|
1) Something
Old |
We
all have our heroes, men and women who inspire us, catch our
attention and passions deeply, and often inspire us in ways
which fill our lives with delight and wonder. Although I've
became firmly associated with electroacoustic music making,
and it has defined my lifelong career, the good and bad ways
of being typecast, some of what inspired me was from the
world of electropneumatics and the pipe organ. I knew of the
early electronic organs as they existed during my
adolescence, and certainly was eager to try as many of them
as I might manage. It was an example of the old story, a
youthful acolyte falling under the spell of ideas, talents,
and creations by individuals you'd never meet. Then life
intrudes. The inspirations add their influences, usually
unconsciously. It's only much later that the thread which
connects us with those special people and events of the past
becomes appreciated more clearly.
The
organist was one of the best ever, George Wright. At that
time there was no synthesizer -- aside from the clumsy
pioneering affair RCA had assembled in NJ in the mid '50s.
So it seemed rather like magic, what could be done by one
very skilled musician on such a versatile instrument. I was
spellbound. Somehow my path never went into that direction,
although I did take a couple of months of organ lessons
during high school (after many years of piano lessons, and
just before learning the little I know about pop music,
chord charts and jazz improvisation). My family couldn't
afford an organ of any kind, so the short-lived effort was
pretty much wasted. Yet the ideas took hold in other ways,
as is obvious now. It was a significant influence in my
seeking out the latest of electronic music making devices,
trying to find an innovative way to satisfy my need to
create timbrally rich new music. For that side of music
making the piano seemed rather limited. It still does, imho:
timbrally monochrome, despite being a wonderful instrument
in other ways.
A
couple of years
after Wright left Hi-Fi Records he began playing a new
smaller instrument (he's pictured at it here) on several Dot
recordings. George had teamed up with Don Leslie, the
inventor of the amazing Leslie rotary loudspeakers, which no
electronic organ, especially a Hammond Organ, would be quite
complete without. That device funnels the sound through
rotating speaker horns driven by a two speed motor on a
vertical shaft, so the audio swings around a full 360
degrees within the cabinet, rather like a carousel. If the
rotation is slow, around 1-2 RPS, the input gains both a
variation of level (tremolo) and pitch (vibrato) via the
Doppler effect and changing aim point, a chorus-tone result.
At fast speed, nearer 6-7 RPS, this becomes a very powerful
tremulant modulation, even better than the tremulants in the
best pipe organ. Both Don (who
died in Sept 2004) and
George (who
died in May 1998)
shared a keen desire to construct an ultimate theater organ.
(Isn't it ironic that Leslie's speakers are tied indelibly
with the Hammond, while he much
preferred a real Theater Organ?) The project ended up in
Leslie's Pasadena warehouse facility, where there was ample
space and no fear of disturbing any neighbors!
Wright traveled around the world in search of some of the finest examples of pipe ranks to add to the Leslie-Wright instrument. While it began from parts from several stock WurliTzers, including a much-travelled 3 manual console, these subtle new additions imparted a sublime ensemble, and many unique solo voices. Tragically, less than a decade later, the instrument was destroyed by fire (there are conflicting rumors as to the cause...), and George had to begin anew to locate suitable parts from which his famous final instrument was slowly assembled up in the Hollywood Hills. Much as I (wink-nudge) described my early '80s synthesized orchestral performances as the "LSI Philharmonic", this new organ was christened as the "Hollywood Philharmonic Organ."
Since
George Wright recorded most of his earliest albums on one
particularly Mighty WurliTzer, let's take a quick look at
that console. The organ had first been installed in the
Chicago Paradise Theater, where its console had suffered
some damage. In around 1949 a Los Angeles organ enthusiast
bid on the long unused instrument, and installed it in his
home in LA. The console was stylishly rebuilt as you see it
above, inspired by the handsome Radio City Music Hall twin
consoles. It's far less glitzy than the original's roaring
twenties "waterfall" style, tumbling with Baroque cherubs,
abundant gold relief swirls of ivy, and even small busts of
famous composers (all
on one console -- yikes -- only thing missing was
velvet tassels!).
Wonderful kitsch! Unlike Radio City, this one had five, not
four manuals, but controlling a smaller if still impressive
21 ranks of pipes (a rank is a complete set of notes all of
a single timbre, be it a flute sound, string, or even a
brassy trumpet; the most common church organ rank is the
stately Diapason). In the early '60s Vaughn sold this
instrument to Bill Brown in Phoenix, where it's been
expanded to 36 ranks and kept in tip-top condition. |
Please
tell my what this mid-20's ad suggests to you, as one
musician (here
it's Harry Murtaugh, one of the better Wurlitzer organ
demonstrators) calls
upon the resources of -- could that be a full orchestra?!
Yup, it's that ever tempting carrot on a stick, a "band in a
box", that launched so many of us into making music with the
latest technologies. We're still not there yet, doncha know,
so this image remains fanciful. Yet it is a conceit which
still hath its charms and validity. In the early 21st
century the electroacoustic tools are based on both sampling
and complex devices that can synthesize an astonishingly
broad palette of new sounds, including those based on past
wholly acoustic devices. Let's not forget that they are ALL
devices, no need to pretend that somehow the piano or violin
are any more "natural" than the pipe organ or digital
synthesizer. Just show me a clarinet tree, if you please
(N.B.: pointing to an ebony tree won't get you off the
hook...)!
In the 21st Century there
are now other choices to obtain a decent "band in a box"
aside from the huge undertaking of installing one of the
remaining antique instruments, if you can find one, never
mind afford it. However, we're living in an empowered time
for those of us who love timbre, orchestrational richness
and variety. You can own an inexpensive small synthesizer
which will tap a good chunk of this field, provide you with
at least as much as Kearns had in the late '50s. You can
assemble 2-3 such instruments, with a bit more gear, as many
of us have done, to form a pretty dern kewl home recording
studio. It need not take up the serious space and financial
investment that enthusiasts not so long ago needed. Add some
MIDI and HD audio, notation software, sound design specialty
programs, and all the rest you know about. Yeah! --Wendy
Carlos |
|
Wendy
Carlos, Wurly II - 4