5
thumb pistons to each manual department
5
toe studs to pedal
5
general toe studs
Great
to Pedal reversible thumb piston, duplicated by toe stud
Swell
to Great reversible thumb piston, duplicated by toe stud
Choir
to Pedal reversible thumb piston
Combination
capture system with 8 memories each for the classical and theatre organs
Stop
control by moving drawstops for the classical organ (magnetically operated)
Stop
control by moving stop keys for the theatre organ (magnetically operated)
Setter
button
General
Cancel piston
Rocking
tablet to select Classical or Theatre Organ. The drawstops on the
Classical organ are automatically cancelled when changing to 'Theatre'
mode. The stop keys on the Theatre organ are automatically cancelled
when changing to 'Classical' mode.
2
tremulants to the classical organ - independently adjustable in speed and
depth
3
tremulants to the theatre organ - independently adjustable in speed, depth and
modulation waveshape (sine through to square, continuously variable)
Tuning
and Temperament
The
instrument is tuned to A = 440 Hz using my Dorset
Temperament with impure (offset)
octaves.
Tonal
Derivations
Most
of the 'classical' voices were derived from the four manual 1927 Rushworth and
Dreaper organ at Great Malvern Priory, England. Exceptions are the 8 and
4 foot flutes on the choir organ which were derived from the 1858 Walker organ
at St Mary's church, Ponsbourne, Hertfordshire, England, and the 4 foot
Quintadena on the choir organ which was derived from a stop made by Brian
Daniels, Crewkerne, England.
Most
of the 'theatre' voices were derived from the three manual Wurlitzer and Rutt
organs preserved at the St Albans music museum, England.
Acknowledgements
Thanks
are due to the church authorities at Malvern and Ponsbourne and to the trustees at St
Albans for allowing the
acoustic samples to be recorded.
Thanks are also due to Brian Daniels for allowing his Quintaten stop to be
sampled, and to Paul Minchinton for making the recordings at Ponsbourne.