CRESCENDO

HI EVERYBODY my new hauptwerk 4 is ready for a treat .
After the sucesfull story with the help of uve horhe from pc and miusik all my stops are working.
IT is time for using the crescendo pedal that is always in frond of me in the beautiful Ahlborn -Nicolaidis 3 manual console .This crescendo has 9 positions WHAT IT WILL BE MORE APROPRIATE TO DO ?WHAT VOICES ?
I know this has nothig to do with the Metz ND cc instrument but if you have any sugestions i will be very glad to hear .
.Thank you all

any suggestions about how to organize the crescendo pedal of my ahlborn 3 clavier nd metz hw 4 ?

[mdyde]

Hello Costas,

I've merged the two topics you started on this subject together (above).

(Please try not to post questions multiple times in different places, otherwise people might potentially reply several times and/or without being aware of other previous replies - thanks.)

You have a swell pedal as well I presume?

Start with a light registration with celestes, move to 8' and 4' flutes, add prinzipals, then mixtures, then 8' and 4' reeds. The last two steps could be Tutti and Tutti + 32".

Another question about the swell..
It is usual to start with flutes or celestes, increasing with other voices.
But, while increasing, is it normal practice to remove some lighter voices?
So, when mixtures are added, remove the celestes?

Another question about the swell..
So, when mixtures are added, remove the celestes?

Yes, sometimes even earlier.
This is done on many pipe organs
and some electronic organs.
You really don't want celestes on
when you are adding 2' and above,
it muddies the ensemble.

At what point do you start to couple divisions and add super couplers?

Michael

I was going to ask the same question when I found this thread. Unfortunately, the last question about couplers was never answered and it is one of my main concerns. Anybody can help?

Jean-Marc

I prefer to not include couplers in a crescendo sequence. I believe that a crescendo should be gradual, never adding more than one stop at a time. In general, when a coupler is engaged it will add a number of stops at once and result in an abrupt jump in volume.

[B. Milan]

I prefer to not include couplers in a crescendo sequence. I believe that a crescendo should be gradual, never adding more than one stop at a time. In general, when a coupler is engaged it will add a number of stops at once and result in an abrupt jump in volume.

Or, to avoid that you can add couplers right from the beginning, this way everything is already coupled and stops can still be added one at a time or in small combinations so as to not have such an abrupt change. This actually expands the crescendo capabilities in that you can achieve even larger registrations by gradually changing manuals to increase the crescendo effect in addition to stops being added and have the benefit of the manuals being coupled for maximum registrations.

I wouldn't recommend doing this with any super couplers however! Just the standard 8' couplers. As anything, it's all a matter of personal preference, so do what sounds best to you.

Or, to avoid that you can add couplers right from the beginning, this way everything is already coupled and stops can still be added one at a time or in small combinations so as to not have such an abrupt change.

Yes, but that only works if there are no stops drawn when the Crescendo pedal is used. More commonly, the pedal is used to increase volume from an mf of f ensemble towards ff or fff. In that case, couplers at stage 1 are very un-musical. But that's why the crescendo should be programmable! It can be very useful to customize it for the particular way you're going to use it.

In this article I describe the process of using the crescendo pedal which maybe useful to you:
http://www.organduo.lt/1/post/2012/05/8 ... organ.html