PipeChat Digest #3201 - Wednesday, October 30, 2002
 
Re: Ken Cowan in Kalamazoo
  by "Mike Gettelman" <mike3247@earthlink.net>
Oberlingers
  by "Paul Opel" <popel@sover.net>
Jon Calvo
  by "Jan S. Van Der Stad" <dorian@nac.net>
Re: Ken Cowan in Kalamazoo
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: Ken Cowan in Kalamazoo
  by "C. Joseph Nichols" <cjn@nicholsandsimpson.com>
RE: Weinen Klagen
  by <cmys13085@blueyonder.co.uk>
Organs in Nassau and Great Stirrup Cay
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
Re: Ken Cowan in Kalamazoo
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Re: Ken Cowan in Kalamazoo
  by <Gfc234@aol.com>
Re: Oberlingers
  by <Gfc234@aol.com>
Principal
  by "First Christian Church of Casey, Illinois" <kzrev@rr1.net>
Re: Principal 52 or 62 ???
  by <TubaMagna@aol.com>
Latry's and Weir's Messiaen CDs Available
  by "William T. Van Pelt" <bill@organsociety.org>
Handel Organ Concerti, Op. 4
  by "William T. Van Pelt" <bill@organsociety.org>
Re: Ken Cowan in Kalamazoo
  by "C. Joseph Nichols" <cjn@nicholsandsimpson.com>
 

(back) Subject: Re: Ken Cowan in Kalamazoo From: "Mike Gettelman" <mike3247@earthlink.net> Date: Tue, 29 Oct 2002 05:51:50 -0500   Dear Mr. Hochstetler and List, With great interest in the new Nichols & Simpson organ along with the opportunity to hear Mr. Ken Cowan play it, I also drove a considerable distance (around 5 hours) to attend this wonderful concert. My only disappointment was that the concert could not go on for a period equal to my travel time. Ken delivered a virtuoso performance of a diverse program that was notably devoid of the regular "war horses", and demonstrated the range and color of this fine new instrument as if laying a musical smorgasbord for those lucky enough to attend. The roaring standing ovation at the end of the concert gave evidence that Mr. Ken Cowan and a Nichols & Simpson organ do a fine marriage make. It sounds as if we are in complete agreement about the quality of this concert. However, I must take exception to your remarks concerning the digital pedal voices in this organ. You are obviously far more than a casual observer of pipe organ construction, so it should have been quite obvious to you that there was no where near enough room in the twin cases to house 3 full ranks of 32' pipes. You also admit that the voicing and finishing of these ranks gave no sonic indication of digital ranks within the full ensemble. Therefore, I can only assume your reason for pointing out the digital voices in your very public review was to either embarrass St. Augustine, the owner of the instrument, or to create some sort of skewed inflammation of the digital vs pipe debate. Although either of those motives are deplorable in view of the celebratory nature of the event on which you report, you then sunk to a new low by suggesting Nichols & Simpson might be hiding something more because of the omission of the digital designations in the organ's specifications. How dare you voice such a thing on this organ sensitive public forum without one ounce of evidence by which to support it. In one swift stroke, you impugn the good name and integrity of an organ builder who is well known for their dedication to high quality craftsmanship, their innate ability to create versatile and useful instruments within the constraints of space and budget, and then to give generously of their time and talent to adjust and regulate the finishing of these instruments with a fussiness standard that is near legendary. This is certainly not the conduct of an organ builder who has anything to hide. I do believe Mr. Hochstetler, that you owe Joe Nichols and Wayne Simpson a public apology.   Sincerely Mike Gettelman     "Paul R. Hochstetler" wrote:   > With interest piqued by an announcement of Ken Cowan playing a > dedicatory recital on a Nichols & Simpson organ, I made a two-hour > trip to the Cathedral of St. Augustine in Kalamazoo, Michigan on > Sunday afternoon, October 27. Pictures and a stoplist of this > installation are available on the Nichols & Simpson website: > nicholsandsimpson.com. > > I did not attend with the intention of writing a review and made no > notes. Indeed, I feel quite unqualified to write a critique of any > recitalist's playing. But here are some observations. > > The instrument is impressively presented in two towers framing a > large window at the rear of the nave. The cathedral interior space > conveys "cathedral," though it is not overly-ornamented. Most > distressing was the gray carpet, gripping the building in its > deadening clutches. Happily, there are plans for remedying this > unfortunate circumstance. > > The three 32-foot stops are, given the space and financial > considerations, digital. I do not mention this because it was > obvious--it was not--but because some people like to know what has > been electronically added. Indeed, neither the program book nor the > N&S website make mention of this. Such an oversight should be > corrected because it can lead an observer's mind to wonder what else > might be hidden. > > Here is Ken's program for the afternoon. > > Passacaglia in c minor, BVW 582 (J. S. Bach) > > Roulade (Seth Bingham) > > From "Pieces de Fantasie" (Vierne) > Claire de Lune > Toccata > > Symphonie V (Widor) > Allegro Vivace > > Overture to Oberon (Weber) > > Nocturne from Shylock (Faure) > > Fantasy on Wachet Auf ruft unx Stimme (Reger) > > I have heard of Ken Cowan's excellent playing and the stories are > true! Though not face-to-face with the audience, he was able to > engage them verbally in the few introductory remarks he made > throughout the program. As he played, I observed that many others > were pleased with his selections, technique and registrations (some > of the flutes on this organ were absolutely charming). Broad smiles > and head-nodding were evident around me. > > I can attest that Ken also spoke to non-organists in the room. A > friend, new to such an event, sat with me and said he especially > liked the pieces which began quietly and grew in intensity until the > power of the reeds added to the ensemble gave him chills. > > My preconceived notions told me I would not enjoy the Max Reger > piece, but I was wrong! Hearing the tune shine through some of the > dense harmonies, was an enjoyable experience and was a welcome change > from the usual Baroque treatments of this enduring melody. > > Ken is not afraid to play transcriptions; these pieces seemed to > endear him to the listeners. And his choice of Saint-Saens "Danse > Macabre" for an encore was perfect for this time of year. Hearing > the motifs float from division to division and suddenly realizing > that I was listening to a theater organ made me laugh with delight. > > Yes, it was worth missing my Sunday afternoon nap. The organ seems > to be a satisfying and versatile instrument and Ken is most > definitely a performer to be experienced. > > Paul    
(back) Subject: Oberlingers From: "Paul Opel" <popel@sover.net> Date: Tue, 29 Oct 2002 07:18:09 -0500   When I was in graduate school at U Mass Amherst, they had three Oberlingers. A small (c. 2/10) in a practice room, which was only slightly too loud for the space; a very nice compact instrument on wheels, about 2/18 in Bezanson Recital Hall; and a 3/45 in the Organ Room (which is also where the band rehearses). All the organs were reasonable, none terribly exciting. The best is the medium sized one- the big one lacks a Prinzipal 16 in the pedal, relying on a Bourdon and a Violone, and suffers from humidity changes. Evidently, Oberlinger insisted that a humidity control system be installed; however, when it was switched on, it didn't work, and the State of Massachusetts, in their infinite wisdom, never got it = working. The couplers are tracker, with electrical assist, but they are always out of regulation due to movement of the wooden parts. Organ students were required to help maintain the instrument under the watchful eye of Bill Czeluzniak, and we spent a lot of time adjusting trackers before each = organ event.   There was evidently supposed to be a 4 manual in the big recital hall, but the money ran out first- probably a good thing!   Ernie May, the organ professor, has a framed "Oberlingus Award for Organ Blowing" on his office wall, a gift of the company at the dedication.   Paul   being a on wh>has anyone played an oberlinger organ? what did you think? how big was it? >greg.     http://www.sover.net/~popel/agomain.html      
(back) Subject: Jon Calvo From: "Jan S. Van Der Stad" <dorian@nac.net> Date: Tue, 29 Oct 2002 08:34:40 -0500   Hi, List   Sorry for the listwide interruption.....ls John Calvo still on any of = these lists?   Please contact me John   Thanks   Jan S. Van Der Stad          
(back) Subject: Re: Ken Cowan in Kalamazoo From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Tue, 29 Oct 2002 09:39:00 -0500   Dear Mike and Pipechat People,   As one who has consistently disliked almost every single electronic 32' = stop he has ever heard, and that is too many of the damn things, I nonetheless have to very respectfully counsel and suggest to you to cool it. (I have heard one which I thought was *somewhat* successful, and I cannot see why = I should not say where it is - in the Casavant at the Cathedral of the Incarnation in Garden City, Long Island.)   You need to read Paul Hochstetler's thoughtful comments again, very carefully. I agree fully with him that digital Organ stops ought always to be identified as such. He did NOT say he thought N & S were trying to hide something. He only said there might be some who will think this. He made = it clear that he thought these stops were well voiced, and not obviously electronic. (They would not fool me!<G>) He also acknowledged that, if 32' stops were wanted by the cathedral and its musicians, digital appeared to = be the only way to go. You have said "it should have been quite obvious to = you .. . . " Well, clearly, it was obvious, and Mr. Hochstetler said exactly that. In no way do I interpret his remarks to suggest that he was trying = "to either embarrass St. Augustine, the owner of the instrument, or to create some sort of skewed inflammation of the digital vs. pipe debate." And from there, you go on for the kill, as in "motives are deplorable" and "sunk to = a new low," etc.   I am frankly not comfortable with Joe Nichols's comment as follows: "Our website only lists the stoplists of the instruments. There are SO many elements that contribute to the way our instruments sound and function = that are far more important to us than a few digital 32' stops." To me, the presence of "a few digital stops" at any pitch are a serious concern, and = I believe they should be duly noted in printed material, but I have IMMENSE respect for the Nichols & Simpson gang, would not EVER question their integrity, and I certainly don't believe I have or want the right to tell them what to do.   I for one appreciated very much Paul Hochstetler's intelligent posting = about Ken's clearly wonderful recital (what else is new?). Paul, please don't disappear from the lists, as others have done under this sort of attack. = You are needed here!   Cheers,   Malcolm Wechsler - who much prefers a good Resultant 32', thank you!! www.mander-organs.com (If you search hard, you will find one digital = 32', rather clearly identified. Once is enough!)     ----- Original Message ----- From: "Mike Gettelman" <mike3247@earthlink.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Tuesday, October 29, 2002 5:51 AM Subject: Re: Ken Cowan in Kalamazoo     > Dear Mr. Hochstetler and List,   < SNIP >   > However, I must take exception to your remarks concerning the = digital > pedal voices in this organ. You are obviously far more than a casual > observer of pipe organ construction, so it should have been quite = obvious > to you that there was no where near enough room in the twin cases to = house > 3 full ranks of 32' pipes. You also admit that the voicing and finishing > of these ranks gave no sonic indication of digital ranks within the full > ensemble. Therefore, I can only assume your reason for pointing out the > digital voices in your very public review was to either embarrass St. > Augustine, the owner of the instrument, or to create some sort of skewed > inflammation of the digital vs pipe debate. Although either of those > motives are deplorable in view of the celebratory nature of the event on > which you report, you then sunk to a new low by suggesting Nichols & > Simpson might be hiding something more because of the omission of the > digital designations in the organ's specifications. How dare you voice > such a thing on this organ sensitive public forum without one ounce of > evidence by which to support it. In one swift stroke, you impugn the = good > name and integrity of an organ builder who is well known for their > dedication to high quality craftsmanship, their innate ability to create > versatile and useful instruments within the constraints of space and > budget, and then to give generously of their time and talent to adjust = and > regulate the finishing of these instruments with a fussiness standard = that > is near legendary. This is certainly not the conduct of an organ builder > who has anything to hide. I do believe Mr. Hochstetler, that you owe Joe > Nichols and Wayne Simpson a public apology. > > Sincerely > Mike Gettelman > > > "Paul R. Hochstetler" wrote: > > > SNIP >   > > The three 32-foot stops are, given the space and financial > > considerations, digital. I do not mention this because it was > > obvious--it was not--but because some people like to know what has > > been electronically added. Indeed, neither the program book nor the > > N&S website make mention of this. Such an oversight should be > > corrected because it can lead an observer's mind to wonder what else > > might be hidden. > >      
(back) Subject: Re: Ken Cowan in Kalamazoo From: "C. Joseph Nichols" <cjn@nicholsandsimpson.com> Date: Tue, 29 Oct 2002 10:23:18 -0500   Dear Malcolm and Listers:   I said, "our website only lists stoplists of our instruments", which is true. Right you are, Malcolm, our printed publicity materials that are = sent to prospective clients is far more detailed and many construction details are documented. Indeed digital stops are noted, doubled flues in reed trebles are noted, and any unification and or duplexing is noted as well = as big reeds which may not couple on a given manual, etc.   We decided to keep the website simple, uncluttered and quick to load. We = do not intend for our website to be a sales tool for our instruments, word of mouth is far, far better. For those who are potential clients we offer = the printed materials and CD's. All others need only ask for details and we happily supply them.   Again, Nichols & Simpson, Inc. was not responsible for the content nor printing of the dedication booklet for Ken Cowan's program in Kalamazoo.   C. Joseph Nichols http://www.nicholsandsimpson.com   P.S. We would never try to "fool" you Malcolm, but,................ you never know.   ----- Original Message ----- From: "Malcolm Wechsler" <manderusa@earthlink.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Tuesday, October 29, 2002 9:39 AM Subject: Re: Ken Cowan in Kalamazoo     > I am frankly not comfortable with Joe Nichols's comment as follows: "Our > website only lists the stoplists of the instruments. There are SO many > elements that contribute to the way our instruments sound and function that > are far more important to us than a few digital 32' stops." To me, the > presence of "a few digital stops" at any pitch are a serious concern, = and I > believe they should be duly noted in printed material, but I have = IMMENSE > respect for the Nichols & Simpson gang, would not EVER question their > integrity, and I certainly don't believe I have or want the right to = tell > them what to do.      
(back) Subject: RE: Weinen Klagen From: <cmys13085@blueyonder.co.uk> Date: Tue, 29 Oct 2002 15:38:53 -0000   Hello,   Thanks for the replies from Andrew Mean and John Speller with which I = have just caught up, still being in mid-computer crisis.   I am making enquiries about getting a new tuner who actually knows what = he is doing.   Regards,   Colin      
(back) Subject: Organs in Nassau and Great Stirrup Cay From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Tue, 29 Oct 2002 10:51:24 -0500   O.K., all ye fine organ fans, can anyone help with this one:   My good wife of 40+ years and I have decided to enjoy the benefits of retirement by going on a short cruise in the Caribbean, the first time in our lives for this kind of experience. The ship will leave us off for = about 8 hours on Nassau and another 8 hours on a small ship-company-owned island called Great Stirrup Cay. (Wonder what THAt means!)   Are there any organs of particular interest I should try to = see/hear/play during our time on those islands? Am I right that Nassau is a British protectorate--and thus perhaps hope for something like a Hill, Norman and Beard or the like? ANY organs AT ALL on Great Stirrup Cay? We'll be on that island on Sunday; church potentials there?   All other non-organistic comments and bits of advice welcome, too, but best in private mssages to me, rather than clogging up the list with them.   Thanx.   Karl E. Moyer Lancaster PA  
(back) Subject: Re: Ken Cowan in Kalamazoo From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Tue, 29 Oct 2002 11:23:52 -0500   Thanks for that, Joe.   As I wrote what I did, I was thinking about Paul's remark about not mentioning the digital 32s might lead people to wonder what else is hidden away, and I have a feeling that he may have been thinking of the fact that once one has the technical facilities for the 32s, it is possible at = rather low cost to add all manner of manual stops, and I, and I am sure you, know of a number of places where the 32s became the thin end of the wedge.   Listen, I firmly believe, while defending to the death (well, almost!) the right of anyone else NOT to believe, that digital stops are not real Pipe Organ stops, and should therefore be clearly labeled as what they are. = There are others, of course, who are just as passionate as I that the opposite = is true. The name of the game here is, of course, that we learn to disagree without being disagreeable, something not found in the recent very = personal unpleasantness.   As do you, I await eagerly your appearance here in the Northeast, once the poor burned out Ridgewood church is rebuilt. It's about one hour from = where I live, so I'll certainly be there to cheer you on.   Malcolm   ----- Original Message ----- From: "C. Joseph Nichols" <cjn@nicholsandsimpson.com> To: "PipeChat" <pipechat@pipechat.org> Sent: Tuesday, October 29, 2002 10:23 AM Subject: Re: Ken Cowan in Kalamazoo     > Dear Malcolm and Listers: > > I said, "our website only lists stoplists of our instruments", which is > true. Right you are, Malcolm, our printed publicity materials that are sent > to prospective clients is far more detailed and many construction = details > are documented. Indeed digital stops are noted, doubled flues in reed > trebles are noted, and any unification and or duplexing is noted as well as > big reeds which may not couple on a given manual, etc. > > We decided to keep the website simple, uncluttered and quick to load. = We do > not intend for our website to be a sales tool for our instruments, word = of > mouth is far, far better. For those who are potential clients we offer the > printed materials and CD's. All others need only ask for details and we > happily supply them. > > Again, Nichols & Simpson, Inc. was not responsible for the content nor > printing of the dedication booklet for Ken Cowan's program in Kalamazoo. > > C. Joseph Nichols > http://www.nicholsandsimpson.com > > P.S. We would never try to "fool" you Malcolm, but,................ > you never know. >      
(back) Subject: Re: Ken Cowan in Kalamazoo From: <Gfc234@aol.com> Date: Tue, 29 Oct 2002 12:10:59 EST     --part1_173.10f80701.2af01b23_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   how was the Reger?   --part1_173.10f80701.2af01b23_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>how was the = Reger?</FONT></HTML>   --part1_173.10f80701.2af01b23_boundary--  
(back) Subject: Re: Oberlingers From: <Gfc234@aol.com> Date: Tue, 29 Oct 2002 12:37:26 EST     --part1_18.278ca9ab.2af02156_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   thanks for telling me about your experience. i am looking into the possibility of buying a tracker action practice organ and their website really caught my eye. i am most interested in oberlinger's jubilee model organ-   http://organisten.de/oberlinger/second-hand-organs/dem_6.htm   there is a recording of one on their website and it is quite impressive. = can anyone reccommend another builder for a small tracker practice instrument WITH 16' flue in the pedal and a stoplist similar to the oberlinger? if = you look at the website, i think most will agree that that is a whole lot of organ in a little box that can fit in anywhere. if i had one, i don't = think i would be leaving my house very often. hahahah. greg   --part1_18.278ca9ab.2af02156_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>thanks for telling me = about your experience. &nbsp;i am looking into the possibility of buying a = tracker action practice organ and their website really caught my eye. = &nbsp;i am most interested in oberlinger's jubilee model organ- <BR> <BR>http://organisten.de/oberlinger/second-hand-organs/dem_6.htm <BR> <BR>there is a recording of one on their website and it is quite = impressive. &nbsp;can anyone reccommend another builder for a small = tracker practice instrument WITH 16' flue in the pedal and a stoplist = similar to the oberlinger? &nbsp;if you look at the website, i think most = will agree that that is a whole lot of organ in a little box that can fit = in anywhere. &nbsp;&nbsp;if i had one, i don't think i would be leaving my = house very often. &nbsp;hahahah. <BR>greg</FONT></HTML>   --part1_18.278ca9ab.2af02156_boundary--  
(back) Subject: Principal From: "First Christian Church of Casey, Illinois" <kzrev@rr1.net> Date: Tue, 29 Oct 2002 15:36:58 -0600   Okay. It now appears that the "52 Scale principal" is actually a 4' Octave, not an 8' principal, with a low C of 3" in diameter. Can somebody translate for me what scale that would be if did go down another octave?   Dennis Steckley   Ich liebe meine Katzen        
(back) Subject: Re: Principal 52 or 62 ??? From: <TubaMagna@aol.com> Date: Tue, 29 Oct 2002 16:47:55 EST   Wow, okay.   A scale 52, the way most Americans cut them, is 4-3/8" diameter, too chunky for even a 4' Nachthorn in a big room. A scale 62 (which is what it sounds like you're discussing) is just = shy of 3" diameter, and that's not bad for a residential scale. If you = extended it downward, your 8' C would be about 4-3/4" diameter as a scale 50, IF = you are getting correct information from the seller. Is the person in = question an organbuilder?   Sebastian M. Gluck New York City  
(back) Subject: Latry's and Weir's Messiaen CDs Available From: "William T. Van Pelt" <bill@organsociety.org> Date: Tue, 29 Oct 2002 17:25:10 -0500   Olivier Latry's new recording at Notre Dame, Paris, of the complete organ works of Messiaen for the Deutsch Grammophon label is finally available in the U. S., released this month here.   Gillian Weir's fine recording of the complete Messiaen at Arhus Cathedral = in Denmark, released a few years ago on the Collins label and unavailable = since the financial collapse of Collins, is being reissued by Priory as = individual volumes, the first of which is now available and includes La Nativit=E9, = Le Banquet Celeste, and Apparation de l'Elglise Eternelle.   Both are on the opening page at http://www.ohscatalog.org   Bill    
(back) Subject: Handel Organ Concerti, Op. 4 From: "William T. Van Pelt" <bill@organsociety.org> Date: Tue, 29 Oct 2002 17:37:13 -0500   Several weeks ago, many members of these lists indicated interest in the = new Barenreiter "Halle Handel" edition of the six Handel Op. 4 Concerti for organ and orchestra. They are available as scores only, as scores and = organ parts, and as a set of scores, organ parts, and orchestral players' parts. Reflecting the interest expressed, they are now in stock at OHS, and on = the opening page at http://www.ohscatalog.org   The editors of this new Barenreiter edition are OHS member William Gudger = of Charleston, SC, and Terence Best. OHS also stocks the A-R Edition by Bill Gudger of Walsh's transcriptions of op. 4 for organ alone, as well as the organ alone versions by Hermann Keller and W. T. Best (the latter a Dover edition with extensive notes by Rollin Smith). We also stock Keller's edition for organ alone of the six concerti in op. 7.   Bill    
(back) Subject: Re: Ken Cowan in Kalamazoo From: "C. Joseph Nichols" <cjn@nicholsandsimpson.com> Date: Tue, 29 Oct 2002 23:52:05 -0500   No question Malcolm, digital stops are not real. But, they are not the success (or failure, God forbid) of our instruments. We do not try to = hide where we use them. In fact, I told Paul Hochstetler, who sat in front of = me at the concert, that the 32's were digital when he turned at intermission and told me how wonderful the 32 Bourdon was. I suppose I could have just thanked him.   C. Joseph Nichols http://www.nicholsandsimpson.com   ----- Original Message ----- From: "Malcolm Wechsler" <manderusa@earthlink.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Tuesday, October 29, 2002 11:23 AM Subject: Re: Ken Cowan in Kalamazoo     > Thanks for that, Joe. > > As I wrote what I did, I was thinking about Paul's remark about not > mentioning the digital 32s might lead people to wonder what else is = hidden > away, and I have a feeling that he may have been thinking of the fact = that > once one has the technical facilities for the 32s, it is possible at rather > low cost to add all manner of manual stops, and I, and I am sure you, = know > of a number of places where the 32s became the thin end of the wedge. > > Listen, I firmly believe, while defending to the death (well, almost!) = the > right of anyone else NOT to believe, that digital stops are not real = Pipe > Organ stops, and should therefore be clearly labeled as what they are. There > are others, of course, who are just as passionate as I that the opposite is > true. The name of the game here is, of course, that we learn to disagree > without being disagreeable, something not found in the recent very personal > unpleasantness. > > As do you, I await eagerly your appearance here in the Northeast, once = the > poor burned out Ridgewood church is rebuilt. It's about one hour from where > I live, so I'll certainly be there to cheer you on. > > Malcolm > > ----- Original Message ----- > From: "C. Joseph Nichols" <cjn@nicholsandsimpson.com> > To: "PipeChat" <pipechat@pipechat.org> > Sent: Tuesday, October 29, 2002 10:23 AM > Subject: Re: Ken Cowan in Kalamazoo > > > > Dear Malcolm and Listers: > > > > I said, "our website only lists stoplists of our instruments", which = is > > true. Right you are, Malcolm, our printed publicity materials that = are > sent > > to prospective clients is far more detailed and many construction details > > are documented. Indeed digital stops are noted, doubled flues in reed > > trebles are noted, and any unification and or duplexing is noted as = well > as > > big reeds which may not couple on a given manual, etc. > > > > We decided to keep the website simple, uncluttered and quick to load. We > do > > not intend for our website to be a sales tool for our instruments, = word of > > mouth is far, far better. For those who are potential clients we = offer > the > > printed materials and CD's. All others need only ask for details and = we > > happily supply them. > > > > Again, Nichols & Simpson, Inc. was not responsible for the content nor > > printing of the dedication booklet for Ken Cowan's program in = Kalamazoo. > > > > C. Joseph Nichols > > http://www.nicholsandsimpson.com > > > > P.S. We would never try to "fool" you Malcolm, but,................ > > you never know. > > > > > > "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 >