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  • #31
    You might think you are crazy for posting all the gory details of your experimentation here, but rest assured that we love reading about ALL of it. The good results as well as the not so good. As with so many technical changes / improvements / re-arrangements / and modifications, you just have to try things at times to see what works, and what does not. There is no "approved" way of doing all the things you are trying, so trial, and at times error, is the only way to know.

    I've never thought that the Allen RCA cables were anything special actually. I thought they always looked like rather run-of-the mill normal ones. Maybe you have a bad one somewhere in the system though ?

    If you are going to gut that console for your final VPO, I would think you want to add at least one more manual ? If you don't put the third one in, I don't think you will be happy with the final product. Are not a lot of the HW sample sets 3 manual ones anyhow ?
    Regards, Larry

    At Home : Yamaha Electones : EX-42 ( X 3 !!! ), E-5AR, FX-1 ( X 2 !! ), FX-20, EL-25 ( X 2, 1 chopped, 1 not ). Allen 601D, ADC 6000D. Baldwin 626. Lowrey CH32-1. At Churches I play for : Allen Q325 ( with Vista ), Allen L123 ( with Navigator ). Rodgers 755.

    Comment


    • jbird604
      jbird604 commented
      Editing a comment
      Could be a bad cable I guess, but it seems that any cable I attach to the "Y" connector I put on for the expression causes hum, with or without anything attached to the other end. Maybe the "Y" connector is bad.... Hmmm.... hadn't really considered that. I might give it another try in a day or two. I'd like to be able to use the LDR expression rather than MIDI because it is so simple, but I can't become obsessed over it, with so many other parts to this puzzle.

      You're not the only one who thinks I need a third manual for a VPO. Others have suggested it too. Yes, most sample sets are for 3 (or more) manuals, and the three manual organs I had at different times at my old church taught me that there is a reason for that third manual. Maybe so. I do have an extra Allen keystack in the shop and could easily transfer one of the manuals to this console when I get to remodeling it.

      Thanks for the response. Stay safe!

  • #32
    Michael, I see your comment above, and will try to respond. Yes, it's very hard to tell just how bright it will sound, and right now the knob on the console that controls that is not connected, as it is part of the mute system on MOS-1 self-contained consoles. So I'm using the mute function to mute my external amps. I can adjust the tone on the mixer though, and through a much greater range. At times it seems that I hear more brightness, and other times it seems dull. Not sure what's going on, perhaps my hearing is a little messed up with allergies and such.

    I suppose a fair comparison of the stops would be one by one, rather than trying to mimic certain combinations. Maybe I'll do that eventually, unless I just junk this whole setup pretty soon. (Not junking this console, of course, but maybe I'll soon be into a VPO and not having to futz with these disparate systems.)

    BTW, I discovered today that the MOS had somehow become about 10 cents flat to standard. Maybe I tuned it that way on purpose and just forgot about it. Once I tuned it up, the MOS and Ahlborn stops blended much better. (duh!)

    Also, I've now discovered that the H. Labs converter sends that Controller 123 message ONLY when there are no notes down in a given division. So perhaps it's intentional. I read somewhere that the converter sends "All Notes Off" when the last note is released to prevent ciphers. I thought it meant just once, but maybe it sends out a continuous stream when notes aren't down to keep ciphers from happening. I'll see what they reply to my email and will report here.

    I'd like to have expression, but in truth that's not essential for practicing. I just need to quit making excuses and get to playing!


    John
    ----------
    *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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    • #33
      Stan at Harrison Labs quickly responded to my email inquiry about the Controller 123 messages. It seems that IS normal. The converter is programmed to do that in order to head off ciphers.

      He seems like a helpful guy. He mentioned that there is an alternate expression program they can install (though I'd have to send the converter back to them to do it). The alternate program does something different with the soft end of the expression curve, and he said some customers have preferred it that way. Not sure just what the alternate curve is, unless it's more like a Hammond expression curve, where there is a complete cut-off when the expression pedal is closed all the way. I wouldn't want that of course on a classical organ.
      John
      ----------
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      • #34
        Well, yes, there are a handful of MOS stops that might come in handy. I've come to think, strangely, that it might be REEDS that the old MOS system does better than anything. The Ahlborn Classic of course was never meant to be a stand-alone organ, lacking some of the most vital registers. Last night as I was doing some improvisation on quiet hymns, I found it easy to get nice soft effects on the Ahlborn -- the selection of 8' flutes and strings, lovely 4' koppelflote in the swell. And for a solo stop, I was using the old standby Krummhorn or the Hautbois on the MOS. These stops, unlike the 8' flutes for example, hold up quite well against the refined samples on the Ahlborn.

        Of course if I had a VPO set up, most any sample set would have some lovely solo reeds and I would probably not miss these from the MOS. In the end, it may come down to whatever is most easily implemented. Though it might be neat to preserve some of the old MOS sounds, in the same way one preserves antiques, integrating the MOS stuff with a VPO might not be worth the trouble of creating relay drivers and such to turn on those stops, when the VPO stops could be controlled by a touch-screen and no mechanical moving parts.
        John
        ----------
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        • #35
          Doing some more thinking about a long-term audio solution for my setup. I'm so much sold on the Allen LDR expression, I think I'll find a way to make it work with my external audio. I have suggestions from some of you to try out, and some new ideas of my own, when I get time for that...

          Next up is to attack an acoustic weirdness of this organ nook. There is a marked response hump in this space that causes the note "F" below middle C (on an 8' stop) to be terribly exaggerated. It's painful to be playing along and have that note crop up and rattle the room. This is definitely due to some interaction between the Makin woofers and the space, as the notes are perfectly level in headphones. Never thought I'd actually PREFER to practice with headphones on!

          I'm thinking about getting one of those 2.1 channel amps that are becoming so common these days. Using Class D technology, these little amps cost under $100 and include built-in subwoofer circuitry. I'd send the bass to the 15" woofer in the Allen console and then use my pipes and/or some other decent mid/treble speakers for the rest. I believe the Allen 15" woofer won't exhibit the "F" note hump I'm getting from the old cheap Makin woofers, at least I've never heard anything like that from an Allen internal speaker system.. Thus a modern 2.1 channel amp would replace the T-50's and cure my resonance at the same time. I'll check into that.
          John
          ----------
          *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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          • myorgan
            myorgan commented
            Editing a comment
            John,

            Try placement changes. You never know.

            Michael

          • jbird604
            jbird604 commented
            Editing a comment
            Yes, speaker placement is part of the problem. I tried moving the Makin woofers into and out of the corner, and found some degree of improvement with the cones facing the wall and about 6" away. But the resonance is still there. I'm working on what I think will be a good solution. See my next post about the inexpensive amp I just ordered.

        • #36
          Found this nice 2.1 channel amp on Amazon that fills the bill perfectly. Not terribly bigger than a smartphone, but pumps out 200 watts total on three channels. I've used Fosi amps before, and found them to be extraordinarily quiet and of great quality. I believe the last Fosi amp I ordered even had very effective built-in muting, though I wouldn't swear to that.

          https://www.amazon.com/gp/product/B0...?ie=UTF8&psc=1

          Just over $80 with taxes and free shipping. It has adjustable bass crossover frequency and adjustable subwoofer output level, as well as typical bass and treble controls and general volume. Makes it unnecessary to renovate the old T-50 amps, and I'll get a dedicated bass channel to play through that 15" speaker in the console. Use my pipes and some small bookshelf speakers for the upper ranges, and place them wherever I like.

          Now to wait, as Amazon of course is prioritizing shipment of essential goods and this unit may not arrive until mid-May.
          John
          ----------
          *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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          • #37
            Well, everyone's view of "essential" is different I suppose. I kinda think it IS essential for you though ! LOL A bit more seriously though, you really think that will hold up for organ use ? Maybe I not keeping up with modern amp design and technology, but to me the small size says it may work for a while, but it will blow up sooner rather than later. But then you say you have used them before, so you must know. I just find it hard to believe that a tiny one like that would work well.

            BTW, when I just looked at it now, Amz says I could have one on May 9th
            Regards, Larry

            At Home : Yamaha Electones : EX-42 ( X 3 !!! ), E-5AR, FX-1 ( X 2 !! ), FX-20, EL-25 ( X 2, 1 chopped, 1 not ). Allen 601D, ADC 6000D. Baldwin 626. Lowrey CH32-1. At Churches I play for : Allen Q325 ( with Vista ), Allen L123 ( with Navigator ). Rodgers 755.

            Comment


            • jbird604
              jbird604 commented
              Editing a comment
              Yes, these little Class D amps are amazing and yet puzzling.... the tiny size doesn't inspire confidence, as we're used to seeing a 100 watt amp that weighs 20 pounds instead of under 1 pound.  But to give one example, we recently put one of these Fosi amps into a Baldwin organ in one of our churches. Their old amp died last fall, so I got them one of these Fosi Class D amps and did away with the monster old amp. It sounds great and fills the room. Even after playing it LOUD for an hour or two, it is barely warm to the touch, almost makes you wonder if the thing is really turned on!

              My hope is that these little things will turn out to last for decades, since they seem to run cool and have such clean sound.  Time will tell.

          • #38
            Update on my organ nook speakers.... I got busy and moved stuff around so I could get to the Makin woofer box. It has been crammed into a tight space between my desk and the wall ever since I brought it to the house. The cones were facing the wall right in the corner. So I turned it around. The cones now face outward, but there is a bookcase that has to sit in front of the box, partially in front of the cones. So the cones aren't actually blocked, just sort of working through some obstacles. Speaking much more freely than they did when faced into the wall.

            Well, that certainly helped. The bass peak on "F" isn't completely gone, and it may be partly an anomaly of these 10" foam-surround woofers, each one housed in a sealed compartment just over one cubic foot. I hold out hope that once I have my 2.1 amplifier and can transfer the bass to the Allen woofer in the console, the resonance will be gone.

            But yes, speaker placement does have a very large effect on this sort of thing.
            John
            ----------
            *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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            • #39
              More on the current adventure... Getting those woofer cones turned around has made a huge difference in my enjoyment of the sound. I'm really surprised to learn that the woofers were producing such a large response peak due to being faced into the wall, even though they were four to six inches away from it. I'll think twice before I set up any speakers like that again.

              A new frequency response irregularity is now apparent, this time in a higher range. The note "D" in the fourth octave sticks out in any chord, regardless of the registration. Since the peak is clearly audible on an 8' flute stop, I'm led to think it's the 8' pitch that's being exaggerated. The fundamental frequency of that note is about 587 Hz, well within the overlap where the crossover in these old Makin speakers takes place between the 10" woofer and the 6" midrange. I may not be easy to tame that resonance, though I may try adding more inductance to the woofer crossovers to intentionally shelve that octave. Or I could reduce the size of the series caps going to the midranges, to force the crossover to take place a little higher up.

              A new wrinkle -- Has anyone else felt that the real problem with MOS sound is in the mixtures, and to a lesser extent in the mutations? Yesterday I was making a simple hymn recording as a worship aid for the church, and found that I was happier with the sound without any mixtures at all. I used a single 8', 4', and 2' stop on each manual, adding the 1' flute in the swell, with swell to great coupler on. This sound wasn't bad at all. The mixtures are just not pretty on this thing, too brassy, I think, too much of the fifth-sounding portions.

              I wound up making my little recording using only MOS sounds at 8' up through 1' for the plenum. Then on the final phrase I soloed the melody with the Festival Trumpet from the Ahlborn module, which is quite a bit more exciting than the MOS reeds I had used previously for that purpose.

              Another useful discovery -- I set up a program on the Lexicon that produces just the TINIEST amount of detuning, far less than the "fake celeste" tuning program I was using for that demo up there somewhere. It's so slight that you have to listen to a single note to really know it's happening. But it fattens up the sound a little, just enough to break the sterility of MOS. I kinda like it, maybe I'll make a recording.
              John
              ----------
              *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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              • #40
                John,

                Just when I thought you knew it all, you reveal more learning! Personally, I don't have much experience with MOS-1 organs, but I did play for years on my MOS-2 before relocating it to a church in need. Personally, I found the organ was weighted a bit much on the high end, so I ended up tweaking the bass controls on the DAC-3 (maybe DAC-4) so I could hear the 32' better (speaking diagonally across the church).

                With the MOS-2, I discovered the Mixture III on the Swell was pitched much brighter than the Mixture IV on the Great. In the overall scheme of things, I added the 1' first, Mixture IV on the Great second, then finally the Mixture III on the Swell with full organ.

                When I finally read up on it, the III rank mixture starts with a higher base pitch, and breaks back in fewer places that the IV rank mixture which starts with a lower base pitch. It's important to know the pitches that comprise the mixture, and how those pitches end up when you get to the top of the keyboard. What helped educate me was the MOS Alterable Card ordering form I received. The ADC Alterable Card ordering form gives a much better description of how the mixtures are comprised. Let me see if I can find that information in my files.

                I hope this information helps.

                Michael
                Way too many organs to list, but I do have 5 Allens:
                • MOS-2 Model 505-B / ADC-4300-DK / ADC-5400 / ADC-6000 (Symphony) / ADC-8000DKC
                • Lowrey Heritage (DSO-1)
                • 9 Pump Organs, 1 Pipe Organ & 6 Pianos

                Comment


                • jbird604
                  jbird604 commented
                  Editing a comment
                  Thanks for the input on those mixtures. I think the MOS-1 mixtures in general are slightly more shrill (or just louder) than the regular MOS-2 mixtures. Playing around just now, I was liking the effect of using the mixtures from the Ahlborn module along with the foundational MOS voices. But my perception changes all the time. Tomorrow I may decide I don't much like that.

                  I'm also wondering if this D-note resonance is due to speaker placement, as with the other one. Could have to do with the speakers that are lying flat on their backs facing up at the ceiling. Perhaps the distance from the cones to the ceiling is some multiple of the note's wave length. Or the position of the mid/high cabinets relative to the back wall of the nook may be responsible. I'll try to find some wedges of felt or rubber and prop them up so they throw their sound upward at an angle instead of straight up, and we'll see if that makes for an improvement.

                  Well, at least I have something to look forward to!

                • Larrytow
                  Larrytow commented
                  Editing a comment
                  In the 4th octave of an 8' stop that D would be an open pipe of just under 1 foot long. The actual wavelength that is created is two times the length of an open pipe ( pretty sure - textbook not at hand ), so just under 2' long. So if the speaker is some multiple of that away from a corner, that might be an issue ? Seems strange that the resonance would be that high pitched though.

                • jbird604
                  jbird604 commented
                  Editing a comment
                  I guess it's more likely to be a peak in one of the drivers. I won't spend a great deal of time on it, since I use headphones much of the time anyway.

              • #41
                Just a quick note on this 64th of Whateveruary.

                The good thing about having all this free time is that I can sit down and play for a while, then go do something else and come back to it. So I've had multiple practice sessions short enough to prevent ear fatigue. Opportunities to listen with a clear head and open mind.

                After some waffling, I'm nearly convinced that I can safely do away with the MOS sounds, except for the pedal stops, since the Ahlborn has such a paltry pedal. Today I've done nearly all my practicing with only the Ahlborn stops and the MOS pedal. While the stop list is quirky -- lacking a 4' principal stop in either division, no reed at all in the great, among other deficiencies -- it is possible to register some very pretty combinations. Some sounds are to-die-for, such as the Gemshorn & Celeste on the swell, the Festival Trumpet, the lovely 8' and 4' flutes in both divisions. The 8' principal is nice, if a little too polite. As with any organ, you can't get exactly what you want, but there's enough good stuff here to make for sufficient practice and enjoyment.

                I was looking at the layout of the console today, pondering where I might cut a hole big enough to slide the Ahlborn module in. To put it where I want it -- right in front of me, under the music -- I'll have to whack out a chunk of the stop rail, and all the MOS stops, except the pedals, will be gone for good. Of course the eventual goal is to replace everything with one good VPO, and put the MOS stop rail in the dumpster. It's just a little scary to actually do away with a big part of the organ, knowing that once it's done I can NEVER bring it back!

                So, as I'm writing this, it occurs to me that I haven't even tried using the old Content module yet. Maybe, just maybe, I'd have a rather complete organ by combining the Content and the Ahlborn stops. Might even do without the MOS pedals. Then I could truly start to remodel the console in the direction of my long-term goal... So I need to hook up the Content and see how it sounds with the Ahlborn.
                John
                ----------
                *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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                • myorgan
                  myorgan commented
                  Editing a comment
                  Don't forget the reeds, John!

                  Michael

                • jbird604
                  jbird604 commented
                  Editing a comment
                  Well, I did say some good things about the MOS reeds the other day. But honestly, today, just listening to these lovely and fairly realistic sounds from the Ahlborn, and going back and forth to the MOS sounds, I just don't think any of the MOS stuff is good enough to make me want to preserve it for long. The Ahlborn has beautiful reeds too.

                  Once I feel that I'll be satisfied with what I can get from the Ahlborn, supplemented by EITHER the Content module or the MOS pedal division, I think I'll just bite the bullet and whack it off. I do hate to lose that beautiful Krummhorn on the great!

                  It would be harder to let the MOS go if this were an upscale model. If it had a capture action, or if it were a double-computer model, or had divided expression or a crescendo pedal or any other deluxe features. But fortunately or un-, this is a barebones MOS organ, and there's not much to lose.

                • samibe
                  samibe commented
                  Editing a comment
                  Since you already have the MOS audio being routed out of the organ at line level, why not record some samples of the stops you like from the MOS. If you really miss them down the road, you could add them to a custom VPO.

              • #42
                John, you are resisting the inevitable - abandon all of that obsolete TG hardware, including the Ahlborn, and embrace Hauptwerk in all of its glory! Now that you have MIDI out from the console you are all set. I promise you will never go back to hardware tone generation in your music nook.

                (And this coming from a guy who made some of his first posts on this Forum in 2014 saying that such a thing was "un-natural" and that he would never do it! The times they are a changin.)
                Last edited by AllenAnalog; 04-21-2020, 09:23 PM.
                Larry is my name; Allen is an organ brand. Allen RMWTHEA.3 with RMI Electra-Piano; Allen 423-C+Gyro; Britson Opus OEM38; Saville Series IV Opus 209; Steinway AR Duo-Art, Mills Violano Virtuoso with MIDI; Hammond 9812H with roll player; Gulbransen Rialto; Roland E-200; Mason&Hamlin AR Ampico piano, Allen ADC-5300-D with MIDI.

                Comment


                • tbeck
                  tbeck commented
                  Editing a comment
                  What AllenAnalog said!
                  Last edited by tbeck; 04-22-2020, 05:01 AM.

                • myorgan
                  myorgan commented
                  Editing a comment
                  Larry! So now you're the type of person who walks up to the fellow standing at the edge of the cliff and says, "JUMP!!!"

                  Michael

                • AllenAnalog
                  AllenAnalog commented
                  Editing a comment
                  Michael, as someone who owns far more obsolete technology that I am willing to admit in public (getting rid of which has greatly delayed my move) my attitude has definitely shifted. It's always good to have someone without any emotional attachment to STUFF push you a bit.

              • #43
                I'm definitely a little closer to the edge of that cliff today! The dismemberment of the Allen console will soon begin, and the ultimate goal is of course a VPO. The main thing standing in the way is a dedicated computer to run one, and of course the money and time involved. Not beyond reach, but I'm taking one step at a time. Here's what has happened so far today:

                Got the Content box hooked up alongside the Ahlborn so I can compare the two and try using them together. The old Content thing is a little rougher than the Ahlborn, but it is far more refined than the MOS sound. A side effect of disconnecting the MOS from my mixer -- the sound is cleaner out of the speakers. The old MOS system surely needs more maintenance than I've given it, and contributes a level of noise and hum that I was ignoring until I noticed the absence of it.

                The Content has a big 16' pedal subbass that will suffice to undergird any kind of registration, making up for a major shortcoming of the Ahlborn. Has a pedal volume control, so can be a soft 16' when needed. The Content pedal also includes 8' and 4' flues plus reeds at 16' and 8'. That makes the MOS pedal obsolete. For the most part, the Content has the stops that the Ahlborn lacks, and even does it better in one way -- I much prefer the Content's mixture.

                What's awkward of course is having to register on two different control panels. When I remove the Allen stop rail and set them side by side over the swell keys, it will be easier. And that of course is a temporary measure -- a touch screen to control a real VPO is eventually going to replace them both.

                Just for kicks, here's what the stop list looks like when the two are interleaved. Asterisk (*) indicates Content stops, the others are Ahlborn.
                Wouldn't you think this a fairly decent and complete 2m organ if you saw these on the tab rail? It even has that 32' pedal reed that Michael wanted for so long!

                PEDAL
                Contre Basse 32
                Contre Gamba 16
                *Subbass 16
                *Gedeckt 8
                *Octave 4
                Contre Bombarde 32
                *Bombarde 16
                Bombarde 16
                *Trumpet 8
                Swell to Pedal
                Great to Pedal
                [I'll preserve the Allen's manual to pedal couplers,
                as both boxes do respond to them.
                I'll relocate them to the rocker tabs at left end
                of the Great manual.]

                SWELL
                *Gamba 8
                *Voix Celeste 8
                Gemshorn 8
                Gemshorn Celeste 8
                *Gedeckt 8
                Flute a Cheminee 8
                *Flute 4
                Koppelflote 4
                *Flauto Dolce 2
                *Larigot 1-1/3
                *Sequialtera II
                Plein Jeu IV-V
                Bombarde 16
                Harmonic Trumpet 8
                Corno Di Bassetto 8
                Clairon 4
                *Vox Humana 8
                Festival Trumpet 8
                *Tremulant (Content voices)
                Tremulant (Ahlborn voices)

                GREAT
                *Principal 8
                Principal 8
                *Rohrflote 8
                Holzgedackt 8
                Flute Harmonique 8
                *Octave 4
                Flute Octaviante 4
                *Quinte 2-2/3
                *Octave 2
                Octave 2
                *Mixture IV
                Cymbale III
                *Trumpet 8
                *Tremulant (Content)
                Tremulant (Ahlborn)
                *Swell to Great (Content)
                Swell to Great (Ahlborn)



                John
                ----------
                *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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                Comment


                • tbeck
                  tbeck commented
                  Editing a comment
                  Looks like you're only missing an 8' principal in the pedal.

                • myorgan
                  myorgan commented
                  Editing a comment
                  Awww, who needs one of those, Tom? After all, it's only an organ!

                  I'd miss the 1-3/5' as well as not having more than one Celeste–especially a Flute Celeste!

                  Michael

                • tbeck
                  tbeck commented
                  Editing a comment
                  The swell doesn't have a Nasard either, so you're out of luck on the Cornet. But there is a sesquialtera.

              • #44
                Y'all are much tonier players than I am. I wouldn't know a cornet if it knocked on the door!

                Yes, there are notable omissions, and I would love to have a flute celeste. And a Krummhorn, and some chimes, and a just-right manual double, such as a soft 16' Gemshorn on the great. But beggars can't be choosers. The VPO will happen eventually...

                Other than the persistent acoustical weirdness (certain low "F" and high "D" pitches sticking out), it sounds pretty good, far better than the MOS. Once I get the 2.1 amp that I ordered and move the bass to the console speaker, that may help, and I'm going to try different mid/treble speakers too.

                It's beginning to sound good enough that I could get by with it for a while. Could be just that I'm fresh from tolerating that MOS, but I could almost say that this Content/Ahlborn hybrid sounds about as good as any organ I've had. I'm sure it's better than most of them anyway.

                Right now I miss having an expression pedal and pistons as much as anything else. Still waiting for those white buttons to arrive from China, and I'll need to add some kind of MIDI encoder to wire to the pistons. The expression is something I'm still pondering -- the HLabs board has terminals to wire it to the expression pedal, but I'd still prefer to use LDR expression if I can make it work.

                Soon I'll get out the handsaw and remodel the console, now that I've ditched the MOS stops completely. And at least I'm getting to PRACTICE every day!
                John
                ----------
                *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!

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                Comment


                • myorgan
                  myorgan commented
                  Editing a comment
                  What you really need, John, is a big room with all generations of organs so you can hear them and play them in the same acoustical environment. That would be fun!

                  Michael

                • jbird604
                  jbird604 commented
                  Editing a comment
                  Yep. That's what I've been wanting all my life! Of course I do have my "shop" -- about a dozen old organs in there of various makes and models. Sadly, most of them don't work...

              • #45
                John, I probably have some of the same Chinese white buttons on order for my pistons I recently added a third manual to my Galanti P2 and am just waiting on some bits and pieces to midify my expression pedals. I am using inputs from the gutted Korg K61 I used for my 3rd manual along with some new 10k pots and some MacGyver'd belt/gear setup to make it work.

                I tore a USB keyboard down and am working through getting a wiring setup that will work with the pistons. Essentially a piston press with be received by GrandOrgue as though it is a keyboard keystroke which I can map to any function within GrandOrgue. I had a keyboard laying around and just need to map out my matrix for it to work. I'll be using some terminal punch down blocks to minimize soldering and make it easier to swap things around. That should be more than enough functions for me.

                The final thing will be woodworking on the console to button it up. I'll need to make a piece that will cover where the stop jamb used to be as well as some cover plates on each side and key cheeks. I'll make sure everything is working well before doing that though.

                Thanks for documenting your project. Any reason you aren't doing this in the Virtual Organ section?

                Comment


                • jbird604
                  jbird604 commented
                  Editing a comment
                  I hadn't really realized how much the thread is drifting toward being about a VPO. At this point, I still have a midi-fied old clunker organ supplemented by a pair of outdated tone generator modules! But once it becomes an actual VPO, I'll need to move the documenting of it over there. Thanks, everybody!

                • myorgan
                  myorgan commented
                  Editing a comment
                  You should be a politician, John! Bait-and-switch topics. How dare you?!!!

                  This is a very interesting topic, and wherever it ends up, I'll be reading it with great interest with the future of my instruments in mind. You're providing lots of useful information!

                  Michael

                • jbird604
                  jbird604 commented
                  Editing a comment
                  Michael, I know you love "comparison" recordings, so I'm planning to do one, perhaps tomorrow, if I can get the time. I re-connected the MOS outputs to the mixer tonight just so I could hear all three sound sources in A/B/C style. The side by side comparisons are interesting, and I hope to be able to share some of that. What I can't compare to these three is a real VPO of course, but the contrasts among MOS, Content, and Ahlborn are fun to hear.
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