This is a revised video about the Grand Cornet with a new section to replace the one which had terrible audio quality, and quite a bit more detail. The rest of the video is from October 2023.
Same here in Michigan. Wow this guy has a Time Machine. He should go back to when to organ was built to find why certain things were done the way they were.
I’ll be visiting the Boardwalk hall next month on the 12th of June 🙃 Doing the tour at 10am. Then the train to Philadelphia to listen to the Wanamaker concert at 5pm. Looking forward to it 👍
This is really neat! I especially enjoyed the bit of playing at the end and hearing how it sounds-it’s really nice. I think if the pipes were completely tuned it would sound even better =)
But seriously, I think you're right about the stop being essentially a 16' stop. The 10 2/3' serves mainly to provide that "grainy" sound you mentioned in the previous version (this is almost always the appearance of some faint subharmonic pitch) and give it that nice percussive punch.
By the way, I wonder what it would sound like as a solo stop in a French 'Tierce en taille' type of piece? (Only because I just listened to one of those pieces.)
It’s amazing to see this stop restored! Thank you for the contribution of your time and money to bring this back online. Out of curiosity, does the stop make more sense played with the Great reeds? I understand the composition is untraditional for use as a solo stop, but is it possible Richards designed this to fill the ‘other’ role of a Cornet-bolstering the mid range and treble of the reed chorus? Even the 10 2/3 aligns with Richards’s own observations about the role of quints emphasizing reed tone (I think at one point he mentions drawing the 5 1/3 to emphasize the 8’ reed). To an outsider, it makes a lot of sense to supplement the minimal great read chorus (even with the Brass chorus)
In the contract, Richards wrote: "Shall be of full scale and dominating quality, particularly adapted to form the top to the entire chorus, with the exception of Diapasons I to III". So make of that what you will!
Well done, fascinating….I've been a huge fan forever of this instrument…..organist as well
Thanks for redoing the rundown on this, and schooling up on all the other points of interest. It's just amazing how complex is thing really is.
This takes the “mixture” idea to new extremes.😁
No mistaking Robert Elmore’s sound…. Well done!
it's still May 13, 2024 here😅😄(Netherlands)
Same here in Michigan. Wow this guy has a Time Machine. He should go back to when to organ was built to find why certain things were done the way they were.
@@craigbrown7929 In a day you're going to forget that 😆
Wow, I think you were absolutely correct about this being used in Elmore’s recording! Love it!!
Richard could have the stop list he wanted had he dialed back the mixtures.
I’ll be visiting the Boardwalk hall next month on the 12th of June 🙃 Doing the tour at 10am. Then the train to Philadelphia to listen to the Wanamaker concert at 5pm. Looking forward to it 👍
This is really neat! I especially enjoyed the bit of playing at the end and hearing how it sounds-it’s really nice. I think if the pipes were completely tuned it would sound even better =)
I love the 11 reference too, hehehe. Sneaky Chris.😅
WOW it's still going more impressive than it already is :)
But seriously, I think you're right about the stop being essentially a 16' stop. The 10 2/3' serves mainly to provide that "grainy" sound you mentioned in the previous version (this is almost always the appearance of some faint subharmonic pitch) and give it that nice percussive punch.
The shock when you suddenly hear your name mentioned in a video from the other side of the Atlantic...!😅
By the way, I wonder what it would sound like as a solo stop in a French 'Tierce en taille' type of piece? (Only because I just listened to one of those pieces.)
@@HenrikBergpianorganist I think I brought some Couperin with me, so I could try it.
That's some grand corn, eh? 😋
It’s amazing to see this stop restored! Thank you for the contribution of your time and money to bring this back online. Out of curiosity, does the stop make more sense played with the Great reeds? I understand the composition is untraditional for use as a solo stop, but is it possible Richards designed this to fill the ‘other’ role of a Cornet-bolstering the mid range and treble of the reed chorus? Even the 10 2/3 aligns with Richards’s own observations about the role of quints emphasizing reed tone (I think at one point he mentions drawing the 5 1/3 to emphasize the 8’ reed). To an outsider, it makes a lot of sense to supplement the minimal great read chorus (even with the Brass chorus)
In the contract, Richards wrote: "Shall be of full scale and dominating quality, particularly adapted to form the top to the entire chorus, with the exception of Diapasons I to III". So make of that what you will!
The Senator was either crazy or a genius….
I vote Genius, that Grand Cornet to top the full great is incredible
A video from the future!
Just a tipp: maybe put a little bit less compressor on your wireless mic in the mix. That would be nicer to listen. Thank you
I don't have any compression on it to begin with...that I know of.
Chris, what pedal pipes were you using at the end? Gave it some really nice foundation 😀
Nothin' but a Cornet thing 🤣
Seriously the bass offsets for that stop weren't even connected yet!
@@cnagorka wow, nice low end!
@cnagorka would supposedly give a 32ft-ish resultant ?
Brant Duddy is still with us?....
Very much so, he's working on pipes about ten feet away from me!