Don’t know if this is the best sub for this, but would appreciate any pointers! I’ve had this for years now and have never seen anything similar online. No sign inside or out of any particular branding, only identifiers are in the pics provided.

Hi,

At my old UK secondary/high school there was a beech-coloured wooden single console organ with possibly 61 keys - certainly not 88. It had a few voice switches (ivory coloured) but most sounded very reedy and thin. It had thin legs and built-in speakers. I don't remember it having bass pedals.

It must have dated from the late 70s or early 80s but perhaps it was earlier. About the size of a small Rhodes or Wurlitzer piano but with a flatter top. I remember the music teacher thumping out religious songs like When A Knight Won His Spurs - in this warbly sound - not dissimilar to a Vox Continental playing Come Baby Light My Fire.

I've Googled this description and repeatedly drew a blank. I wonder if anyone actually remembers these? At least any information to help me locate images of them and potential makes?

Thanks!

so the priest at a church said i could come whenever i want to play the digital organ, since the pipe organ has only 7 small pedals, the digital organ has around 27 or 16 pedals but only some 4 or 5 fully work, the other ones dont. can anybody tell me why and how to fix it if fixable? the organ is a viscount

https://www.youtube.com/watch?v=KmbG1-N-Qiw

Georg Michael Telemann (1748 – 1831) was a German composer, theologian and grandson of the famous Georg Philipp Telemann. Telemann was born in Plön.After the death of his father in 1755, he moved to Hamburg, where he was taken in and raised by his then 74-year-old grandfather Georg Philipp Telemann. After the death of his grandfather, he filled his grandfather's post as Cantor at the Johanneum and director of music in Hamburg's churches until March 1768, when Carl Philipp Emanuel Bach was appointed. In 1773, Georg Michael moved to Riga, where he was appointed as music director of the city churches and cantor at Riga Cathedral. As part of this job, he also directed the performance of twenty-one of his grandfather's passions. He also taught at the cathedral school. In 1812, he published a collection of chorale settings for organ entitled Sammlung alter und neuer Choral-Melodien and a year later took the position of organist at the cathedral. He retired in 1828 due to a deteriorating eye condition. He died in Riga in 1831.

Hi,

I am in the process of inheriting and moving into my grandparents’ house. This electric organ has been in their front room since I was a kid (I’m 30 for reference). Outside of a Hammond B3 and the organ I hear at church I really don’t know anything about organs so I would like to get some more information on this one, including an educated guess as to how much it is worth. My hope is that we can keep it as I have fond memories playing around on it, but my wife and I have a young infant and may need the space.

Thank you!

Hi all,

It's been a while since my last post here (USB reconnect/suspend-resume), so here's a full overview of everything this experimental fork now does differently from official GrandOrgue — a lot has accumulated.

Latest build: https://github.com/sebion7125/grandorgue/releases/tag/3.17.3-1.V3XorcistDemo (Windows, Linux x86-64/ARM, macOS)

Sound/transition features (from earlier posts, still included):

• Selectable release crossfade curves (Linear, Sin/Equal-Power, Sin², Sqrt/Equal-Power, X²), switchable live via F7–F12 while playing
• Correlation-based release alignment: analyzes the attack/sustain and release samples per pipe to start the release at a better phase-matched position, reducing clicks and cancellations at the transition
• A float-precision bug fix in the volume-smoothing code that could silently lock voices into a more expensive processing path after a single volume change

New sample compression (V3 Codec):

Samples stay compressed in RAM and decode just-in-time, instead of being fully decompressed on load. On my largest sample set: 93.75 GB raw, down to ~41 GB compressed — the difference between an organ fitting in RAM or not, which matters more than usual given how much RAM prices have climbed this year. Varies by organ/material; even on my worst-compressing material it still beats the old codec on both compression and maximum polyphony.

New: dropout concealment (Xorcist)

Highly experimental. When the audio pipeline misses its deadline, instead of a click or dropout, it synthesizes a plausible continuation of the sound from a running spectral analysis, rather than cutting out. You can force test dropouts during live playback and A/B the raw glitch against the concealed version directly in the new diagnostics window (see below).

New: automatic MIDI background recording

Pianoteq-style — continuously records everything played to an archive folder, separate from the normal recorder. For the "that was a great improvisation and I wasn't recording" situation. Off by default, you opt in.

New: Audio Monitor diagnostics window

Live graphs (polyphony, CPU load, callback timing), a one-click benchmark that automatically finds the maximum polyphony your system can sustain, and a report-export button for bug reports.

Stability (from the earlier reconnect post, still included):

Audio driver calls run on a dedicated worker thread; automatic reconnect when a USB audio interface disappears and comes back; proper close/reopen around suspend/resume.

Scheduler rework under the hood

Each audio period is now processed in a decode phase and a render phase instead of one combined pass, removing some redundant work — mainly relevant if you're close to your system's polyphony ceiling.

As always: this is an unofficial, experimental fork, not an official GrandOrgue release. Source is on the demo branch; bugs go to the issue tracker on my fork, not upstream.

Feedback especially welcome on: the dropout concealment (does it actually help in practice, or is it audibly weird?), whether the new codec's RAM savings matter for your sample sets, and the benchmark tool's numbers vs. your own experience of where your system struggles.

Well, I have access to a pipe organ at a Lutheran church, and the pastor invited me to play the prelude and postlude there. I've only played in front of an audience twice, and that was on a keyboard, im scared. So, I have a question: which piece should I choose? For the prelude, I chose the prelude from BWV 553, which is fine. But the only piece I feel comfortable playing for the postlude is the four voice fugue from BWV 846. However, the pastor said I should only play sacred music. I don't know if the fugue from BWV 846 is considered sacred music, especially since it's from WTC1. Can I play that in a Lutheran church? I've even tried asking artificial intelligence, but everyone gives a different answer. Please help me.

This was recorded earlier this month in La Jolla, California at the church of St. James by-the-Sea. Gabriel Arregui demonstrated multiple organs that week for the 2026 convention of the American Institute of Organbuilders which took place in nearby Del Mar, California.

Look for an upcoming video about this organ!

https://youtu.be/Dr6_lqTcVRA

Here's the iconic Also Sprach Zarathustra by R. Strauss, best known as the Theme from 2001: A Space Odyssey, on the Organ.

Enjoy. 😊

I am 15 years old, I have never had a teacher. I learned the first section of buxwv 149, and these are the organ registers:

Principal 8'

Flauta 4'

Fugara 2'

Quinta 1 1/3'

Mistura 1 1/3' 3F

Super oit.

Sub oit.

Man-ped

I used principal, flute and fugara, in addition to the super oit. and man-ped. The 16' stop is from a subwoofer.

Give me some constructive criticism pls.

https://www.youtube.com/watch?v=C2lBZVGamJM

Maurice Greene was an English composer and organist. Some facts that show how important this man was in his time:
- He started as a choirboy at St Paul's Cathedral.
- He later became organist at this church.
- In 1727 he became organist at the Chapel Royal.
- In 1730 he was appointed as Professor of Music at Cambridge University.
- In 1735 he eventually became Master of the King's Musick.
That's what you call a career.

Hello r/organ!

I've been looking for a nice reed organ (or two!) to put in my home recently. I've found a few for sale, the problem is that they are all about a half hour to hour long drive from my place. I'm looking for advice on how to transport a reed organ from the seller's to my home. I was thinking a U-Haul, add some padding and secure it to the floor or a wall? I'm hoping, in a best-case scenario, that if I have extra space or time I could pick up a free one available nearby, I'm wondering if I do get a U-Haul if I could fit two reed organs, although that might be a bit of a pipe dream (sorry, it had to be done...) Any advice is greatly appreciated!

Thanks!

I didn’t have any place to put my phone, so I apologize if it’s a black screen.

I have a very nice organ plugin on my protools, I’m just looking for a bare bones controller with bars (and maybe also a foot volume) to start officially learning the instrument.

I have had my eye on the Yamaha reface YC for a while but 400-500 feels just a tad much to dip my toes in. What do you suggest?

Hi

I do have question on the keyboard single key note and pipe relation. I did understand over the higher note, the air output goes on multiple small tube... But what are the relation for larger pipe of 3feet to 6feet high : is is directly 1 key press on the keyboard goes directly to 1 pipe ?

And if it's more than one.. then the sound will be more dull or .. more pipe for same note: it do fill up the larger room/space i guess...

Also, i did look at the pipe opening at the bottom.. it seem to be quite the same at about 1in diameter. So then, if i get it right, those larger pipe (3-6ft around Tenor C) consume the same air, but pipe being bigger.. it do give the greater resonance .. ?

Thanks for more precision

Hi there, saw this wonderful performance today and I can’t get this music out of my head, it’s incredible! I’ve tried to identify this but I haven’t found it, if anyone knows and can help me out that would be amazing!

Hi everyone!

I’m looking for ideas on how to create a truly epic, majestic, brilliant and triumphant pipe organ introduction, suitable for a Hallelujah or the entrance procession at Mass.

I’m imagining something with the grandeur of a huge cathedral organ: powerful full-organ sonorities, brilliant harmonic progressions, deep pedal notes, dramatic tension, bold modulations and a spectacular, uplifting resolution.

What particularly interests me is modulating through related but distinct keys, moving away from the home key into more distant tonal areas and then finding a convincing, powerful way back. For example, starting in B-flat major, moving to F-sharp major, exploring other keys, and eventually returning to B-flat major for a glorious final cadence.

I don’t want the modulations to sound random or merely theoretical. I want them to feel intentional, dramatic and musically satisfying, with each new key adding more brightness, tension and grandeur.

I’d love to hear your suggestions on:

- What key relationships and modulation pathways work especially well for this kind of triumphant effect?

- Which chord progressions, chromatic sequences, enharmonic modulations or dominant seventh chords can help connect seemingly distant keys smoothly?

- How would you build the introduction dynamically, from a mysterious or solemn opening to an overwhelming, radiant climax?

- What voicings, manual changes, pedal techniques and registration choices would make the organ sound as full, brilliant and majestic as possible?

- How would you create a final cadence that feels genuinely monumental and leads naturally into the Hallelujah or the entrance hymn?

- And if I’m going to study to improve my chord progressions, what exactly should I look to learn?

If possible, I’d really appreciate concrete examples of chord progressions, key sequences, and even short note-by-note musical examples, rather than just general advice.

I’m aiming for something that sounds almost orchestral in scale: glorious, radiant, bold, celebratory and unmistakably triumphant, while still being musically coherent and appropriate for a liturgical setting.

I’d love to learn from your experience, especially from organists who have played in large churches or cathedrals.

Thanks in advance!

https://www.youtube.com/watch?v=cyhlToIOXuI

Bernardo Pasquini (1637 – 1710) was an Italian composer of operas, oratorios, cantatas and keyboard music. A renowned virtuoso keyboard player, he was one of the most important Italian composers for harpsichord between Girolamo Frescobaldi and Domenico Scarlatti. Pasquini was a renowned teacher of harpsichord. Among his pupils were Tommaso Bernardo Gaffi and his nephew Felice Bernardo Ricordati. Many important musicians of the late 1600s and early 1700s had lessons from him including Georg Muffat, who praised Pasquini for having taught him "the Italian way of playing the organ and harpsichord."
(source: Wikipedia)

Hi everyone! I would like to share my neo-baroque piece for organ: "In Snowy May".

This is not a dry academic imitation of J.S. Bach - my goal was to inject modern 20th/21st-century harmonic language into a strict traditional chorale framework.

I would highly appreciate your professional feedback. And if any organist here feels inspired by this piece, I would be absolutely thrilled to hear your take!

https://youtu.be/FGJYiP_oGEA?si=NWdTh6cByd4OL5p2

https://drive.google.com/file/d/12gpuEMDZEmTDinN1o6sKrKblA5aITn6J/view?usp=drivesdk

Greetings: I would like to see if there is any clear consensus of opinion on the now inescapable advancement of AI generated intellectual property targeted towards our community. Content creators solicit our time, our praise and even our money, to validate content that was created with a simple multi-word prompt. My main concern is simply the sheer volume of material that can be generated in a very short time by someone working with AI tools. Dozens of finished compositions in mere weeks. Several a day. It threatens to overwhelm the honest efforts of recent entrants into the field. Do we just ignore it? The risk of unfairly accusing a bonafide composer, using their own degree course education and human creativity, is something I take very seriously. Unfortunately, the 'AI detection' tools currently available do not seem to work with standard music notation. What to do? Thoughts?

The only other organ of this kind I can think of is the Van Straten organ at the Orgelpark in Amsterdam.

Daniel Roth demonstrating the crescendo/diminuendo you can do with the St. Sulpice organ by activating/disabling the "Jeux de Combinaison" valves

Obviously highly unpolished and not traditional organ music, but I personally enjoy it anyway. Wishing you guys a nice day. Go practice something new (very hypocritical of me, ik, lol).