Cheating is Less Expensive

Barbara Owen once pointed out to me the same system at work in an American organ of the 1860s (I think it must have been a Hook in or near Newburyport) - the excellent pedal division on a modest two manual consisted of Bourdon 16' and a big open flute 8' labelled (I think) Cello. Together they sounded like an Open Wood 16' to me - and at a fraction of the space and cost.

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(Message to builders of really small new organs - don't waste your clients money by providing both 8' principal and 8' flute on the pedal - a single open wood 8', voiced soft but of very big scale, will do the work of both only better. And, while I am on about it, if you must use a fagotty (i.e. bassoon-like) half-length 16' pedal reed then have a Trumpet 8' too when you can - the two together will sound like a Bombarde 16')

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The old masters did not change stops often, not because they were either primitive or stupid, but because their tonal recipe satisfied the ear for long periods at a time.

Quoted from Harmonics and Cheats