The digital stops that we incorporate into our pipe organ designs are
generated from an Ahlborn-Galanti module. This module comes in four "stock" specifications, but can be altered to suit the needs
of a particular installation. In typical installations, the actual module is
located in the organ chamber or console, and is controlled by the console's
drawknobs. This allows for transparent operation, giving the organist control
over the instrument regardless of digital or actual pipe stops. For retro-fit
applications, the module, encased in oak, can be placed upon the console top,
and controlled by its own reversible stop switches (as below).
In order to fit the module to the organ, it must be equipped with a MIDI
control system. This allows the instrument to not only connect pipe organ to
digital module, but to a sequencer as well. This allows the organist to record
performance, practice, choir rehearsal, etc., and play the actual organ. Basic
operation is as simple as a cassette recorder.
Speakers and amplifiers are custom manufactured for the installation and are
usually located within the organ chamber.
Again, its operation is seamless and integrates with the actual pipe tonal
scheme. The module automatically tracks the ambient temperature in the organ
chamber to help keep the digital stops in tune with the pipework.
To see an example of how we incorporated a custom module into a pipe organ
specification, please go to: St. Barnabas Specification
Sample tonal specifications:
| DIV. A |
DIV. B |
PEDAL |
| Gemshorn |
8' |
Principal |
8' |
Contre Basse |
32' |
| Gemshorn Celeste |
8' |
Holzgedackt |
8' |
Contre Gambe |
16' |
| Flûte à cheminée |
8' |
Flûte Harmonique |
8' |
Contre Bombarde |
32' |
| Koppelflöte |
4' |
Flûte Octaviante |
4' |
Bombarde |
16' |
| Plein Jeu |
IV-V |
Octave |
2' |
Div. A to Ped. |
|
| Bombarde |
16' |
Cymbale |
III |
Div. B to Ped. |
|
| Harmonic Trumpet |
8' |
Tremulant |
|
| Corno di Bassetto |
8' |
Div. A to Div. B |
|
| Festival Trumpet |
8' |
|
|
| Clairon |
4' |
|
|
| Tremulant |
|
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| Div. B to Div. A |
|
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|
| DIV. A |
DIV. B |
PEDAL |
| Cello |
8' |
Open Diapason |
8' |
Contre Violone |
32' |
| Cello Celeste |
8' |
Flauto Mirabilis |
8' |
Contre Gambe |
16' |
| Cornet des Bombardes |
IV |
Concert Flute |
4' |
Contre Basson |
32' |
| Cornopean |
16' |
Quint Flute |
2 2/3' |
Ophicleide |
16' |
| Clarinet |
8' |
Piccolo |
2' |
Div. A to Ped. |
|
| Orchestral Oboe |
8' |
Vox Humana |
8' |
Div. B to Ped. |
|
| French Horn |
8' |
Tremulant |
|
| Cor Anglais |
8' |
Div. A to Div. B |
|
| Tuba Mirabilis |
8' |
|
|
| Clarion |
4' |
|
|
| Tremulant |
|
|
|
| Div. B to Div. A |
|
|
|
| DIV. A |
DIV. B |
PEDAL |
| Bourdon |
16' |
Gedackt |
8' |
Subbass |
16' |
| Principal |
8' |
Gamba |
8' |
Octave |
8' |
| Flûte à cheminée |
8' |
Nachthorn |
4' |
Bourdon |
8' |
| Unda Maris |
8' |
Cymbale |
III |
Posaune |
16' |
| Octave |
4' |
Cornet |
III |
Div. A to Ped. |
|
| Spitzflöte |
2' |
Oboe |
8' |
Div. B to Ped. |
|
| Nasard |
2 2/3' |
Tremulant |
|
| Superoctave |
2' |
Div. A to Div. B |
|
| Mixture |
IV |
|
|
| Trompete |
8' |
|
|
| Tremulant |
|
|
|
| Div. B to Div. A |
|
|
|
| DIV. A |
DIV. B |
PEDAL |
| Contregambe |
16' |
Bourdon |
8' |
Soubasse |
32' |
| Diapason |
8' |
Flûte harmonique |
8' |
Violone |
16' |
| Quintadena |
8' |
Flûte octaviante |
4' |
Contrebombarde |
32' |
| Terz |
1 3/5' |
Larigot |
1 1/3' |
Bombarde |
16' |
| Septime |
1 1/7' |
Corno di bassetto |
8' |
Div. A to Ped. |
|
| Scharff |
III |
Clairon |
4' |
Div. B to Ped. |
|
| Bombarde |
16' |
Tremulant |
|
| Trompette |
8' |
Div. A to Div. B |
|
| Tuba Mirabilis |
8' |
|
|
| Chimes |
|
|
|
| Tremulant |
|
|
|
| Div. B to Div. A |
|
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|
|
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- Volume level.
- Scaling (balance of volume in bass, mid and high ranges of each
stops).
- Articulation (for flue stops).
- Release of sounds.
- Quality of wind noise in peak sounds (for flue stops).
- Harmonic presence (Reeds).
- Fluctuation (natural instability of the single sounds).
- Pitch (Fine pitch adjustment between stops).
- Rank character (different character of single sounds).
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- Tremulant speed and depth (separate for Div.A and Div.B).
- Organ tuning (fine tuning of the module).
- Pipe Tracking - tunes the organ to the ambient temperature of the
organ chamber, allowing the digital stops to be in relative tune to
the pipework.
- Seven historical temperaments: Equal, Meantone, Werckmeister III,
D'Alembert, Tartini-Vallotti, Kirnberger III, Kellner (on A440 and
A415).
Historical
Temperaments
- Four programmable temperaments.
- "Short Octave" for ancient music performance.
- Selectable Windchest Layout configurations for each division:
- Central peak;
- Lateral wings;
- Wing;
- Total sound separation (C side/C# side);
- Total monophonic effect;
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Short Octave
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In ancient organs (XVI and XVIII centuries),
particularly in Italy and Spain, but also in other European countries, the
first octave of the manual and pedalboard was frequently configured as
"Short Octave".
Playing music originally written for organs with the short octave is
rendered difficult or impossible on keyboards with a normal extension.
The possibility that this device offers, available on ARCHIVE modules, can be useful for
organists, including practicing pieces that will be played on ancient
organs having the short octave.
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Historic Temperaments
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| These modules offer the
organist interested in an accurate interpretation of the ancient music,
a wide selection of Historical Temperaments from various ages and
countries.
They are available in two different pitches: A-440 and A-415.
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- Classic Meantone (XVI and XVII century)
- (comma syntonique)
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- Werckmeister III (1691)
- (comma pythagorean)
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- D'Alambert (1752)
- (comma syntonique)
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- Tartini-Vallotti (1754)
- (comma pythagorian)
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- Kirnberger III (1779)
- (comma syntonique)
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- Kellner (1976)
- (comma pythagorian)
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Windchest Layouts
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| By means of this control,
it is possible to assign to each output channel, a different percentage
of sound, acoustically simulating the position of the pipes on their
windchests. In a pipe organ installation, these layouts should match the
existing pipework. |
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- Configuration with 2 separate windchests
(C side / C# side).
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- Monophonic basses at the center and progressive separation of
the sound towards the treble (this configuration permits the
optimization of the speaker performance in the bass region).
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- Monophonic treble at the center and progressive separation of
the sounds towards the basses.
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- Progression of the bass sounds towards the treble (from left
to right).
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to top of windchest layouts