Sample sets of Compton cinema organs are available from Melotone productions:
https://sites.google.com/view/melotone- ... tions/home
I know the Southampton Guildhall Compton well, and heard it several times during the 1960s-70s in the very capable hands of Reginald Porter-Brown, who was able to fully exploit its capabilities as a theatre and a classical organ. I also heard a purely classical recital by a lady organist whose name I’ve forgotten.
The Guildhall is a big space to fill with sound, and John Compton did it primarily with batteries of high-powered reeds. So far as I can tell as a listener, the flues only go up to mf or forte; to achieve a convincing ff climax the reeds are essential. They then dominate the ensemble, whereas my preference is for full organ to consist of a seamless blend of foundation flues, reeds and upperwork. This is typical of many British church organs – especially in the romantic period of Willis, William Hill etc.
Unfortunately many people find the Guildhall reeds rather harsh – particularly when listening on the balcony, when one is directly in line with the pipework, but also downstairs on the floor of the auditorium. An FRCO friend who has had occasion to play that organ regularly in concerts – using its classical console – hasn’t a good word to say for it; he once remarked “It’s not a quality instrument”. The Comptons I’ve most enjoyed are his medium size theatre organs – particularly the ABC/Regal Torquay (which I’ve played in public) and the ABC Plymouth (perhaps John Compton liked Devon!).
At this point we are entering territory better served by pipe organ discussion forums, and even there such discussions are of limited usefulness, because so much is a matter of opinion. If you love the sound of the Guildhall Compton, it’s not for me to say you shouldn’t, and I certainly don’t want to spoil your enjoyment. Reg Porter-Brown seems to have loved it. I find the voicing of the Brighton organ exceptional throughout (I heard it live during the 1960s), but I don’t expect everyone to agree with me. As a theatre organ it’s sound is probably unique, and I believe a Hauptwerk version would sound glorious. Whether my advocacy persuades any sample maker to take an interest in it remains to be seen . . .
https://sites.google.com/view/melotone- ... tions/home
I know the Southampton Guildhall Compton well, and heard it several times during the 1960s-70s in the very capable hands of Reginald Porter-Brown, who was able to fully exploit its capabilities as a theatre and a classical organ. I also heard a purely classical recital by a lady organist whose name I’ve forgotten.
The Guildhall is a big space to fill with sound, and John Compton did it primarily with batteries of high-powered reeds. So far as I can tell as a listener, the flues only go up to mf or forte; to achieve a convincing ff climax the reeds are essential. They then dominate the ensemble, whereas my preference is for full organ to consist of a seamless blend of foundation flues, reeds and upperwork. This is typical of many British church organs – especially in the romantic period of Willis, William Hill etc.
Unfortunately many people find the Guildhall reeds rather harsh – particularly when listening on the balcony, when one is directly in line with the pipework, but also downstairs on the floor of the auditorium. An FRCO friend who has had occasion to play that organ regularly in concerts – using its classical console – hasn’t a good word to say for it; he once remarked “It’s not a quality instrument”. The Comptons I’ve most enjoyed are his medium size theatre organs – particularly the ABC/Regal Torquay (which I’ve played in public) and the ABC Plymouth (perhaps John Compton liked Devon!).
At this point we are entering territory better served by pipe organ discussion forums, and even there such discussions are of limited usefulness, because so much is a matter of opinion. If you love the sound of the Guildhall Compton, it’s not for me to say you shouldn’t, and I certainly don’t want to spoil your enjoyment. Reg Porter-Brown seems to have loved it. I find the voicing of the Brighton organ exceptional throughout (I heard it live during the 1960s), but I don’t expect everyone to agree with me. As a theatre organ it’s sound is probably unique, and I believe a Hauptwerk version would sound glorious. Whether my advocacy persuades any sample maker to take an interest in it remains to be seen . . .