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About LinkBacksOne of only two or three full length 64' stops ... and here's what it sounds like, from the Grand Organ at Sydney Town Hall, Australia.
http://www.sydneyorgan.com/STH64.mp3
Hope you enjoy it, and hope you get to hear it soon!
One of only two or three full length 64' stops ... and here's what it sounds like, from the Grand Organ at Sydney Town Hall, Australia.
http://www.sydneyorgan.com/STH64.mp3
Hope you enjoy it, and hope you get to hear it soon!
A 64' is an *expensive draught* but does contribute to the ensemble in a suitable acoustic. Having heard that instrument in person I observe that upper octaves really *charge* the instrument but the lowest octave seems to fizzle out. Which leads me to think about the low air pressure and quantity of wind it is voiced on - 3-1/2" AFAIK. It stands to reason if one is paying for 8-16 hertz frequencies(64' - 32') then one should have higher pressure and greater wind quantity for the desired effect. There is lots of 32' magnificence on that instrument - why only let the 64' sound like the passing of flatulence from an elephant?
Imho, the 64' should really *thwack*! Think of a huge bass drum being stroked eight times a second at FFF. However, one should balance out the sound throughout the octaves e.g. FFF at the lowest note and MF at the highest note. The reason being that the upper octaves are already spoken for by the 32's and 16's. The 64' reed should be the *drama stop*, for want of a better word.
Just some thoughts,
Giovanni
Expensive draught made me laugh. Actually, I have no problems hearing it sound through, as it was used in last Tuesday's free recital at the end of one piece. But it sounds to me like a demonic clapping ... not necessarily a musical note, as such.
Well, the myth about not being able to hear a 64' anyway, is certainly untrue it seems. Quite a magnificent pipe that must be. From my calculations a grown man would be able to crawl through it, did it lie down ...
Simon
Simon - you would, possible be able to crawl through it, not certain. I've only seen pictures of its tongue (bottom C tongue) and it's contained in a glass box. The rest of pipe is wooden.
Hi contratrombone64,
The acoustic physicists say that the average human can distinguish a musical frequency that does not dip below 20Hz. Methinks that's a bit on the conservative side but for the sake of argument and the overwhelming number of people with *average hearing* I'll assent to it. Furthemore, there is a sub-field within the discipline called psycho-acoustics, which, if I'm not totally mistaken deals with the way a human reacts to different frequencies.
When the lower octave of the 32's are played, there is a feeling of *grandeur* which the orchestra cannot command, especially if you have both a 32' foundation and 32' reed stop drawn. It is terrific!!! Of course, when you can kick in a 64' octave, well, then it is otherworldy. You'll notice the difference when the Diaphone Profunda 64' underpins the ensemble of the Atlantic City Convention Hall Organ. AFAIK, it is voiced on 35" of wind pressure and I believe that the blower that feeds it is rated at 50 h.p.
Cheers!
Giovanni
However, the physicists are speaking only of the single harmonic at the 16 Hz of a 32' pipe. The human brain hears that the pitch is lower than that which is heard. This is the principle behind the acoustic bass. 32 Hz plus the 5th at 10 2/3', 48 Hz produce in the mind the impression of 16 Hz. In the case of the 64' pipes, we hear the bottom note with our brain, even though we do not physically hear the 16 Hz tone.Originally Posted by giovannimusica
Did get to play the Sydney Town Hall instrument (I believe it's known as the "Megathyrium") a few years back. Full organ from the console and it sounds like a Bass drum rumbling. Quite impressive really. Best way to check if it's in tune is to use a stopwatch
Matt
I have never heard the term Megathyrium used and know the instruement and its current custodian quite well (Ampt). Mind you, I've not asked him if it's got any odd labels ...
Aye, quite a character is Robert. I once shared a discussion panel with him at an OHTA conference on composition for organ and he did most of the talking (well he was chairing). Mr. Ampt also gave an entertaining address later the same evening about the Sydney Town Hall org. It wasn't there that I heard the term Megathyrium - I think I read it in a Sydney Organ Journal or something.
Matt
Music is made to transform the states of the soul, for an hour or an instant (J. Alain)
Matt - it's apt. One the of the criticisms when this monster was built was that it really did not advance organ building at all. In fact, it was highly criticised for having only a modest swell division. The 64' contra trombone was the only innovation ... at the time. It has been fiddled with since on numerous occasions.
Well, this makes me all the more keen to sample the delights of the Grand Organ at Sydney Town Hall.
What's the deal on eyesight deterioration now that I'm well in my 40's? I only hope my hearing lasts out until 2010, when I am planning a trip down under, specially so I can have a go on this giant! :-)
Piggy, the Town Hall organ is available for any organist to play, but there's a catch: you need to contact the City Organist first (Robert Ampt) and there's a fee for "having a go". I'm not sure what that fee is, but I understand it's not a too much money.
Flatulence?
A 64' is an *expensive draught* the lowest octave seems to fizzle out. Which leads me to think about the low air pressure and quantity of wind it is voiced on - 3-1/2" AFAIK. why only let the 64' sound like the passing of flatulence from an elephant?
Giovanni
Hmmmmm. Thanks very much for the info Contratrombone. I was hoping to do a little more than 'have a go', to be honest, so I'm in the process of booking the Hall so I can do the Saent-Saens Organ Symphony No. 3. I wanted to play this on the Grand Organ because of the 64 footer- I heard that Mr Saent-Saens transposed the original work down to C especially so that the largest pipes on the organ could be used for the all important loud bits at the end.
I get the feeling from Mr Giovanni that the full force of the Orchestra might drown out the Contratrombone, which would be a pity. Could you ask Mr Ampt if he can connect a bit more wind pressure to the bottom octave?
The contratrombone is not an extremely loud stop. But as its predominant effect is percussive, it won't be hidden. I've played the Saint-Saens (in the orchestra, not as organist) in the Town Hall, on the same program we did the Poulenc Concerto for strings and timps. In all a fine performance by Mr. Ampt.
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