A comprehensive dictionary of organ stops - Allen Organ Studio of ...

DICTIONARY OF ORGAN STOPS. 165
" One of the greatest advances in the tonal aspect of modern organ
building has been due to the more scientific adaptation of wind pressures.
We no longer find up-to-date builders voicing entire organs on 2$< in. wind
and even the conventional, though absolutely absurd, use of pressures of
such slight variation as Great 3^ in., Swell 3 in., Choir z\ in., is regarded
with less complacency than was hitherto the case. Indeed, at the present
time the truth is gradually gaining ground that such a small differentiation
of pressure is scarcely worth effecting. As I have already remarked, the
swell box acts as a kind of wet blanket on the tone, and undeniably ruins
all delicate, low pressure voicing. The only way to remedy this—and also
the disadvantages of an organ situated in an organ chamber or "coffin"
is to employ heavier pressure. With the exception of the reed work, the
average Swell organ is little better than the old Echo organ from which
it was originally developed. It has conclusively been shown, in the case
of reed work by Willis, Hope-Jones and others, that a thick tongue is
alone productive of the finest quality of tone. In order to set a thick
tongue into vibration, heavy wind pressure is necessary. Heavy wind pres-
sure, therefore, whilst also used for promoting power in the treble, is mainly
employed for the purpose of securing quality rather than quantity. Reed
stops should be full and smooth throughout, and (like the human voice and
orchestral brass) should if possible be soft in the bass, and should gradually
tend to increase in power as the pitch rises."* Yet other testimony, which
may be quoted in support of this contention, is furnished by a comparison
of the Trompette Harmonique as voiced by Cavaille-Coll on 7 in. or 8 in.
wind only (St. Sulpice, Paris) with a real Tuba. It will be found that in
some instances the former stop is quite equal in power to a 15 in. Tuba
voiced on Willis lines. The Cavaille'-Coll Trompette Harmonique is
merely a Trumpet of " free " tone, " blown for all it is worth " (to adopt a
colloquialism). Regular in tone it may be, but yet it is entirely devoid
of " body," witness, for instance, the specimens at the Albert Hall,
Sheffield, and Town Hall, Manchester. The Tuba, on the other hand,
is characterized by great fulness and purity of tone, for the production
of which the surplus pressure is needful. It cannot, indeed, be too
strongly urged that unless this " thick " quality is in evidence, the stop
is not a true Tuba, but merely a magnified Trumpet.
For reasons which will be apparent to all, it is essential to the success
of a Tuba that it be of harmonic structure. Unless so constituted, the
treble will either be lacking in quality or eclipsed in power by the bass, or
in a reciprocally modified degree both faults will be in evidence. At
St Paul's Cathedral (Dome Tuba); Norwich Cathedral (15 in. wind,
Norman & Beard), and Einsiedeln Monastery, Switzerland (Swell Horn on
* Ibid, p. 22.
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