Code C-6. Yay ! This is SO fun and educational. Happy to hear that we are keeping the "Bell" stop. Everybody loves bells. I suppose that we will have to sacrifice the 64' Tuba. We'll just have to rely on the Flying Scotsman as she passes by.
This project is so exciting! I can't wait to see the finished console. I love the idea of changing the physical stop faces for each organ, some sort of magnetic faces with pins behind might work to easily align and clip onto the stops. (Cool cat cup contains cold coffee - so does mine now as I was watching so carefully!!)
I think I forgot to mention that the harp would be metal bars with nice fat piano hammers. How is it going. I hope I haven't missed the reveal if your final design. Total fun! Good success!
Just another idea : Removable division plug-in panels with the configuration of stops for different organs (increases the cost of course) Cool cat cup contains cold coffee
@@FM60260 Yes that organ had 7 keyboards and over 700 stops. Man that amount of keyboards and stops are overwhelming. Not like the Wanamaker organ already was.
Cool cat cup contains cold coffee (I would likely put an eye out with the ears though 😂). Thanks for sharing this exciting journey with us all - So well thought out. I love this innovative approach that you and Renatus are taking to create a truly immersive console/playing experience.
Cool cat cup contains cold coffee. This was really interesting, as I’ve been thinking about how one could go about choosing stop names for physical stop tabs/draw knobs for a Hauptwerk organ, where you would use different organs with different stops. Thanks for sharing!
The stop head that I received from H&H is now with my organ builder who are making sure what they build for me is as close to a H&H console as possible. I can’t wait for it to come to life!
Cool cat cup contains cold coffee! Very nice video! I'm excited to see the final organ! But the most important question is: What are you hiding from us at 16:19? :D
Hey Richard, I made it to the end but my brain is too frazzled to remember the pass code haha. I'm glad you're naming the stops in a consistent style (i.e. English). I was thinking you could rename some of the Principals to Octave if you've got more than one per division. Also please make sure you have an Ophecleide in the Pedal, it's always been my favourite stop name. One last thing, make sure you write the spec out on a mockup of the Stop Jamb. I love a spreadsheet but they can go wrong! 😁
Yes Richard and BiS, this is VERY exiting indeed. Thank you much for this video. I learned a lot. Count me in on the secret pass-code: C6. Perhaps we can use the leftover stops for a nice game of golf someday upon the lovely hills and dales of Swansea.
Just a note on the replace tool - if the pitch is not changing, you dont need to type out the full box - it replaces parts of the cell values so it will only replace the part of the text it finds - saves you a bit of typing time in the long run!
You haven't told us so far, and I must admit that I haven't watched the entire video, but I am assuming that there are five departments, - Great, Swell, Choir, Solo and Pedal. I have a number of suggestions for you. Each division (with the possible exception of the Solo) should have a more or less complete principal chorus as well as a complete flute chorus. In the Swell and Choir the mutation stops [nazard, tierce and larigot]! should be of the mild open or tapered flute type so that they blend like butter with the 8', 4' and 2' flutes and also form a decomposed cornet which can be bundled together when you need it. In the Great, you can have Twelfth 2 2/3' and a Seventeenth 1 3/5' both of the Gemshorn type to serve as mutations that color the Great principals. That way you can do without a micture that contains a tierce, even though English Greats often contain one. With all mixtures, the quint ranks should be slightly milder than the unisons. This can be accomplished by giving them smaller mouths in width or with a higher cut up. In the Swell and Choir divisions, it is also really nice to have in each a string and flute celeste. English and French Organs often do not. Why not have a Viole di Gamba and celeste in the Swell and a Viola and Celeste in the Choir? Then you can add a Flauto Dolce and Celeste in the Swell and a Dulciana (echo diapason) and Unda Maris in the Choir. Put all those together at 8' and 4' and brother, you've got pure cream! People really love those beautiful sounds. Be generous! All celeste ranks should be tuned SHARP to the parent rank, not flat. And don't forget to include a Vox Humana in the Swell. That should also be tuned to the celeste rank, (sharp) so that when you turn on the Tremulant it doesn't pull under the main pitch. Make sure all tremolos are not too slow and not too wide, like a good violinist or singer. You don't want them to sound geriatric. They should all pretty much match each other in speed and depth. It doesn't even hurt to have one in the Great if you have a nice Harmonic Flute you can use for a Solo against the Strings occasionally. The Swell reeds should be more of the french type, Basson 16', Trompette 8', Hautbois 8', Clairon 4'. Not too loud and not too brilliant (nasal). They only need to give color and fire to the ensemble. Most English organs have really dense swell shades which help a great deal when accompanying a choir. Likewise in the Choir, what ever reeds you decide to have, make sure they are not too loud. Cornopeans are nice here. In the Great, more German type reeds will do but even there, they only need to color the Great chorus, never overpowering. When it comes to the Solo, all bets are off! Big Tubas, Trompette Harmoniques, or Bombarde reeds are what we want. But also this division should have a full complement of orchestral reeds. French Horn, (round and fat, not nasal) English Horn ( inverted Conical bells) Orchestral Oboe or Oboe d'Amore, (sweet) Basset Horn, (dowager Clarinet) and Flugel Horn. This is a capped Cornopean. (pure cream). Don't miss it! Also in the Solo you should have a big String and Celeste like a Geigen Diaoasin or Cello and Flutes 8' and 4', Like a Doppelflute 8' and Flute Triangulaire 4'. If you want to be really big you could add a Diapason 8' and 4' and a large mixture. The Swell needs 8' Montre and 4' Prestant, plus a Plein Jeu IV pitched at 1 1/3' at 8' C. You can do without a 2' principal if necessary, especially if you have a 2' flute in the Swell. (nice to have). So here it is: SWELL 16' Lieblich Gedect 8' Montre 8' Rohrflote 8' Viole di Gambe 8' Viole Celeste 8' Flauto Dolce 8' Flute Celeste 4' Prestant 4' Flauto Traverso 4' Violina 2 2/3' Nazard 2' Flageolet 1 3/5 Tierce 1 1/3' Larigot Plein Jeu IV 16' Basse de Trompette 8' Trompette 8' Hautbois 4' Clairon 8' Voix Humaine Sub, Super, Unison Off, Tremulant CHOIR 16' Spitzflote 8' Open Diapason 8' Concert Flute 8' Quint Flute 8' Viola Pomposa 8' Viola Celeste 8' Dulciana (Echo Diapason) 8' Unda Maris 4' Soitz Principal 2 2/3' Quint 2' Zauberflote 1 3/5' Terz 1 1/3 ' Larigot 1' Sifflote 2' Dolce Mixture IV Zimbel III 16' Dulzian 8' Petite Trompette 8' Cromorne 4' Rohr Schalmei Sub, Super, Unison Off Chimes, Harp, Tremulant (The harp is metal bars struck by nice fat piano hammers.) GREAT 16' Diapason 8' Diapason 8' Flute Harmonique 8' Bourdon 8' Violon 8' Gemshorn 4' Octave 4' Koppelflote 2 2/3' Twelfth 2' Fifteenth 2' Blockflote 1 3/5' Seventeenth (Gemshorn Type) Grand Mixture V 16' Basson 8' Trompete 4' Klarine Sub, Super, Unison Off Chimes, Tremulant SOLO 8' Geigen Diapason 8' Geigen Celeste 8' Doppelflote 4' Flute Triangulaire 8' English Horn 8' French Horn 8' Oboe d'Amore 8' Corno di Bassetto 8' Flugelhorn 16' Tuba Major 8' Tuba Mirabalis 4' Tuba Clarion Sub, Super, Unison Off, Carillon, Harp, Tremulant PEDAL 32' Double Open Wood 32' Contra Bourdon 16' Open Wood 16' Open Diapason 16' Diapason (Great) 16' Bourdon 16' Spitzflote (Choir) 16' Lieblich Gedeckt (Swell) 8' Principal 8' Geigen 8' Bourdon 8' Violon 8' Spire Flute 4' Octave 4' Nacht Horn 4' Stopped Flute 2' Super Octave Fourniture IV 32' Contra Tuba 16' Ophicleide 16' Waldhorn 16' Basson (Great) 16' Basse de Trompette (Swell) 16' Dulzian (Choir) 8' Tromba 8' Posaune 8' Trumpete (Great) 8' Chalumeau 4' Clarion 4' Haubois 4' Rohr Schalmei COUPLERS All divisions to Great 16', 8', and 4' Swell and Solo to Choir 16' 8' and 4' Solo to Swell 16' 8' and 4' ( to bring down String and Flute Stops) All divisions to Pedal 8' and 4' Pedal on Great Pedal Divide Harp Dampers Harp Forte 20 General Pustons 10 Divisional Pistons for each Department Digital Memory Equipment and displays to be place in a sliding drawer under the left key desk so as not to spoil the appearance of a classic console. 100 levels of memory and programmable crescendo with blind check so that the knobs actually come on when and as you are programming them. You can see what you are doing that way. It's nice to have 2 programnable crescendos; the first with celestes and tremulants for orchestral buildup and the second for a standard crescendo. Well, that's my two cents. I learned all this working for a man who trained under G Donald Harrison at the Aeoluan-Skinner Company. For a number of years I went with him tuning and maintaining some of the big organs up and down 5th Avenue in Manhattan. I also studied organ design with Charles Callahan (The American Classic Organ) and as an Organist with the great Virgil Fox. This was great fun for me. I hope it gives you some good ideas. Robert Wilson
Hi Robert, that's clearly more than two cents (there is no similar saying in Dutch)! I think the exercise, although exciting indeed, is not primarily about designing the most allround organ, but about designing a stop list that fits into a four-manual 130 speaking stop console and can accomodate for as much of the real-world/hauptwerk organs you would like to be able to use from it. In a couple of days I will reconsider your interesting article better! Thanks and yes, enjoy! Rens
Hi Robert: Your amazing background and very clear discertation is a masterpiece! You get my INTERGALCTIC WOW for sharing such deep institutionalized knowledge to the world. this nerd's dream as I use MIDI Designer as a matrix copycat of my my samplesets. Is anyone using McVeigh's approach or adapting it to MIDI Designer? My field was systems engineering, flight control, circuit design, sound lab, recording concerts, sampling organs, programming languages, and knowledge representation - its tool, methods, and techniques. and the fun of tying together an army of gear. I use MIDI Designer as a matrix copycat of my samplesets. Is anyone using McVeigh's approach or adapting in some other way? Thanks soooo much! John
Hi Robert: Your amazing background and very clear disertation is a masterpiece! You get my INTERGALCTIC WOW for sharing such deep institutionalized knowledge to the world My field was systems engineering, flight control, circuit design, sound lab, recording concerts, sampling organs, programming languages, and knowledge representation - its tool, methods, and techniques. and the fun of tying together an army of gear. I use MIDI Designer as a matrix copycat of my samplesets. Is anyone using McVeigh's approach or adapting in some other way? Thanks soooo much! John
I wonder if you could choose stop names as a pedal 16' Ophicleide, a Sackbut 32' as York used to have, such stops as a choir Corno di Bassetto, a swell Vox Angélica, Gemshorn! Perhaps a Tuba Mirabilis, Trompette Militaire, and State Trumpet, for the Solo manual, to think of a few lovely stop names!! Although I guess you need to use the names from the sample hauptwerk organs that you already have!
Hey Richard - 'Cool Cat Cup Contains Cold Coffee' Yes I'm still with it at the end, and watching you make history as you share the story of this wonderful project. Great video. (Mrs F confirms that I am an organ nerd, as she's watching England v Denmark and can't understand why I'm on my laptop contemplating excel spread sheets, the difference between trumpet and trompette. She briefly saw my stop envy as you produced the goodies from Harrison and Harrison. It's a good job that we're all different !!!! LOL ) I'm really looking forward to your next trip to the builders to see how the console is coming on. This is going to be a world first, how mind blowing is that? Keep up the good work my friend.
Thanks David, and well done for collecting the password! The H&H stops are beautifully made and the shape of them is glorious. The thumb pistons are fabulous as well!!
what's not to love about a spreadsheet! Very interesting process. Enjoying the journey. Can you store aliases against hauptwerk stop names? (to give you some sort of audit trail between your 'new' name and the original) - otherwise I guess you'll just have to have the spreadsheet handy while you become familiar with the new names.
My apologies. The Choir division should also have a Flute D'Amour 4' (wooden Rohrflute) I intended but forgot to include it. All of this is more or less an hommage to G. Donald Harrison, Aeolian Skinner and E.M. Skinner himself - beautiful sounds that I grew up hearing and loving. Cheers! I hope you will share with us your final design.
You can reduce the number of stops without sacrificing too many through the use of couplers. Thus I would remove doubles occurring in more than one division. Remember that ultimately you will have sampled sounds that will sound exactly the same when played, independent of which division they are assigned to.
I can't wait for the new organ to arrive! I'm especially pleased as H&H know about the project and are supporting it, and the guys at York are being really helpful as well :)
Instead of renaming those stops it would have been an idea to keep them in a separate column - then hidden that column. I say that because sometime in the future, you might well be trying to sort through your drawer-full of magnetic stop caps looking for, say, a Prestant 4, only to remember eventually that you renamed it to something else. That comparison list would have been useful: 1) Choose orgen 2) Get list to see which stop caps required 3) install caps
OK, so this cool cat is obviously behind the times regardless of coffee temperature! Magnets are out and clips are in. Instead of having separate clip-on black heads, could the design of the base, i.e. capless, drawknobs end in black, somehow? In that way, no extra caps required to be purchased, changed, lost! etc By the way, you do know this is going to cost even more than you thought, don't you?!?
@@beautyinsound Was there the option to have electrophoretic stop labels like on the Johannus LiVE or would that be to expensive for an organ of this size?
cool cat cup contains cold coffee. Very interesting video to see, currently looking into making a registation system with arduino and self made wooden stops (will be alot of work by hand) but my school might allow me to use machinery to make the process faster. anyways, the pistons will be impregnated with oil to have a nice dark brown color to it and to have them last longer. and to use push pull pistons, so i can push/pull the stop to disenage or engage the stop in HW. and to have a piston system that pushes or pulls the stops itself when a manual piston i used or general cancel . this is just a idea of mine and in very early stages of thought since this will be a long (and hard) project. but i think with the right people and feedback and help i could make it work
Ultimately also choose based on sound. For example, if you have the same stop in 3 organs and you already have access to those organs, choose based on which you like most. Also looking through the list, I saw "Tromba" which is also "Trumpet".
So enjoyed watching how you select the different stops and which ones to keep and not keep. This would just confuse me. I love your cat cup which has coffee in.
Sir Richard, Did I read correctly "revolutionise the organ world" or am I perhaps missing something? Some other enterprising organists/organ builders seem to have laid claim to that phrase. I so totally respect your choice of instruments and how you wish the console to look like and function. Since more and more organ sample sets are coming to market there seems to be no end as to how many stops can ultimately be used on an organ project, all being dependent on the amount of "discretionary funds" available - It can be nice to have "oodles of available funds." Since the organ world has the Wanamaker Organ and the Boardwalk Hall Organ as extreme examples of musical behemoths, oh I almost forgot, the US Navy Academy Chapel Organ, US Army Academy Chapel at West Point, the six manual Forrest Burdette/Harrah Symphonic Organ in Hurricane West Virginia and the monster at First Congregational Church in Los Angeles - Yes, there are others to be mentioned but I won't venture down that lane! The point I'd like to share is: Let not the quantity of stops but the "quality of stops" be a guiding principal. Perhaps less is really more. Maybe you have read Jean Guillou's book "L'Orgue: Souvenir et Avenir"? Let me sum up in few words what he shares: "Every stop must have "soloistic qualities." Let us also look at the symphony orchestra of today: Every instrument in it has soloistic capacity. I personally would add the resources of the British Brass Band to a symphonically specced organ. In Christ's Love, Tikhon
I know Rotterdam pretty well, and I know that there aren't 5 keyboards there, but there are 5 divisions (6 including the pedal). On my organ, the chamade stops will go on the 5th manual section on the left of the keyboard.
Hi Richard, thanks for your instructive video, including the cool cat cup containing cold coffee ... How on earth do you manage to conceive, film, edit, publish so many videos per week AND study organ literature in such a limited time, ready to play without errors?! I am sorry to say that I can only spend about half an hour per week to watch your videos, there is more to do (says the lukcy owner of a church that is in need of restoration and nevertheless is planning to assemble a 75-stop organ from disassembled organs!) I am sorry, I seem to miss your point, looking the way you do statistics on your organs. What I would do is inventory the organs you would like to 'house' in your console and design a stop list PER DIVISION, based on frequency and importance of stops of your favourite organs. You have a fixed layout of a limited number of drawstops per division on your new console, haven't you? So why would you count the number of, e.g., Prestants for the whole organ? Because the idea is to make them interchangeable? I have to disagree concerning the Carillon. Why are recordings of Saint-Ouen in Rouen immediately recognisable, at least for me? Because organists use the Carillon on the Récit as a Plein Jeu, as the Récit has no mixture. The Carillon is more comparable to a Cornet than to a Mixture! So don't categorise the Carillon under Mixtures, I would say. You have several Dutch organs as favourite, but I am sorry to say your pronunciation of Dutch stop names is sometimes rather wrong. Bazuin for example is a bit pronounced like Bassoon and the 'ui' is like the 'oo' regarded as one vowel. Maybe we can make a video on pronunciation of terminology concerning all aspects of those famous Dutch organs? All the best, Rens, from the Welberg Basilica :-) The Netherlands
I take your point about the Carillon. I’ll give it some thought - what would you suggest as an alternative? In England, a Carillon can also mean bells which is why I thought I’d standardise it to Mixture.
@@beautyinsound The word Carillon is also used in The Netherlands to denote the musical instrument with bells in bell or city towers, it is pronounced in the French way; Dutch equivalents are beiaard and klokkenspel. The organ stop is meant to be used as a solo effect stop, seldomly used and certainly not to be added to the plenum. As far as I know it always has a high third (terts, 1 3/5’) and a 1’, in the medium flute scale, but only starting somewhere in the tenor octave. I thought a mild bourdon or roerfluit 4’ is added, but as I just found out from a thorough article on this organ stop by Paul Peeters, a 4’ is not common. In Saint-Ouen it is composed of a 1’ over the full compass and a 2 2/3’ quint (fifth) and 1 3/5’ from tenor f#. In the end, I would propose to distinguish four ‘general composite organ stops’. Look at Zwolle: if you distinguish less, you are in trouble and they really are very different. I would suggest to use the Sesquialter II or III for a solo stop with fifth 2 2/3’ and third 1 3/5’, in a principal scale. I would use Sesquialter as a more or less wrong but mildly wrong alternative for the Carillon, because of its composition and scale. As second mutation stop I would suggest to supply a Cornet (so my earlier suggestion was not the most effective). A Cornet is a stop always composed of a 8’, 4’ 2 2/3’, 2’ and 1 3/5’ (but sometimes the 8’ and 4’ are left out and should be added from other stops). Apart from the bourdon or roerfluit 8’, the other four ranks are always very widely scaled flutes. Apart from organ literature, it is ‘famous’ because of its use to accompany community singing, which for the very conservative parts of the protestant churches in The Netherlands can be EXTREMELY loud. I always say that two protestants can easily sing as loud as a whole roman catholic congregation. A Cornet mostly starts at middle C. The third mutation stop you need for your generic organ is of course the Mixture, Mixtuur, Fourniture, Plein-Jeu, etcetera. But you certainly need a fourth one: a mixture with high-pitched ranks. This is not about the number of ranks, but about the pitch of the ranks. This is called a Scherp and I would share a Cymbale (French), Cimbel etcetera under this Sharp Mixture, although mostly Cymbales contain tierces. As in some cases Mixtures also do, but let’s generalise that out.
I've been thinking about emulating an organ with 6 divisions (including pedal), 4 manuals, 85 stops, 112 registers. Now instead of trying to sample the organ, I'm thinking I could buy samples that have the stops I need, then narrow them down from there like you're doing. I'm interested in seeing the outcome of all this. Could you make this particular series a playlist of you haven't already? Cool cat cup contains cold coffee.
Have you thought of what the stophead switching process will look like? There has to be some kind device or carrier that makes it easier than having to go through and change the stopheads one by one, and since the stem sends the programmed midi signal, once you assign each one of those stops to every organ, you’ll have to replace the heads in the exact configuration you had!(Don’t want the Trompette 8’ getting turned on by the Flûte 4’!) If I was handier with CAD I’d try drawing something up for you, there are definitely people more qualified than me to do that though. Cool Cat Cup by the way…
Fascinating watch. Is it me or are the stop heads on the smaller side? I'm guessing this was dictated by the available space. I can't imagine how *you* are feeling, but I'm starting to get more excited as things progress. What are your thoughts for the inauguration? (CCCCCC) 👍
@@beautyinsound Oh fair enough! I must just be comparing them with my old Viscount perhaps. They're going to look pretty impressive when all the console is together.
CCCCCC... I didn't in fact watch every bit, skipped around some, may go back and view some of the parts I missed... You might check out the way Cameron Carpenter labeled his touring organ's stops, if you haven't already. Generic names on all tabs, I think, so as to be usable with almost any sample set. But that might seem rather boring on such a fabulous console. I'll be interested in seeing how you decide to do it. Too bad we don't have those "e-ink" knob faces available yet at a reasonable cost.
appreciate you showing us your thought process for selection of stops for the new organ. C6 for me, too. watched until the very end! Appreciate when you demonstrate stop registration addition and deduction while playing hymns. Also, when to add stops for volume and fullness, e.g 1st and 3 rd beat (hard beats) in1/4 time. Always helpful for us non professional organist.
Does your current organ console still have it's original tone generation components if so are you planning to put it up for sale once the new Renatus is up and running? Cool cat cup contains cold coffee.
@@beautyinsound It will be interesting to hear it without Hauptwerk. I have recently seen an old Allen that has got me interested, it does not have MIDI so it will only be used stand alone but has a decent amount of stops for it's size and not too much to save up for either. I was initially looking for a Viscount since used ones appear rather cheaply from time to time but I have heard Allen have a reputation of being rock solid and reliable so I think I might go for that one.
I clicked on the video thinking it was going to be the biggest organ in the world but apparently you're building a digital keyboard with organ sounds lol
I don’t think that’s an accurate description in any way. Hauptwerk organ consoles, running sampled sets are infinitely more complicated than a “digital keyboard with organ sounds.”
08:56 - If you're in this spot again, you might want to consider using COUNTIFS() - it can look for the type of stop, and the name of the organ at the same time. That way, if you - God forbid - forgot a stop in your list and want to insert it later, it doesn't throw everything off and it will continue to just look for stops where column G = Caen.
Cell C17 on the Stops tab is missing a ' (foot apostrophe) so might not be matching properly. I'd use Double Open Diapason 32' and 16', Open Diapason 8', Principal 4', Fifteenth 2' for all the chorus diapason/principal/prestant stops. I'd use Contrabombarde 32', Trombone 16', Trumpet 8', Clarion 4' for the chorus reeds - but I guess that's a very English take on the stop names! Cool cat cup contains cold coffee!
If you remove all DUPLICATES (duplicate = same name and pipe length) how many does that leave? Further if you remove all SIMILAR DUPLICATES - i.e. a bourdon 8' where variant spellings of bourdon are considered identical? I.e. like what you did with principals and prestants. Maybe one of each - i.e. 1 prestant 8' and 1 principal 8' - How will you manage "dead" stops - i.e. one organ has an 8' gamba on the swell but not on the great, and another organ has vice-versa - the 8' gamba on the great but not on the swell? If you have a gamba 8' drawknob on both the swell and great will you assign the gamba to both? Also - I'm not sure your idea of just using the top-most drawknobs will work so well - unless you switch the stopheads around. For example, on a larger swell the tierce may be near the bottom, whereas on a smaller swell it may be more towards the middle. Would it be better to leave the stops in situ as-is and cover the unused stops? That way, for example, the tierce would always be in the same location. I would also consider filling out the 5th manual drawknobs - given the configurability of Hauptwerk you'll always find a use for them.
I mention at the of the video that all stops will be interchangeable between my organs, and I explain how we’ll do this (a Hauptwerk first, we think!).
The latest sample sets in the fleet are Nancy and St Martinikerk, both of which have been factored into the Alternative Stop Name column. I’m keep Nancy fairly close to the original names because it’s one of my favourite organs and I intend to use it a lot with visiting organists 😊
Is Max really the correct calculation? Wouldn't you need to know how stops are allocated across divisions, and then count the number of divisions that contain the stop? For example, Organ 1 has Tr8 on Div 1 & Div 2; Organ 2 has Tr8 on Div 2 and Div 3. The max is two, but you have three unique occurrences: Divs 1/2/3. First-world problems!
The columns tell me how many stops of each name each organ has. Because I’m only loading one organ at a time I only need to order the highest number in that row. When I load different organs, all stop heads will be changed and will match the current organ. Therefore, if I load Organ 2 I’ll need three Tr8 stops 😊
@@beautyinsound Ah, I missed the part about having migratory knobs (I falsely assumed fixed stop-heads!) With redeployment, Max() is certainly correct. Cheers! PS - love your introductions to Piotr's gems...
Excellent Richard, food for thought! Time to go and get a hot coffee methinks!
Code C-6. Yay ! This is SO fun and educational.
Happy to hear that we are keeping the "Bell" stop. Everybody loves bells.
I suppose that we will have to sacrifice the 64' Tuba.
We'll just have to rely on the Flying Scotsman as she passes by.
I watched it all the way through!
This project is so exciting! I can't wait to see the finished console. I love the idea of changing the physical stop faces for each organ, some sort of magnetic faces with pins behind might work to easily align and clip onto the stops. (Cool cat cup contains cold coffee - so does mine now as I was watching so carefully!!)
Well done on getting the secret passcode!!
Cool cat cup contains cold coffee I love watching your videos till the end.
I think I forgot to mention that the harp would be metal bars with nice fat piano hammers. How is it going. I hope I haven't missed the reveal if your final design. Total fun! Good success!
Cool cat cup contains cold coffee. Great video!
Well done on getting to the end!
Cool cat cup contains cold coffee!! 😎
Well done Richard! Can't wait for the big day...
Password accepted!
Very exciting video! Oh, and "cool cat cup contains cold coffee" :)
This is so appealing to my inner computer nerd! Love this! :)
Just another idea : Removable division plug-in panels with the configuration of stops for different organs (increases the cost of course) Cool cat cup contains cold coffee
Cool cat cup contains cold coffee. Watched the whole thing. This part of the VPO realm is my favorite. Thanks for taking us along.
Well done for getting the secret password!
Very cool video! I really enjoyed hearing about your very complex system you’ve got going there. It is incredible!
Cool video, as always..... and a very cool cat cup (containing cold coffee)!!!
Password accepted!
600 stops? that is the Wanamaker Organ. The worlds largest organ
Not for long once the Midmer-Losh is fully running.
@@FM60260 Yes that organ had 7 keyboards and over 700 stops. Man that amount of keyboards and stops are overwhelming. Not like the Wanamaker organ already was.
Cool cat cup contains cold coffee (I would likely put an eye out with the ears though 😂). Thanks for sharing this exciting journey with us all - So well thought out. I love this innovative approach that you and Renatus are taking to create a truly immersive console/playing experience.
Yay - you found the secret passcode!
Fascinating. Thanks for sharing.
Looks amazing Richard
Cool cat cold coffee cup .
Cool cat cup contains cold coffee. This was really interesting, as I’ve been thinking about how one could go about choosing stop names for physical stop tabs/draw knobs for a Hauptwerk organ, where you would use different organs with different stops. Thanks for sharing!
The stop head that I received from H&H is now with my organ builder who are making sure what they build for me is as close to a H&H console as possible. I can’t wait for it to come to life!
Cool Cat Cup Contains Cold Coffee!!!
Password accepted! 😃
Cool cat cup contains cold coffee!
Very nice video! I'm excited to see the final organ!
But the most important question is:
What are you hiding from us at 16:19? :D
Hey Richard, I made it to the end but my brain is too frazzled to remember the pass code haha. I'm glad you're naming the stops in a consistent style (i.e. English). I was thinking you could rename some of the Principals to Octave if you've got more than one per division. Also please make sure you have an Ophecleide in the Pedal, it's always been my favourite stop name.
One last thing, make sure you write the spec out on a mockup of the Stop Jamb. I love a spreadsheet but they can go wrong! 😁
Yes Richard and BiS, this is VERY exiting indeed. Thank you much for this video.
I learned a lot. Count me in on the secret pass-code: C6.
Perhaps we can use the leftover stops for a nice game of golf someday upon the lovely hills and dales of Swansea.
Just a note on the replace tool - if the pitch is not changing, you dont need to type out the full box - it replaces parts of the cell values so it will only replace the part of the text it finds - saves you a bit of typing time in the long run!
You haven't told us so far, and I must admit that I haven't watched the entire video, but I am assuming that there are five departments, - Great, Swell, Choir, Solo and Pedal. I have a number of suggestions for you. Each division (with the possible exception of the Solo) should have a more or less complete principal chorus as well as a complete flute chorus. In the Swell and Choir the mutation stops [nazard, tierce and larigot]! should be of the mild open or tapered flute type so that they blend like butter with the 8', 4' and 2' flutes and also form a decomposed cornet which can be bundled together when you need it. In the Great, you can have Twelfth 2 2/3' and a Seventeenth 1 3/5' both of the Gemshorn type to serve as mutations that color the Great principals. That way you can do without a micture that contains a tierce, even though English Greats often contain one. With all mixtures, the quint ranks should be slightly milder than the unisons. This can be accomplished by giving them smaller mouths in width or with a higher cut up.
In the Swell and Choir divisions, it is also really nice to have in each a string and flute celeste. English and French Organs often do not. Why not have a Viole di Gamba and celeste in the Swell and a Viola and Celeste in the Choir? Then you can add a Flauto Dolce and Celeste in the Swell and a Dulciana (echo diapason) and Unda Maris in the Choir. Put all those together at 8' and 4' and brother, you've got pure cream! People really love those beautiful sounds. Be generous! All celeste ranks should be tuned SHARP to the parent rank, not flat. And don't forget to include a Vox Humana in the Swell. That should also be tuned to the celeste rank, (sharp) so that when you turn on the Tremulant it doesn't pull under the main pitch. Make sure all tremolos are not too slow and not too wide, like a good violinist or singer. You don't want them to sound geriatric. They should all pretty much match each other in speed and depth. It doesn't even hurt to have one in the Great if you have a nice Harmonic Flute you can use for a Solo against the Strings occasionally.
The Swell reeds should be more of the french type, Basson 16', Trompette 8', Hautbois 8', Clairon 4'. Not too loud and not too brilliant (nasal). They only need to give color and fire to the ensemble. Most English organs have really dense swell shades which help a great deal when accompanying a choir. Likewise in the Choir, what ever reeds you decide to have, make sure they are not too loud. Cornopeans are nice here. In the Great, more German type reeds will do but even there, they only need to color the Great chorus, never overpowering.
When it comes to the Solo, all bets are off! Big Tubas, Trompette Harmoniques, or Bombarde reeds are what we want. But also this division should have a full complement of orchestral reeds. French Horn, (round and fat, not nasal) English Horn ( inverted Conical bells) Orchestral Oboe or Oboe d'Amore, (sweet) Basset Horn,
(dowager Clarinet) and Flugel Horn.
This is a capped Cornopean. (pure cream). Don't miss it! Also in the Solo you should have a big String and Celeste like a Geigen Diaoasin or Cello and Flutes 8' and 4', Like a Doppelflute 8' and Flute Triangulaire 4'. If you want to be really big you could add a Diapason 8' and 4' and a large mixture.
The Swell needs 8' Montre and 4' Prestant, plus a Plein Jeu IV pitched at 1 1/3' at 8' C. You can do without a 2' principal if necessary, especially if you have a 2' flute in the Swell. (nice to have).
So here it is:
SWELL
16' Lieblich Gedect
8' Montre
8' Rohrflote
8' Viole di Gambe
8' Viole Celeste
8' Flauto Dolce
8' Flute Celeste
4' Prestant
4' Flauto Traverso
4' Violina
2 2/3' Nazard
2' Flageolet
1 3/5 Tierce
1 1/3' Larigot
Plein Jeu IV
16' Basse de Trompette
8' Trompette
8' Hautbois
4' Clairon
8' Voix Humaine
Sub, Super, Unison Off,
Tremulant
CHOIR
16' Spitzflote
8' Open Diapason
8' Concert Flute
8' Quint Flute
8' Viola Pomposa
8' Viola Celeste
8' Dulciana (Echo Diapason)
8' Unda Maris
4' Soitz Principal
2 2/3' Quint
2' Zauberflote
1 3/5' Terz
1 1/3 ' Larigot
1' Sifflote
2' Dolce Mixture IV
Zimbel III
16' Dulzian
8' Petite Trompette
8' Cromorne
4' Rohr Schalmei
Sub, Super, Unison Off
Chimes, Harp, Tremulant
(The harp is metal bars struck by
nice fat piano hammers.)
GREAT
16' Diapason
8' Diapason
8' Flute Harmonique
8' Bourdon
8' Violon
8' Gemshorn
4' Octave
4' Koppelflote
2 2/3' Twelfth
2' Fifteenth
2' Blockflote
1 3/5' Seventeenth (Gemshorn Type)
Grand Mixture V
16' Basson
8' Trompete
4' Klarine
Sub, Super, Unison Off
Chimes, Tremulant
SOLO
8' Geigen Diapason
8' Geigen Celeste
8' Doppelflote
4' Flute Triangulaire
8' English Horn
8' French Horn
8' Oboe d'Amore
8' Corno di Bassetto
8' Flugelhorn
16' Tuba Major
8' Tuba Mirabalis
4' Tuba Clarion
Sub, Super, Unison Off,
Carillon, Harp, Tremulant
PEDAL
32' Double Open Wood
32' Contra Bourdon
16' Open Wood
16' Open Diapason
16' Diapason (Great)
16' Bourdon
16' Spitzflote (Choir)
16' Lieblich Gedeckt (Swell)
8' Principal
8' Geigen
8' Bourdon
8' Violon
8' Spire Flute
4' Octave
4' Nacht Horn
4' Stopped Flute
2' Super Octave
Fourniture IV
32' Contra Tuba
16' Ophicleide
16' Waldhorn
16' Basson (Great)
16' Basse de Trompette (Swell)
16' Dulzian (Choir)
8' Tromba
8' Posaune
8' Trumpete (Great)
8' Chalumeau
4' Clarion
4' Haubois
4' Rohr Schalmei
COUPLERS
All divisions to Great 16', 8', and 4'
Swell and Solo to Choir 16' 8' and 4'
Solo to Swell 16' 8' and 4' ( to bring down String and Flute Stops)
All divisions to Pedal 8' and 4'
Pedal on Great
Pedal Divide
Harp Dampers
Harp Forte
20 General Pustons
10 Divisional Pistons for each Department
Digital Memory Equipment and displays to be place in a sliding drawer under the left key desk so as not to spoil the appearance of a classic console. 100 levels of memory and programmable crescendo with blind check so that the knobs actually come on when
and as you are programming them. You can see what you are doing that way. It's nice to have 2 programnable crescendos; the first with celestes and tremulants for orchestral buildup and the second for a standard crescendo.
Well, that's my two cents. I learned all this working for a man who trained under G Donald Harrison at the Aeoluan-Skinner Company. For a number of years I went with him tuning and maintaining some of the big organs up and down 5th Avenue in Manhattan. I also studied organ design with Charles Callahan (The American Classic Organ) and as an Organist with the great Virgil Fox.
This was great fun for me. I hope it gives you some good ideas.
Robert Wilson
Hi Robert, that's clearly more than two cents (there is no similar saying in Dutch)! I think the exercise, although exciting indeed, is not primarily about designing the most allround organ, but about designing a stop list that fits into a four-manual 130 speaking stop console and can accomodate for as much of the real-world/hauptwerk organs you would like to be able to use from it. In a couple of days I will reconsider your interesting article better! Thanks and yes, enjoy! Rens
Hi Robert:
Your amazing background and very clear discertation is a masterpiece!
You get my INTERGALCTIC WOW for sharing such deep institutionalized knowledge to the world.
this nerd's dream as I use MIDI Designer as a matrix copycat of my my samplesets.
Is anyone using McVeigh's approach or adapting it to MIDI Designer?
My field was systems engineering, flight control, circuit design, sound lab, recording concerts, sampling organs, programming languages, and knowledge representation - its tool, methods, and techniques. and the fun of tying together an army of gear.
I use MIDI Designer as a matrix copycat of my samplesets.
Is anyone using McVeigh's approach or adapting in some other way?
Thanks soooo much!
John
Hi Robert:
Your amazing background and very clear disertation is a masterpiece!
You get my INTERGALCTIC WOW for sharing such deep institutionalized knowledge to the world
My field was systems engineering, flight control, circuit design, sound lab, recording concerts, sampling organs, programming languages, and knowledge representation - its tool, methods, and techniques. and the fun of tying together an army of gear.
I use MIDI Designer as a matrix copycat of my samplesets.
Is anyone using McVeigh's approach or adapting in some other way?
Thanks soooo much!
John
Your cold coffee is one thing but it was the black shadow looming over your shoulder that grabbed my attention.
Love your mug!!!!
I wonder if you could choose stop names as a pedal 16' Ophicleide, a Sackbut 32' as York used to have, such stops as a choir Corno di Bassetto, a swell Vox Angélica, Gemshorn! Perhaps a Tuba Mirabilis, Trompette Militaire, and State Trumpet, for the Solo manual, to think of a few lovely stop names!! Although I guess you need to use the names from the sample hauptwerk organs that you already have!
Brilliant, Richard. I must try this for a second renaming of my stops. It was going well until I added a theatre organ. Yikes....
Hey Richard - 'Cool Cat Cup Contains Cold Coffee' Yes I'm still with it at the end, and watching you make history as you share the story of this wonderful project. Great video. (Mrs F confirms that I am an organ nerd, as she's watching England v Denmark and can't understand why I'm on my laptop contemplating excel spread sheets, the difference between trumpet and trompette. She briefly saw my stop envy as you produced the goodies from Harrison and Harrison. It's a good job that we're all different !!!! LOL ) I'm really looking forward to your next trip to the builders to see how the console is coming on. This is going to be a world first, how mind blowing is that? Keep up the good work my friend.
Thanks David, and well done for collecting the password! The H&H stops are beautifully made and the shape of them is glorious. The thumb pistons are fabulous as well!!
@@beautyinsound All in all a really good evening - Fab video and England win !!!! See you Sunday
Lucky!! 600 Choices?!🥳
what's not to love about a spreadsheet! Very interesting process. Enjoying the journey.
Can you store aliases against hauptwerk stop names? (to give you some sort of audit trail between your 'new' name and the original) - otherwise I guess you'll just have to have the spreadsheet handy while you become familiar with the new names.
My apologies. The Choir division should also have a Flute D'Amour 4' (wooden Rohrflute) I intended but forgot to include it. All of this is more or less an hommage to G. Donald Harrison, Aeolian Skinner and E.M. Skinner himself - beautiful sounds that I grew up hearing and loving. Cheers! I hope you will share with us your final design.
You can reduce the number of stops without sacrificing too many through the use of couplers. Thus I would remove doubles occurring in more than one division. Remember that ultimately you will have sampled sounds that will sound exactly the same when played, independent of which division they are assigned to.
Cool cat cup contains cold coffee (a bit late to the game). As an H&H fan (who isn’t?), and a man of detail, I much enjoyed this!
I can't wait for the new organ to arrive! I'm especially pleased as H&H know about the project and are supporting it, and the guys at York are being really helpful as well :)
Instead of renaming those stops it would have been an idea to keep them in a separate column - then hidden that column. I say that because sometime in the future, you might well be trying to sort through your drawer-full of magnetic stop caps looking for, say, a Prestant 4, only to remember eventually that you renamed it to something else.
That comparison list would have been useful:
1) Choose orgen
2) Get list to see which stop caps required
3) install caps
Good point, but I’ll be able to use my ‘Alternative Stop Name’ for that, on the left of which is the original stop name...
OK, so this cool cat is obviously behind the times regardless of coffee temperature! Magnets are out and clips are in.
Instead of having separate clip-on black heads, could the design of the base, i.e. capless, drawknobs end in black, somehow? In that way, no extra caps required to be purchased, changed, lost! etc
By the way, you do know this is going to cost even more than you thought, don't you?!?
@@beautyinsound Oh yes. Silly me. Note to self: Must try harder!
@@beautyinsound Was there the option to have electrophoretic stop labels like on the Johannus LiVE or would that be to expensive for an organ of this size?
cool cat cup contains cold coffee. Very interesting video to see, currently looking into making a registation system with arduino and self made wooden stops (will be alot of work by hand) but my school might allow me to use machinery to make the process faster. anyways, the pistons will be impregnated with oil to have a nice dark brown color to it and to have them last longer. and to use push pull pistons, so i can push/pull the stop to disenage or engage the stop in HW. and to have a piston system that pushes or pulls the stops itself when a manual piston i used or general cancel
. this is just a idea of mine and in very early stages of thought since this will be a long (and hard) project. but i think with the right people and feedback and help i could make it work
Come on in - you’ve got the correct password!
Ultimately also choose based on sound. For example, if you have the same stop in 3 organs and you already have access to those organs, choose based on which you like most. Also looking through the list, I saw "Tromba" which is also "Trumpet".
So enjoyed watching how you select the different stops and which ones to keep and not keep. This would just confuse me. I love your cat cup which has coffee in.
You wait until you see the finished organ - it’ll be worth the wait and will revolutionise BIS and the organ world 😃
As my father usually said….. It only costs a few cents more …. Go First Class …… get ALL 600 …. Go for it !!!!!!
Don’t tempt me!!
Sir Richard,
Did I read correctly "revolutionise the organ world" or am I perhaps missing something? Some other enterprising organists/organ builders seem to have laid claim to that phrase. I so totally respect your choice of instruments and how you wish the console to look like and function. Since more and more organ sample sets are coming to market there seems to be no end as to how many stops can ultimately be used on an organ project, all being dependent on the amount of "discretionary funds" available - It can be nice to have "oodles of available funds."
Since the organ world has the Wanamaker Organ and the Boardwalk Hall Organ as extreme examples of musical behemoths, oh I almost forgot, the US Navy Academy Chapel Organ, US Army Academy Chapel at West Point, the six manual Forrest Burdette/Harrah Symphonic Organ in Hurricane West Virginia and the monster at First Congregational Church in Los Angeles - Yes, there are others to be mentioned but I won't venture down that lane!
The point I'd like to share is: Let not the quantity of stops but the "quality of stops" be a guiding principal. Perhaps less is really more. Maybe you have read Jean Guillou's book "L'Orgue: Souvenir et Avenir"? Let me sum up in few words what he shares: "Every stop must have "soloistic qualities." Let us also look at the symphony orchestra of today: Every instrument in it has soloistic capacity. I personally would add the resources of the British Brass Band to a symphonically specced organ.
In Christ's Love,
Tikhon
i hate to break it to you, but Rotterdam doesn't have 5 manuals. It has 6 divisions but the Chamadewerk normally gets played on the 3rd manual.
I know Rotterdam pretty well, and I know that there aren't 5 keyboards there, but there are 5 divisions (6 including the pedal). On my organ, the chamade stops will go on the 5th manual section on the left of the keyboard.
Hi Richard, thanks for your instructive video, including the cool cat cup containing cold coffee ... How on earth do you manage to conceive, film, edit, publish so many videos per week AND study organ literature in such a limited time, ready to play without errors?! I am sorry to say that I can only spend about half an hour per week to watch your videos, there is more to do (says the lukcy owner of a church that is in need of restoration and nevertheless is planning to assemble a 75-stop organ from disassembled organs!)
I am sorry, I seem to miss your point, looking the way you do statistics on your organs. What I would do is inventory the organs you would like to 'house' in your console and design a stop list PER DIVISION, based on frequency and importance of stops of your favourite organs. You have a fixed layout of a limited number of drawstops per division on your new console, haven't you? So why would you count the number of, e.g., Prestants for the whole organ? Because the idea is to make them interchangeable?
I have to disagree concerning the Carillon. Why are recordings of Saint-Ouen in Rouen immediately recognisable, at least for me? Because organists use the Carillon on the Récit as a Plein Jeu, as the Récit has no mixture. The Carillon is more comparable to a Cornet than to a Mixture! So don't categorise the Carillon under Mixtures, I would say.
You have several Dutch organs as favourite, but I am sorry to say your pronunciation of Dutch stop names is sometimes rather wrong. Bazuin for example is a bit pronounced like Bassoon and the 'ui' is like the 'oo' regarded as one vowel. Maybe we can make a video on pronunciation of terminology concerning all aspects of those famous Dutch organs?
All the best, Rens, from the Welberg Basilica :-) The Netherlands
I take your point about the Carillon. I’ll give it some thought - what would you suggest as an alternative? In England, a Carillon can also mean bells which is why I thought I’d standardise it to Mixture.
@@beautyinsound The word Carillon is also used in The Netherlands to denote the musical instrument with bells in bell or city towers, it is pronounced in the French way; Dutch equivalents are beiaard and klokkenspel. The organ stop is meant to be used as a solo effect stop, seldomly used and certainly not to be added to the plenum. As far as I know it always has a high third (terts, 1 3/5’) and a 1’, in the medium flute scale, but only starting somewhere in the tenor octave. I thought a mild bourdon or roerfluit 4’ is added, but as I just found out from a thorough article on this organ stop by Paul Peeters, a 4’ is not common. In Saint-Ouen it is composed of a 1’ over the full compass and a 2 2/3’ quint (fifth) and 1 3/5’ from tenor f#.
In the end, I would propose to distinguish four ‘general composite organ stops’. Look at Zwolle: if you distinguish less, you are in trouble and they really are very different. I would suggest to use the Sesquialter II or III for a solo stop with fifth 2 2/3’ and third 1 3/5’, in a principal scale. I would use Sesquialter as a more or less wrong but mildly wrong alternative for the Carillon, because of its composition and scale. As second mutation stop I would suggest to supply a Cornet (so my earlier suggestion was not the most effective). A Cornet is a stop always composed of a 8’, 4’ 2 2/3’, 2’ and 1 3/5’ (but sometimes the 8’ and 4’ are left out and should be added from other stops). Apart from the bourdon or roerfluit 8’, the other four ranks are always very widely scaled flutes. Apart from organ literature, it is ‘famous’ because of its use to accompany community singing, which for the very conservative parts of the protestant churches in The Netherlands can be EXTREMELY loud. I always say that two protestants can easily sing as loud as a whole roman catholic congregation. A Cornet mostly starts at middle C. The third mutation stop you need for your generic organ is of course the Mixture, Mixtuur, Fourniture, Plein-Jeu, etcetera. But you certainly need a fourth one: a mixture with high-pitched ranks. This is not about the number of ranks, but about the pitch of the ranks. This is called a Scherp and I would share a Cymbale (French), Cimbel etcetera under this Sharp Mixture, although mostly Cymbales contain tierces. As in some cases Mixtures also do, but let’s generalise that out.
I've been thinking about emulating an organ with 6 divisions (including pedal), 4 manuals, 85 stops, 112 registers. Now instead of trying to sample the organ, I'm thinking I could buy samples that have the stops I need, then narrow them down from there like you're doing. I'm interested in seeing the outcome of all this. Could you make this particular series a playlist of you haven't already? Cool cat cup contains cold coffee.
Nice to have these kind of problems to solve indeed! Will the stops be lit like they are on your current console?
Have you thought of what the stophead switching process will look like? There has to be some kind device or carrier that makes it easier than having to go through and change the stopheads one by one, and since the stem sends the programmed midi signal, once you assign each one of those stops to every organ, you’ll have to replace the heads in the exact configuration you had!(Don’t want the Trompette 8’ getting turned on by the Flûte 4’!) If I was handier with CAD I’d try drawing something up for you, there are definitely people more qualified than me to do that though. Cool Cat Cup by the way…
Yes - I talk about it towards the end of the video ;)
Kid in a sweet shop time! BTW, bazuin is pronounced 'bazaun' - like posaune only beginning with 'ba'!
cool cat cup contains cold coffee.
Well done for getting so far!
Fascinating watch. Is it me or are the stop heads on the smaller side? I'm guessing this was dictated by the available space. I can't imagine how *you* are feeling, but I'm starting to get more excited as things progress. What are your thoughts for the inauguration? (CCCCCC) 👍
The stop heads aren’t ‘that’ small - they’re the exact same ones on the latest Harrison & Harrison consoles 😊
@@beautyinsound Oh fair enough! I must just be comparing them with my old Viscount perhaps. They're going to look pretty impressive when all the console is together.
Cool Cat Cup Contains Cold Coffee. Don't forget the 32ft Possum.
I’d have been disappointed if YOU didn’t get the secret password!
Do share the stoplist with us when you are done!
CCCCCC... I didn't in fact watch every bit, skipped around some, may go back and view some of the parts I missed... You might check out the way Cameron Carpenter labeled his touring organ's stops, if you haven't already. Generic names on all tabs, I think, so as to be usable with almost any sample set. But that might seem rather boring on such a fabulous console. I'll be interested in seeing how you decide to do it. Too bad we don't have those "e-ink" knob faces available yet at a reasonable cost.
Exactly! We’re aiming to build one of the best Hauptwerk consoles in the world and to do this we need to make sure the stops are perfect 😊
appreciate you showing us your thought process for selection of stops for the new organ. C6 for me, too. watched until the very end! Appreciate when you demonstrate stop registration addition and deduction while playing hymns. Also, when to add stops for volume and fullness, e.g 1st and 3 rd beat (hard beats) in1/4 time. Always helpful for us non professional organist.
Does your current organ console still have it's original tone generation components if so are you planning to put it up for sale once the new Renatus is up and running? Cool cat cup contains cold coffee.
It must do... I must hook it up after the festival for a bit of a giggle!
@@beautyinsound It will be interesting to hear it without Hauptwerk. I have recently seen an old Allen that has got me interested, it does not have MIDI so it will only be used stand alone but has a decent amount of stops for it's size and not too much to save up for either. I was initially looking for a Viscount since used ones appear rather cheaply from time to time but I have heard Allen have a reputation of being rock solid and reliable so I think I might go for that one.
I clicked on the video thinking it was going to be the biggest organ in the world but apparently you're building a digital keyboard with organ sounds lol
It's a bit more than that....
I don’t think that’s an accurate description in any way. Hauptwerk organ consoles, running sampled sets are infinitely more complicated than a “digital keyboard with organ sounds.”
08:56 - If you're in this spot again, you might want to consider using COUNTIFS() - it can look for the type of stop, and the name of the organ at the same time. That way, if you - God forbid - forgot a stop in your list and want to insert it later, it doesn't throw everything off and it will continue to just look for stops where column G = Caen.
Good idea, I might amend it now.
Samsung 49” Curved Monitor? Nice 😀!
It’s lovely and brilliant for audio and visual workflows - can get really wide fields of view!
Cell C17 on the Stops tab is missing a ' (foot apostrophe) so might not be matching properly. I'd use Double Open Diapason 32' and 16', Open Diapason 8', Principal 4', Fifteenth 2' for all the chorus diapason/principal/prestant stops. I'd use Contrabombarde 32', Trombone 16', Trumpet 8', Clarion 4' for the chorus reeds - but I guess that's a very English take on the stop names! Cool cat cup contains cold coffee!
Maybe I should get you to do all proof reading? 😉
If you remove all DUPLICATES (duplicate = same name and pipe length) how many does that leave?
Further if you remove all SIMILAR DUPLICATES - i.e. a bourdon 8' where variant spellings of bourdon are considered identical? I.e. like what you did with principals and prestants. Maybe one of each - i.e. 1 prestant 8' and 1 principal 8' -
How will you manage "dead" stops - i.e. one organ has an 8' gamba on the swell but not on the great, and another organ has vice-versa - the 8' gamba on the great but not on the swell? If you have a gamba 8' drawknob on both the swell and great will you assign the gamba to both?
Also - I'm not sure your idea of just using the top-most drawknobs will work so well - unless you switch the stopheads around. For example, on a larger swell the tierce may be near the bottom, whereas on a smaller swell it may be more towards the middle. Would it be better to leave the stops in situ as-is and cover the unused stops? That way, for example, the tierce would always be in the same location.
I would also consider filling out the 5th manual drawknobs - given the configurability of Hauptwerk you'll always find a use for them.
I mention at the of the video that all stops will be interchangeable between my organs, and I explain how we’ll do this (a Hauptwerk first, we think!).
@@beautyinsound - yes - it sounds intriguing - one of the unique 'hurdles' of Hauptwerk -
Cool cat cup contains cold coffee.
You may enter 😊
I'd have opted for English names wherever possible. A trumpet is a trumpet is a trumpet.
The spreadsheet approach is very intuitive but does this mean that you have taken delivery of your last sample set? (CCCCCC)
The latest sample sets in the fleet are Nancy and St Martinikerk, both of which have been factored into the Alternative Stop Name column. I’m keep Nancy fairly close to the original names because it’s one of my favourite organs and I intend to use it a lot with visiting organists 😊
Wait is thsi going to be a digital console
Specifically for Hauptwerk, yes.
Please keep an English open Diapason 8 and Principal 4 in the great.That’s the best in my opinion.
Far out feline flask for frigid froth? Dang, I can't remember the password
The blurred organ name, is that a new organ that hasn't been released yet?
Perhaps... 😉
Is Max really the correct calculation? Wouldn't you need to know how stops are allocated across divisions, and then count the number of divisions that contain the stop? For example, Organ 1 has Tr8 on Div 1 & Div 2; Organ 2 has Tr8 on Div 2 and Div 3. The max is two, but you have three unique occurrences: Divs 1/2/3. First-world problems!
The columns tell me how many stops of each name each organ has.
Because I’m only loading one organ at a time I only need to order the highest number in that row.
When I load different organs, all stop heads will be changed and will match the current organ.
Therefore, if I load Organ 2 I’ll need three Tr8 stops 😊
@@beautyinsound Ah, I missed the part about having migratory knobs (I falsely assumed fixed stop-heads!) With redeployment, Max() is certainly correct. Cheers! PS - love your introductions to Piotr's gems...
You are releally spoilled :) When is it enough?
It’s something I’m working very hard towards for the benefit of many organists around the world. It’ll be totally worth it! 😊
“Spoiled”? I don’t think that’s the correct word to use when talking about one’s job; it isn’t a game or a hobby.
Would it make sense for 1 stop to have 2 names?
What do you mean? Like one stop head to have 2 labels?
Don't you want a Sackbut 32' like York Minster?
Wouldn’t that be nice!!
@@beautyinsound Actually, they may have changed the Pedal stop names in the rebuild, just completed. But it is/was a cute oddity.
I remember the Sackbut well. Happy memories, and I can’t wait to play the ‘new’ in the coming months!
@@beautyinsound Maybe I can get back to York in '22 to hear it;
what a thrill that would be!
Moist moggy mug containing milky mocha... close enough? 😃
That’ll do
c6
Will you have a Fallopian Tuba? (I'm dreadfully sorry!)
A what??
@@beautyinsound It was a sick play on words.
Please ask your wife; I'm ashamed to say!
Ah, just checked. It definitely will not 😆