Piano Guidance
Piano Guidance
Photo: Pixabay
The stalacpipe organ The stalacpipe organ is so big that the Guinness Book of World Records has crowned it the world's largest instrument. For that, you can thank Mother Nature, time and a particularly creative mathematician. The story of the Great Stalacpipe Organ begins more than 400 million years ago.
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Read More »Deep inside Virginia’s Luray Caverns, a song rises above the steady drip-drip-drip of water echoing upon limestone. The tune emanates not from an cellphone ignored by a visiting tourist, but from an acoustical oddity: the Great Stalacpipe Organ. Technically, this stalacpipe organ is not an organ at all, but a percussion instrument known as a lithophone. Instead of blowing air through pipes, it operates by rhythmically striking 37 different stalactites scattered across the 3.5-acre cave. The stalacpipe organ is so big that the Guinness Book of World Records has crowned it the world’s largest instrument. For that, you can thank Mother Nature, time and a particularly creative mathematician.
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Read More »“The most amazing thing is that he went to our management to ask to attempt this project, and they allowed him to do this,” said John Shaffer, director of public relations at Luray Caverns. “He spent virtually every weekend during that period prospecting for stalactites that could be perfectly tuned.” Ultimately, Sprinkle spent three years constructing the organ. He selected 37 stalactites for their pitch, sanded all but two down to perfect their tone and then attached a rubber mallet device, measuring more than a foot long, next to each stalactite. Whenever a musician strikes a key, a corresponding note on a stalactite sounds. Archaeoacoustic scientist David Lubman, who studies the acoustics of caves and religious sites and founded DL Acoustics in Westminster, CA, is not surprised Luray Caverns became home to the Great Stalacpipe Organ. “It’s no coincidence that people would think to put an organ in a reverberant cave, because those are the acoustics,” he said. Lubman likened the porous rock textures of Luray Caverns to foam or carpet lining the walls of a recording studio. The porous textures absorb enough sound to reduce confusing repetition of notes, but still allow tones to travel through the cave and back to the Cathedral Room where the organ is located.
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