what a beautiful organ, original and well maintained and used and what a sound. That beautiful full sound which would lead a congregation ever upward in their hymn singing. And of course ample resources for great voluntaries.
Correct. Adding a stop of 10 ⅔' pitch to a 16-foot stop generates an acoustic 32-foot effect. Ideally the quint should either be a separate rank, or should be drawn from a softer 16-foot rank such as a Bourdon, to be used against a louder rank such as an Open Wood.
It works on the principle of wave interference - the 16' plus 10 2/3' pipes have frequencies that constructively interfere (maximum amplitudes coinciding) at the correct frequency to produce a 32ft tone, although it's never as clear as a true 32ft. Any stop marked "acoustic" or "resultant" bass does the same thing automatically.
@ Actually the frequency generated is the difference between the two pitches. Subtract the frequency of the quint note from the frequency of the unison note and you get the frequency of a note one octave below that of the unison.
@@andrewgrahame6000 We said the same thing, I just described it in terms of the actual physical process, which if you plotted in the time domain would show the peaks coinciding with the frequency as you describe. We can't hear "subtracted" sound, what we're really hearing is the addition of two complex waveforms.
The absence of separate 2-foot stops isn't unusual for this period. There would be 2-foot components in both mixtures, and it would also be possible to create a 2-foot effect using the octave couplers.
My thoughts exactly, although I would have expected 2’ on a 3 manual organ. I find the 2’ adds the ‘sparkle’ and the mixtures can be a bit harsh in tone.
@@OrganicVisitations I'd rather have a small 3 manual with useful couplers than a large 2 manual, with similar number of stops overall. 3 manual is more flexible.
A lovely organ, very effective in solo use and in choral accompaniment. The lack of a 2ft doesn’t seem to be a great disadvantage since the organ is well supplied with mixtures and bright 4ft stops.
Thanks, Andrew. A 2’ would be nice (in my humble opinion) as the mixtures are so powerful, but I agree, it’s certainly not a huge disadvantage. I think it’s the first 3 manual I’ve come across without an independent 2’ 👍🎹
Good to see you back again, and with another fine organ. "Battleship Binns" had a reputation of being a bit loud and brash, but this sounds very refined. Nice one.
A 'Battleship Binns' lovely tones as would be expected. As with many Binns instruments set a very grand looking case which makes a nice finish to the building. Good to see you back many thanks
The 57 stop Armley Schulze organ also lacks a 2 foot stop, however both organs are good for congregational singing or accompanying vocals etc. The church really looks after the organ well!
Good to see you back Hope all is okay. An interesting little instrument - never seen expression pedals quite like that before and certainly makes that top D# on the pedal a bit of a challenge! Wondering if it was a converted hitch-down swell mechanism which would have been in a very similar position? And the "luxury" of a separate Pedal quint to my mind could have been far better used elsewhere - an independent 2ft perhaps. But again, a lovely little organ and thanks for taking the time to show it off.
Yes, I wondered whether the swell pedals have originally been ratchet pedals and converted but I don’t know. Certainly an uncomfortable position for them. And yes, an independent 2ft would make a big difference 😊👍🎹
Lovely organ. Thanks. Coincidentally, I have a digital organ sample set with a Resultant (the 10-2/3') and no 2ft on the Great. It's a Casavant from Canada.
At least it has a mixture, the organ in my local RC church used to just have up to 4 foot in the manuals (no mixture) but had a 16 foot stop on the swell and a resultant 32 foot in the pedals oddly. It did have sub and super octave couplers for the swell though so i guess you could get a 2 ft sound on the swell that way. Thankfully now it is much better specced now
Quite a nice sounding organ. I am of the opinion that the Great and Swell Mixtures could have been tonal revisions some years ago. Maybe the Great was originally built with a fifteenth.
@ Quite well thanks. Organs of that romantic period were very rarely built with bright mixtures which this example shows. Larger instruments usually had at least one 2 foot stop, a Great Fifteenth or a Swell Flautina or Piccolo. The Swell Mixture could have been a Leiblich Bourdon 16. The Great 3 rank Mixture may have been accommodated by combining two sliders having a Flute 4Ft and the Fifteenth.
@@davidcraggs3770Very untrue. Willis had toned down his mixtures by the 1890s, and Hope-Jones was about to abolish upperwork altogether, but Hill, Lewis, Brindley, Walker, and many others were constructing full choruses right to the end of the Romantic period. Binns was a devoted disciple of Edmund Schulze and the tone of the upperwork is exactly what I would expect from him, not from a later builder.
@@jeremytingle6404 Whilst Binns was a disciple of Schulze the Binns orans followed fashion, the money source calls the tune. Binns organs with mixtures in the Swell had on Flautina 2' on the great. I revisited one that I played for 2 years in the early sixties and found that my initial reactions of the period were sound. The 2' had very little effect on the Diapasons 8 & 4'. The organ had no 4' flute either.
I've seen that before, and it makes sense in a way, the builders maybe thought there was no point to put a 2 ft in by itself and just have it as a mixture, but i personally prefer a separate 2 foot and then anything above as a mixture is fine I would be interested to know the composition of the mixture
Can't make out the combinations on the right of the pedal organ, they seem to be right behind the swell pedals? Is this just a perspective aberration or are they really not accessible ? Anyway, thanks again for a nice video
I couldn't help noticing you play the bass line with your left hand as well as feet even with the coupler on. Not a criticism at all, but is that a hang over from playing piano or instruments with no pedal board? Stretching for the bass makes it hard for me to achieve a legato when it's necessary to take the alto part in the left. I've not really got as far as playing the whole alto line in the left for soloing out the tune yet 🙄
Definitely a hang over from being a pianist, particularly hymn playing. Effectively I double up the bass line with the pedal stops to ‘fatten’ it up. If I’m playing music specifically written for organ, Bach for example, I tend to play as intended for reasons you describe. Plus my hands are not big enough to play those huge tenor/bass intervals and it saves me a few fingers to add some alto in to the left hand. Not explained very well but hope you get my drift 👍🎹
what a beautiful organ, original and well maintained and used and what a sound. That beautiful full sound which would lead a congregation ever upward in their hymn singing. And of course ample resources for great voluntaries.
I think the purpose of the pedal mutation is to combine with a 16ft stop to create a 'resultant' or 'harmonic' 32ft bass.
Correct. Adding a stop of 10 ⅔' pitch to a 16-foot stop generates an acoustic 32-foot effect. Ideally the quint should either be a separate rank, or should be drawn from a softer 16-foot rank such as a Bourdon, to be used against a louder rank such as an Open Wood.
I’ve learnt something new! The benefit of comments - thank you 👍🎹
It works on the principle of wave interference - the 16' plus 10 2/3' pipes have frequencies that constructively interfere (maximum amplitudes coinciding) at the correct frequency to produce a 32ft tone, although it's never as clear as a true 32ft. Any stop marked "acoustic" or "resultant" bass does the same thing automatically.
@ Actually the frequency generated is the difference between the two pitches. Subtract the frequency of the quint note from the frequency of the unison note and you get the frequency of a note one octave below that of the unison.
@@andrewgrahame6000 We said the same thing, I just described it in terms of the actual physical process, which if you plotted in the time domain would show the peaks coinciding with the frequency as you describe. We can't hear "subtracted" sound, what we're really hearing is the addition of two complex waveforms.
The absence of separate 2-foot stops isn't unusual for this period. There would be 2-foot components in both mixtures, and it would also be possible to create a 2-foot effect using the octave couplers.
My thoughts exactly, although I would have expected 2’ on a 3 manual organ. I find the 2’ adds the ‘sparkle’ and the mixtures can be a bit harsh in tone.
What a fabulous instrument. Nice bright tone and every stop counts. Who needs a 2’ when the rest is quality
All in all, a lovely organ for romantic style accompaniment of a congregation or choir.
It’s a lovely organ, albeit small for a 3 manual. Got some umph! 👍🎹
@@OrganicVisitations I'd rather have a small 3 manual with useful couplers than a large 2 manual, with similar number of stops overall.
3 manual is more flexible.
100%
A lovely organ, very effective in solo use and in choral accompaniment. The lack of a 2ft doesn’t seem to be a great disadvantage since the organ is well supplied with mixtures and bright 4ft stops.
Thanks, Andrew. A 2’ would be nice (in my humble opinion) as the mixtures are so powerful, but I agree, it’s certainly not a huge disadvantage. I think it’s the first 3 manual I’ve come across without an independent 2’ 👍🎹
Good to see you back again, and with another fine organ. "Battleship Binns" had a reputation of being a bit loud and brash, but this sounds very refined. Nice one.
Indeed! Hope you’re well and maybe see you over the New Year 👍🎹
A 'Battleship Binns' lovely tones as would be expected. As with many Binns instruments set a very grand looking case which makes a nice finish to the building.
Good to see you back many thanks
Agreed! The casework is lovely and it certainly has some beef! 👍🎹
The 57 stop Armley Schulze organ also lacks a 2 foot stop, however both organs are good for congregational singing or accompanying vocals etc. The church really looks after the organ well!
Good to see you back Hope all is okay. An interesting little instrument - never seen expression pedals quite like that before and certainly makes that top D# on the pedal a bit of a challenge! Wondering if it was a converted hitch-down swell mechanism which would have been in a very similar position? And the "luxury" of a separate Pedal quint to my mind could have been far better used elsewhere - an independent 2ft perhaps. But again, a lovely little organ and thanks for taking the time to show it off.
Yes, I wondered whether the swell pedals have originally been ratchet pedals and converted but I don’t know. Certainly an uncomfortable position for them. And yes, an independent 2ft would make a big difference 😊👍🎹
If the Pedal Quint is an independent chest of pipes. I think the money and space could been used to provide a 16 foot Trombone.
Lovely organ. Thanks. Coincidentally, I have a digital organ sample set with a Resultant (the 10-2/3') and no 2ft on the Great. It's a Casavant from Canada.
That’s interesting! 😊👍🎹
This building reminds me so much of the English Congregational Church in Carmarthen!!
Does it have an organ worth visiting?? 👍🎹
@@OrganicVisitations It’s ok. Standard 2 manual. Vowles of Bristol.
At least it has a mixture, the organ in my local RC church used to just have up to 4 foot in the manuals (no mixture) but had a 16 foot stop on the swell and a resultant 32 foot in the pedals oddly. It did have sub and super octave couplers for the swell though so i guess you could get a 2 ft sound on the swell that way. Thankfully now it is much better specced now
Always sound so dull without the 2’ option in my opinion 👍🎹
@@OrganicVisitations Indeed, a 2ft is great for when you want a bright sound but not as bright as a mixture.
Quite a nice sounding organ.
I am of the opinion that the Great and Swell Mixtures could have been tonal revisions some years ago. Maybe the Great was originally built with a fifteenth.
I have wondered that as well. I find it hard to imagine that it has never had a 2’ but really don’t know. Hope you’re keeping well 👍🎹
@ Quite well thanks. Organs of that romantic period were very rarely built with
bright mixtures which this example shows. Larger instruments usually had at least one 2 foot stop, a Great Fifteenth or a Swell Flautina or Piccolo. The Swell Mixture could have been a Leiblich Bourdon 16.
The Great 3 rank Mixture may have been accommodated by combining two sliders having a Flute 4Ft and the Fifteenth.
Thank you - that does sound like a strong possibility 👍🎹
@@davidcraggs3770Very untrue. Willis had toned down his mixtures by the 1890s, and Hope-Jones was about to abolish upperwork altogether, but Hill, Lewis, Brindley, Walker, and many others were constructing full choruses right to the end of the Romantic period. Binns was a devoted disciple of Edmund Schulze and the tone of the upperwork is exactly what I would expect from him, not from a later builder.
@@jeremytingle6404 Whilst Binns was a disciple of Schulze the Binns orans followed fashion, the money source calls the tune. Binns organs with mixtures in the Swell had on Flautina 2' on the great. I revisited one that I played for 2 years in the early sixties and found that my initial reactions of the period were sound. The 2' had very little effect on the Diapasons 8 & 4'. The organ had no 4' flute either.
Interesting, but it could be that the mixtures are subsituting for the lack of 2fts....still a nice organ.
I certainly think that’s the case, but the mixtures can be overpowering and it would be nice to have independent 2fts 👍🎹
I've seen that before, and it makes sense in a way, the builders maybe thought there was no point to put a 2 ft in by itself and just have it as a mixture, but i personally prefer a separate 2 foot and then anything above as a mixture is fine
I would be interested to know the composition of the mixture
There is a link in the video description to the NPOR - a direct link to this organ with that information 👍🎹
Can't make out the combinations on the right of the pedal organ, they seem to be right behind the swell pedals? Is this just a perspective aberration or are they really not accessible ? Anyway, thanks again for a nice video
Probably just my bad photography! They are all accessible, although the swell pedals are awkward. Way too high and uncomfortably positioned 👍🎹
at the start the hymn was o come o come Emanuel
Sure was! Lovely Advent hymn 👍🎹
Lovely cornopean
Four reeds on such a small organ!
An added bonus 😊👍🎹
I couldn't help noticing you play the bass line with your left hand as well as feet even with the coupler on. Not a criticism at all, but is that a hang over from playing piano or instruments with no pedal board? Stretching for the bass makes it hard for me to achieve a legato when it's necessary to take the alto part in the left. I've not really got as far as playing the whole alto line in the left for soloing out the tune yet 🙄
Definitely a hang over from being a pianist, particularly hymn playing. Effectively I double up the bass line with the pedal stops to ‘fatten’ it up. If I’m playing music specifically written for organ, Bach for example, I tend to play as intended for reasons you describe. Plus my hands are not big enough to play those huge tenor/bass intervals and it saves me a few fingers to add some alto in to the left hand. Not explained very well but hope you get my drift 👍🎹
Well the acoustics don't help, extremely dull sounding.
Probably not helped by my amateur recording 🙄👍🎹
I've never understood the appeal of a Cornopean stop.
A Cornopean Rank is basically a Horn.
That trumpet on the great seemed rather out of tune.
Yes it was, maybe because the church was soooo cold
I thought that too