So does the parallel scaling of the upperwork actually make it cohere to
the main foundation work in that acoustic, or does it merely make the
principal chorus "reedier" because of its prominent fifths, forcing the reeds to be
brighter, and consequently "nastier," just to enforce the additive contrast?
    Also, you have not provided a complete stoplist, which makes it more
difficult for us to respond to your post.
    I am grateful, however, for such an on-topic post.
    This is, after all, an organ chatlist.

Sebastian M. Gluck
New York City

.

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