1933 Kimball Pipe Organ (KPO) Details, War Memorial Auditorium, Worchester, MA
The Worcester, Massachusetts War Memorial Auditorium Kimball organ contract and specifications from 1933 showing typical pipe alloys and pipe construction practices employed by this builder.
[FOR AN EXPLANATION OF PIPE SCALE NUMBERINGS AS THEY RELATE TO THE 6 DIPASONS INSERTED IN THIS ORGAN PLEASE SEE THE PAPER ON "DESIGN AND HISTORY OF THE KIMBALL ORGAN" PP. 25-27 POSTED AS A SEPARATE SUBPAGE]
TABLE OF AMERICAN PIPE SCALES*
*calculated internal diameters for cylindrical open metal pipes based upon the concept that, for the 8' CC pipe, Scale 1 means a one meter internal diameter (no pipe would ever be built that way) and that the internal diameter moving up the chromatic scale halves on the 17th step -- each pipe being 0.9756 the diameter of the previous pipe with lengths proportional to the equal-tempered scale which halves on the 13th step, each length being 0.94387 the previous.
[Bracketed] stops in this list refer to the Saint Louis Kimball organ.
Scale Calc. (in) Calc. (mm)
1 39.37 1000
64' C 6 31.70 805
32' C 18 18.85 479
22 15.85 403
16' C 30 11.21 285
32 10.28 261
33 9.84 250
34 9.43 239
35 9.03 229
36 8.64 220 [Solo Stentor Diapason]
37 8.28 210
38 7.93 201 [Great Principal Diapason]
39 7.59 193
40 7.27 185 [Swell Diapason Phonon]
41 6.96 177 [Antiphonal Open Diapason]
8' C 42 ("normal") 6.66 169 [Great English Diapason]
43 6.38 162 [Swell Horn Diapason, below tenor (4') C]
44 6.11 155
45 5.85 149
46 5.60 142 [Swell Horn Diapason, from tenor (4') C]
47 5.37 136
48 5.14 131
49 4.92 125
50 4.71 120
51 4.51 115
52 4.32 110
53 4.14 105
4' C 54 3.96 101
55 3.63 92
57 3.48 88
58 3.33 85
59 3.19 81
60 3.06 78
61 2.93 74
62 2.80 71
63 2.68 68
64 2.57 65
65 2.46 63
2' C 66 2.36 60
67 2.26 57
68 2.16 55
69 2.07 53
70 1.98 50
71 1.90 48
72 1.82 46
73 1.74 44
74 1.67 42
75 1.60 41
76 1.53 38.8
77 1.46 37.2
1' C 78 1.40 35.6
79 1.34 34.1
80 1.28 32.6
81 1.23 31.3
82 1.18 29.9
83 1.13 28.7
84 1.08 27.4
85 1.03 26.3
86 0.99 25.2
87 0.95 24.1
88 0.91 23.1
89 0.87 22.1
1/2' C 90 0.83 21.2
91 0.80 20.3
92 0.76 19.4
93 0.73 18.6
94 0.70 17.8
95 0.67 17.0
96 0.64 16.3
97 0.62 15.6
98 0.59 15.0
99 0.56 14.3
100 0.54 13.7
101 0.52 13.1
1/4' C 102 0.50 12.6
103 0.47 12.0
104 0.45 11.5
105 0.43 11.0
106 0.42 10.6
107 0.40 10.1
108 0.38 9.7
109 0.37 9.3
110 0.35 8.9
111 0.34 8.5
112 0.32 8.2
113 0.31 7.8
1/8' C 114 0.29 7.5
115 0.28 7.2
116 0.27 6.9
117 0.26 6.6
118 0.25 6.3
119 0.24 6.0
120 0.23 5.8
121 0.22 5.5
122 0.21 5.3
123 0.20 5.1
124 0.19 4.9
The subject of organ pipe scales is a deep and complicated one in that more than one system has been adopted by various builders to convey the ratio of a metal pipe's diameter to its length. From the standpoint of fabrication it's instructive to imagine being a pipe-maker who works from this table. To make the body of an open metal Diapason pipe, one would first wrap metal around a cylindrical mandrel and then solder the seam. The work area would have shelves on which would be a large number of wooden mandrels each with a number corresponding with the scale numbers tabulated above.
Let's say that an order arrives to construct an open metal cylindrical English Diapason rank for the Great division, the pipes being built to "normal" 42 scale (a bit over 6-1/2" in diameter at the 8-foot CC pipe). One would start with the mandrel labeled "42" for the 8-foot (8') low CC note and build each pipe, ascending chromatically, with the next numbered mandrel. This means that the next C pipe (tenor C) an octave higher would be built to Scale 54 and 2 octaves up (middle C) would be built to Scale 66. The top C in this 61-note (still 42 scale) English Diapason rank would be 5 octaves up at Scale 103 and have a diameter of 0.50".
If then another order arrives to build an independent 4' Octave rank for the Great to be paired with the same 8' English Diapason in forming a chorus, the 4' rank would typically start at 8' CC with a slightly smaller Scale (perhaps 56?) than 54. The effect of any independent 4' Octave stop when drawn with the 8' in a chorus ideally should be noticeably different to the ear and less pronounced than that produced when the supercoupler is engaged on the 8' stop; ideally it should never quite equal the strength of the 8' stop with which it is associated in order not to disturb the ear's sense of unison pitch in the manuals. Its purpose is to reinforce the 2nd harmonic or 1st upper partial tone of the fundamental 8' unison pitch. Thus it should speak scientifically in accordance with the natural laws of musical sound where ALL of the higher upper partial tones of a given fundamental or prime tone decrease in intensity as they rise in pitch.
If let's say another order arrives to construct for the same organ an 8' Horn Diapason for the Swell having a brighter, less assertive tone quality which permits it to enter into combination with the strings and reeds of this division without dominating, these pipes might start out with advantage at a slightly smaller scale 43 (about 6-3/8" in diameter at the 8' CC pipe). This would mean that, if the scale remained the same throughout its compass, the tenor (4') C pipe would be built to scale 55. But if a smaller tone is desired in its upper ranges, the scale might change at tenor C or middle C to something smaller still, such as 46. This means that, if the change in scale happens at tenor C for example, the tenor C pipe would be built to scale 58 instead of 55 and the middle C pipe an octave higher would be built to scale 70 instead of 67. The top C pipe 4 octaves above tenor C in this case would then be built to scale 107 instead of 104 and have a diameter of 4/10ths of an inch. This voice would then be designated as a scale 43/46 Horn Diapason.