>>Jonathan wrote:
>>Owen describes a process as follows:
>> What I discovered worked to my immense pleasure was to engage the buff 
>> on its 8', but to leave the other 8' engaged (or even add the 4' if I 
>> wanted to)
>If I'm reading Owen correctly, then I recently 'discovered' this sonority
by accident, in the midst of a concert. ..
>MP3: www.lesgraces.com/audio/dieupart3.mp3
>OGG: www.lesgraces.com/audio/dieupart3.ogg
>Kevin Fryer refers to this stop as the "Oooooh!" stop, since, when one puts
it on in a concert, some audience member inevitably goes . . . 

Hi Jonathan,
In some instruments (not in the treble of yours but a bit in the bass) the
combination 8+buffed8 sound very much like a fortepiano. I have used it for
Haydn sometimes, and the audience was indeed surprised!

Btw., I like very much your "strong inégales" all the time: very lively!
[Too many people still find them too "mechanical and distracting". 
Yet, if we follow ancient treatises and bird organs, it is precisely what
this type of piece asks for.]

Kind regards,

Claudio

http://harps.braybaroque.ie/

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