Which stops for full theatre organ sound... ?

Hi. I was just wondering if anyone has a good suggestion of which stops to select for a good full theatre organ sound on the 3/31 masterworks... i don't want to be using too many stops and crowding the sound... i was wondering if there is a commonly used selection for the full organ sound.

Many thanks,

Chris

Chris,

In Jelani Eddington's book (which I discussed just a bit in the
thread addressed "to theatre organ users.....!", just below your
thread), he goes on through three pages, listing seven groups
of stops, to build through Soft Ensemble, Light Ensemble, Medium
Ensemble, Mezzo Forte, Full Organ, Full Organ plus Post Horn,
and last Full Organ with Post Horn Pizzicato, all of which I have
set-up on pistons for my Milan M-31. Jelani also includes the
famous "Hangnail" registration, attributed as created by George
Wright, and the infamous "Whorehouse" registration made so popular
by Tom Hazelton. This one uses no 16' ranks.

Jelai also list stops for each of ten Divisional Pistons for each of the
three manuals of the organ, as well as suggested Accompaniment and
Pedal registrations for appropriate use, all again with comments and
use suggestions.

I don't feel I should list the stops Jelani suggests in each step, he
probably views them as "proprietary" or at least copyrighted to him.
I suggest you buy his book, from which you almost certainly can
learn much as well as decide which of his suggested steps to "full organ"
you believe would not use too "many stops and crowding the sound...".
Certainly you can judge the sound from each step, and determine
for yourself by removing various stops to determine a full organ level
you like.

For each of the eight steps, he includes a few remarks about each
including why particular stops are used, for what sorts of music,
when Tibias ought and ought not be included, and when they
should be added, etc. Also whether the particular registration is
appropriate, or not, for use in chords, and ought to be reserved for
single note melody, etc.

Have fun.....

Chris,
Since you probably aren’t too familiar with TOs, I would suggest something not too big, but not too light either:

Solo: Tibia 8 and 4
Great: Tibia 16, 8, 4, Vox 16, 8
Acc: Flute and Dulciana 8
Ped: Bourdon 16, Flute 8

If you have 2nd touch on the Acc, I would suggest Diapason and Clarinet 8. This sound will help in bringing out counter melodies.

If necessary, tweak this combination to make sure you have a good balance.

With this you can play the Great (single note or chorded melody) an octave higher (since it has 16s).

Play the Solo at pitch for light fill-ins or the melody. It's a good idea to more from the Great to the Solo just taking a break for the combination on the Great.

Depending on the fill-in, you might opt for a Chrysglott (instead of Tibia 8 and 4) so you can play a few echoed melody notes after playing a phrase on the Great. Arpeggios are good too, or maybe Chrysglott and Glock for a brighter sound.

Good Luck,

Ted Williamson
San Diego

I have Jelani's Books, all three volumes. In the listing of registrations for "Hangnail" he provides suggestions as to how to set it up for varying sizes of organs.
He mentions the "Whorehouse" registration but nowhere can I find details of what stops are involved.
Is it possible for somebody to tell me what constitutes a "Whorehouse" registration?
Thanks,
Keith

[mdyde]

[Topic moved.]

Keith,

I think maybe the answer your question, is at this web site: http://www.vtpo.info and then open tab "VTPO Theatre Organ Classes" On slides #43 and #44 in the first lesson, Don gives you registrations of both 'hangnail' and 'whorehouse' or his name 'wholehouse'.

Don R.

Thanks Don. What a treasure trove for a new boy to Theatre Organs!
Keith