St.Anne's Organ Registrations help

Hi Friends,
I need St.Anne's Organ Registrations.Can anyone share the Registrations?

Thanks,
Sunny

I need St.Anne's Organ Registrations.Can anyone share the Registrations?

Sunny,

That's a very open-ended question--the registration options you choose depend upon (a) what music you're playing, and (b) where you are playing it. The art of registration is determining which stops to use (and combine) to present a given piece of music. But it's more complicated than that--the registration you'd use to accompany a hymn in a church sanctuary depends upon whether that sanctuary is carpeted, and whether the sanctuary is full of people or practically empty. If you're playing a piece of music and only sending audio to your headphones, your choices might be quite different.

As it happens, I'm keenly interested in this question--because I use the St. Anne's Moseley instrument in my church sanctuary. I have arrived at a fairly broad set of registrations that I think are suitable--but I'd love to know more (a) about registration in general, and (b) registering the St. Anne's Brindley & Foster in particular.

What type of music are you playing? Are you sending the audio to headphones? To speakers in your home? Or are you playing in a sanctuary?

Hi John,Thanks for your reply.I wan't to try Hauptwerk St.Anne's Organ sound in church using speakers.

Sunny

Hi Sunny,

Please note that a commercial license is required to use Hauptwerk in a public setting such as a church.

Our license agreement is available to view here: http://www.hauptwerk.com/clientuploads/ ... eement.pdf

Good luck!

Rob/Brett--

Would it be appropriate to move this discussion thread to the Hauptwerk Instrument forum? I think this is a valuable subject, but perhaps many people don't see it here because this question was posed in a support forum.

Thanks,

John

Hi John....
Unless I am missing something about the St Anne registrations.....
I would like the original one's when I DL'd the instrument last year....I have set up my own, but would like the originals again.....I did not save them to files....
Any file DL would be appreciated....
Thanks......
Joe Roberts

Under the 'Registration' menu you will find an item called 'Revert all combinations to organ defaults' . May be this will do it?

Nick

Thanks Nick....
I am not real tech-savvy,,,so I am not always sure a particular command will give me the results i want.....Sometimes wording may be interpreted differently by each person....oh well.this time i got the results i expected and did't screw up anything.........

Rob/Brett--
I think this is a valuable subject, but perhaps many people don't see it here because this question was posed in a support forum.

I think it may strongly depend on the set-up and on the acoustics in the church. Based on how St. Anne's sounds in my living room (I've no experience using virtual instruments in a church setting, so don't take me too serious ), I would suggest the following:

* During preludes, you can register almost anything, but during singing, some of the more powerful stops will be required to support the congregation

* I think a solid pedal line is mandatory, the Diapason 16' + a 8' in the pedal is a minimum in any choral registration. Consider addition of the Pedal Fiftheenth stop. Coupling the Swell containing the Bourdon 16 gives an even more solid foundation.

* Sad choral (e.g. passion hymn): CF (melody) on Great, using either the Large Diapason or the other 8' stops on the Great. Flute 4' may be added for a bit more brightness. Accompaniment on Swell (box open) with Geigen Principal and Rohr Flute, and Bourdon 16 for some "heaviness"

* Soft choral (e.g. prayer hymn): CF (melody) on Great, using either the Large Diapason or the other 8' stops on the Great. Flute 4' may be added for a bit more brightness. Accompaniment on Swell with Rohr Flute + Voix Celestes and possibly Geigen Principal. I would not use the Gamba, I think it is too bright with an open swell box while the Swell might be too weak with box closed. Couple Swell to Great.

* I suspect that CF on Swell is feasible only when using the Swell Trumpet. The other Swell stops may be added for colouring. Addition of the Contra Fagotto gives a robust sound. Accompaniment on Great with Small Diapason and possibly Flute 4'.

* Solid Choral (all fingers on Great): again use either the Large Diapason or combine the other 8' stops on the Great. Couple some Swell stops for colouring. Swell box may be used. Add Principal 4 for more brightness

* Interesting additional gradations in brightness may be obtained as follows: Start with Large Diapason and Principal 4. Draw Mixture on Swell. Then, first draw Swell Suboctave to Great, then Swell to Great, then Swell Octave to Great couplers. You may add the Swell Piccolo at any stage. The crescendo may be continued by adding the Great Mixture and/or Fifteenth, and by adding reeds. Do not forget to add the Trombone on the Pedal for balance, as well as pedal couplers.

Josq--

Thank you very much for your thoughts--they're very helpful.

As I've studied (well, poked, prodded, and guessed a lot) I have found myself wondering about Brindley & Foster. Why did a church buy a B&F organ, rather than a Willis organ, or a Harrison organ, a Binns organ, or an organ by somebody else? And when Brindley & Foster sat down to design an organ, did they create a bespoke organ for a magnificent performance space? Or were they aiming at a more pedestrian use, a more pedestrian customer base, and (most importantly, perhaps) an organist with more pedestrian credentials?

I'm guessing--purely guessing--but I theorize that Brindley & Foster aimed at churches, primarily focusing on instruments intended for supporting congregational singing. For a two-manual organ, especially, the focus would be on a design geared to an organist who might not have significant training as an organist, per se--but might be an unsuspecting chorister press-ganged out of the choir stalls and chained to the organ bench.

Why? The Swell Melody and Pedal Bass pistons beneath the Great manual. Engage the Swell Melody, and the top note you play is coupled to the Swell--enabling you to add a lot of color to the melody. The Pedal Bass enables the galley-slave pianist to use the Pedal division. I see those two pistons on the B&F console--and I don't seem them elsewhere--but they're brilliant! (And I'd dearly love to see how, mechanically, they could pick off the top and bottom notes alone and couple them to other divisions. This must be mechanical engineering genius.)

And those pistons work. Early on in this project I started recording congregational singing--exploring the impact of different registration options (and audio levels) on how well a given hymn was sung. Nothing has had an impact like using the Swell division--particularly the Salicit 4' and Mixture III stops--to reinforce the melody line. Similarly, supporting a hymn with the Pedal division makes a world of difference. (We're a liturgical church, with communion every week, and use the same hymn as the Recessional through an entire season of the church year. So I have lots of opportunities for apples-to-apples comparisons across hymns and service music of all types.)

Theologians and philosophers will tell you that we live our lives based on our world view; and that our world view is based on a few fundamental assumptions--our presuppositions about life, the universe, and everything. My study to date on registering St. Anne's is based on the presuppositions I've stated here--but I candidly admit I have no basis whatever to substantiate those assumptions. I'm purely guessing.

Can anybody shed some insight into this? I'd love to know more about B&F, how they fit in the pantheon of British organ building, and whether indeed my characterization of their design intent is plausible? (Or, to the contrary, if I have defamed 30% of the membership of the BGO, and uttering sentiments like these in public might result in "wigs on the green.")

The bass and melody couplers operate by the pistons and the general crescendo pedal are additions made by Martin to demonstrate the capabilities of HW. The specification of the real organ is here: http://www.npor.org.uk/cgi-bin/Rsearch.cgi?Fn=Rsearch&rec_index=N00645

B&F did some "interesting" work with pneumatic action instruments. Before Nicholsons rebuilt the St Anne organ it had B&F "Transformers"; these were rather like "blind" general pistons which were usually placed about the top manual and could be drawn to provide registrations across the organ - they were engaged with a a dedicated stop which cancelled the current drawn registration and use the selection made by the transformer stops. The specification of the St Anne organ before the rebuild can be found [url]at http://www.npor.org.uk/cgi-bin/Rsearch. ... dex=D02877[/url]

For more information see http://www.nzorgan.com/vandr/bandf.htm.

Iain

Wow!

Postulation of the theorem to having my bubbles completely burst in only an hour and forty-five minutes....

Okay--so the theory is complete balderdash. Nevertheless, doubling the melody on the Swell division makes a big difference in terms of people in the congregation being able to hear the melody distinctly. I'd love to know more about the "transformers", and whether they permitted something similar--because it sounds to me as though the ranks were intended to be played that way. (Maybe it's just because it's what I'm accustomed to hearing?)

What I find particularly intriguing is that doubling the melody line with the Swell (particularly with the Mixture III rank, along with the Flauto Magico 4' and Rohr Flote 8') really works--but using the Swell to Great doesn't--the mixture just clobbers the whole tone.

With the Pedal, I have found that using either the Great to Pedal or Swell to Pedal coupler adds a definition to the bass line that isn't there in the Pedal ranks themselves.

... Engage the Swell Melody, and the top note you play is coupled to the Swell--enabling you to add a lot of color to the melody. ... (And I'd dearly love to see how, mechanically, they could pick off the top and bottom notes alone and couple them to other divisions. This must be mechanical engineering genius.)

I´d love too...eagerly
Perhaps some organ learned among us could -hopefully with pictures or diagrams- explain to us this mechanical marvel of our beloved first VPO
Luis

I think the point was that it isn't done mechanically. It is done in the HW organ definition file.

[B. Milan]

That's correct, the original organ does not have the bass or melody couplers and it also does not have a crescendo pedal (and consequently the crescendo pistons), these were all added virtually to offer an example of various Hauptwerk features since this is the default instrument included with Hauptwerk. Sorry to disappoint!