Craig and MMDrs:  For those of us of the 'theatre organ persuasion',
the Chrysoglott is well known.  Invented in the late 19th century
(I think by Robert Hope-Jones), it was named by combining the Greek
and German words for 'Golden Voice'.

Any theatre organ with any pretensions of completeness had at least
the 'big three' percussions: (1) Xylophone (wood struck by wood),
(2) Glockenspiel (metal struck by either metal or hard wood),
(3) Chrysoglott (metal bars with resonators struck by felt covered
wood or hard rubber).  The xylo and glock could often be played
single-strike or reiterating, depending on the builder.

Craig, I'm really interested in the damped Chrysoglott, as I've never
seen or heard of one.  I have a 'metal-bar harp' (the builder's term),
built by E. M. Skinner, which is like a 'Chrysoglott on steroids'.

It's a 61-note monster standing about 6' tall, 7' wide, and 2' deep,
playing 61 notes of 8' (piano pitch) tone.  Although it uses a
piano-hammer style beater, it has no dampers, which it really could
use as that low CC resonates for a _long_ time!

Regards,
Bob Loesch, in beautiful Lake County, California, USA
http://home.jps.net/~rrloesch/index.htm

 [ 'Chrysoglott' is also a sly pun.  'Glottis' or 'glotta' in Greek
 [ means the tongue, but in the jargon of phonetics 'glottal' means
 [ 'a percussive stop'!  :-)  -- Robbie