Considering the pipe organ from a scientific and engineering perspective
Fritz Noack · The Journal of the Acoustical Society of America · 1998
Acoustics of the pipe organ as a musical instrument will be discussed, both with and without the effects of the surrounding architecture (i.e., in and out of the acoustical context of a performance space). For the theoretical condition of the organ removed from its acoustic environment, the paper will examine key elements which contribute to, or otherwise affect, sound produced by the pipes. These include key action, windchest design and pipe-interval layout, wind pressure(s), scaling and voicing decisions, arrangement of divisions, casework or enclosure (fully encased or unencased, open or behind a facade, solid or resonant case panels), facade pipe and pipe shade details, etc. This theory will be contrasted with the real-world condition of the organ directly affected by its acoustic environment, including location in the room, free-standing case or fully/partially chambered installation, etc. The author will conclude with general guidelines for planning a new organ in a variety of architectural spaces and acoustic conditions (existing and known, or on paper and merely predicted), including location, layout of manual and pedal divisions, tonal design, pipe scaling, and voicing.