PipeChat Digest #3492 - Sunday, February 23, 2003
 
Blackburn Cathedral organ
  by "Hugh Drogemuller" <hdrogemuller@sympatico.ca>
(no subject)
  by "First Christian Church of Casey, IL" <kzrev@rr1.net>
Define Fake
  by <Kzimmer0817@aol.com>
Monkey Quints?
  by "Mark Gustus" <MGustus@msn.com>
Re: Monkey Quints?
  by "Mike Gettelman" <mike3247@earthlink.net>
Re: Monkey Quints?
  by <quilisma@socal.rr.com>
Re: Monkey Quints?
  by <quilisma@socal.rr.com>
Re: Boston Mother Church Article 44-01-2000
  by <RonSeverin@aol.com>
 

(back) Subject: Blackburn Cathedral organ From: "Hugh Drogemuller" <hdrogemuller@sympatico.ca> Date: Sat, 22 Feb 2003 19:52:34 -0500   Can Colin Mitchell share with us the stop list as it now is. Blackburn's web site has not been updated to reflect the recent changes. A friend of mine was the scholar there around 1992 and I visited there = with him circa 1997 at which time he blew any dust out that might have settled in the interim! Unfortunately at that time the wind leaks resulting in lower pressures were starting to become apparent. I can imagine how well the instrument is being served with the addition of =   the Walker pedal voices. A talented organ academic commented upon hearing Walker pedal voices, that it was a pleasure to hear clear and evenly regulated pedal 16 and 32 foots. Rarely had he ever heard these in pipe = ranks.   HD    
(back) Subject: From: "First Christian Church of Casey, IL" <kzrev@rr1.net> Date: Sat, 22 Feb 2003 20:27:22 -0600   OTOH, Bruce, you followed an exceptional organist and person on the digitoid!!!!   BTW, did you know the "history" of that instrument? They brought it in as = a demo and said to the organist, "Oh, by the way, we have a new organ for = you to try out." Nothing like involvement, eh?!   ___________________ When money was excruciatingly tight I did take a job on a digitoid, but after only a = month the pipe organ job opened up and I jumped. Playing the digitoid was a chore and I hated it. (And it was a "good" one! icch!).   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502    
(back) Subject: Define Fake From: <Kzimmer0817@aol.com> Date: Sat, 22 Feb 2003 21:33:10 EST     --part1_129.23abc65e.2b898ce6_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Pipechatters,   I had become quite bored with the digital vs pipe debate despite the fact that it appears that tempers have died down somewhat. I read with = interest Darrell Coons' posting in which he referred to his church's organ as   "Truly a "fake" if ever there was one."   Now I'm confused. From Darrell's post, it sounds as if he's referring to = the pipe organ as a fake. Similarly Colin Mitchell referred to a "fake" of "eleven speaking stops" in his posting , but I can't tell whether he's referring to a reed organ or a small pipe organ.   I thought you guys referred to electronic organs - regardless of = technology - as fakes. Somebody please clarify for me.   Thanks, Keith   --part1_129.23abc65e.2b898ce6_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">Pipechatters,<BR> <BR> I had become quite bored with the digital vs pipe debate despite the fact = th=3D at it appears that tempers have died down somewhat.&nbsp; I read with = intere=3D st Darrell Coons' posting in which he referred to his church's organ as = <BR> <BR> "Truly a "fake" if ever there was one."<BR> <BR> Now I'm confused.&nbsp; From Darrell's post, it sounds as if he's = referring=3D20=3D to the pipe organ as a fake.&nbsp; Similarly Colin Mitchell referred to a = "f=3D ake" of "eleven speaking stops" in his posting , but I can't tell whether he's referring to a reed organ or a small pipe = or=3D gan.<BR> <BR> I thought you guys referred to electronic organs - regardless of = technology=3D20=3D - as fakes.&nbsp; Somebody please clarify for me.<BR> <BR> Thanks,<BR> Keith</FONT></HTML>   --part1_129.23abc65e.2b898ce6_boundary--  
(back) Subject: Monkey Quints? From: "Mark Gustus" <MGustus@msn.com> Date: Sat, 22 Feb 2003 21:38:17 -0600   Pipechatters,   Help out a poor ignorant lurker here... what's a "monkey quint," = please?   -Mark  
(back) Subject: Re: Monkey Quints? From: "Mike Gettelman" <mike3247@earthlink.net> Date: Sat, 22 Feb 2003 22:52:42 -0500   Stopped wood fundamental rank, violone scale open metal quint rank, common windway   Mark Gustus wrote:   > Pipechatters, > > Help out a poor ignorant lurker here... what's a "monkey quint," = please? > > -Mark > >    
(back) Subject: Re: Monkey Quints? From: <quilisma@socal.rr.com> Date: Sat, 22 Feb 2003 20:10:28 -0800   OK (grin) ... a monkey quint is the same as a regular resultant, EXCEPT that the unison and quint pipes for each note are placed on a COMMON toe. Let me see if I can do this ...   | | |__| || ||   Usually the unison rank is made as a fairly broad-scale stopped wooden flute, and the quint rank as a broad-scale open metal violone. They stand on a common toe with a horizontal cross-piece containing a windway.   Here's how it works: if you put a 4 and a 2 2/3 together, it will CREATE a "resultant" 8' tone.   Try it on a Hammond: pull the 4 and 2 2/3 drawbars; make the 2 2/3 a little softer than the 4; it will SOUND like you have an 8' drawn.   That's what's done with monkey quints when there isn't space or money to complete an 8' Open Diapason all the way down to low C ... a 4' pipe and a 2 2/3' pipe are provided for each of the bottom 12 (or 6, or whatever) notes.   If you put an 8 and a 5 1/3 together, you get a "resultant" 16' tone. The older Hammonds did that ... the bottom octave of the 16' in the pedals was a resultant. You can get the same thing by drawing the 8 and 5 1/3 drawbars on the manual.   If you put a 16' and a 10 2/3' together, you get a "resultant" 32' tone.   What makes them WORK (or not) is whether or not the quints are INDEPENDENT, or borrowed from a unison rank. If they're borrowed from a unison rank, they can't be tuned true. I have heard some 32' Resultants with INDEPENDENT quint pipes for the bottom octave that SOUND real.   Cheers,   Bud     Mark Gustus wrote: > > Pipechatters, > > Help out a poor ignorant lurker here... what's a "monkey quint," = please? > > -Mark > > "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: Re: Monkey Quints? From: <quilisma@socal.rr.com> Date: Sat, 22 Feb 2003 20:11:04 -0800   Another Midwesterner who knows about monkey quints (chuckle).   Cheers,   Bud   Mike Gettelman wrote: > > Stopped wood fundamental rank, violone scale open metal quint rank, = common > windway > > Mark Gustus wrote: > > > Pipechatters, > > > > Help out a poor ignorant lurker here... what's a "monkey quint," = please? > > > > -Mark > > > > > > "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: Re: Boston Mother Church Article 44-01-2000 From: <RonSeverin@aol.com> Date: Sun, 23 Feb 2003 01:20:02 EST     --part1_194.159d630a.2b89c212_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   For Pat Maimone:   The article on the Mother Church AS work 1995-1999 is by Burton K. Tidwell in the TRACKER pp. 34-40 vol. 44, #1, 2000. The console exhibits the space for the fifth manual, became the coupler rail, the shelf created above became the bottom of the music rack. The music rack only extends an inch to an inch and a half above the open console and hinges down when using the roll top. It's a pretty nifty alteration.   Ruth Barrett Arno and Lawrence Irving Phelps were married on March 15, 1950. Voicing work was carried out by Austin, and Foley-Baker and Larry Phelps made the tonal changes during the five year period 1995 to 1999. Since reeds were revoiced it would seem to be David Broom's department.   You guessed it, this copy of the tracker was well buried, but I did find = it.   Ron Severin   --part1_194.159d630a.2b89c212_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">For Pat Maimone:<BR> <BR> The article on the Mother Church AS work 1995-1999 is by <BR> Burton K. Tidwell in the TRACKER pp. 34-40 vol. 44, #1, 2000.<BR> The console exhibits the space for the fifth manual, became<BR> the coupler rail, the shelf created above became the bottom of the<BR> music rack. The music rack only extends an inch to an inch and<BR> a half above the open console and hinges down when using the<BR> roll top. It's a pretty nifty alteration.<BR> <BR> Ruth Barrett Arno and Lawrence Irving Phelps were married on<BR> March 15, 1950. Voicing work was carried out by Austin, and <BR> Foley-Baker and Larry Phelps made the tonal changes during<BR> the five year period 1995 to 1999. Since reeds were revoiced<BR> it would seem to be David Broom's department.<BR> <BR> You guessed it, this copy of the tracker was well buried, but I did find = it.=3D <BR> <BR> Ron Severin</FONT></HTML>   --part1_194.159d630a.2b89c212_boundary--