reed stop การใช้

• This allows reed stops to imitate historical musical instruments, such as the regal.
• The roof was removed, and the reed stops in the Great division were restored to their 1924 wind pressures.
• The Notre-Dame organ is therefore unique in France in having five fully independent reed stops " en chamade ".
• This instrument was praised by John Stanley, who declared  every pipe in the reed stops to be worth its weight in silver.
• Some characteristics of this organ remain unique and reflect Cavaill?Coll s genius : his specification retains most of the former reed stops.
• He also added reeds of his own design, making an exceptional total of 23 reeds stops, being 1 / 3 of the entire organ.
• The restoration also included a number of additions, notably two further horizontal reed stops " en chamade " in the Cavaille-Coll style.
• Because of the low frequencies involved, and because the diaphone is voiced to imitate a reed stop, the transition from reed to diaphone cannot be heard.
• According to Praetorius, the reed stops of pipe organs required constant tuning; he emphasized the fact that the pitch of the stop fell in summer and rose in winter.
• Furthermore, given a poor supply of reed stops and flying the registers to the third manual, three new records were added, including oboe 8'and Item Celeste 8 '.
• The organ was fully restored by Foley-Baker Inc . of Tolland, Connecticut, in 2009 . Broome & Company of Connecticut restored the existing reed stops and added a new unenclosed Festival Trumpet.
• In England and France, the word " regal " was sometimes applied to reed stops on the organ; Mersenne ( 1636 ) states that the word was applied at that time to the vox humana stop.
• Another conspicuous feature in both Portugal and Spain was the horizontal placing ( " em chamada ", the Portuguese called it ) of particularly powerful, strident reed stops, very useful for imitating trumpet fanfares.
• New ranks of pipes have been added over the years include the Great Mixture, mutations in the Swell, the reed stops ( Trumpet 8'and Clarion 4') and the Subbass 16'in the Pedal.
• In 1910, ?20 was spent on some tonal alterations made by Hele & Co; a Posaune reed stop ( a typical Edwardian measure ) and Small Open Diapason were added and the two original mixtures were removed from the Great and the Swell.
• For pedal parts that need accentuation, such as the Cantus Firmus melody in a 17th-century organ piece, many organs have a nasal-sounding reed stop in the pedal division, or a 42 Principal designated on the stop knob as " Choralbass ".
• It includes the reed stops ( usually consist of trompette 82, Clarion 42, Prestant 42 and Cornet s閜ar?( or Cornet V ), which comprises Bourdon 82, 42, 22, Nasard 22, Tierce 12 . ) in homophonic sections of larger pieces or standalone " pr閘udes ".
• The original Cavaill?Coll console, ( which is now located near the organ loft ), was replaced by a new console in Anglo-American style and the addition of further stops between 1965 and 1972, notably in the pedal division, the recomposition of the mixture stops, a 32'plenum in the Neo-Baroque style on the Solo manual, and finally the adding of three horizontal reed stops " en chamade " in the Iberian style.
• There are generally two main types of reed stops : " chorus reeds " ( such as the Trumpet, Clairon and Bombarde ), whose main function is to blend with the flue stops and reinforce the full organ; and " solo reeds " or " orchestral reeds " ( such as the Clarinet, the Oboe, and the Cor Anglais ), which often ( but not always ) imitate orchestral instruments, and are used for quieter, solo passages ( similar to woodwinds in an orchestra ).