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Posted: Sun May 04, 2008 11:18 pm
Another question for more experienced heads than mine...
I'm debating with myself at the moment over whether I want to have a Krumet or a Kinura on the organ I'm building. It's a cut down version of the 260SP (does that make it a 260 Coupe?) minus the Musette and second Tibia.
I know that I can easily swap the ranks in and out but I'm starting to design the stop tabs for printing and I would like to decide on the default rank.
I guess what I'm asking is for anybody's thoughts about the usefulness or otherwise of these two stops. Why do some designs have a Krumet, others a Kinura for example?
Posted: Mon May 05, 2008 12:36 am
In the book "Walt Strony's Secrets" it is commentated that the Kinura is more useful (common) than the Krumet. The Krumet is recommended to be used very sparingly.
Posted: Mon May 05, 2008 10:29 pm
Agree with Rick the Kinura is more useful. It is similar to a Vox in many respects as it adds that edge to the underneath of the Tibia foundation and adds a definite sound to the whole combination. The Krumet being a very small reed in size gives a buzzy type of sound low in volume and is easily lost after several other stops are added.
Re: Krumet or Kinura?
Posted: Thu May 09, 2013 8:53 pm
I have both a Krumet and Kinura available on my 3/23 instrument although due to stoprail limitations, I can only utilize one at a time. At present, I am using the Krumet, and have the engraved tablets for it installed on the stoprail. The utility of either rank depends on how it is voiced, and how it is terraced with the rest of the ranks. Mine is similar to the Allen Krumet, but with my own trem programmed in. For my uses, I find my Krumet has enough 'sass' to it to cut through nicely, especially in a 'trems-off' registration, the way Mr. Strony recommends using Kinuras. I use it in the usual way with 4' Tibia like everyone and his dog does, but additionally to spice up combinations with Orch Oboe and Sax. In these registrations, it adds the required 'sass', but in addition, has a bit of body to boot. The best justification, I think, for Krumet over Kinura is the fact that in general it can take to a trem much less obnoxiously than a Kinura does, making it a better player in ensemble. The thing I miss about lack of Kinura is the really gutsy squawk in the tenor octave. Allen has chosen to put a Krumet rather than a Kinura on their moderate sized organs up to about 21 ranks, so someone there must agree that there is more utility to the Krumet. I never thought I would be saying that I preferred the Krumet to the Kinura until I had both available and was able to evaluate both in my instrument. I think the trick is: if you want the cutting Kinura sound from a Krumet, keep the trem off. So as to not interfere with the trems on other ranks and divisions, I have a separate trem for just the Clarinet and Krumet. That way everything else can be tremmed, and the Krumet can cut through untremmed if desired.