hartleymartin, to be honest, I disagree with the idea of building an organ in stages at all. I'd rather have something smaller and all in at once than piecemeal additions from potentially 80 different sources over the years. I have seen far too many organs with "prepared for" stops that have never been provided. Doing it all at once means that the voicing relationships can be worked out properly. Basically, I disagree with your original scheme, and your thoughts about mine! Am I being dogmatic? Sure. Do I think it will produce a better result? Absolutely.
On the point of unit organs, I really would advise against these. They're often just unnecessary expansions of stoplists. Organists need to make do with less. Too much demand for big organs and stoplists out there!!
A good tracker action allows you to control both the attack and release of each key (fast or slow, and an infinite range from legato to staccato.
Was anything sacred composed after 1970?!
"A good tracker action allows you to control both the attack and release of each key (fast or slow, and an infinite range from legato to staccato."
Rather than listening for the micro details, what I advise is listening to the music - is it easier to hear beats, phrases, shapes etc? The answer is invariably yes
tracker players invariably have longer left legs
This is a comparison of playing actions ONLY. Compare the pair: one is tracker and the other is electric. I'm making no comment about either player's interpretation, actually. JUST the action.
Rather than listening for the micro details, what I advise is listening to the music - is it easier to hear beats, phrases, shapes etc? The answer is invariably yes
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