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

46 DICTIONARY OF ORGAN STOPS.
reminded of the singing tone of the old English Diapasons. It may,
indeed, truthfully be claimed that the leathered Diapason has rehabilitated
the Swell organ flue-work. The Swell organ was never, so to speak, an
independent or self-contained invention. It was merely the old Echo
organ rendered expressive, and its tonal scheme evolved tardily until
Cavailld-Coll and Willis suddenly transformed it with their improved
reed-work. The significance of this will be apparent when it is realised
that the flue-work remained practically echo-work, the reeds, with all the
disadvantage above-noted, becoming the fundamental basis of the Swell
organ. It was not until Mr. Hope-Jones came forward with his Diapason
Phonon and Tibia Clausa that the reed-work of Willis received its
complementary flue-work, and that the regeneration of the Swell organ,
whereby it was once again established on an equitable basis for future
development, was accomplished.
(9) The leathered lip is a most valuable means for the improvement of
old pipes. As a good instance of such treatment may be cited the case
of the old Byfield and Harris Diapasons on the Choir organ of Norwich
Cathedral (Norman & Beard). An objectionable sort of " buzzing,"
caused by the straight lower lips and languids of these stops, was com-
pletely remedied by leathering their upper lips, thereby imparting the
requisite "speed." The author has heard many old stops, Diapasons,
Geigens and Flutes, metamorphosed merely by this simple treatment.
No increased wind pressure is entailed, though such is readily adaptable
without coarseness of tone ensuing.
(10) Spotted metal is not favourable to the production of the best quality
of Diapason tone, unless indeed of such thickness that its distinctive
properties are lost. Diapason pipes require to be made most substantially.
When once due thickness is assured, there would seem to be little objection
on the score of durability, and certainly none from the tonal point of view,
to the use of an alloy containing less tin than should be customarily
employed, for pipes of merely average substance. When strict economy is
not essential, it is to be desired that Diapason basses be made of thick heavy
metal. Zinc, as a material for basses, bears a worse name than ever it
deserves, simply from the fact that zinc pipes and the metal lips are seldom
made thick enough. One famous builder, indeed, has characterized zinc as
an excellent material for chimney pots, but useless for organ pipes. Although
a zinc bass can never give such a full, rich and pervading tone as a very
thick metal one, the use of zinc must unquestionably be permitted as a
matter of economy. A really thick and well made zinc bass is quite as
costly as, and probably more effective than, a metal one of the degree of
thickness ordinarily adopted. The cost of metal basses of considerable
substance is too prohibitive to warrant their habitual use. It will surely
be admitted that the employment of a zinc Diapason bass is a more