Specifications

RENAISSANCE 450 SECTION II
5.
PEDAL ORGAN SECOND VOICES continued:
16’ Prinzipal Foundation voice with more high harmonics than the
primary 16’ Diapason Pedal voice.
16’ Subbass Stopped Bass Flute with more chiff sound than the 16’
Bourdon
8’ Oktav Foundation stop of Diapason tone quality. More
articulation tones than the primary Pedal 8’ Octave.
32’ Kontra Posaune Sounds one octave below the 16’ Posaune.
16’ Posaune A strong Pedal Division reed that lends fire to the pedal
line when properly used in the Reed Chorus. Brighter
than the 16’ Bombarde.
SWELL ORGAN:
8’ Rohr Bourdon Half stopped flute tone. When used with other voices it
will add fullness. More harmonics than stopped flutes.
8’ Flûte Celéste II Two soft flute tones, one tuned slightly sharp from the
other, that create a soft accompaniment celeste.
8’ Viola Pomposa The loudest Viola of the organ. The greatest harmonic
development of the Viola family. Good solo as well as
ensemble voice.
8’ Viola Celeste
#
String tone, tuned slightly sharp from and used with the
8’ Viola to create a warm string celeste.
8’ Viola Celeste b String tone, tuned slightly flat to be used with both the 8’
Viola and the 8’ Viola Celeste
#
together to create the
warmest string celeste on the organ.
Celestes are created by using at least two sounds, one
tuned at standard pitch, and one tuned slightly sharp
creating a warm, undulating, “celestial” effect.
4’ Octave Geigen Light principal sound with much harmonic development
at the 4’ pitch level.