John
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Yes...that's the general idea....the more places you can separate voices and percussions, the better to orchestrate the music at hand. There is a whole new school of thought evolving right now with some of our younger, and more open minded theatre organists. The main thought seems to be of creating a true "symphonic" solo instrument out of a theatre organ, by adding the "foundational" elements, (principals, large scaled strings, etc.) to the instrument, and making a huge battery of "preset" combination pistons available. These additions will be a welcomed change for artists like J. Eddington, who have extensive abilities to play all sorts of transcriptions, both in classical music, as well as popular.</P>
This "new school" is being met, of course, with much objection by "the purists", who want the theatre organ to remain unchanged. I, for one, am excited about the proposed changes to the instrument....it would open up a whole new concert venue to theatre organs, and hopefully, invite new music to be written for it, as well as new audiences. </P>
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I've ended up at that article so many times looking for more information on the dekalb wurlitzer. It contained every rank wurlitzer ever made. Too bad it was only around for five years.
I am lucky. I have heard this organ in concert in deKalb. It was glorious! A demo of the complete diapason chorus using all the diapasons was grand!</p>
There was a picnic barbeque arranged by a local club. My friend and I found it necessary to go to deKalb to visit the GE motor plant which occupied the former piano factory where Wurlitzer pianos were made. The picnic dinner was great, the organ was stunning and a good time was had by all. The time frame was the early 80's.
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