because it = makes <BR>sense to a the current organist. &nbsp;We need to have instruments = built to be <BR>accessible to all organists. &nbsp;Thats like switching drawknob/stop = order. &nbsp;We <BR>all know Principals come first, &nbsp;maybe some organist wants the = flutes first <BR>because their reasoning is they are softer, &nbsp;and they want the = softest first <BR>then the fuller stops next. &nbsp;The next organist comes along = looking for the 8' <BR>Principal looks where it should be and its not there. &nbsp; <BR> <BR>If I'm going to sub (which doesn't happen much) at a church or do a = recital <BR>the last thing I want to have to keep reminding myself of is something = like <BR>this that oh the swell shoe ISN'T where it should be. <BR> <BR>Travis <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Consulting with the organist, and trying to think about it logically in <BR>terms of "intuition" (if there can BE such a thing when it comes to <BR>Swell control!), we elected to designate the Expression Shoes in their <BR>layout sequence. &nbsp;That is to say: The Choir is the left-most = shoe, <BR>followed by the Great in the middle, and then the Swell is the <BR>right-most shoe. &nbsp;Of course, we also positioned the LED Bargraph <BR>displays for the Expression stages in the same order as the Pedals. <BR> <BR>So, the only things that really changed positions from what would be <BR>expected is the Swell and Choir Shoes. <BR> <BR>Now, if the Swell was on the right, I think that would be an = altogether <BR>different matter, as I think that the Swell shoe ought to always be up <BR>against the Crescendo Pedal whenever possible. &nbsp; <BR></BLOCKQUOTE> <BR> <BR></FONT></HTML>   --part1_fe.bd1826c.28cbca68_boundary--  
(back) Subject: A nice "quiet" afternoon (NOT!) (X-posted) From: <quilisma@socal.rr.com> Date: Sat, 08 Sep 2001 15:05:32 -0700   I thought I'd have a leisurely, quiet afternoon at the church ... practicing, getting ready for the commencement of the Fall season ... nobody EVER works at St. Matthew's on a SATURDAY.   Well, the Altar Guild was cleaning (somebody forgot to put out the Paschal Candle after the funeral on Wednesday ... there was wax all OVER the place), the Junior Warden was doing the carpets and changing light-bulbs and locks in the new Sunday School rooms we just rented, the Seminary was meeting ... it was a three-ring circus. I did manage to shoo everybody out of the church (no carpets in there, thank GOD!) and practice for about an hour; then I gave up.   Oh well ...   Cheers,   Bud-by-the-Beach    
(back) Subject: Re: Value of pipe organ$? From: "Douglas A Campbell" <dougcampbell@juno.com> Date: Sat, 8 Sep 2001 12:51:55 -0400   Dear Andrew,   I would be happy to help with this question, but I really need more informnation.   Are you trying to find "replacement Value", ie what an existing instrument would cost to replace is it was destroyed?   Are you trying to find "market value", ie what you might reasonably expect to sell it as a usen instrument?   Are you trying to determine the cost of a new instrument ?     Douglas A. Campbell Skaneateles, NY         On Fri, 7 Sep 2001 10:20:07 -0400 "Andrew Mead" <mead@eagle.ca> writes: > A question: Can anyone supply the present $figure for guesstimating > the > value of an electro-pneumatic pipe organ based on the number of > stops? > Regards, > Andrew Mead > > > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related > topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org >