Hi Joe
Glad you can use that one.
I forgot to mention that the same
registration also works in octaves especially if you want a 'thicker'
sound.
What I mean is that on the 260SP, use
Tibias 16, 3-1/5, 4', Tibia Trem and the Octave coupler. Don't
dare play chords :)
On the 216, use Tibias 8', 1-3/5', 2',
Tibia Trem and Sub-Octave coupler. (If the Unison Off is in the down
position, lift it up).
Both registrations will make exactly
the same sound.
Players probably wouldn't want to use
the above registration for huge 'chunks' of music but maybe for an 8-bar or
16-bar section of a piece and then contrast it with another registration in
other parts of the same piece.
For the non-professionals, a couple of
tips:
Many songs are made of four 8-bar
sections known loosely as 'Song Form'. You could call them A, A, Bridge,
A.
The 'A' sections are basically the same
melody notes generally with a slight change to make the ending for the
piece. There might be little changes in the timing but basically those 'A'
sections are very similar.
The simplest approach is to use the
same registration for the 'A' sections and a completely different registration
for the 'Bridge' section.
Remember to try to match the
registration to the character of the music also.
Blazing Trumpets and Post Horns are
fine for marches etc. but maybe not quite what is required for a love song where
Tibias, Voxes, light reeds and Strings might be more appropriate. Do
what George Wright did, read the words of a song and work out what the song is
all about. Then think about what type of tone (there could be
several) that would suit the character of the music you are about to
play.
There are many approaches to getting a
good sound. Remember that a single-note melody is great when used for one
section of a song contrasted with double notes or right hand chords and a
change of registration in another part of the same piece.
I've noticed that many people are often
afraid of changing stops or hitting a piston as they are playing. Until
you know a piece of music like the back of your hand, all stop/piston changes
need to be practised as much as the music itself. I also find it a 'must'
to look at whatever it is that you are going to change, be it a stop or a
piston, BEFORE you hit it. To use a golfing term, "Keep your eye on
the ball". In our case, "Keep your eye on whatever it is that you are
going to change".
Do this a couple of beats, or a bar,
before you need to change it.
Those are just a couple of thoughts to
start you thinking.
Have a look at Don Springer's
site for some great theatre organ registration ideas too.
Have fun
Fergie
----- Original Message -----
Sent: Tuesday, June 02, 2009 10:18
AM
Subject: Re: Favorite Registrations
John Ferguson wrote:
Here's another:
Reginald
Dixon used to use this combination sometimes for slow waltzes around the
tempo of 90. Again, it needs to be played legato and is as smooth as
velvet. Single notes please.
It's very simple: Tibias
16', 3-1/5' and 4'. Plus Tibia Trem of course.
For 216 users: Tibias
8', 1-3/5' and 2'. Sub-Octave coupler and Unison off. Tibia Trem.
That will give exactly the same sound on either model of Miditzer.
I've used that for pieces such as 'Always'.
Best if you
stick to single notes, it gets a bit 'rugged' if you play chords. ...
Fergie,
This is a perfect example of a
'less-is-more' registration. I just tried it, loved it, and immediately
set a piston to keep it handy.
Joe
VTPO Moderator
Location: Michigan, USA
VTPO: MidiTzer 260SP / GSO / HVO
VPO: Hauptwerk 3 Advanced Edition /
MDA Cavaillé-Coll Metz
PC: Dell XPS 410, e6600 2.4 GHz, 4 GB
Audio:
M-Audio 1010LT, 9.1 channels
Recording: Groove Tube AM51 mics,
Behringher Ultragain Pro Preamp, Sony DAT
Fergie
