Organ Stoplist
Casavant,
Opus 2770 (1963) |
Swell (enclosed), manual
III |
Choir (enclosed), manual I |
Pedal |
|||
Gemshorn |
16 |
Rohrflöte |
8 |
Contrabass |
16 |
Geigen
Prinzipal |
8 |
Salicional |
8 |
Subbass |
16 |
Holz
Gedeckt |
8 |
Erzähler |
8 |
Quintaton
(Gt.) |
16 |
Viola
da Gamba |
8 |
Erzähler
Celeste |
8 |
Gemshorn
(Sw) |
16 |
Voix
Celeste |
8 |
Singend
Prinzipal |
4 |
Prinzipal |
8 |
Geigen
Octave |
4 |
Nachthorn |
4 |
Pommer |
8 |
Zauber
Flöte |
4 |
Gem
Fifteenth |
2 |
Gemshorn
(Sw) |
8 |
Sesquialtera |
II |
Klein
Mixtur |
III
(1') |
Choralbass |
4 |
Waldflöte |
2 |
Fagott |
16 |
Rohrgedeckt |
4 |
Plein
Jeu |
IV
(1-1/3') |
Krummhorn |
8 |
Blockflöte | 2 |
Bombarde |
16 |
Rohrschalmei |
4 |
Mixtur |
IV |
Trompette |
8 |
Tremulant |
Posaune |
16 |
|
Clairon |
4 |
Trompette
en chamade
(Great) |
8 |
Octave
Posaune (ext
Posaune) |
8 |
Tremulant |
Choir
16 |
Clarion
(ext Posaune) |
4 |
||
Swell
16 |
Choir
Unison Off |
Pedal
Silent |
|||
Swell
Unison Off |
Choir
4 |
||||
Swell
4 |
|||||
Couplers |
|||||
Great (manual II)
unenclosed |
Rückpositiv
(manual I), encased |
Great
to Pedal |
8 |
||
Quintaton |
16 |
Singend
Gedeckt |
8 |
Swell
to Pedal |
8 |
Principal |
8 |
Praestant |
4 |
Choir
to Pedal |
8 |
Bourdon |
8 |
Koppelflöte | 4 |
Rückpositiv
to Pedal |
8 |
Gemshorn |
8 |
Bach Flöte | 2 |
Swell
to Pedal |
4 |
Octave |
4 |
Quintflöte | 1-1/3 |
Choir
to Pedal |
4 |
Spitzflöte |
4 |
Sifflöte | 1 |
Swell
to Great |
16 |
Nasat |
2-2/3 |
Zimbel |
III
(1/4') |
Swell
to Great |
8 |
Super
Octave |
2 |
Tremulant |
Swell
to Great |
4 |
|
Fourniture |
IV
(2') |
Choir
to Great |
16 |
||
Cymbale |
IV
(2/3') |
Pistons |
Choir
to Great |
8 |
|
Trompette
en chamade |
8 |
General
(thumb, under
Swell, and toe) |
10 |
Choir
to Great |
4 |
Great
Unison Off |
Swell |
7 |
Swell
to Choir |
16 |
|
Rückpositiv
on Great |
Great |
7 |
Swell
to Choir |
8 |
|
Choir/Rückpositiv | 8 |
Swell
to Choir |
4 |
||
Pedal
(under Great, and
toe) |
8 |
Choir
off Manual I |
|||
Full
Organ |
Rückpositiv
off
Manual I |
||||
Crescendo
Pedal |
Cymbelstern |
Additional
notes and personal observations for a guest user: 16', Unison Off, and 4' couplers on Choir do not act on the Rückpositiv 16', 8', and 4' Choir to Great couplers do not act on the Rückpositiv Couplers do not act on the Trompette en chamade at all - biggest issue here is that the horizontal reed can never be played from the Pedal Character of Trompette en chamade - rather mild, meaning it won't come anywhere near a "tuba" style reed that sounds forth over a full ensemble. It is, however, a bright, prompt sound with a wonderful bite on attack. True Spanish material will work well on it, and it will work as a brilliant chorus reed in a classic French grand jeu setting (similar to the chamades found in some later large French Classic instruments). It will "sort of" work as a Tuba with some added reeds from the Swell or Choir... Swell Geigen Prinzipal and Geigen Octave are actually almost equal to the corresponding Great stops. Choir Salicional 8' actually functions as a small Principal. Thus, you have two very full Principal choruses and one that is only slightly lighter. The Pedal principals are amazingly "right" - the 16' Contrabass is a smooth sound that can fit under a wide variety of combinations and is quite prompt. 16' and 8' principals stand "under" a wide range of sounds remarkably well. Rückpositiv is quite a gentle division, with a very musical sort of neo-classic articulation. While it is charming, do not expect it to function like the bolder, more incisive Rückpositiv sound of a true North German instrument - more like a "Brustwerk on the balcony rail." |