On Thu, 20 Oct 1994, Howard Ashley wrote:
 
> The flute celeste on the swell
> is either inoperative or prepared for. How can I determine
> which?
 
The most definitive way is to go up in the organ chamber and look for the
pipes.  Flute celestes are usually tapered, and not necessarily a
particularly big scale, with small mouths.  If you see two of these (not
necessarily right next to each other, or they could pull in tune), that
answers your question.  Or, ask your organ tuner;  he'd probably be happy
to help you with your visit to the chamber and answer any other
questions.  (If he wouldn't, then he's a jerk!).
 
 
 >  I have not seen a thread on how celestes are tuned or
> used so here are some questions:
>
You missed one earlier this year.
 
> 1. Is the celeste rank usually sharp or flat?
>
Usually sharp, though sometimes flat, especially in the case of an Unda
Maris.  In any case, a U.M. is usually tuned to beat slower than the others.
 
> 2. If there are more than one would this affect the decision to
> tune sharp or flat? i.e. one sharp, the other flat
 
Not necessarily.  Flat celestes aren't all that common in this country.
>
> 3. When is the celeste no longer a celeste or how far away can
> the celeste rank be sharp or flat?
 
It's all a matter of taste.  However, in some cases where the celeste and
its mate rank are put right next to each other, they have to be tuned
pretty far apart to celeste at all.
 
> > 4. Can one combine celestes with
other stops? How? >
 
Manuel Rosales just told me how he's a firm believer in making the
celeste rank (he's never built an organ with more than one in a division)
work with any and all foundations.  Langlais' advice was that one should
never include a stop of 4' or above with a celeste, since it produces
flat-pitched difference tones - but adding a 16' sounds good.