An organ pipe is a sound-producing element of the pipe organ that resonates at a specific pitch when pressurized air (commonly referred to as wind ) is driven through it. Each pipe is tuned to a note of the musical scale . A set of organ pipes of similar timbre comprising the complete scale is known as a rank ; one or more ranks constitutes a stop .
46-626: Organ Pipes or The Organ Pipes may refer to: Organ pipes , the sound-producing element of the pipe organ Organ Pipes (New Zealand) , a feature of Mount Cargill, in the South Island Organ Pipes (Namibia) , a rock formation Organ Pipes National Park , in Victoria, Australia Organ Pipe Cactus National Monument , in Arizona, United States The Organ Pipes (Antarctica) ,
92-513: A pyrometer , usually based on a thermocouple , as knowledge of the kiln temperature is essential for controlling the process. Electric kilns have controllers with a variety of sophistication: the simplest is the "Infinity Control", a simple open-loop power regulator. As this only controls power, rather than temperature, such a kiln must be manually controlled throughout the cycle. As firing cycles extend over several hours, potentially days for large architectural pieces, automatic unattended control
138-450: A Memorial Proposal for Ground Zero after the events of September 11, 2001. The bodies of organ pipes are generally made in three shapes: cylindrical, conical, or rectangular. Cylindrical pipes are simple cylinders , while conical pipes are in the shape of a tapering or expanding cone . Rectangular pipes form cuboid shapes with either a square or rectangular cross-section when viewed from above. There are some irregular shapes as well:
184-412: A coniferous wood (softwood) or hardwood, although the lower section of the pipe (comprising the metal foot (on some pipes), cap, block and mouth) will nearly always be made from hardwood to provide a precise edge for the pipe's mouth. Using screws and glue, the pipes are assembled from wooden pieces of various shapes and sizes. In contrast with the circular cross-section of a metal pipe, the cross-section of
230-426: A flue pipe is affected by the size and shape of the pipes as well as the material out of which it is made. A pipe with a wide diameter will tend to produce a flute tone, a pipe with a medium diameter a diapason tone, and a pipe with a narrow diameter a string tone. A large diameter pipe will favor the fundamental tone and restrict high frequency harmonics, while a narrower diameter favors the high harmonics and suppresses
276-489: A gleaming and long-lasting polish, which may be desired if the pipe is clearly visible. The cost of each metal is also a factor, as tin is more expensive than lead. Cost considerations may also lead to the use of the inferior rolled zinc especially for the lower tones that take a lot of material. In addition, pipes have been made of many metals, including copper , aluminium , gold electroplate , silver , brass , and iron . Metal pipes are generally made by first casting
322-411: A hard surface called the shallot . This shuts off the vacuum and allows the reed to spring open again. A tuned resonator extends above this assembly and reinforces the sound produced. The principle is the same as that of the orchestral clarinet . The pitch of a reed pipe is determined primarily by the length of the reed but the volume of air in the resonator supports that frequency. Most reed pipes have
368-462: A lower pressure region just below the window. When the vacuum under the window is large enough, the airstream is pulled under the Labium lip. Then the process works in reverse, with a low pressure region forming over the Labium which pulls the airstream to the other side again. This 'fluttering' airflow creates high and low pressure waves within the pipe's air column. A high and a low pressure wave form
414-412: A more functional vessel. Draped pieces are sometimes sawn down and smoothed when cold, so as to reduce the unevenness of their edge. Casting is the process where the glass begins to melt and behave as a liquid. Its shape is now constrained entirely by the mould and the previous shape is lost. Glass is viscous though and unlike metal casting , the soft glass does not flow through the mould. Variations in
460-404: A mould to shape it. Glass is usually worked for only one process in a heating cycle. Where a piece requires multiple cycles, it is returned to a lower temperature between them. Fusing is the use of heat to join the glass by fusion welding , either with or without an associated change in shape, depending on the temperature. Tack fusing is the joining together of glass, with as little change to
506-488: A one-use investment mould of plaster. This mould may in turn have been formed by the lost wax process. Pâte de verre (literally glass paste ) is cast from powdered frit, mixed with a glue binder. This allows the paste to be applied to the sides of a large mould in a thin layer. When fired, a thin-walled vessel is formed. The transparency of the finished casting depends on the size of the frit used: fine powder produces an opaque cast, medium or coarse frit may be used to cast
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#1732772746712552-549: A piece is assembled, placed into a cold kiln and then heated through a pre-defined cycle, including a slow cooling phase afterwards. Unlike hot glass, warm glass is rarely worked manually whilst hot. Contemporary warm glass work is almost universally done in an electrically-heated kiln , although some gas or oil-fired kilns are still used. The reason for this is the extra control accuracy and programmability available with electric heating, as well as their lower capital cost and convenient installation. All kilns for glass work require
598-402: A pipe for C two octaves below middle C that is approximately 8 feet long. An 8 ′ stop is said to sound at "unison pitch": the keys on the organ console produce the expected pitch (e.g. the key for middle C causes a middle C pipe to speak), like a piano. In a rank of stopped pipes, the lowest pipe is 4 feet in length but sounds at unison pitch—that is, at the same pitch as an 8 ′ open pipe—so it
644-494: A rock formation in Queen Elizabeth Land See also [ edit ] All pages with titles containing Organ Pipes Organ pipe coral ( Tubipora musica ) Stenocereus thurberi , organ pipe cactus Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Organ Pipes . If an internal link led you here, you may wish to change
690-552: A single "cycle" of the pipe's tone. (See Wind Instrument .) Flue pipes generally belong to one of three tonal families: flutes , diapasons (or principals ), and strings . The basic "foundation" (from the French term fonds ) sound of an organ is composed of varying combinations of these three tonal groups, depending upon the particular organ and the literature being played. The different sounds of these tonal families of pipes arise from their individual construction. The tone of
736-408: A slide to adjust the vibrating length of the reed to fine-tune it. Because of the precision required in the making of the vibrating reed, resonator pipe and its accompanying parts, reed pipes are more complicated to manufacture than flue pipes. By altering any of several parameters (including the shape and volume of the resonator, as well as the thickness and shape of the reed), a reed pipe can produce
782-442: A sound one octave lower than an open pipe. For example, a stopped pipe 4 feet (1.2 m) long will produce the same pitch as an open pipe 8 feet long: two octaves below middle C. The nomenclature of a rank of pipes is based on the size of an open pipe that would produce the same pitch, regardless of the type or size of the actual pipes in the rank. For example, a rank of open pipes labeled as 8 ′ (pronounced "eight-foot") would have
828-472: A spring-loaded pallet instigates the vibration instead of a reed. Possessing a powerful bass groundtone, the pipe is generally made of wood and can be voiced at various wind pressures. The diaphone is usually found at 16' and 32' pitches, however there are a few examples of 8' diaphones. There are two 32' Diaphones in Philadelphia's Wanamaker Organ , and a full-length 64' Diaphone-Dulzian is installed in
874-418: A transparent piece. In fire polishing , the edges are briefly heated in a flame to smooth and round them. This is one of the few processes that involves manual work on the hot glass while still in the kiln. In a similar manner to slip trailing in ceramics, a pattern is formed on the surface, then trailed into feathers with a pointed metal rake. Warm glass working is similar to that for ceramics, in that
920-409: A uniform cross-section sounds an octave lower than a similar open pipe of the same length. Also, such an open pipe produces a tone in which both the even-numbered and the odd-numbered partials are present, while a stopped pipe, such as a gedackt , produces a tone with odd-numbered partials. The tone of a stopped pipe tends to be gentler and sweeter than that of an open pipe, though this is largely at
966-473: A variety of processes, according to the working temperature and the time the glass spends at this temperature. The glass becomes progressively softer, less rigid, and less viscous with increasing temperature. Kiln-worked glass (unlike lamp working) responds slowly though, and so the amount by which this affects the glass depends on the time it spends at working temperature. There are three main processes, with variations within them. The broad process depends on
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#17327727467121012-551: A version of the diaphonic horn for their theater organs at 32' and 16' pitches with huge wooden resonators as extensions of its Diaphonic diapason, and at 16' with metal resonators as an extension of its smaller-scale Open diapason. The Austin Organ Company also developed a metal diaphone at 16' pitch known as a Magnaton. Due to its penetrating tone, a diaphone-type horn has also been used in foghorns and fire signals. Warm glass Warm glass or kiln-formed glass
1058-450: A wide variety of tonal colors. This allows reed stops to imitate historical musical instruments, such as the krumhorn or the regal . Because the resonator is partially stopped/closed by the reed, odd-numbered partials/harmonics are dominant (in the hollow tones of Krumhorn and Clarinet stops, for example). If the resonator pipe expands outward to conical, the geometry allows the production of both even- and odd-numbered partials, resulting in
1104-680: A wooden pipe is most commonly square or rectangular. Glass pipes have been created using warm glass and stained glass techniques by Xaver Wilhelmy . Three Wilhelmy glass ranks exist in the United States, two in a private collection in West Virginia and one in a private collection in Virginia. The image at left shows the Wilhelmy American Flag Glass Pipe Organ that was created as a part of
1150-411: Is a variety of free-fall slumping, where the mould former is placed in the centre of the piece and the outer edge falls under the heat. As this outer edge is unconstrained, it tends to fall in large folds. The edge is thus highly uneven, although a carefully draped piece may still retain perfect symmetry. For this reason draped pieces are often used as vases or wavey-edged bowls, but are difficult to use as
1196-406: Is in the form of a ring with a central opening. When heated, the glass falls through this opening and forms a bowl. Depending on the temperature and time, this bowl may be shallow or deep. If a kiln shelf is placed beneath the ring mould, this catches the falling glass and gives a vessel with a flat base. Free-fall slumping is used to make taller vessels with steeper sides, such as vases. Draping
1242-445: Is known as an 8 ′ stop. Reed pipes are also labeled the same as that of an open pipe with the same pitch, regardless of the actual length of the pipe. The sound of a flue pipe is produced with no moving parts, solely from the vibration of air, in the same manner as a recorder or a whistle . Wind from the "flue", or windway is driven over an open window and against a sharp lip called a Labium . By Bernoulli's principle this produces
1288-557: Is obviously important. Automatic temperature control uses a PID controller that maintains a constant set temperature. More sophisticated controllers allow the ramp heating and cooling rates to be controlled too, an important factor in glass heating. Controllers dedicated for glass kiln use have their entire heating cycles defined before use with multiple set temperatures, hold times and ramps between them. The most sophisticated controllers of all are dedicated to glass use and allow pre-defined cycles such as "Fuse" or "Slump" to be selected from
1334-458: Is the working of glass , usually for artistic purposes, by heating it in a kiln . The processes used depend on the temperature reached and range from fusing and slumping to casting . "Warm glass" is in contrast to the many cold-working glass processes, such as leaded glass . "Hot glass", glassblowing , or lampworking is the working of glass in a direct flame, such as for laboratory glassware and beadmaking . Warm glass working uses
1380-428: Is trapped. Such a trapped bubble often causes problems - when cooling this air may contract to form a partial vacuum that is enough to break the glass. As the glass is not heated enough to become liquid, this air cannot escape as bubbles and so venting is required. Kiln wash or ZYP Coatings' Boron Nitride Aerosol Lubricoat is used beforehand, to prevent the glass sticking to the mould. A mould for free-fall slumping
1426-415: Is usually done for decorative effect. Slumped glass is heated to the temperature at which the glass softens and begins to deform. It may either bend along a single curvature or, if heated sufficiently, may become elastic enough to stretch and curve to follow a compound curvature, such as a bowl. Mould slumping begins with a sheet of flat glass placed above a ceramic mould. When heated, the glass slumps into
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1472-579: The Boardwalk Hall Auditorium Organ in Atlantic City . The Diaphone pipes are used for the bottom 12 or 18 notes of the 16' Diapason rank, and also for its bottom 32' octave, on those few Theatre Organs that go that low. Hope-Jones also developed an imitative version of the diaphone called the diaphonic horn , which had a more reed-like quality than the diaphone and was voiced on lower wind pressures. Wurlitzer built
1518-472: The Flûte triangulaire, for example, has a triangular cross-section when viewed from above. In addition, a cylindrical or rectangular pipe can be tapered : that is, it can be made to be wider at the bottom than at the top. The internal shape of the pipe is a major factor in tone color. The end of the pipe opposite the reed or mouth may be either open or closed (also known as stopped ). A closed flue pipe with
1564-488: The Philippines has pipes made exclusively of bamboo . Metal pipes are usually made of lead ; for increased rigidity it is alloyed with tin along with trace amounts of antimony and copper . The percentage of each metal in the alloy influences the characteristics of the resulting pipe. A high proportion of tin results in a slightly brighter colour (optical colour, not timbre). In addition, high amounts of tin give
1610-462: The column is open at the end. For those pipes the pitch is a function of its length, the wavelength of the sound produced by an open pipe being approximately twice its length. A pipe half the length of another will sound one octave higher. If the longest pipe, C, is 8 feet (2.4 m) in length, the pipe one octave higher will be 4 feet (1.2 m) long, and two octaves above (middle C) will be 2 feet (0.61 m) long. A closed (stopped) pipe produces
1656-416: The desired lead alloy onto a long flat surface. Once the metal cools, it is cut into pieces, which are then rolled into shapes around molds called mandrels and soldered together. Thus, the cross-section of a metal pipe is usually circular. The low melting point, solderability and malleability of the organ metal makes the construction of pipes relatively easy. The body of a wooden pipe can be made of either
1702-410: The discretion of the voicer. Certain organ pipes are also mounted horizontally in the shape of a trumpet horn so as to project the sound farther. These pipes are known as en chamades . However, when such a commanding tone is desired but it is impossible to mount an en chamade on the case, a hooded reed is used. This type of pipe stands vertically and has a 90-degree bend at the top which acts to project
1748-477: The fuller tones of Trumpet and Oboe stops. These are quite uncommon; see "Free reeds" in the "Reed pipe" article . The diaphone is a unique organ pipe. Uncommon in church and concert pipe organs, they are quite common in Theatre Organs. Invented by Robert Hope-Jones around 1900, it has characteristics of both flue pipes and reed pipes. The pipe speaks through a resonator, much like a reed pipe, but
1794-428: The fundamental. The science of measuring and deciding upon pipe diameters is referred to as pipe scaling , and the resulting measurements are referred to as the scale of the pipe. The sound of a reed pipe is produced by a beating reed : wind is directed towards a curved piece of brass (the reed). A partial vacuum is created by higher velocity air flowing under the reed which causes it to be pulled closed against
1840-454: The glass are thus preserved in the final piece, so colours and inclusions present beforehand may still remain in the cast item. Glass may be cast from either billets (solid ingots ), sheet, loosely stacked pieces of glass (these are usually used with a low-temperature casting, so that their boundaries remain deliberately visible afterwards) or frit , ground or powdered glass. Moulds for casting may be either re-usable ceramic moulds, or else
1886-557: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Organ_Pipes&oldid=1185714322 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Organ pipe Organ pipes are generally made out of either metal or wood . Very rarely, glass , porcelain , plastic , paper , Papier-mâché , or even stone pipes may be seen. A historical organ in
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1932-404: The mould under its own weight. These moulds are usually commercially made and are offered in a range of standard shapes and sizes: bowls, trays etc. For custom pieces, a glass worker may also make a specialised or temporary mould as a one-off. To avoid trapped air, the mould is perforated with a small vent hole. The hot glass otherwise forms a good seal with the lip of the mould and an air bubble
1978-425: The shape of the carrier piece. This can be done by using an increased temperature, but only briefly. The large piece, of large thermal mass, heats up more slowly than the small decorations. Full fusing is like tack fusing, but the temperature is higher so that the fused pieces begin to coalesce. In the complete case, decorative additions to a surface are absorbed entirely into it and the surface becomes flat again. It
2024-400: The shape of the pieces as possible. Tack fusing may be used either decoratively, or to assemble a large piece of glass from laminations . Where tack fusing is used to apply small decorative details to a larger piece, it is often desired to partially melt the small pieces so that they change shape (usually becoming more spherical, under the influence of surface tension ), but without changing
2070-405: The sound outward in the same way an en chamade does, but can be placed in the interior of an organ. The pitch produced by an organ pipe is determined in two fundamentally different ways. For a reed pipe it is determined mainly by the mechanical properties of the reed and the length of the protruding part. For the flue pipes it is determined by the shape of the air column inside the pipe and whether
2116-404: The temperature, the variation within it depends on the time and also on slight variations of temperature. These processes are: It is common for one piece to use several of these processes in turn. Coloured glass may be fused together to make a composite multi-coloured sheet. This glass is then cut cold and re-assembled in pieces, which are then fused back together. The piece is finally slumped into
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