Digital Organ Choice

[Ntalikeris666]

Hope you'll enjoy your organ soon.

For me, I have only just designed an organ of about 35 stops by using a very limited number of pipes. It would be done through intensive intra- and inter-rank borrowing within the organ. I plan on using midi control to drive the chest magnets because it would be impossibly complicated with tracker action. The pipes on eBay are of different makes and it is hard to guarantee they sound well together, as some are German, others are English or American. Plus, one would want to take control of the tin/lead ratio in the alloy. I have planned on using Spitzflote to replace the Gamba because the string element is so common that it is found in the principal tone itself already. The Gamba did not appear on German organs until the middle of J S Bach's career, I think. In Anglican Cathedrals, there has been an excessive use of it during Passion and "Good Friday" for those hymns, which I feel have little penitential value, if you study those words in an in-depth manner. But the string tone makes it out to heighten the dignified character of those hymns on that supposedly sorrowful occasion, downplaying the due sentiments. The Kleuker organ, which I had heard for a few years, had no string-tone stop on it, I guess. For German organs, the stopped flute is indispensible, though. While British organs favour the use of Chimney flute 8', the German ones favour the Gedackt 8'. My organ is going to have no Rohrflote for economical reasons. The Gedackt always gives a more marked character, not only by emitting louder chiff, but it is a well-known exclusively organ-type flute tone not found in other instruments. The Spitzflote 2' is very Christmassy and cheerful. Spitzflote 4' is a little bit bell-like, also cheerful in character, too. So all the flutes I have included have their due office of tonal appointment.

Thanks a lot.

Hmmm, interesting idea...
But, how is it gonna work when many stops are in use?
Pipe borrowing is fine , but then, if many stops use the same pipes, i have really no idea what is going to happen and most of all, how it is going to sound like. You could consult some Organ Builders, if there are any near you, since i am sure they will be able to help you a lot better, and tell you if your idea coulb be actually be put in use.
I see, you have made quite an intensive reseach about the stoplist!
You can make a thread about your organ. I am sure that there will be many people there that will like to help you (if of course you plan to make your organ sometime)

[FelixLowe]

But, how is it gonna work when many stops are in use? Pipe borrowing is fine , but then, if many stops use the same pipes, i have really no idea what is going to happen and most of all, how it is going to sound like. You could consult some Organ Builders, if there are any near you, since i am sure they will be able to help you a lot better, and tell you if your idea coulb be actually be put in use. I see, you have made quite an intensive reseach about the stoplist! You can make a thread about your organ. I am sure that there will be many people there that will like to help you (if of course you plan to make your organ sometime)

Thanks for your advice. In fact, some of that "multiple-use" situation of a pipe could arise. But I don't think this will happen a lot, particularly during fast-running passages. While many stops share an extended rank, for example, it is not going to happen that a single note played will cause a single pipe to sound at a particular moment, caused to it by a few stops drawn.

This is mostly because the playing will involve different octaves of an extended rank most of the time, so even if the same rank is being used, mostly it will be different pipes sounding at various moments.

[Ntalikeris666]

Thanks for your advice. In fact, some of that "multiple-use" situation of a pipe could arise. But I don't think this will happen a lot, particularly during fast-running passages. While many stops share an extended rank, for example, it is not going to happen that a single note played will cause a single pipe to sound at a particular moment, caused to it by a few stops drawn.

You are welcome!
Yes, indeed, it might be a nice idea theoretically speaking , but i am sure its far more complicated than how it sounds like. What you mentioned plus a lot more issues will come up, thats why i reccommended you adviced an Organ Builder, so that they can suggest a variety of answers and solutions. Of course, i dont think you are the first one who have thought of that idea...

What i think that will be really Complex, is the midi action pipe control. Even though it will be much more difficult to do with Tracker action ( it might even be impossible ) i dont think that with midi its gonna be a lot easier
There are some people on Youtube, who have build their own organs, so you can contact with them as well if you want.

Organ building is not an easy task!

[FelixLowe]

Just the other day, soon after I posted the stop list of the so called Bach Organ at Christ the King in this thread site, I pulled it because of not being so sure about certain figures regarding the tin-lead ratios. But I think I can re-attach it again for reference. The tin-lead ratios and their percentages somewhat indicate what flues are to be deemed closer to principal tone, and what are to be made as a flute, particularly when deciding on the materials to be used in Mixtures and high-pitched mutation stops.

The appellation is used to describe an instrument similar to those that Bach knew and played. There are many possibilities for such a Bach Organ, ranging from North German organs such as those built by Arp Schnitger in the late 17th century to the organs of Thuringia and Saxony to the east in Central Germany. The choice of a Saxon-style organ flowed from a series of preferential considerations, and not from any judgment as to what makes the best Bach Organ.

Gottfried Silbermann (1683-1753) was the best known Saxon organ builder during the time Bach was at St. Thomas Church in Leipzig (now the sister city to Houston). Zacharias Hildebrandt (1688-1757) was his pupil, then his associate, and later an independent builder. Bach and Silbermann, for example, jointly inspected and approved an organ built by Hildebrandt in Naumburg. While a number of organs have been built in America in the style of Schnitger, to date only a few emulate Silbermann, and none is known to follow Hildebrandt. The organ at Christ the King Church follows the example of Hildebrandt, thus adding a Bach Organ of a new dimension on the North American continent.

Fritz Noack and the Noack Organ Company were selected to design and build the organ. Noack is an American builder born and trained in Germany and uniquely situated to bridge the Saxon past and the Texan present. Kristian Wegscheider of Dresden, restorer of important Silberman organs, accepted appointment as a design consultant; Reinhard Schabitz of Dresden, voicer in the restorations, assisted in the voicing; and most of the metal pipes were built near Dresden in the workshop of Günter Lau.



Hauptwerk (lower manual, C-f''' = 54 notes)

1. Bordun 16' 54 pipes 18 pine, rest 85% lead
2. Principal 8' 54 pipes 90% tin, front
3. Viola di Gamba 8' 54 pipes 90% tin
4. Rohrflöte 8' 54 pipes 12 pine, rest 85% lead
5. Octava 4' 54 pipes 90% tin
6. Spitzflöte 4' 54 pipes 90% tin
7. Quinta 2-2/3' 54 pipes 90% tin
8. Octava 2' 54 pipes 90% tin
9. Mixtur III 162 pipes 90% tin
10. Cimbel II 108 pipes 90% tin
11. Cornet III c' 90 pipes 85% lead
12. Trompete 8' 54 pipes 90% tin, brass shallots, metal boots
13. Vox Humana 8' 54 pipes 90% tin, brass shallots, metal boots, not playable in Pedal

Oberwerk (upper manual, C-f''' = 54 notes)

1. Gedackt 8'54 pipes 12 pine, rest 85% lead
2. Quintadena 8' 54 pipes 90% tin
3. Principal 4' 54 pipes 90% tin, front
4. Rohrflöte 4' 54 pipes 85% lead
5. Nasat 2-2/3' 54 pipes 85% lead (as Rohrflöte)
6. Octava 2' 54 pipes 90% tin
7. Waldflöte 2' 54 pipes 90% tin
8. Terz 1-3/5' 54 pipes 90% tin
9. Quinta 1-1/3' 54 pipes 90% tin
10. Sifflet 1' 54 pipes 90% tin
11. Krummhorn 8' 54 pipes 90% tin, brass shallots, metal boots

Pedal (C-f' = 30 notes,flat)

1. Principal Baß 16' 30 pipes 6 pine, open, rest 90% tin, front
2. Subbaß 16' 30 pipes pine
3. Octaven Baß 8' 30 pipes pine
4. Octava 4' 30 pipes 90% tin
5. Posaunen Baß 16' 30 pipes pine, cast lead shallots
6. Trompete 8' 30 pipes 90% tin, cast lead shallots

Couplers
Oberwerk to Hauptwerk (shove coupler)
Hauptwerk to Pedal (separate pallets in Hauptwerk)

Manual naturals covered with ebony, sharps with bone
Attached keydesk, with doors
Case from Eastern white pine, painted
Mechanical action throughout
Temperament: Neidhardt I
Tremulant
Zimbelglöcklein
Vogelgesang
Carved pipe shades
One wedge-shaped bellows

Source: http://www.bachsocietyhouston.org/organ.htm

Several musical excepts from this organ can be heard: http://www.bachsocietyhouston.org/organaudio.htm.

[FelixLowe]

Another reason why I chose to have the Spitzflote is because conical metal flutes in the form of the Gemshorn were found very early in a representative stoplist of the organ by Arnolt Schlick whom I mentioned before. I suppose you could call this an earliest example of a relative complete instrument. But of course, by Bach's time, high-pitched mutation stops and Gamba were added.


Illustration from the title page of Schlick's Spiegel der Orgelmacher und Organisten (1511), the first German treatise on organ building and performance

From what Barbara Owen cited in her monumental work titled "The Registration of Baroque Organ Music", Schlick provided a representative stoplist dated 1511:

Hauptwerk
Principal 16'
Principal and/or Flute 8'(II)
Octave 4'
Gemshorn 4'
Schwegal 2'
Hinterzatz (large mixture)
Zimbel
Rauschpfeife/Zink 8' (regal)
"Hulze Gletcher"

Positive
Principal 8' ("wood or tin"; stopped?)
Principal 4'
Gemshorn 2' (?)
Hintersatzlein (Scharff Mixture)
Zimbel

Pedal
Principal 16'
Octave 8'
Octave 4'
Hintersatz (Mixture)
Posaune 16'
Trompete 8'

Arnolt Schlick (July 18?,[1] c. 1455–1460 – after 1521) was a German organist, lutenist and composer of the Renaissance. He was most probably born in Heidelberg and by 1482 established himself as court organist for the Electoral Palatinate. Highly regarded by his superiors and colleagues alike, Schlick played at important historical events, such as the election of Maximilian I as King of the Romans, and was widely sought after as organ consultant throughout his career. The last known references to him are from 1521; the circumstances of his death are unknown.

Schlick was blind for much of his life, possibly from birth. However, that did not stop him from publishing his work. He is best known for Spiegel der Orgelmacher und Organisten (1511), the first German treatise on building and playing organs. This work, highly influential during the 16th century, was republished in 1869 and is regarded today as one of the most important books of its kind.[2] Schlick's surviving compositions include Tabulaturen etlicher lobgesang (1512), a collection of organ and lute music, and a few pieces in manuscript. The lute pieces—mostly settings of popular songs—are among the earliest published; but Schlick's organ music is even more historically important. It features sophisticated cantus firmus techniques, multiple truly independent lines (up to five—and, in one case, ten—voices), and extensive use of imitation. Thus, it predates the advances of Baroque music era by about a hundred years, making Schlick one of the most important composers in the history of keyboard music.[3]http://en.wikipedia.org/wiki/Arnolt_Schlick

[FelixLowe]

Although I have quit church completely by resigning from a church membership in 2007, there seems to be forces that call upon me to just visit a Cathedral on 24th of this month. I usually didn't attend church on the 25th because Santa Claus may come in the morning. I may in fact appear in the Nine Lessons and Carols this year, as an outsider -- pretty much like before I was baptised -- for one reason only: the entertainment of Church Music. Churches have little interest in someone who they know come to their church, already baptised. But they tend to welcome many who have not been part of any one else's church. It's a bit tricky, but this is as sure as the stars above. What do you think?

But more likely, I'll be staying home to review the 2008 Nine Lessons and Carols of the UK online.

Check this out on the overview of church music from the ancient Judeo-Christian tradition: http://en.wikipedia.org/wiki/Church_music.

J.S.Bach, Der Tag der so freudenreich (BWV 605): http://www.youtube.com/watch?v=wo6Q0...eature=related and this next version with Spitz Mixture, which can sound very French: http://www.youtube.com/watch?v=UDgrYhecFis&feature=related. (But I don't think it was what Bach intended because I've read that for this title number Bach had wished to compose a song with a quieter character tinged with more meditative sentiments to ironically contrast with the ting-a-ling commercialness of the Christmas season in Germany of that time. The standard rendition is with a Krummhorn on the right hand.)

J. S. BACH (BWV 603) - PUER NATUS IN BETHLEHEM: http://www.youtube.com/watch?v=txcpx...eature=related.

[FelixLowe]

What i think that will be really Complex, is the midi action pipe control. Even though it will be much more difficult to do with Tracker action ( it might even be impossible ) i dont think that with midi its gonna be a lot easier.... Organ building is not an easy task!

It looked very complicated in the first place. Once you've decided which note should sound what pitches from which rank(s), you will be able to work out the data. And it is expected to a plethora of data entry for the builder. The physical building work will be made more simple, but the data entry work will be more complicated. So, it is really beyond midi, and has to do with the internal digital design of the CPU and how the central processing branches out to the various ranks for the pipes to sound. It takes a well-thought out, economical pattern of pipe use, and of how an extended rank can be of use by a few stops in a historically informed way. One aspect of my organ is that I am not going to place the huge, boomy Bourdon 16' pipes in the home. This is because if space is limited, I don't think the Bourdon 16' will sound right in the home. So I want to know if Holzregal 16' can do the work in their stead. Normally, they use Rankett 16' or Holzrankett for practice organs. But actually I am not sure if Holzrankett is just another name for Holzregal. That's why I went at great lengths to discover whether the Great Twelfth, for instance, is the same as the Nasard on the Swell, since both are named with 2 2/3'. But their construction is totally different with respect to the material and form.

Simpler rank extension and borrowing has be done in the past even with tracker mechanisms, but not to the extent of the challenge facing my own-designed project. As you said, it would be quite unlikely to be acheived through tracker action.

[FelixLowe]

Many years ago, on a website called Organ Trader, there featured for sale a pipe organ made from Papier Mache. All pipes were made of paper. No sound clip was available to hear how it sounded like, though. But today, I've just discovered an example of a Papier Mache reed stop on an organ in Italy -- the Bonatti organ (1708) in Civezzano (Trento). You might like to hear what it sounds like: http://www.youtube.com/watch?v=H4hv6...eature=related. To me it is just another strident example similar to the Barpfeife, if I hadn't been told about its material of construction.

[FelixLowe]

Just a few months ago, Roland was expecting to launch its C-330 much lauded for its high fidelity organ sound. And organists were enthusiastically awaiting its debut. I have listened to a few tracks. To me it certainly exceeds the tonal clarity of many Rodgerses heard on many online sources. However, it seems that some sources claim that the stops are nothing more than from the Rodgers' extant sampling archive. However, hearing the voicing of this new product on the earphone is not always the same as its ultimate loudspeaker amplification quality. But at this link you can assess by yourself more than ten pieces played on the new C-330.

Hear this presentation of BWV 552 St. Anne Prelude here: http://www.rodgers.de/Rodgers/Handle...-Demo_2-2R.mp3.

Other tracks on the C-330 and some Rodgers' models can be found on this German portal of Rodgers: http://www.rodgers.de/Rodgers/Handle...downloads.html.


Above: The Roland C-330

[FelixLowe]

Based on my own earlier posted message on the Bach Organ at Christ the King, as quoted below, I am attaching a piece of music on the BWV 564 Fugue performed on that instrument in Houston for your appreciation, as that instrument boasts up to 90 per cent tin used for most of its pipes: http://www.youtube.com/watch?v=q8ap9tgeaak.

Just the other day, soon after I posted the stop list of the so called Bach Organ at Christ the King in this thread site, I pulled it because of not being so sure about certain figures regarding the tin-lead ratios. But I think I can re-attach it again for reference. The tin-lead ratios and their percentages somewhat indicate what flues are to be deemed closer to principal tone, and what are to be made as a flute, particularly when deciding on the materials to be used in Mixtures and high-pitched mutation stops.

The appellation is used to describe an instrument similar to those that Bach knew and played. There are many possibilities for such a Bach Organ, ranging from North German organs such as those built by Arp Schnitger in the late 17th century to the organs of Thuringia and Saxony to the east in Central Germany. The choice of a Saxon-style organ flowed from a series of preferential considerations, and not from any judgment as to what makes the best Bach Organ.

Gottfried Silbermann (1683-1753) was the best known Saxon organ builder during the time Bach was at St. Thomas Church in Leipzig (now the sister city to Houston). Zacharias Hildebrandt (1688-1757) was his pupil, then his associate, and later an independent builder. Bach and Silbermann, for example, jointly inspected and approved an organ built by Hildebrandt in Naumburg. While a number of organs have been built in America in the style of Schnitger, to date only a few emulate Silbermann, and none is known to follow Hildebrandt. The organ at Christ the King Church follows the example of Hildebrandt, thus adding a Bach Organ of a new dimension on the North American continent.

Fritz Noack and the Noack Organ Company were selected to design and build the organ. Noack is an American builder born and trained in Germany and uniquely situated to bridge the Saxon past and the Texan present. Kristian Wegscheider of Dresden, restorer of important Silberman organs, accepted appointment as a design consultant; Reinhard Schabitz of Dresden, voicer in the restorations, assisted in the voicing; and most of the metal pipes were built near Dresden in the workshop of Günter Lau.


Hauptwerk (lower manual, C-f''' = 54 notes)

1. Bordun 16' 54 pipes 18 pine, rest 85% lead
2. Principal 8' 54 pipes 90% tin, front
3. Viola di Gamba 8' 54 pipes 90% tin
4. Rohrflöte 8' 54 pipes 12 pine, rest 85% lead
5. Octava 4' 54 pipes 90% tin
6. Spitzflöte 4' 54 pipes 90% tin
7. Quinta 2-2/3' 54 pipes 90% tin
8. Octava 2' 54 pipes 90% tin
9. Mixtur III 162 pipes 90% tin
10. Cimbel II 108 pipes 90% tin
11. Cornet III c' 90 pipes 85% lead
12. Trompete 8' 54 pipes 90% tin, brass shallots, metal boots
13. Vox Humana 8' 54 pipes 90% tin, brass shallots, metal boots, not playable in Pedal

Oberwerk (upper manual, C-f''' = 54 notes)

1. Gedackt 8'54 pipes 12 pine, rest 85% lead
2. Quintadena 8' 54 pipes 90% tin
3. Principal 4' 54 pipes 90% tin, front
4. Rohrflöte 4' 54 pipes 85% lead
5. Nasat 2-2/3' 54 pipes 85% lead (as Rohrflöte)
6. Octava 2' 54 pipes 90% tin
7. Waldflöte 2' 54 pipes 90% tin
8. Terz 1-3/5' 54 pipes 90% tin
9. Quinta 1-1/3' 54 pipes 90% tin
10. Sifflet 1' 54 pipes 90% tin
11. Krummhorn 8' 54 pipes 90% tin, brass shallots, metal boots

Pedal (C-f' = 30 notes,flat)

1. Principal Baß 16' 30 pipes 6 pine, open, rest 90% tin, front
2. Subbaß 16' 30 pipes pine
3. Octaven Baß 8' 30 pipes pine
4. Octava 4' 30 pipes 90% tin
5. Posaunen Baß 16' 30 pipes pine, cast lead shallots
6. Trompete 8' 30 pipes 90% tin, cast lead shallots

Couplers
Oberwerk to Hauptwerk (shove coupler)
Hauptwerk to Pedal (separate pallets in Hauptwerk)

Manual naturals covered with ebony, sharps with bone
Attached keydesk, with doors
Case from Eastern white pine, painted
Mechanical action throughout
Temperament: Neidhardt I
Tremulant
Zimbelglöcklein
Vogelgesang
Carved pipe shades
One wedge-shaped bellows

Source: http://www.bachsocietyhouston.org/organ.htm

Several musical excepts from this organ can be heard: http://www.bachsocietyhouston.org/organaudio.htm.

[FelixLowe]

The Pipes of the Organ: Diapasons
Written by Aiden Scanlon, Organ Builder & Organist of St Ann’s, Dawson St

Introduction

This is the first of a series of articles on the pipes which form the stops of an organ. In this, pipe composition and open diapasons or principals are described. In further articles, other types of pipe will be considered.

Pipe composition

The vast majority of organ pipes are made of wood or from metal. In general, metal pipes consist of various alloys of lead and tin although the proportions of each metal can vary considerably.
Common alloys are 75% tin/25% lead, 50% tin/50% lead (commonly called 'spotted metal' since it gives a sort of dappled appearance), 25% tin/75% lead (commonly called plain metal). In older Dutch and German instruments pipes of 3% tin/97% lead can be found to this day. Before being formed into pipes, the metal must be hammered to work-harden so the pipes will not collapse under their own weight. Since circa 1864 zinc has come into general use for front pipes and large basses. Zinc is very strong relative to its weight. A drawback when it comes to working on zinc pipes is that it is tough and brittle.

A mix of 99% tin and 1% lead (very rare and only found in Germany, Holland and France) is used for front case pipes on account of its ability to remain untarnished. It also lends itself well to being cast in very thin sheets, for making gamba, dulciana and salicional type stops of great delicacy. There are only a handful of organs in Ireland containing pipes of such a mixture.
Wood such as pine or deal is commonly used for large pedal stops. Mahogany, oak and other woods (maple, fine fruit woods) are sometimes used for stops shorter than 4’.

Types of Pipe

Pipe families are divided into two fundamental types: flues (like tin whistles) and reeds (where a vibrating tongue provides the initial sound which in turn is amplified by the rest of the pipe).
Flue pipes have bodies that can be cylindrical or conical (where the top of the pipe may be 2/3, 1/2, 1/3 or 1/4 of the diameter at the mouth). Occasionally flue pipes are wider at the top than at the mouth. Wood pipes may be four-sided, three-sided, cylindrical (turned on a lathe) or four-sided but tapered, although the latter three types are rare. Another oddity is pipes (either wood or metal) with two mouths.

(See a series of different types of pipes here: http://commons.wikimedia.org/wiki/Fi...pipe_types.png).

Pipes may be open (at the top) or stopped, this being done internally by a turned wooden handle sealed with leather, or externally using a metal felted cap. A stopped pipe is approximately half the length of an open pipe of the same pitch.

Open Diapasons

The tone of diapasons is specific to the organ, in that it does not mimic any other instrument. The word diapason, literally translated means 'a concord through all tones'. The tone embodies a unique combination of pure fundamental with an even spread of upper partials (hence the reference to 'all tones').

The Open Diapason consists of a set of open cylindrical pipes. On the manuals these sound unison (or 8’ pitch) and on the pedals at 16’ pitch. The pipes may be of either wood or metal, or both. On organs standing on rood screens (such as in many cathedrals and some large churches), there are two diapasons, one on each façade facing away from each other (one East and one West). This trend continued (but for different reasons) up till the mid 20th century where organs had several diapasons (e.g. St Patrick’s Cathedral, Dublin).

The Open Diapason is the organ’s foundation stop, and on which a chorus of diapasons at different pitches sit: 4’, 22/3’, 2’, 13/5’, 11/3’, 1’ and even higher. Whilst all of these pitches may be found as separate stops on some organs, it is usual to find some (two or more) gathered together and brought into use in a compound stop (e.g. a Mixture or Sesquialtera), drawn by a single stop knob.

On larger organs the manual diapason chorus may be based on 16’ pitch, giving more gravitas, and possibly the pedal at 32’. The topic of diapason (or principal) choruses and particularly of how different organ builders treat them, is really the subject of a much more complex and intriguing concept: namely the tonal structure of the organ. The constituent stops is akin to …. say the ingredients for a Christmas cake! You can give six different people the same recipe, and end up with six very different cakes.

The 4’ diapason or 'Octave' is often called the Principal. In Germany a diapason at any pitch is entitled principal. In Ireland (and UK) only the manual 4’ pitch and pedal 8’ is so named. This is a hangover from the mediaeval organ.

From 1851 the German builder Edmund Schulze built organs in Yorkshire and since then, we have diapasons called Geigen or Violon Diapasons. Later in the century the quest for more power and smoothness continued. It was Arthur Harrison or Robert Hope Jones who discovered that by putting a thin covering of leather on the upper lip of the pipes, they could be blown harder without misbehaving. This was applied to 8’ stops only.

I’ll end by posing a question – 'when is a diapason not a diapason?' — to which the answer is: when it’s a stopped diapason, which leads us to the next article about flutes, open and stopped.

[Clarion]

One other thing i consider negative, is that all of their models come with plastic keys, though you can order wooden ones, but still, plastic keys for a phoenix organ? . . . . . Personally, i prefer an organ which feels actually more like a real organ (with Wooden keys, and knobs) instead of one that might have slightly better sound plastic keys and tabs.

Ntalikeris666,

I tend to be amused by your perception of the constituent essentials of a real organ. We are obviously dealing with a dichotomy of cultural differences separated by distance of a half a world away. In your world, apparently an enormous full sized draw knob console and wooden keys are factors that separate the superior from the inferior.

In my world, where the latest advances in technology are embraced, we have an entirely different view as to the essentials of a real organ. You are familiar with my choice of a slant-sided console, tab stops, and and plastic keys. From your cultural perspective, you may consider my choices repugant; but in my world, where enormous consoles with drawknobs have been replaced with the lastest in 21st century technology: like slant sided consoles with push-button tabs, etal. Take a look; and listen to the Gabriel Kney organ at Toronto's Roy Thomson Hall, and perhaps Canada's foremost concert facility; and home of the Toronto Symphony Orchestra:

http://www.youtube.com/watch?v=i5KqahRwNPo

If my choice of organ console design just happens to look a whole lot like the Roy Thomson Hall organ console, you might better understand my choices. That's just the way we do things here in Canada.

And then there is the USA's latest and greatest, the Garden Grove organ designed by Virgil Fox:

http://www.youtube.com/watch?v=EsDZhIZozAs&NR=1

As for the antiquated wooden drawknobs you mention, I don't believe Phoenix (Canada) uses any wood stuff like that in their consoles. I can assure you that the drawknobs used by Phoenix Canada are absolutely amazing. Unlike ancient wooden stuff, the drawknobs used by Phoenix (and I wish I knew the name of the mfg), glide in and out with little effort, almost as if they were born on a cushion of air. All you have to do is push/pull just a little bit in the desired direction, and the draw knob glides effortlessly into the intended postion, all on it's own.

[LastCorpseStanding]

Ntalikeris666,

Unlike ancient wooden stuff, the drawknobs used by Phoenix (and I wish I knew the name of the mfg), glide in and out with little effort, almost as if they were born on a cushion of air. All you have to do is push/pull just a little bit in the desired direction, and the draw knob glides effortlessly into the intended postion, all on it's own.

I'm not aware of what Phoenix uses either, but you can bet it's going to be either Harris or Syndyne. I've used both, and I personally prefer the Syndyne, because they are a push action, not a pull action. That is, the magnets push the stop back and forth, resulting in a quieter action. There tends to be a noticeable thump on the pullers as the drawknob accelerates right to the end position.

When you talk of slanted consoles, do you mean terraced style? I'm not the biggest fan of them, partially because I've always found it difficult to arrange the stops in what I would consider a logical layout.

[FelixLowe]

My ideal organ for the home is of course a compact real pipe one with sufficient basic tonal resources, enabled by high-tech, and regarding the drawknobs, it is really a matter of personal taste. Some like it quaint-looking to go with classical furniture of the home. And the feel of playing it gives it a personal touch about the era of the music. In fact, while Content organ has a good North German accent, its Japanese-inspired minimalist style is not really my choice. However this is a matter of carpentry to give you the Baroque flower and leafy moulding and carving, and if you are willing to pay, they won't deny finding you a good craftsman. To me Content's drawknobs look just fine.

Nicholas, I wonder if Content can do a digitally controlled pipe organ, since I saw somewhere on their website that they might have done a combined digital and pipe organ for a church, or something like that. When you went to Holland, did you see any real pipe instruments in their shop? Or did they mention that they could also make a pipe organ?

[FelixLowe]

Take a look; and listen to the Gabriel Kney organ at Toronto's Roy Thomson Hall, and perhaps Canada's foremost concert facility; and home of the Toronto Symphony Orchestra:

http://www.youtube.com/watch?v=i5KqahRwNPo

Superb acoustics and sound recording. The organ has good articulation -- I wonder if it is a German organ? No doubt the builder has some German background, as stated in the builder's own website:

"Born in Germany, Gabriel Kney apprenticed with Master Organ Builder Paul Sattel in Speyer-on-the-Rhine from 1945 to 1951. Along with building new instruments the firm was engaged in the restoration of historic organs, both Romantic and Classic, in southern Germany. Gabriel’s special field of interest was in researching pipe scaling and voicing techniques used to create the sounds of organs of the 18th and 19th centuries. During his apprenticeship and as part of his training as organ builder he studied organ and church music at the Institute for Church Music in Speyer.

Gabriel immigrated to Canada in 1951 taking on a position as tonal director for a Canadian organ firm. In 1955 he founded his own company “Gabriel Kney Pipe Organ Builders, Ltd”. The intention was to revitalize the building of mechanical-action pipe organs based on historic tonal concepts and construction techniques."