I have read with interest the correspondence concerning the 'frein
harmonique', or harmonic brake, as patented by Gavioli for his violin
pipes.  Use of the frein harmonique to the Gavioli pattern can be found
on fairground organs of Limonaire, Marenghi and Gaudin origin, as well as
being adopted by many later builders, including Britain's own Chiappa
Ltd.

Limonaire and Marenghi were contemporary with Gavioli, and would have
paid the royalty fees, at least initially, to use the device.  They were
well aware of Gavioli's existence, Limonaire being Gavioli's most fierce
rival in Paris, until the departure of factory foreman Charles Marenghi
with Gavioli's key staff to establish a rival firm.

In its standard form, it can be found on violin, cello and bass pipes of
large organs.  It also exists in a modified form, which I have always
known as a roller bridge, which consists simply of a piece of dowel
pinned across the mouth of the pipe in order to stabilise the tone.

On the Dutch Street Organs, I was interested to read that violins are
employed almost universally as a melody voice.  On the French derived
scales that are common in the UK, violin is employed in various parts of
the organ.  On 87, 89 and 98-key organs, it is invariably found as a rank
within the clarinet mixture, which plays the principal melody line on
these scales.

In addition, on Gavioli 89-key G2 and Marenghi, it plays on counter-
melody as a solo voice, often with up to six ranks.  These ranks are
usually of differing cross-section (scale) although the same length,
plus often a rank sounding an octave lower will be included.  On Gavioli
G4 and 110-key scales, the violins play on melody, overlapping with the
lowest piccolos.

Longer strings (cellos) can also be found on these organs, playing as a
rank within the saxophone mixture (counter melody), and as bass notes
(part of the flue bass mixture).  They are also used in multiple as a
cello voice, in a similar way to the violin, again on counter melody.
On the Marenghi 98-key scale, the cello register is termed "vox celeste",
and the intention appears to have been that of the four pipes per note,
two would be tuned unison, and two slightly sharp or flat.

On 46/48 key organs, including Marenghis and Limonaires, the violins
appear as part of the melody mixture, and are often the front row of
pipes on these organs.

Hope this is of interest.

Craig Bennett, Cheshire, England

 [ I'm still confused: I thought that the principal melody voice on the
 [ Dutch Street Organ is the de-tuned double-Bourdon a la' Carl Frei.
 [ ... Someday we'll get it all sorted out !  -- Robbie