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

DICTIONARY OF ORGAN STOPS. I7I
" dodge " is to adjust the pipe to speak the octave fairly clearly,
before inserting the roller. The ground tone will then be found
to be tolerably well regulated. The process of cutting away the
ears of Viols, using them solely as a support for the roller, was
devised by Mr. J. W. Whiteley. Voicers who devote much
attention to the production of these delicate stringy tones fre-
quently appear in some peculiar manner to contract a tendency
towards imparting a suspicion of this quality of tone into all
their other flue work, whether Flutes or Diapasons. This
perpetual reminiscence of Viol tone constitutes one of the few
failings of Mr. Thynne's flue-voicing ; it asserts itself even in the
Zauberflote.
Notwithstanding the fact that the Viols of Mr. Thynne were
in their day opined to be of abnormally diminutive scale, results
of a yet more aethereal and animated character were attained by
Mr. Hope-Jones through a still further reduction of scale. The
first instance of the newer pattern of stop was incorporated in
his organ at Worcester Cathedral (1897), the CC pipe measuring
no more than i T \- in. in diameter. The pipes of this stop, which
was voiced by Mr. J. W. Whiteley, were encased in wood for
the purpose of increasing their stability, a precaution found in
subsequent instances to be supererogatory. These delicate string
stops became at once the furore, and since their introduction into
the Hope-Jones organs practically all English organ builders have
reduced their Gamba scales. The Viole d'Orchestre is almost
invariably enclosed in a swell box, not only for the sake of ex-
pressive use, but also for the purpose of excluding dust from
pipes of such delicate adjustment. An unenclosed specimen, of
the narrowest scale, may, however, be heard at the Collegiate
Church, Warwick (Hope-Jones).
The Viole d'Orchestre displays an orchestral quality of tone,
the bass, in particular, yielding a remarkably " biting " 'cello effect.
In voicing the Viol class of stop, the main obstacle to be surmounted
is the tendency to loss of power or of keenness of tone
in the treble. For the satisfactory solution of this difficulty, due
regard being at the same time evinced for the efficiency of the
other portions of the compass, a wind pressure of at least 4 in. is
advisable. Increased wind pressure is desirable for this class of
tone solely for the purpose of securing proportionate balance of
power. Indeed insubordination of keen string tone to the Flutes
and Diapasons, ruins the general tone of the organ. So assertive
and cutting is overblown string tone, that even heavy pressure d'Orchestre.
reeds do not suffice to cloke its pernicious effect. But, granted