Friesach as Rotterdam! (VI/94 Pure Extension)

in reality all of Celeste's stops

It depends what the organ builders decided to do! Most organ builders want to save pipes by not starting the celeste deep down-it is useless anyway until about C13. I have seen some unda maris' start at G20.

When I make my own celestes and unda maris' (using beating tuning) I create them from Pipe001 - easier to do this. I have not found any downside to this especially as the organist does not include this stop when playing loudly.

And..the Nancy organ that I am working with now appears to have a beating effect celeste that starts from Pipe001.

Take Care!

I follow your work and I really appreciate your organs.
however, I don't think it's as you say... (or maybe it's the fault of google translation)
all the celeste stops don't have the first 12 notes, because over the centuries it has been understood that, simply, those pipes sound bad. of course I have also seen organs with celeste stops starting from the second G, and this depends on the type of pipes used for that particular stop.
Personally I have nothing against experiments,
but an Unda maris 8' is born from a second row of pipes, tuned sharp, of Dulciana 8'; not Salicionale, not Viola da gamba.
In the same way the Fiffaro or Voce Umana is a second row of Principale 8' stops, not Prestant or Diapason.
Thus the Voce Celeste 8' that the French demand robust on Gamba pipes and the Germans prefer very sweet on Salicionale pipes, tuned flat or sharp with a very penetrating effect and soft and vaporous sounds.
in all these cases we will never find the first 12 pipes in the beathing row, indeed, in some mechanical organs these rows begin from C25!

Dear Simmy,

Thank you, you appear to be very knowledgeable about these stops. From my studying, it was my understanding that the Unda Maris was always tuned flat and did not beat at the same rate as the Celeste does - I believe a slower beating for the Unda Maris - but I would have to look that up again. For me, when I am making virtual stops I have to use what is available - I do not care whether I am making a Celeste or Unda Maris from a Prestant, Salicionale, Gambe or Dulciana because I am not a purist. If I was a purist, I most certainly would not be playing these extended demo and composite builds that I am making! As long it sounds lush and lovely, I am not bothered about this.

I was just glad to discover how to tune a uniformily beating celeste using the Logarithmic formula of c = 1200 × 3.322038403 log10 (f2 / f1). For example an A440 can be tuned to a cent difference of 2 beats per second by using A440 as F2 and A442 or A438 as F1. This can be done for every pitch of the entire frequency range of the keyboard.

Did you check out the Nancy Cavaille-Coll Organ - it has a full range Celeste! From the sound of it, it is not perhaps beating terribly far off from the unison stop so that the rumbling effect is not too bad at the bottom.

Thank you! Corrected this now!

Thank you! Hope you enjoy it!