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Simulating/substituting for Vox Humana

Albert

New member
I have several pieces which use only the Vox Humana. The latest by Ralph Kinder uses it in two movements, and I cannot get it to sound to my ears. I have a smallish two manual Johannus, with two sets of stops: American Classic and English Baroque. Pick and choose among these stops, if anyone can. I'll try anything!

SW: Stopped Flute 8, Viola di Gamba 8, Vox Celeste 8, Koppelflute 4, Flute Twelfth 2 2/3, Waldflute 2, Tierce 1 3/5, Scharff III, Oboe 8

GT: Principal 8, Rohrflute 8, Octave 4, Open Flute 4, Twelfth 2 2/3, Octave 2, Cornet IV, Mixture V, Trumpet 8.

Thanks in advance!
 

Soubasse

New member
Hmm, I've encountered this problem with real pipes, but not sure how I'd go about it with an electronic.

Just looking at the specs, your closest bet is of course, the Oboe but you generally need to find some way to "soften" it a little (ie, add other ranks to it to attempt a similar effect). Main trouble is that it's all highly dependent on the voicing of the ranks in the first place.

In the past, I've had the occasion to use some of the following as a VH substitute, please take with a grain of salt, and remember that these are highly generalised and dependent upon the previously mentioned factor of voicing.

Sw/Rec:
Oboe + Flute 8
Oboe + Fl 8 and a soft Fl 4
Oboe + moderate Fl 4 + soft Nazard 2 2/3
and on one occasion where there was no solo reed at all, it was a softly voiced Viola da Gamba, Fl 4 and 2 2/3 (bizarre I know, but it more or less worked)

Ch/Pos:
Cromorne + Fl 8 + soft Fl 4 (if enclosed, I would usually shut the box about 3/4 or a little more)
 

Krummhorn

Administrator
Staff member
Hi Bill,

From your stoplist, I would suggest using the Vox Celeste (alone - without the VdG stop), the 4' flute and tremulant if a available.

I've done this on my II/9 Möller at church with good success ... about as close as I can get with the resources I have at the ready.
 

Albert

New member
Thanks for the suggestions. Both manuals have independent tremulants. I've tried the Oboe + Trem closed some, I'll add some other stops and see what happens. I never thought of using the Vox Celeste without the VdG - which I tried alone and with flute 4. I appreciate the effort. Thanks Again.
 

Krummhorn

Administrator
Staff member
That would work, too, Nikam :)

On my church 11/9 Möller, my only reed is a Trompette - with the Celeste stop added it sounds like a French reed rank though.
 

Albert

New member
Thank you all for your help. Today I tried the suggestions, and found that my ears preferred the Vox Celeste 8 (without Viola di Gamba) + Flute 4 + Tremulant with the box closed a bit works for the piece I was working on. The Oboe + flute 4 worked fairly well also, but the oddball won out. American Classic voicing for both. I did get some interesting effects with the Oboe in Baroque voicing (Johannus told me it was "from an organ in Liverpool" when I inquired) which is somewhat of a chameleon stop, but the chiff on the flutes ruined the effect.

The particular piece of music is Ralph Kinder's "Fantasia on Duke Street", purchased from Michael's Music Service in Charlotte North Carolina - a reprint of a G. Shirmer 1904 printing. Here I am with a Johannus trying to emulate a G & G Hook/Johnson three manual on two. We use what we have.
 

Krummhorn

Administrator
Staff member
Glad to have been part of the "oddball" registration ... :lol:

I'll have to search out that particular Kinder piece ... I have some of this other works, but not that one.
 

Krummhorn

Administrator
Staff member
Bumping this thread intentionally ...

On my present church organ (I changed church positions in September 2016) I have found a quasi Vox Humana:

Divided expression on this organ:

Sw: Viole Celeste - coupled to Great.
Gr: 8' Krummhorn, 4' Flute, Tremulant

Swell box closed, Great box partially open.

If you have the option of making the Tremulant more wobbly (wider) then consider that, too.
 
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