... quickly.1
It seems that the pedal coupler arrangement was very similar to that employed by Mason and Hamlin. M&H however had many patents for reed organs, and some of their other action details we more similar those of Holt.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... Mannborg.2
According to Casey Pratt: This was patented in 1877 by a Mr. Kent, and M&H held the patent. They combined the idea with another from a fellow by the name of Perry. They then began to use the top-mute for creating a Voix Celeste where both sets of reeds were tuned to the same pitch, one set supplying a higher pitch when the top mute was opened, resulting in the celeste effect. They marketed this as their patented "Perry-Kent system". In Europe, other builders either felt the freedom to disregard the American patent, or began using it after it ran out. The other use to which this top-mute is put in M&H organs is the Dolce stops - since these mutes open in a small, sealed-off area under the swell cover, the amount of air coming to the reeds through it could be regulated, and not affected by the swells. In the Liszt design, the English Horn Dolce and Melodia Dolce stops are created this way. A small volume of air is allowed to reach the top mute, which is unaffected by opening or closing the swells, thus a very soft effect is created. On the 2MP Liszt organ, the Dolce Tremulant uses a top mute setup, and the air first passes through the tremulant valve before being admitted to the small air plenum feeding the reeds. Same model, the Sw. Flute Dolce effected via top-mute. Same model, Voix Celeste created this way, but not used as a soft stop. M&H certainly exploited these discoveries. Packard used a second set of reed cells controlled by a second mute, above the first set. This was called the "Humanola". It also increased volume, but it probably did not get used for a softer sound, like the M&H development. It also increased the height of the action, which is never good.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... it. 3
This is the CD referred to: ???
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... rent 4
a rent, typically a small one, paid by a freeholder or copyholder in lieu of services which might be required of them.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... octave 5
The srutis are fixed points and define the smallest intervals of the tuning system in Indian classical music.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... required 6
I haven't included any other references to Indian harmoniums as I currently can't trace them back to work of any original British firms. Help with this would be appreciated.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
...radzinsky 7
As an aside we note that the largest organ in the world now is at the Radio City Music Hall, Long Island, New York. It has one 7 manual console and one 5 manual. We have yet to ascertain if it has any free reed ranks.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
... 1903 8
Sayer notes that this was to avoid prosecution
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.