PipeChat Digest #3485 - Thursday, February 20, 2003
 
RE: Mea Culpa
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: Digital bashing
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
Re: Digital bashing
  by "Marika E. Buchberger, LRPS" <marika57@optonline.net>
Re: Staying on topic
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: First Baptist Church L.A. organists
  by <RonSeverin@aol.com>
Re: Digital bashing
  by "Antoni Scott" <ascott@ptd.net>
just got my 16' reed home
  by "Gary Black" <gblack@ocslink.com>
Re: Oh, the value of a Larigot  :)
  by "Jim Clouser" <CromorneCipher@hotmail.com>
Re: Casavant Opus 3819 Install (X-post)
  by <Cremona502@cs.com>
Re: Organs and laptops
  by <Cremona502@cs.com>
Re: Huge Church Organs
  by <RMB10@aol.com>
Re: (Playing) Huge Church organs
  by <Cremona502@cs.com>
 

(back) Subject: RE: Mea Culpa From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 20 Feb 2003 22:31:14 +0000 (GMT)   Hello,   Absolutely right Bill!   Even in the Baroque, they were synthesising bird-calls, thunder and fitting bells.   The romantic generation busily and speedily created "orchestral sounds" which are nothing like as convincing as the almost perfect organ-synthesis of Baroque instruments such as the Dulzian and the Schalmei.   Strings were early, but didn't really become convincing until the narrow French strings with Harmonic Bridges.   I am often amazed at the remarkable Big Band and Orchestral sounds possible on a good Wurlitzer theatre instrument.   We DESERVE the digital organ and synthesiser!   Regards,   Colin Mitchell UK --- Bill Sebring <baircub@austin.rr.com> wrote:   > Of course, this may sound blasphemous, but it can > technically be considered > true...the organ could be considered the first > electro-mechanical > synthesizer.   __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Re: Digital bashing From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Thu, 20 Feb 2003 23:15:34 +0000 (GMT)   Hello,   Mmmmmmm!   The original Carroll Shelby AC Cobra 427 cu.in. had a fairly dreadful engine, terrible road-holding and was unreliable.   When the AC Cobra was re-released in the UK, it was a much better engineered motor.   If I were to make a choice, I would go for a replicar with a modern engine, a better gearbox, better suspension, better tires, better brakes......better everything in fact.   As with replica organs, good ones don't come cheap! (Just to stay on topic)   Regards,   Colin Mitchell UK (who wants a NEW Ford GT40, with digital engine management, when it comes out!)     --- Antoni Scott <ascott@ptd.net> wrote: > > > A real Carroll > Shelby 1965 AC 427 Cobra sells for $250,000 , and > the visually identical "replicars" can be had for > $30,000 to $50,000. Which one would I rather have? > Of course, the real one. Which one can I afford ? > > Of course, the comparison between Carroll Shelby > AC Cobra's and pipe organs is stupid. >   __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: Re: Digital bashing From: "Marika E. Buchberger, LRPS" <marika57@optonline.net> Date: Thu, 20 Feb 2003 18:36:40 -0500   More off topic car talk:   I've got my eye on the BMW Mini Cooper. I always loved the Cooper and once I hit the lottery, that's the car for me!! :-D   Marika   Colin Mitchell wrote:   >Hello, > >Mmmmmmm! > >The original Carroll Shelby AC Cobra 427 cu.in. had a >fairly dreadful engine, terrible road-holding and was >unreliable. > >When the AC Cobra was re-released in the UK, it was a >much better engineered motor. > >If I were to make a choice, I would go for a replicar >with a modern engine, a better gearbox, better >suspension, better tires, better brakes......better >everything in fact. > >As with replica organs, good ones don't come cheap! >(Just to stay on topic) > >Regards, > >Colin Mitchell UK (who wants a NEW Ford GT40, with >digital engine management, when it comes out!) > > > --- Antoni Scott <ascott@ptd.net> wrote: > > > >>A real Carroll >>Shelby 1965 AC 427 Cobra sells for $250,000 , and >>the visually identical "replicars" can be had for >>$30,000 to $50,000. Which one would I rather have? >>Of course, the real one. Which one can I afford ? >> >> Of course, the comparison between Carroll Shelby >>AC Cobra's and pipe organs is stupid. > >> >> > >__________________________________________________ >Do You Yahoo!? >Everything you'll ever need on one web page >from News and Sport to Email and Music Charts >http://uk.my.yahoo.com > >"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 > > > >   -- Jungian Type: INTJ Wireless: 201 747 4219        
(back) Subject: Re: Staying on topic From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Fri, 21 Feb 2003 13:42:48 +1300   >Well Ross,   >We do however know of many, many pipemakers and voicers who copy and, yes, steal ideas, from each other. In fact, Austin used to say that he didn't care about patents because by the time that other organbuilders stole his ideas, he'd be on to newer things anyway! So imitation in the organ world is not confined to "digital thievery".   >And of course pipemakers have been "stealing" tonal ideas from other instruments since the very beginning of organbuilding. But somehow that is... well different and perhaps even sacred inspiration, not at all like those nasty electronic people.   >It's also interesting that the concern about digital thievery seems to grow in direct relationship to the increasing quality of the sounds imitated thereby.   >And no, a resounding no, I do not think that digitals are as good as the best pipes, I do not think that digitals should replace the pipe organ. But the rhetoric about the evil digital organbuilders is honestly wearing a bit thin!   Russ,   Nice to have reactions! I mean that.   By digital thievery I meant people who sample pipemakers' pipes and then pass off the resultant electronic organ as their own. That seems suspect = to me.   Organbuilders have never, till now, done this. Even the best pipe makers = in the past would never have said they were actually making imiotations of a viola da gamba, a gemshorn, a recorder, etc. Grabbing tonal ideas from elsewhere is fine, but what I was objecting to was advertising saying "We have Willis reeds, Clicquot reeds, C-C strings, or whatever."   What concerns me as much as anything is that electroids, like computers, have a habit of going very quickly obsolete. For example, I have = programmes on my old XT computer that I cannot use on my existing "main" computer, = and cannot without effort those old graphics programmes to print on my laser printer now. So, I have to print them on my old 9-pin printer then scan = them into the newer machine.   With that, and a big problem, is that once there is a fault in an older machine, they just say, Sorry, it's obsolete, throw it away. I wonder how long the new electroids will last, even the expensive ones, and on their inevitable failure there will be nothing left but a console shell and a = pile of loudspeakers.   And sure, people often build large pipe organs without realising that maintenance and restoration are going to be required some day. Speaking architecturally, that is also a problem: it's a massive problem keeping = old churches and cathedrals in good condition.   The answer? There is no easy answer.   It is certainly true that electroids have improved markedly in tone. In = the last few weeks I have received CDs of both the Copeman-Hart and the = Phoenix makes, and they are way ahead of stuff from just a very few years ago. I can't speak about other makes often mentioned on this List as I do not = have up-to-date CDs of them.   Ross    
(back) Subject: Re: First Baptist Church L.A. organists From: <RonSeverin@aol.com> Date: Thu, 20 Feb 2003 19:39:29 EST     --part1_7b.ab79227.2b86cf41_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hi Ross   I forgot to change the heading. Audrey Jacobsen offered an amendment to what I was told about Alexander Schreiner. He may have played recitals there or filled in occasionally, which made me think he may have had a more permanent relationship there. The present organist there said that Clarence Mader was the consultant when POI and Ken Simpson made changes to the organ. Certain original stops according to Kyle Irwin were removed. IIRC the big Tuba for one. Virgil Fox may have had a similar minor role as did AS. I was right about Audrey being there within the last ten years. Sorry I mis-spoke as I got Anglican and American mixed up. It was an honest mistake at any rate.   Ron Severin   --part1_7b.ab79227.2b86cf41_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">Hi Ross <BR> <BR> I forgot to change the heading. Audrey Jacobsen offered an<BR> amendment to what I was told about Alexander Schreiner.<BR> He may have played recitals there or filled in occasionally,<BR> which made me think he may have had a more permanent<BR> relationship there. The present organist there said that<BR> Clarence Mader was the consultant when POI and Ken <BR> Simpson made changes to the organ. Certain original stops<BR> according to Kyle Irwin&nbsp; were removed. IIRC the big Tuba for one.<BR> Virgil Fox may have had a similar minor role as did AS.<BR> I was right about Audrey being there within the last ten years.<BR> Sorry I mis-spoke as I got Anglican and American mixed up.<BR> It was an honest mistake at any rate.<BR> <BR> Ron Severin</FONT></HTML>   --part1_7b.ab79227.2b86cf41_boundary--  
(back) Subject: Re: Digital bashing From: "Antoni Scott" <ascott@ptd.net> Date: Thu, 20 Feb 2003 20:35:24 -0500   Hi Colin:   I am impressed very with your response !!! In fact , I presently own a fake and artificial Superformance 427 = Cobra. In your correct opinion , the original was dreadful, terrible and unreliable. My fake and artificial replicar performs better than the original, looks exactly the same as the original and handles better than = the original and costs a fraction of the original. Did I gain or lose by this compromise ? I don't live in New York with a blank check book spending someone else's money. My fake artificial Cobra looks and rides every bit = as good as the original.   As far as organs are concerned. I would much rather have a digital /pipe combination, as long as it meets my criteria rather than have 1/4 of it , holding on the the snobbish ,purist , ideal of only the real,or nothing = !!! I do however, respect those that hold out for the best. Their time is = due, a hold-out of the past. We must compromize for the better of all.   Antoni    
(back) Subject: just got my 16' reed home From: "Gary Black" <gblack@ocslink.com> Date: Thu, 20 Feb 2003 20:40:27 -0600   HI list, I just got home from getting my 16' faggato. I would defy = anyone to eat at the dining room table now! I have resonators on there until I can find a place for them to go in the organ. I need to stop getting more pipes, I have let them take over the house! (Ah, well maybe one more, how about an 8' harmonic tuba on the landing upstairs)? That would be fun! Enough for now. Thanks. Gary      
(back) Subject: Re: Oh, the value of a Larigot :) From: "Jim Clouser" <CromorneCipher@hotmail.com> Date: Thu, 20 Feb 2003 22:01:52 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0018_01C2D92B.ACF3B8B0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Well, I use my larigot as an ensemble voice too (8+4+2+1 1/3). My point = =3D was that it has it's place and can be used resourcefully. Sometimes =3D even on bigger instruments, I'll use a 4 + 1 1/3 combo instead of an 8 + = =3D 2 2/3 though, just because i like the sound. It's a matter of taste!   Jim Clouser BM candidate, Cleveland Institute of Music Music Director/Organist Reformation Evangelical Lutheran Church Eastlake, Ohio ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Wednesday, February 19, 2003 1:52 PM Subject: Re: Oh, the value of a Larigot :)     In a message dated 2/18/03 8:41:10 PM Eastern Standard Time, =3D CromorneCipher@hotmail.com writes:=3D20       Despite the fact that my resources are limited, I value my swell =3D Larigot=3D20 quiet a bit. If you combine a 4' principal or flute and a Larigot =3D and=3D20 subcouple it without unison (the equiv to 8 + 2 2/3), it makes a =3D great solo=3D20 color! I've used such an arrangment on Bach Trio Sonatas, choral =3D preludes,=3D20 etc.=3D20       heeheehee.... so what you're actually saying is that you would really = =3D like to have a Nazard 2-2/3!!! I find the nazard much more useful, =3D especially with a string to synthesize a quintaton, and it also makes a = =3D much warmer contribution to the ensemble. Larigot's are to strident =3D for me.... even quiet ones!=3D20   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres = =3D http://members.tripod.com/Brucon502 =3D20   ------=3D_NextPart_000_0018_01C2D92B.ACF3B8B0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2800.1141" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Well, I use my larigot as an ensemble = =3D voice too=3D20 (8+4+2+1 1/3).&nbsp; My point was that it has it's place and can be used = =3D   resourcefully.&nbsp; Sometimes even on bigger instruments, I'll use a 4 = =3D + 1 1/3=3D20 combo instead of an 8 + 2 2/3 though, just because i like the =3D sound.&nbsp; It's=3D20 a matter of taste!</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Jim Clouser</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>BM candidate, Cleveland Institute = of=3D20 Music</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Music Director/Organist</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Reformation Evangelical Lutheran=3D20 Church</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Eastlake, Ohio</FONT></DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DCremona502@cs.com=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, February 19, = =3D 2003 1:52=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: Oh, the value of a = =3D Larigot=3D20 :)</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>In a =3D message dated=3D20 2/18/03 8:41:10 PM Eastern Standard Time, <A=3D20 =3D href=3D3D"mailto:CromorneCipher@hotmail.com">CromorneCipher@hotmail.com</A>= =3D =3D20 writes: <BR><BR><BR> <BLOCKQUOTE=3D20 style=3D3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = =3D solid; MARGIN-RIGHT: 0px"=3D20 TYPE=3D3D"CITE">Despite the fact that my resources are limited, I value = =3D my swell=3D20 Larigot <BR>quiet a bit. &nbsp;If you combine a 4' principal or =3D flute and a=3D20 Larigot and <BR>subcouple it without unison (the equiv to 8 + 2 =3D 2/3), it=3D20 makes a great solo <BR>color! &nbsp;I've used such an arrangment on = =3D Bach=3D20 Trio Sonatas, choral preludes, <BR>etc. <BR></FONT><FONT lang=3D3D0 = =3D face=3D3DArial=3D20 color=3D3D#000000 size=3D3D3 =3D FAMILY=3D3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=3D3D0=3D20 face=3D3DArial color=3D3D#000000 size=3D3D2 =3D FAMILY=3D3D"SANSSERIF"><BR>heeheehee.... so what=3D20 you're actually saying is that you would really like to have a Nazard = =3D 2-2/3!!!=3D20 &nbsp;&nbsp;&nbsp;&nbsp;I find the nazard much more useful, especially = =3D with a=3D20 string to synthesize a quintaton, and it also makes a much warmer =3D contribution=3D20 to the ensemble. &nbsp;&nbsp;&nbsp;Larigot's are to strident for =3D me.... even=3D20 quiet ones! <BR><BR>Bruce, with Miles, Molly and Degui &nbsp;in the =3D Muttastery=3D20 at Howling Acres http://members.tripod.com/Brucon502=3D20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 <BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>   ------=3D_NextPart_000_0018_01C2D92B.ACF3B8B0--  
(back) Subject: Re: Casavant Opus 3819 Install (X-post) From: <Cremona502@cs.com> Date: Thu, 20 Feb 2003 22:32:45 EST     --part1_9f.341423ff.2b86f7dd_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Nice spec!!!   Curious, though...   what is the construction of the Flute Douce?   The Casavant that I play at First Baptist - Gainesville FL, has a = wonderful Fernflote 8 on the Positiv which is absolutely wonderfully orchestral-sounding in the treble range (above c'') and in the midrange is = a very beautiful, quiet and breathy principal colour. It is incredibly versatile and would sound exquisite with a companion celeste rank.   Just wondering if you had lucked out, too! Thanks for the great pictures = at the website.     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_9f.341423ff.2b86f7dd_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>Nice spec!!! <BR> <BR>Curious, though...=3D20 <BR> <BR>what is the construction of the Flute Douce? <BR> <BR>The Casavant that I play at First Baptist - Gainesville FL, has a = wonder=3D ful Fernflote 8 on the Positiv which is absolutely wonderfully = orchestral-so=3D unding in the treble range (above c'') and in the midrange is a very = beautif=3D ul, quiet and breathy principal colour. &nbsp;It is incredibly versatile = and=3D would sound exquisite with a companion celeste rank. <BR> <BR>Just wondering if you had lucked out, too! &nbsp;&nbsp;Thanks for the = gr=3D eat pictures at the website.=3D20 <BR> <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_9f.341423ff.2b86f7dd_boundary--  
(back) Subject: Re: Organs and laptops From: <Cremona502@cs.com> Date: Thu, 20 Feb 2003 22:36:00 EST     --part1_9f.34158902.2b86f8a0_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/20/03 11:33:41 AM Eastern Standard Time, baircub@austin.rr.com writes:     > Organs and laptops? Look folks, do what you may, but PLEASE don't ask = me to > help configure and support PCMCIA cards on EITHER of those things under > Windows NT, natively! >:-{)} >   Perhaps its only a matter of time, but I can envision the day that some unsuspecting organist hits a piston for the processional hymn and the = little display window above the Swell manual read: Your organ has committed an =   illegal action and will be shut down.   Reboot!! Reboot!!   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_9f.34158902.2b86f8a0_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 2/20/0=3D 3 11:33:41 AM Eastern Standard Time, baircub@austin.rr.com writes: <BR> <BR> <BR></FONT><FONT COLOR=3D3D"#0000ff" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: = #0000ff 2px so=3D lid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Organs and = lapt=3D ops? &nbsp;Look folks, do what you may, but PLEASE don't ask me to help = conf=3D igure and support PCMCIA cards on EITHER of those things under Windows NT, = n=3D atively! &nbsp;&gt;:-{)} &nbsp;</FONT><FONT COLOR=3D3D"#000000" = SIZE=3D3D2 FAMI=3D LY=3D3D"SANSSERIF" FACE=3D3D"Arial" LANG=3D3D"0"> <BR></BLOCKQUOTE> <BR> <BR>Perhaps its only a matter of time, but I can envision the day that = some=3D20=3D unsuspecting organist hits a piston for the processional hymn and the = little=3D display window above the Swell manual read: &nbsp;&nbsp;&nbsp;Your organ = ha=3D s committed an illegal action and will be shut down. <BR> <BR>Reboot!! &nbsp;Reboot!! <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_9f.34158902.2b86f8a0_boundary--  
(back) Subject: Re: Huge Church Organs From: <RMB10@aol.com> Date: Thu, 20 Feb 2003 22:36:31 EST     --part1_1ac.10fd9c27.2b86f8bf_boundary Content-Type: text/plain; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   >> 1.=3DA0 What possible use can a church have for a 5/100+ pipe = organ?=3DA0 (un=3D less >>the sanctuary will double as a concert hall).   >It has been said that the acoustic is an organ's most important stop. >That's an understatement.=3DA0 That acoustics are an organ's most = important >*division* might be an understatement.=3DA0I wouldn't fault this project = if t=3D he=3D20 aim is to >produce a world-class instrument.=3DA0 100 ranks =3D3D a big = organ, b=3D ut=3D20 not mammoth.=3DA0 >There are many organs of this size on both sides of = the=3D20 Atlantic. However, if the >building is not reverberant, the effect isn't = wha=3D t=3D20 one would make much of a >pilgrimage to go hear and the objective is doomed.=3DA0 If this is an = America=3D n >building, I'm afraid that inductive reasoning suggests skepticism, but = hope >springs eternal... wouldn't disparage the idea if the conditions were >promising.   I can tell you that the architect has already said that his plan is = that=3D20 there be very little absorbent material in the room. The church is=3D20 (according to what I've been told) going to use Kirkegaard and Assoc. to = be=3D20 the acoustical engineer for the room. I think this will be confirmed in = the=3D =3D20 next week. The plan is to make the acoustics very much "music friendly". = I=3D =3D20 know that the choir/pulpit area will be some sort of granite or marble = and=3D20 the architect wants to only have minimal runners in the aisles and all = hard=3D20 surfaces for the walls, so I'm sure that the acoustics will be suitable = for=3D20 concerts and will be optimal for the organ.   Monty Bennett       --part1_1ac.10fd9c27.2b86f8bf_boundary Content-Type: text/html; charset=3D"ISO-8859-1" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2 = FAMILY=3D3D"SANSSERIF" FACE=3D =3D3D"Arial" LANG=3D3D"0">&gt;&gt; 1.=3DA0 What possible use can a church = have for=3D a 5/100+ pipe organ?=3DA0 (unless<BR> &gt;&gt;the sanctuary will double as a concert hall).<BR> <BR> &gt;It has been said that the acoustic is an organ's most important = stop.<BR=3D > &gt;That's an understatement.=3DA0 That acoustics are an organ's most = importan=3D t<BR> &gt;*division* might be an understatement.=3DA0I wouldn't fault this = project i=3D f the aim is to &gt;produce a world-class instrument.=3DA0 100 ranks =3D3D = a big=3D organ, but not mammoth.=3DA0 &gt;There are many organs of this size on = both s=3D ides of the Atlantic. However, if the &gt;building is not reverberant, the = e=3D ffect isn't what one would make much of a<BR> &gt;pilgrimage to go hear and the objective is doomed.=3DA0 If this is an = Amer=3D ican<BR> &gt;building, I'm afraid that inductive reasoning suggests skepticism, but = h=3D ope<BR> &gt;springs eternal... wouldn't disparage the idea if the conditions = were<BR=3D > &gt;promising.<BR> <BR> I can tell you that the architect has already said that his plan is that = the=3D re be very little absorbent material in the room.&nbsp; The church is = (accor=3D ding to what I've been told) going to use Kirkegaard and Assoc. to be the = ac=3D oustical engineer for the room.&nbsp; I think this will be confirmed in = the=3D20=3D next week.&nbsp; The plan is to make the acoustics very much "music = friendly=3D ".&nbsp; I know that the choir/pulpit area will be some sort of granite or = m=3D arble and the architect wants to only have minimal runners in the aisles = and=3D all hard surfaces for the walls, so I'm sure that the acoustics will be = sui=3D table for concerts and will be optimal for the organ.<BR> <BR> Monty Bennett<BR> <BR> <BR> </FONT></HTML> --part1_1ac.10fd9c27.2b86f8bf_boundary--  
(back) Subject: Re: (Playing) Huge Church organs From: <Cremona502@cs.com> Date: Thu, 20 Feb 2003 22:37:57 EST     --part1_1ce.34f7bce.2b86f915_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 2/20/03 11:38:41 AM Eastern Standard Time, davidorganist2002@yahoo.com writes:     > As long as we're on the subject, how does an ordinary person like me get = to > play the big LDS organs in Salt Lake? I'm organist for my LDS ward in > Sacramento, and would love to play either. I may possibly be in Salt = Lake > City in August. > Probably the most difficult part would be getting TO Salt Lake City. They're really nice folks.     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502     --part1_1ce.34f7bce.2b86f915_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 2/20/0=3D 3 11:38:41 AM Eastern Standard Time, davidorganist2002@yahoo.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">As long as we're on the = sub=3D ject, how does an ordinary person like me get to play the big LDS organs = in=3D20=3D Salt Lake? I'm organist for my LDS ward in Sacramento, and would love to = pla=3D y either. I may possibly be in Salt Lake City in August. <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">Probably the most difficult part would be getting TO = Salt La=3D ke City. &nbsp;&nbsp;They're really nice folks. <BR> <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR></FONT></HTML>   --part1_1ce.34f7bce.2b86f915_boundary--