PipeChat Digest #3322 - Tuesday, December 24, 2002
 
Which Harmonic
  by <Kzimmer0817@aol.com>
Re: Which Harmonic
  by "Alan Freed" <acfreed0904@earthlink.net>
Re: - Soundfonts att: Bruce
  by "Bruce Miles" <bruce@gbmuk.fsnet.co.uk>
Re: Tierce from Undulating Rank
  by "Bruce Miles" <bruce@gbmuk.fsnet.co.uk>
Cincinnati Museum Center organ series
  by <Wuxuzusu@aol.com>
Re: Undulating Tierce
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
 

(back) Subject: Which Harmonic From: <Kzimmer0817@aol.com> Date: Tue, 24 Dec 2002 08:52:49 EST     --part1_14d.194f12e0.2b39c0b1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Chatters,   Ross said, "> The octave by the way is the second harmonic, as the = fundamental > is the first harmonic. I know that sounds strange, but it's true. The G = is > therefore the third harmonic, the double octave is the 4th, the Tierce = or > 17th is the 5th harmonic."   Are you sure about this? I had always thought that the fundamental is = just that, the fundamental. Then the first harmonic is the octave, the 2nd is = the 12th, the 3rd is the superoctave, the 4th is the 17th, and the 5th is the 19th....... or is that the case when you're discussing "overtones" or "partials". Kinda like in most of Europe, where the ground floor of a building has a name, and the 1st floor/story is really "our" 2nd floor.   Additionally, are the terms, "harmonics", "overtones", and "partials" synonymous?   Thanks, Keith   --part1_14d.194f12e0.2b39c0b1_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Chatters,<BR> <BR> Ross said, "<BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px = solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The octave = by the way is the second harmonic, as the fundamental is the first = harmonic. I know that sounds strange, but it's true. The G is therefore = the third harmonic, the double octave is the 4th, the Tierce or 17th is = the 5th harmonic."</BLOCKQUOTE><BR> <BR> Are you sure about this?&nbsp; I had always thought that the fundamental = is just that, the fundamental.&nbsp; Then the first harmonic is the = octave, the 2nd is the 12th, the 3rd is the superoctave, the 4th is the = 17th, and the 5th is the 19th....... or is that the case when you're = discussing "overtones" or "partials".&nbsp; Kinda like in most of Europe, = where the ground floor of a building has a name, and the 1st floor/story = is really "our" 2nd floor.<BR> <BR> Additionally, are the terms, "harmonics", "overtones", and "partials" = synonymous?<BR> <BR> Thanks,<BR> Keith</FONT></HTML>   --part1_14d.194f12e0.2b39c0b1_boundary--  
(back) Subject: Re: Which Harmonic From: "Alan Freed" <acfreed0904@earthlink.net> Date: Tue, 24 Dec 2002 11:02:22 -0500   > This message is in MIME format. Since your mail reader does not = understand this format, some or all of this message may not be legible.   --B_3123572543_4535408 Content-type: text/plain; charset=3D"ISO-8859-1" Content-transfer-encoding: quoted-printable   On 12/24/02 8:52 AM, "Kzimmer0817@aol.com" <Kzimmer0817@aol.com> wrote:   > Kinda like in most of Europe, where the ground floor of a building has a = =3D name, > and the 1st floor/story is really "our" 2nd floor.   An exception is Russia, which uses =3DB3our=3DB2 system; whether there are = other exceptions I don=3DB9t know. Also, Canada, I=3DB9m almost sure, uses the = European system (used to, anyway).   Alan, looking forward, though, to the answers to your questions   --B_3123572543_4535408 Content-type: text/html; charset=3D"ISO-8859-1" Content-transfer-encoding: quoted-printable   <HTML> <HEAD> <TITLE>Re: Which Harmonic</TITLE> </HEAD> <BODY> <FONT FACE=3D3D"Times New Roman">On 12/24/02 8:52 AM, = &quot;Kzimmer0817@aol.com=3D &quot; &lt;Kzimmer0817@aol.com&gt; wrote:<BR> <BR> </FONT><BLOCKQUOTE><FONT FACE=3D3D"Arial">Kinda like in most of Europe, = where t=3D he ground floor of a building has a name, and the 1st floor/story is = really =3D &quot;our&quot; 2nd floor.<BR> </FONT></BLOCKQUOTE><FONT FACE=3D3D"Times New Roman"><BR> An exception is Russia, which uses &#8220;our&#8221; system; whether there = =3D are other exceptions I don&#8217;t know. &nbsp;Also, Canada, I&#8217;m = almos=3D t sure, uses the European system (used to, anyway).<BR> <BR> Alan, looking forward, though, to the answers to your questions</FONT> </BODY> </HTML>     --B_3123572543_4535408--    
(back) Subject: Re: - Soundfonts att: Bruce From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Tue, 24 Dec 2002 09:58:56 -0000   Samuel (et al),   The best way to fully realise soundfonts is with a soundfont compatible sound card - Soundblaster Live or Audigy series - Turtle Beach and a few others. What sequencer etc software you use with it is (or should be) irrelevant.   There are various software synthesisers, some incorporated in sequencers = or other sofware, which purport to be soundfont compatible but SFAIK they all have limitations.They don't allow you to access more than one soundbank at once, they don't allow access to the all important effects (reverb pan = etc) called for in the sound font, or there is some detail (eg bell sounds) = which is not properly implemented.   I can't speak for Sibelius or Finale (perhaps someone will). If soundfont (.sf2) files can be imported or converted then something may be possible. Anyway, SB Live and Audigy cards are cheap enough, they may not be of the very top professional standard but they are more than adequate for amateur and general use.   BTW there are some mp3 soundclips on the website which give a sample of = the soundfont.   Cheers,   website - http://www.gbmuk.fsnet.co.uk/index.html   ----- Original Message ----- From: "Samuel Metzger" <samuel.metzger@christpreschurch.org> To: "PipeChat" <pipechat@pipechat.org> Sent: Monday, December 23, 2002 10:47 PM Subject: RE: - Soundfonts att: Bruce     > Bruce, > > Out of curiosity, are these "sound fonts" usable by a program such as > Sibelius or Finale? > > Thanks, > > Samuel > > -----Original Message----- > From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of > Bruce Miles > Sent: Monday, December 23, 2002 4:18 PM > To: PipeChat > Subject: Re:- Soundfonts > > > For Bill Lyon, > > The Theatre Organ soundfont (by the late Doug McMurry) was available on the > Hammersound site - although still listed the links are now = non-functional. > > SFAIK the only theatre organ soundfonts now generally available are = those on > my website ('Cinema Organ') below. Also the 'English Organ' soundfont. > > They are free to download for non-commercial use. > I hope they are of interest. > > Bruce Miles > > website - http://www.gbmuk.fsnet.co.uk/index.html    
(back) Subject: Re: Tierce from Undulating Rank From: "Bruce Miles" <bruce@gbmuk.fsnet.co.uk> Date: Tue, 24 Dec 2002 12:37:53 -0000   To Paul and all,   I'm afraid the Allen wizards are too clever for me on this - I'l have to think about it.   Any deviation from the two principles - 1. that all mutations must be = tuned so there are no beats with the fundamental pipe. 2. that celestes must be tuned till the beats sound right - involves a compromise. Or rather - you really should not compromise with the mutation tuning, so the celestes tuning has to give. Depends on how much give you can put up with.   I had considered this mainly from theoretical point of view, so I must accept the opinions of those with practical experience, that the results 'can be better than might be expected'.   It is not too difficult, just for fun, to set this up in one of my soundfonts. If I do this I'll let you know how it turns out.   And before you ask, the mutation components in the mixtures in my the straight organ soundfont (English Organ) are tuned perfectly, the quints = and tierce in the 'Cinema Organ' are derived (as for real). The quints sound reasonable with or without the tremulants. The tremulant disguises the tierce mistune, but it sounds pretty naff untremmed.   My mind is closing now for Christmas.   Best wishes   Bruce Miles     website - http://www.gbmuk.fsnet.co.uk/index.html   ----- Original Message ----- From: "Paul Valtos" <chercapa@enter.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Monday, December 23, 2002 11:52 PM Subject: Re: Tierce from Undulating Rank     > To Bruce and the list: > What if you were to tune a celeste to a temperament other than = mean, > lets say start out at A437 rather than A440 or A455. Would or could you > carry that difference throughout the rank and would you have to take = into > consideration a greater spacing or bring it back in tune at the highest > note? All I can think of is the Allen system of stretch tuning which = makes > the center "C" on the money. Below center "C" it goes from a -1 to -6 above > "C" it goes from a + 2 ro +7.Celeste tuning goes from "C"2 at 20 sharp = to > "B" 5 at 2 cents sharp.Expanded goes from 19 to 4. Not being a pipe = organ > tuner, I don;t know if this might be applicable to unified small pipe > organs. > Paul >    
(back) Subject: Cincinnati Museum Center organ series From: <Wuxuzusu@aol.com> Date: Tue, 24 Dec 2002 12:46:58 EST     --part1_2f.322a8e65.2b39f792_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Greetings folks,   I just received word that the Cincinnati Museum Center is offering Thomas Murray and Todd Wilson in an organ concert series. The organists will = perform on the 1929 E. M. Skinner installed in the Museum Center Rotunda, formerly =   the Cincinnati Union Terminal.   Murray will perform on February 17, 2003, at 8 PM, and Wilson on May 5, = 2003 at 8 PM. The CCM Girls' Choir will perform Britten's Missa Brevis with Murray. Rachel Wilson will perform two cell pieces accompanied by Wilson.   Series cost is $30.00 for the two concerts (plus a $1 per ticket handling fee). Information is available online at <A = HREF=3D"WWW.CINCYMUSEUM.ORG">WWW.CINCYMUSEUM.ORG</A>   Tickets can be purchased by calling 1/513-287-7021. (I tried to order = online but could not)   Folks, I heard the first Murray concert in this venue several years ago, = and the accoustics were simply the best I've ever heard in any building! A violinist also performed, and she could be heard anywhere in that room as though you were sitting at her side while she played. This first concert = was sold out.   Organ lovers, this is a series not to be missed even though it is on a = Monday evening!!   Musically,   Stan Krider   --part1_2f.322a8e65.2b39f792_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Greetings folks,<BR> <BR> I just received word that the Cincinnati Museum Center is offering Thomas = Murray and Todd Wilson in an organ concert series. The organists will = perform on the 1929 E. M. Skinner installed in the Museum Center Rotunda, = formerly the Cincinnati Union Terminal.<BR> <BR> Murray will perform on February 17, 2003, at 8 PM, and Wilson on May 5, = 2003 at 8 PM. The CCM Girls' Choir will perform Britten's <I>Missa = Brevis</I> with Murray. Rachel Wilson will perform two cell pieces = accompanied by Wilson.<BR> <BR> Series cost is $30.00 for the two concerts (plus a $1 per ticket handling = fee).<BR> Information is available online at <A = HREF=3D"WWW.CINCYMUSEUM.ORG">WWW.CINCYMUSEUM.ORG</A><BR> <BR> Tickets can be purchased by calling 1/513-287-7021. (I tried to order = online but could not)<BR> <BR> Folks, I heard the first Murray concert in this venue several years ago, = and the accoustics were simply the best I've ever heard in any building! A = violinist also performed, and she could be heard anywhere in that room as = though you were sitting at her side while she played. This first concert = was sold out. <BR> <BR> Organ lovers, this is a series not to be missed even though it is on a = Monday evening!!<BR> <BR> Musically, <BR> <BR> Stan Krider</FONT></HTML>   --part1_2f.322a8e65.2b39f792_boundary--  
(back) Subject: Re: Undulating Tierce From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Tue, 24 Dec 2002 18:08:44 +0000 (GMT)   --0-95494152-1040753324=3D:68581 Content-Type: text/plain; charset=3Diso-8859-1 Content-Transfer-Encoding: 8bit     Hello, I have been fascinated by the "undulating Tierce" thread and the = possibility of using the same rank as a Celeste. Given a seperate rank, would it be fair to suggest that, when tuned to a = perfect 3rd, the rank would then (by extension) also act as a Celeste = (slow beating) at the unison? Is it really that simple, or am I being = naive? The thread has also gone some way towards explaining the horrendous sound = of the English Wurlitzers which have "Tierce Couplers"........without the = Tremulants, they sound ghastly. (I would suggest that Tierce Couplers = sound ghastly with or without Trems!) I don't know what the precedents are for this abomination, but they = contribute to the unique sound obtained from the Wurlitzer organ at the = (in)famous Blackpool Tower, as made popular by the late Reginald Dixon. = The same sound, and the same Blackpool "bounce" is still very much alive = in the hands of the resident organist, Phil Kelsall......his performances = a sight to behold as he uses the manuals as "on the beat" percussion and = "off the beat" percussion by bouncing his hands from one keyboard to = another! (He also shows off by crossing his feet in double pedalling from = time to time). HE has a Rolls-Royce and a twin engined private aircraft.....where did I = go wrong? Regards, Colin Mitchell UK         --------------------------------- With Yahoo! Mail you can get a bigger mailbox -- choose a size that fits = your needs   --0-95494152-1040753324=3D:68581 Content-Type: text/html; charset=3Diso-8859-1 Content-Transfer-Encoding: 8bit   <P>Hello, <P>I have been fascinated by the "undulating Tierce" thread and the = possibility of using the same rank as a Celeste. <P>Given a seperate rank, would it be fair to suggest that, when tuned to = a perfect 3rd, the rank would then (by extension) also act as a Celeste = (slow beating) at the unison?&nbsp; Is it really that simple, or am I = being naive? <P>The thread has also gone some way towards explaining the horrendous = sound of the English Wurlitzers which have "Tierce = Couplers"........without the Tremulants, they sound ghastly. (I would = suggest that Tierce Couplers sound ghastly with or without Trems!) <P>I don't know what the precedents are for this abomination, but they = contribute to the unique sound obtained from the Wurlitzer organ at the = (in)famous Blackpool Tower, as made popular by the late Reginald Dixon. = The same sound, and the same Blackpool "bounce" is still very much alive = in the hands of the resident organist, Phil Kelsall......his performances = a sight to behold as he uses the manuals as "on the beat" percussion and = "off the beat" percussion by bouncing his hands from one keyboard to = another! (He also shows off by crossing his feet in double pedalling from = time to time). <P>HE has a Rolls-Royce and a twin engined private aircraft.....where did = I go wrong? <P>Regards, <P>Colin Mitchell UK <P>&nbsp; <P>&nbsp; <P>&nbsp;</P><p><p><br><hr size=3D1><a = href=3D"http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mai= l_storage.html"><b><font face=3D"Arial" size=3D"2">With Yahoo! Mail you = can get a bigger mailbox -- choose a size that fits your = needs</font></b></a><br> --0-95494152-1040753324=3D:68581--