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I don't think there is. I'm quite surprised that, among very large instruments, there aren't more manual 32' reeds compared to flues. I should imagine that a manual 32' reed could be useful more often than a flue, even, for example, under a big principal chorus.
Jean Guillou's organ in St Eustache has a 32' Contrebasson in the Récit.http://vandenheuvel-orgelbouw.nl/en/component/k2/item/403-sainteustacheparis-en.html
... Then there's the accompaniment aspect. A 16' reed with the sub on can be handy in the psalms when there's a bit of smiting to be done or the weather is clouding over. ...
Small-scale and fairly free, I think. After all, an organ which ran to such a stop would have something else for the big 32' pedal reed effect. I'm thinking more growl than mere flatulence....
Has anyone heard the organ at Paisley Abbey?That has a very french character (C-Coll heritage of course!) and a great Sub-Octave. I would think that a SO would be more useful than a 32', as the music where such pitches are required (french romantic) were written primarily for organs with such stops.Interesting nonetheless! I think some organs have stops simply because they look impressive! (this is certainly the case at Liv Anglican! There are some wonderful stops on the Liverpool organ, but several stops don't really seem to have much purpose other than being there for showing off! The Tibia is particularly notable.
I played the organ in Paisley Abbey last August. It must be one of the most exciting organs in the country! The quiet stops sing, the flue choruses have just the right feeling of presence and refinement, and the tutti is devastating in all the right ways! Harrisons did a phenomenal job building on the 1968 Walker/Downes work. It just has to be heard and played to be experienced. I cannot speak too highly of it. Make the trek to Paisley and experience it for yourself. As an added treat, meet with Dr George McPhee, the organist. He is a real enthusiast, and is clearly - and justly - proud of such a fine instrument. I rate him as one of our greatest organists, and as a former Germani pupil ( thus a member of a very select band), maintains the highest standards as a player. I am very pleased to be able to put so many superlatives in one paragraph. I mean every one! Go there and be astounded.I would add that it makes a very interesting exercise to look at the 1928 HNB instrument on the NPORand look at what the Walker rebuild did to it.