Quote from: David Drinkell on February 06, 2015, 05:55:40 PM
pcnd is right - the bourdon at 32' pitch with the 'acoustic' effect in the bottom octave only is the most likely to be successful. One can draw the Open Wood at 16' pitch to beef it up anyway.
Binns used to produce some pretty hefty 32' resultant basses, but his stuff tended to be hefty anyway. The effect on a relatively small instrument with a pedal consisting of 32, 16,8, all taken from a beefy bourdon, must surely have put the fear of God into many a northern heart.
Ha!
I have just remembered an even weirder version of an acoustic 32ft. Pedal stop. It is on the two-clavier organ in Holsworthy Methodist Church, North Devon. It was last rebuilt by Geo. Osmond & Co., Taunton*, in 1953, but restored by Ray Greaves, of Plymouth, in 1976). The Pedal Organ consisted of the following five stops:
Acoustic Bass 32ft.
Open Diapason (W) 16ft. (Not huge scale.)
Bourdon 16ft.
Octave (W+M; ext.) 8ft.
Bass Flute (Ext.) 8ft.
The Acoustic Bass was 'wired' (pressure pneumatically speaking) as follows:
F30 down to C#26 - 16ft. pitch.
C25 to C#14 - Open Diapason, quinted on itself (16ft. + 10 2/3ft.)
C13 to C1 - also Open Diapason, quinted on itself (16ft. + 10 2/3ft.)
Presumably this was an error - even Osmonds would not have done this deliberately (surely?) - but I think that I was the only person ever to notice.
* 'This organ has received our best attention to-day'....)