on the labial oboe

[smilingvox]

A friend of mine, who owns an Estey Labial Oboe, told me that a friend of his jokingly suggested that he find another set to use as a Celeste.

When he said this, I thought it was a great idea. One application could be that a Labial Oboe, and its Celeste, could be placed in an Echo division to complement a Solo Gross Gamba (pre-WW1-era Austin) and its Celeste.

To those of you who know the Labial Oboe.... what do you think about this?

 

[Corno Dolce]

Aloha smilingvox,

Personally, methink thats a smashing idea. In Romantic repertoire I would would find such a constellation a real asset. Some purists may scoff but if you have an organ chest available for such an inclusion, I'd go for the gusto

Cheers,

CD :tiphat::tiphat::tiphat:

 

[smilingvox]

This theoretical organ, I mentioned, is an actual organ I'm working on. A 1906 Austin. I just got back from there.

This Labial Oboe is stored in the Echo chamber (chest is still being restored). I went and got one of the pipes, took it to the main organ, climbed into the Solo, pulled a string pipe of about the same note, and compared their sounds.

Even though the Labial Oboe has a loud, sharp stringy tone (here, the sound of an oboe is, after all, sought after with a reedless pipe), I thought the Solo string would be a little louder and more penetrating (this stop, on the Austin, is awesome!). I was wrong. The Solo string is harmonically very rich, but lighter.

I believe that going ahead and putting a pair of Labial Oboes in an Echo and playing them with the box shut, and playing the Gambas with the Solo box open*, thus allowing the Gambas to dominate, would give pleasing results in a dialogue.


* there is a clincher here: the Solo swell box is permanently open, because there is no swell box. We do, however, hope to enclose the Solo at some point.

 

[Krummhorn]

I concur with the concept, too. Should make for an interesting different combination of sound.

Years ago in a church where I played, we had a 5 rank Wicks theater organ ... 15 inches wind, horseshoe console, double touch ... the works. One of the ranks was a Vox Humana, totally useless in a highly liturgical Lutheran church. I made some "alterations" to the Vox, closed all the top caps, then tuned it sharp to the Salicional and had a quasi celeste stop. Although the Vox was the most predominant sound for that two rank combination, it did make that rank useable after being silent for many years.

 

[Doug Sjostrom]

These pipes are the invention of William Haskell, a true genius. The Estey Organ Company recognized the special challenges of building for small spaces. I have two of Bill's ranks in my residence instrument and they are jewels. The Oboe is a valuable stop both in combination and solo. A celeste made of two of these ranks would probably be quite beautiful and definitely unique.

 

[smilingvox]

While I was comparing the L. Oboe with the Gamba, I went ahead and blew into both at the same time (as I said before, both were close to being the same note). Both made a very nice celeste effect, although both were not L. Oboe, I got a good idea of what it would sound like if they were, so, Doug, I agree.

The Gamba is a very, very thin scale. I forget which scale it is. Common metal, I think. It has large beards. Plays on 10". Has a small initial attack in its speech (feel weird about using the word "chiff" when discussing this type of organ :smirk: ).

The Labial Oboe is a smallish scale. Spotted metal. Small beards. 4", I believe.

I didn't check the nicking or cut-ups of either, but Sunday's a few days away.

 

[Soubasse]

Interesting topic - the first organ I ever played used a "mixed" Oboe rank, in that the bottom octave were actual reed pipes but the remainder up to the top were labial (I found this out many years later in discussion with the regular tuner). I was quite astonished to discover this because there was really no obvious difference at all between the the reed rank and the labial. I guess it's all down to the voicing.

A Celeste using these pipes you've described would doubtless sound quite unique as has already been intimated. (The only "Grosse" celeste I've experienced was an accidental one. One of the organs I used to play regularly was rarely ever in tune and when I coupled the Swell flute to the Great Stopped Diapason, I had what could best be described as a "Grosse Flute Celeste" ! Then there was the "Grosse Mixture Celeste" ei yi yi !)

 

[smilingvox]

How about celestes for the Solo Grande Cornett VIII at Sacre-Coeur or Cymbel VII-X in Lezajsk, Poland? <pant-pant-pant?>
<snicker>

Back to the original topic. Right, the voicing is bottom line here.

 

[Soubasse]

Solo Grand Cornet Celeste?? :nut: :trp: :devil:

 

[smilingvox]

Yeah, a Grand Cornett Celeste. :nut::nut::nut: ........ :banana:


This stop is 1.8.12.15.17.19.21.22!


The Lezajsk Cymbel is very high-pitched with thirds, and was out of tune in one recording I have. (AAAAAAACCCKK!!!) (its celeste would have to be out of tune, too)


Or how 'bout this one? Boardwalk Hall, Atlantic City, gets a 64' Diaphone/Dulzian Celeste
<chortle>

Anyways, I appreciate the above input and encouragement regarding the Labial Oboe. Hopefully, some day, we can make that a reality, however, I do realize that making enlargements most likely would involve altering the console, which I believe is original. :frown: