sub octave and unison off couplers

[solotibiaclausa]

Re: sub octave and unison off couplers

A huge mesh of strings sounds beautiful. On our organ at church can put
the dulciana and unda maris coupled 16' 8' 4' to the swell and on the
swell put the viole de gambe and celeste at 16' and 4'. Sounds
great!

[tumult_in_the_praetorium]

Re: sub octave and unison off couplers

I tend to use sub and super on the Celesteson the closing barsof the Benediction Nuptiale by Saint-Saens. Anyone familiar with this piece will realise that the final chord is played without pedal, so adding the sub-octave adds a bit more fullness to the overall sound, whilst the super-octave adds a touch of magic to the sound. The opening of the Cortege et Litanie by Dupre - likewise, but without sub-octave. (whilst trying to re-create Wanamaker on a 3-manual Hill, Norman and Beard!).

Timothy-James Guntrip

[back52887]

Re: sub octave and unison off couplers



Second on that from me, also on the reeds. If you have a small unified, instrument ( and there are a lot more small organs around than large) with the only reed being a Trompette8' on the swell, the super and sub couplers still let you get an exciting full chorus. If you lack upperwork -as many older units do -the sub coupler and playing the hymn up an octave gives the congregationthe fuller support they need. This is especially useful on surviving electronics from the 50s and 60s that you still find in mission churches, parish halls, andchildren's chapels.[:-*]

Lee