THese two men are God incarnate. And God definately has a fine sense of humour. What a joyous piece. Perfect silent movie music. 5 stars. Thanks, boys. You did great togeather! Also, that Compton TPO really kicks serious ass. It is possibly among the top ten TPO's in the world. The filming of this video was superb. Nice teamwork, aye.
Really Great in all aspects. Even a bit of a tutorial on what a theater organ is all about. More Please! A truly wonderful music video for generations in the future to enjoy!!
Thanks John - I've now watched this 12 times and I'm still loving it. So glad you captured this wonderful duet. I have never heard such a lift in piano accompanying organ - piano beautifully in tune too. Your two musicians have a fantastic musical bond. Thanks again.
@@JohnLeeming23 I do like the way you show us 'behind the scenes' of the delighfully 'mechanical' Compton. I hope to be assisting in some aspects of one locally to me during 2020, so this inspires me by reminding me of the magic of the Compton. It was also 6 years ago tonight that I had the sad honour to power down the former Hadleigh Kingsway Compton for the final time in 2013.
I've listened to three of y'alls tunes now and I'm thinking this was what it must have been like to attended an organ concert back in the Movie Palace Days.
The relays were akin to the old GPO Cross Bar system and were very reliable and sturdy in construction. Siver cross bars and silver wire contacts that were self cleaning can still be found working today as good as they were in the 30's. Another device encountered in the compton was the Melotone unit. An electrostatic generator that produced a haunting sound. this tone generating system went on to be used in the compton electronics in the 40's and 50's a bit like the Hamond system
Thanks for sharing this. The two players are obviously very accomplished musicians, so the means available and musical skill combine to create a great sound. This clip provides a look around the special effects too . God bless those organ builders and all the innovations they so carefully put together. It is so worthy of preserving and revisiting, even though the halcyon days of 1930 have past.
It probably matched his Bentley. Conn used orange, but along with other colors,,,but then some will yech the electronic organs. I love them- Electrostatic reed Wurlitzers are great! This Compton has something electrostatic going on too maybe.
Just fantastic musicianship. Reminds me of a piece by my Grandfather called "Spooky" dated about 1938. I guess Louis Mordish and Jack Simpson knew each other.
Hotter than Hot!!! Superb arranging and playing from my two favorite cinema organists! Excellent videography and editing as well. Certainly the finest duet playing that doesn't require a pianola. ;)
@TheBaritoneCrooner, yes that's the Vitavox speaker of the Melotone. Series 2 Melotones had a dual-channel amplifier and two separate compression drivers mounted on a Y-throat horn.
Usualy there were two main wind pressures employed in a Compton, 10" and 15" water guage. However there were a number of minor variations where tuber's were on 20". Flue work and soft reeds like Vox's and Clarinets were on 10, while tubers and trumpets along with the tibia clauser ( The main stop of any theatre organ, wurlitzer or compton etc ) were on 15. Generaly 7 ranks or so in a compton made as much sound as 10 or so in a wurlitzer, but a lot depended on piston settings.
I do love it how the theater organs are essentially cobbled together of whatever instrument pieces that happened to be lying around. Sounds absolutely amazing.
Ilikeng They shouldn't be just cobbled together, though it's true that some have been. A good theatre organ is always the result of careful planning, sensible selection of ranks, correct winding and tremulation, and appropriate voicing and regulation.
Wurlitzers had coloured stop keys as well. It was all about regognising the layout in dim lighting settings, and as the instrument was hand played it would be necessary to make stop changes by hand at speed and or to use the preset buttons or pistons as they were called
Excellent. I wish that Simon and Richard would consider recording an album entirely of Light Music. It is a genre that is worth revisiting Thanks for such a great and skilled performance .
@kiwiplant The rotating motor thing is one of the Melotone generator discs. It wobbles to provide the vibrato. Notice also a quick glimpse of the 1930s valve (tube) line-up in the Melotone amplifier at the end.
@@Elhombresombra It's not the grandfather, more like the brother.. They were both developed around the same time. Both the Melotone and the Hammond organ began to become available in 1935
Good evening John!! What a pleasure to get an answer from you! The video was posted 8 years ago, I didn't dare to hope you were still following this thread... ^_^ I must tell you that I downloaded all these videos in HD, and listening the audio track on a broadcast-grade audio system is nothing short than GLORIOUS! I had so many questions to ask about that magnificent Compton, but the surprise of getting in contact with you has sort of erased my memory! :0)))) Just one curiosity, for the moment: another video of this "series" (right now I can't remember which one) features a short sequence of "the gang" starting up the blower... but the air intake was OUTSIDE of the building! That means that the air comes from an environment with a temperature that might be very different from the temperature of the pipes, which are INSIDE the building... something that any book about organ building warns against (if you suck cold air from outside in winter, and blow it in the warm pipes at room temperature, the organ would go out of tune almost instantly). How did they come out of this?... Thank you so much in advance! :0)
@@Elhombresombra Thanks very much for your response and your kind words. As far as the air intake is concerned, if the video gives the impression that the air comes from outdoors, then it is misleading. I can assure you that the intake is very much indoors!
Ooooh thank you John! It actually seemed TOO strange to be true! I must tell you that quite a few of my friend are organists, and the best of them, without exception, are completely, hopelessly NUTS! :0) It seems that, among organists, the "degree of nuts" is directly proportional to the degree of musicianship! (by the way, you have a "friendship request" from me pending on FB ;0) I have just a couple of very short questions about the "Melotone"... I have a soft spot for that kind of vintage sound equipment, they were so ingenious and achieved so much with the primitive hardware and technology they had in those times...
Ja, er zijn veel organisten die aan de weg timmeren, maar Richard Hills is nu mijn favoriet, samen met Simon Gledhill Ik verbaas mij overigens over de goede volumeverhoudingen. Overigens heb ik vaak op het Compton orgel van de AVRO mogen spelen, maar na het zien en beluisteren van deze "musicmakers" ga ik maar iets in de tuin doen ofzo en verkoop mijn 2 Hammonds en mijn Wurlitzer Centura (1974) Fred ten Broek.(nu "old"organ player)
Great video guys! As much as I love the theater organ as a solo instrument, in recent days I've become an even bigger fan of theater organ and - (piano, drums, percussion, vocals etc.) Hearing the T.O. in conjunction with other instruments gives me great joy. BTW, what is that large grey toned tuba bell seen next to the wall mounted tom-tom at about 01:10? Is that connected to the Melotone unit?
Yes, but the Tottenham Court Road establishment was, as far as I know, always called the Paramount. And, as I said, the organ didn't come from there - only the current console.
@Marshall7302 No - it is a Compton Melotone unit - invented by Compton about the same time as the Hammond - electroSTATIC rather than electroMAGNETIC tone generator.
Am I not correct in thinking that the 4/10 Compton-equipped Paramounts in London (TCR), Birmingham (New Street), Liverpool and Glasgow, as well as the Wurlitzer-equipped ones in Newcastle, Leeds (Balaban 4 3/19s) and Manchester (4/20 Publix 1), all ended up being taken over by Odeon? I know Odeon also took over some other chains - the Regals at Gateshead and Marble Arch both became Odeons.
It was written by Louis Mordish. I gleaned this information about Louis from the web: LOUIS MORDISH (1908-1996) was a versatile musician, cinema organist, pianist, conductor arranger and composer. His broadcasts were as organist and conductor. Although he played piano in many different ensembles during his long career, radio listeners in Britain will recall broadcasts by Louis Mordish and his Players for programmes such as "Morning Music" and "Music While You Work". He was also heard regularly on the cinema organ and continued to give occasional recitals until shortly before he died. Apart from a number of songs, his compositions were primarily orchestral: the suites New York, Legend of the Words and This Happy Health and individual genre movements such as the Can an Polka, Toy Shop Polka, Madrilena, Calling All Notes, Spectre on the Spree, Pattern in Rhythm, Mexican Devil Dance, Mexican Promenade, A Cuban Romance, A Spook Goes A-Swinging, described as a "rhythmic absurdity", and, featuring a solo for piano or xylophone Phantom Phingers.
Flues were white stop keys, Reeds were red or orange and couplers were black, the melotone were white with red letters. Stops are arranged in order of loudness and type. 32' reeds would be first with 32' diaphones next and 32' flues. Then came 16' s reeds, diaph's, and flues, 8' s, 4' s, 2' s etc until all ranks were used up on each department or manual.
Well actualy pipe metal was a blend of lead and tin 60/40 they were large scaled pipes and the cut-up was almost as high as the pipe was in diameter, they had a woofing kind of sound and guzzled a great deal of wind. Wind supply came from a 5 stage Discus unit capable of delivering in the regon of 6-800 cfm at a static pressure of about 20 -25inches water guage. Leakage was always a critical factor with older instruments and the chambers could be noisy places with just the blower running.
+John Leeming, I can't see the question you answered (YT is lame!) so please forgive me if somebody already asked the same things: the vacuum tubes seen here and there in this video and in another one of this series... what do they belong to? (BTW, glowing vacuum tubes and Melotone's motor-and-wheels contraption are the ultimate time machine to take you back to the '30s!)
@@Elhombresombra I think the questioner was asking what those things were. Many Compton organs from 1935 onwards had an electronic tone generator to provide additional voices. toff.org.uk/miscellaneous/melotone/
this is AWESOME... i have never heard a "Home" type install that sounded so happy. i love the video editing on the live traps and effects.. COOL stuff. was that actually a hammond reverb .... attached to a theater organ? that must be a first.
@@JohnLeeming23 Hello John! What a pleasure to see that you are still active here, after such a long time! Are you fine? And Simon and Richard are both fine, too?... Very difficult times in the UK, I know... :0( By the way, is there any new video (or, even better, a DVD...) from the Holbeach residence organ?... ^_^
@@Elhombresombra Thanks for your kind words. The most recent video from Holbeach was issued in 1920, and features Simon at the organ. th-cam.com/video/z9AijvmLGz4/w-d-xo.html
John Compton was primarily a church organ builder, and his theatre organs played like cathedral class organs without the trems running. In fact if you compare the pipework of both theatre and chuch organs you will see simalarities in the structure of the flue work it was only the scaling of the pipes and the cut up's that were higher in the cinema organs The tibia was the distinctive sound in the theatre organ, the better ones were of wood construction, though compton's were mostly heavy lead
I notice that on one close up of the marimba,the piano can be seen at the side but no Richard Hills-has he moved away or is it some clever video editing?
This is absolutely masterly - anyone who says otherwise is talking rubbish, hah! Would have been nice if the piano had been a Bösendorfer grand or some such, but you can't have everything in life!
+Gustavo Contreras - Unfortunately there isn't. To get them together for long enough to make an album would be difficult, since they are both very busy.
Whenever I feel low, I know, I can log into this track and have my spirit lifted up.
Thank you so much Guys
Listening to each of these fabulous musicians individually is great but to hear them playing together is out of this world!
A performance to die for, absolutely fabulous love the Boogie Woogie, the combined playing of this number just blows me away, fantastic.
merci pour c'est magnifique moment de musique si parfait merci encore from Quebec ,Canada
THese two men are God incarnate. And God definately has a fine sense of humour. What a joyous piece. Perfect silent movie music. 5 stars. Thanks, boys. You did great togeather! Also, that Compton TPO really kicks serious ass. It is possibly among the top ten TPO's in the world. The filming of this video was superb. Nice teamwork, aye.
Hervorragend das ZUasammenspiel mit Theaterorgel und Piano,- hier mit Simon Gledhill und Richard Hills!
Einmalig!
Wish I could have it in my car so I could drive down Woodward in Detroit and show the boy's what REAL audio sounds like!!
Really Great in all aspects. Even a bit of a tutorial on what a theater organ is all about.
More Please! A truly wonderful music video for generations in the future to enjoy!!
Nothing short of fantastic, there two are among the very best today. Hi Robert R!
Fantastic - a great contribution from my two favorite UK keyboard artists!!
Absolutely FAB, Respect &Blessings. From S&T in Essex
How enjoyable - I've not heard this before and what a joyous duet. Absolutely loved it! Thanks for sharing online.
Thanks for your kind words!
Thanks John - I've now watched this 12 times and I'm still loving it. So glad you captured this wonderful duet. I have never heard such a lift in piano accompanying organ - piano beautifully in tune too. Your two musicians have a fantastic musical bond. Thanks again.
@@JohnLeeming23 I do like the way you show us 'behind the scenes' of the delighfully 'mechanical' Compton. I hope to be assisting in some aspects of one locally to me during 2020, so this inspires me by reminding me of the magic of the Compton. It was also 6 years ago tonight that I had the sad honour to power down the former Hadleigh Kingsway Compton for the final time in 2013.
@@johng.lidstone2236 Yes, I remember the Kingsway Compton in both Rochford venues. Hopefully it will be heard again in due course.
With guys like you, the future of the theatre organ in this country is assured. Thanks for everything you do
Excellent. Thank you! Nice to know that there is still some Louis Mordish material available.
I had so much fun listening to this!! Love it!!
Glad you enjoyed it.
Absolutely great arrangement and you guys play it perfectly!... Good job... love it. The organ has all of the fun features too.
I've listened to three of y'alls tunes now and I'm thinking this was what it must have been like to attended an organ concert back in the Movie Palace Days.
Organ concerts in movie palaces still take place in many cities the USA, so you can enjoy the experience if you wish.
Absolutely amazing.. I could listen to this all day!
+Ty Carter - Glad you enjoyed it!
The relays were akin to the old GPO Cross Bar system and were very reliable and sturdy in construction. Siver cross bars and silver wire contacts that were self cleaning can still be found working today as good as they were in the 30's. Another device encountered in the compton was the Melotone unit. An electrostatic generator that produced a haunting sound. this tone generating system went on to be used in the compton electronics in the 40's and 50's a bit like the Hamond system
Spectacular collaboration! Two great musicians, one catchy tune, great playing AND a great video! It's already on my list of favorites! :oD
Thanks for sharing this. The two players are obviously very accomplished musicians, so the means available and musical skill combine to create a great sound. This clip provides a look around the special effects too . God bless those organ builders and all the innovations they so carefully put together. It is so worthy of preserving and revisiting, even though the halcyon days of 1930 have past.
There can be only one response to such a display: more please....
Excellent duet that is the nicest work I've heard on a Compton. -Klav
What can I say ... A fantastic performance by two fantasitic artists on a wonderful instrument. Keep 'em coming.
V. Lecha.
Musikalisch wie auch instrumenten-technisch ein Lekkerbissen. Und filmisch sehr hübsch angelegt - vielen Dank dafür!
Eckehard Lüdke, D - Kevelaer
Just Wonderful! I beg for more.
It probably matched his Bentley. Conn used orange, but along with other colors,,,but then some will yech the electronic organs. I love them- Electrostatic reed Wurlitzers are great! This Compton has something electrostatic going on too maybe.
Just fantastic musicianship. Reminds me of a piece by my Grandfather called "Spooky" dated about 1938. I guess Louis Mordish and Jack Simpson knew each other.
This was so delightful. I thoroughly enjoyed it.
You guys are such a kick to listen to!!!
The room this was recorded in us fantastic and should just have some impromptu informal jam session recordings done in it.
Simply superb!
Sensational! Very entertaining.
soooooooooooooo nice and well done!
Fun fun fun. Thanks Simon and Richard! -Darren F from somewhere where the tall corn grows..
Hotter than Hot!!! Superb arranging and playing from my two favorite cinema organists! Excellent videography and editing as well. Certainly the finest duet playing that doesn't require a pianola. ;)
Wonderful playing Richard is one talented guy
Wow does now cover it .... Outstanding collaboration.
Simply excellent.
Excellent playing and sound from both instruments. I hear these two play at Watford Town Hall a few years ago.
Je zal er maar naast wonen.:)
Wel heel apart dat ze een woning hebben ingericht om het orgel te herbergen. Chapeau.
Absolutely superb!
That was shear magic beautiful what a great combo
@TheBaritoneCrooner, yes that's the Vitavox speaker of the Melotone. Series 2 Melotones had a dual-channel amplifier and two separate compression drivers mounted on a Y-throat horn.
This really is as good as it gets. :-)
Awesome job guys.
Awesome.
Usualy there were two main wind pressures employed in a Compton, 10" and 15" water guage. However there were a number of minor variations where tuber's were on 20". Flue work and soft reeds like Vox's and Clarinets were on 10, while tubers and trumpets along with the tibia clauser ( The main stop of any theatre organ, wurlitzer or compton etc ) were on 15. Generaly 7 ranks or so in a compton made as much sound as 10 or so in a wurlitzer, but a lot depended on piston settings.
I've just come back to watch that once more. I'm sure I will again, too! Good video editing, by the way.
Thanks :)
I do love it how the theater organs are essentially cobbled together of whatever instrument pieces that happened to be lying around. Sounds absolutely amazing.
Ilikeng They shouldn't be just cobbled together, though it's true that some have been. A good theatre organ is always the result of careful planning, sensible selection of ranks, correct winding and tremulation, and appropriate voicing and regulation.
it cant be a Kimbartolitzer mashed into a mess
It would be amazing to see these two play together !
I love it! Absolutely fabulous. You seemed to be having great fun as well. Will watch out for more.
Wow! Tight arrangement, exceedingly well-played! Great fun!
@gramrfone YESSSSSS! A DVD is definitely in order! And I agree re: Eddington/Harris comparison and the superb editing as well. What FUN!
Wonderful! Love your playing....
L.O.V.E. I.T!! What a show!
Great tune, great playing and an excellent recording too, John. Thanks for posting!
great video, thanks for uploading, love this music so much. regards!!!
+Gustavo Contreras: Thank you for your kind words.
Superb!
Excellent audio quality!
Thanks! Zoom H4 with Sennheiser cardioid mikes.
Wurlitzers had coloured stop keys as well. It was all about regognising the layout in dim lighting settings, and as the instrument was hand played it would be necessary to make stop changes by hand at speed and or to use the preset buttons or pistons as they were called
Excellent. I wish that Simon and Richard would consider recording an album entirely of Light Music. It is a genre that is worth revisiting Thanks for such a great and skilled performance .
Baz, the organ is in a private house in Lincolnshire. Public events are not held there because of space limitations.
NOT the 5/21 screaming screecher from the Chicago Paradise as installed in the Vaughn residense, but the Pasadena studio organ.
I wonder if this comment was intended for a different video?
@@JohnLeeming23 Yes, it was. Sorry it wound up on this post.
@kiwiplant The rotating motor thing is one of the Melotone generator discs. It wobbles to provide the vibrato. Notice also a quick glimpse of the 1930s valve (tube) line-up in the Melotone amplifier at the end.
I just LOOOOOOVE them!!!! The grandfather of the Hammond organ in action! How ingenious...
@@Elhombresombra It's not the grandfather, more like the brother.. They were both developed around the same time. Both the Melotone and the Hammond organ began to become available in 1935
Good evening John!! What a pleasure to get an answer from you! The video was posted 8 years ago, I didn't dare to hope you were still following this thread... ^_^ I must tell you that I downloaded all these videos in HD, and listening the audio track on a broadcast-grade audio system is nothing short than GLORIOUS! I had so many questions to ask about that magnificent Compton, but the surprise of getting in contact with you has sort of erased my memory! :0)))) Just one curiosity, for the moment: another video of this "series" (right now I can't remember which one) features a short sequence of "the gang" starting up the blower... but the air intake was OUTSIDE of the building! That means that the air comes from an environment with a temperature that might be very different from the temperature of the pipes, which are INSIDE the building... something that any book about organ building warns against (if you suck cold air from outside in winter, and blow it in the warm pipes at room temperature, the organ would go out of tune almost instantly). How did they come out of this?... Thank you so much in advance! :0)
@@Elhombresombra Thanks very much for your response and your kind words. As far as the air intake is concerned, if the video gives the impression that the air comes from outdoors, then it is misleading. I can assure you that the intake is very much indoors!
Ooooh thank you John! It actually seemed TOO strange to be true! I must tell you that quite a few of my friend are organists, and the best of them, without exception, are completely, hopelessly NUTS! :0) It seems that, among organists, the "degree of nuts" is directly proportional to the degree of musicianship! (by the way, you have a "friendship request" from me pending on FB ;0) I have just a couple of very short questions about the "Melotone"... I have a soft spot for that kind of vintage sound equipment, they were so ingenious and achieved so much with the primitive hardware and technology they had in those times...
wonderful recording of excellent musicians - thank you very much! Does anyone know where to buy sheet music of this piece?
See below.
LOVE IT!
Nice and Catchy!
Ja, er zijn veel organisten die aan de weg timmeren, maar Richard Hills is nu mijn favoriet, samen met Simon Gledhill Ik verbaas mij overigens over de goede volumeverhoudingen. Overigens heb ik vaak op het Compton orgel van de AVRO mogen spelen, maar na het zien en beluisteren van deze "musicmakers" ga ik maar iets in de tuin doen ofzo en verkoop mijn 2 Hammonds en mijn Wurlitzer Centura (1974)
Fred ten Broek.(nu "old"organ player)
Great!!!
que maravilla con dos buenos pianistas las virguerias que se puede hacer lo dicho dos hombres orquesta muy bien
@samueladams7 errm, John Compton I believe, considering that most of the theatre organs he made, from around 1931 ish, had orange tabs!
THE BEST!!
All superlatives used by other commenters apply fo my comment as well.
Gledhill brings us the proper way to swing on the TPO.
The organ is not from any Odeon. The console started life at the Paramount in Tottenham Court Road, London. The pipework is from a variety of sources.
Great video guys! As much as I love the theater organ as a solo instrument, in recent days I've become an even bigger fan of theater organ and - (piano, drums, percussion, vocals etc.) Hearing the T.O. in conjunction with other instruments gives me great joy. BTW, what is that large grey toned tuba bell seen next to the wall mounted tom-tom at about 01:10? Is that connected to the Melotone unit?
That's a Melotone horn (speaker) which gives Meletone-equipped Comptons their extra Ooo.
Superbe!!!!
Yes, but the Tottenham Court Road establishment was, as far as I know, always called the Paramount. And, as I said, the organ didn't come from there - only the current console.
@Marshall7302 No - it is a Compton Melotone unit - invented by Compton about the same time as the Hammond - electroSTATIC rather than electroMAGNETIC tone generator.
Am I not correct in thinking that the 4/10 Compton-equipped Paramounts in London (TCR), Birmingham (New Street), Liverpool and Glasgow, as well as the Wurlitzer-equipped ones in Newcastle, Leeds (Balaban 4 3/19s) and Manchester (4/20 Publix 1), all ended up being taken over by Odeon? I know Odeon also took over some other chains - the Regals at Gateshead and Marble Arch both became Odeons.
WOW !!!! Another fun song !!! (what is the rotating motor thing near the end?)
I don't suppose the music is still in print. It might be worth doing a Google-type search or checking eBay.
Greatest accolade must go to David Shepherd for saving and maintaining this great instrument for such talented players to use and us to enjoy.
@caspercat0: It was the spectre playing the piano at that point :)
Problem! My download is so slow, I get 5 sec. then it stops for 15 secs. and starts again! However great playing! Peter Jeffers
Super !!!
Could you tell me more about this song? Where does it originate from? What a wonderful tune!!
It was written by Louis Mordish. I gleaned this information about Louis from the web:
LOUIS MORDISH (1908-1996) was a versatile musician, cinema organist, pianist, conductor arranger and composer. His broadcasts were as organist and conductor. Although he played piano in many different ensembles during his long career, radio listeners in Britain will recall broadcasts by Louis Mordish and his Players for programmes such as "Morning Music" and "Music While You Work". He was also heard regularly on the cinema organ and continued to give occasional recitals until shortly before he died.
Apart from a number of songs, his compositions were primarily orchestral: the suites New York, Legend of the Words and This Happy Health and individual genre movements such as the Can an Polka, Toy Shop Polka, Madrilena, Calling All Notes, Spectre on the Spree, Pattern in Rhythm, Mexican Devil Dance, Mexican Promenade, A Cuban Romance, A Spook Goes A-Swinging, described as a "rhythmic absurdity", and, featuring a solo for piano or xylophone Phantom Phingers.
Flues were white stop keys, Reeds were red or orange and couplers were black, the melotone were white with red letters. Stops are arranged in order of loudness and type. 32' reeds would be first with 32' diaphones next and 32' flues. Then came 16' s reeds, diaph's, and flues, 8' s, 4' s, 2' s etc until all ranks were used up on each department or manual.
Brilliant!!! Does anyone know the composer of this piece?
Have a look at the description of the video.
Where is that marvelous Compton installed at? I take it that it's a private residence.
Yes, it's David Shepherd's home installation in Holbeach, Lincolnshire
Well actualy pipe metal was a blend of lead and tin 60/40 they were large scaled pipes and the cut-up was almost as high as the pipe was in diameter, they had a woofing kind of sound and guzzled a great deal of wind. Wind supply came from a 5 stage Discus unit capable of delivering in the regon of 6-800 cfm at a static pressure of about 20 -25inches water guage. Leakage was always a critical factor with older instruments and the chambers could be noisy places with just the blower running.
There is another video of these two musicians performing - look for 'Canyon Caballero' on my channel.
It's part of the Melotone, an electronic tone generator dating from 1935.
+John Leeming, I can't see the question you answered (YT is lame!) so please forgive me if somebody already asked the same things: the vacuum tubes seen here and there in this video and in another one of this series... what do they belong to? (BTW, glowing vacuum tubes and Melotone's motor-and-wheels contraption are the ultimate time machine to take you back to the '30s!)
@@Elhombresombra I think the questioner was asking what those things were. Many Compton organs from 1935 onwards had an electronic tone generator to provide additional voices. toff.org.uk/miscellaneous/melotone/
this is AWESOME... i have never heard a "Home" type install that sounded so happy. i love the video editing on the live traps and effects.. COOL stuff. was that actually a hammond reverb .... attached to a theater organ? that must be a first.
No Hammond reverb involved.
Would you be so kind as to share the stoplist with me?
Full details are available in a series of articles about this instrument published last year in ATOS 'Theatre Organ' magazine.
@@JohnLeeming23 Hello John! What a pleasure to see that you are still active here, after such a long time! Are you fine? And Simon and Richard are both fine, too?... Very difficult times in the UK, I know... :0( By the way, is there any new video (or, even better, a DVD...) from the Holbeach residence organ?... ^_^
@@Elhombresombra Thanks for your kind words. The most recent video from Holbeach was issued in 1920, and features Simon at the organ.
th-cam.com/video/z9AijvmLGz4/w-d-xo.html
@@JohnLeeming23 Wow!!! I completely missed it! Will check tomorrow morning for sure (it's bedtime over here right now ;0) Thank you SO much John!
This is a cute concert,since I am a trained operatic lyric tenor.My voice is similar to the late Pavarotti.(Great).The organ is like an orchestra.
John Compton was primarily a church organ builder, and his theatre organs played like cathedral class organs without the trems running. In fact if you compare the pipework of both theatre and chuch organs you will see simalarities in the structure of the flue work it was only the scaling of the pipes and the cut up's that were higher in the cinema organs The tibia was the distinctive sound in the theatre organ, the better ones were of wood construction, though compton's were mostly heavy lead
I notice that on one close up of the marimba,the piano can be seen at the side but no Richard Hills-has he moved away or is it some clever video editing?
Editing in a piece of cutaway!
Wurlitzer/Kimball: red: reeds; amber: string celestes; white: flues; black: couplers. Möller: red: reeds; yellow: strings; white: flues; green: percussion; blue: piano; black: couplers & trems. Morton: red: reeds; white: flues; yellow: traps; brown: tonal percussion; black: trems. Compton: orange: reeds; black: couplers; white: everything else. Various specials: Dark red: heavy reeds; magenta: colour reeds; blue: tonal percussion; brown: traps; organge: voxes - and many other examples.
The reed tabs are actually RED not orange maybe the white balance of the camera was not set hence the colour redition
No they are orange, and the colour balance is set correctly.
This is absolutely masterly - anyone who says otherwise is talking rubbish, hah! Would have been nice if the piano had been a Bösendorfer grand or some such, but you can't have everything in life!
That piano is actually a VERTICAL STEINWAY! Sounds pretty good uh? ;0)
+John Leeming do you know if there's a record avaliable with this two guys music?
+Gustavo Contreras - Unfortunately there isn't. To get them together for long enough to make an album would be difficult, since they are both very busy.