dry sample sets of symphonic organs for live performance?
dry sample sets of symphonic organs for live performance?
Dear all,
I have this problem:
I will have to perform Poulenc concert with an orchestra, I would like to use my Hauptwerk system but, in my place, what sample set you would use??
We have wonderful sample sets (as Metz and Aix..) but they cannot be used in live performance because they have a lot of reverberation, and the sound is recorded too far!
Thank you,
Lorenzo
I have this problem:
I will have to perform Poulenc concert with an orchestra, I would like to use my Hauptwerk system but, in my place, what sample set you would use??
We have wonderful sample sets (as Metz and Aix..) but they cannot be used in live performance because they have a lot of reverberation, and the sound is recorded too far!
Thank you,
Lorenzo
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Reverberation also affects the attack and the steady tone.
How does Metz sound with truncated releases?
For example I have tried to truncate the releases from the very wet Skinner organ, but the result wasn't good, to say it without to exagerate.
Another example is the Doksy-Reager with a reverberation so short as 1-2 seconds. When I truncate the releases from that sample set, the result is acceptable.
Regards
Johannes
How does Metz sound with truncated releases?
For example I have tried to truncate the releases from the very wet Skinner organ, but the result wasn't good, to say it without to exagerate.
Another example is the Doksy-Reager with a reverberation so short as 1-2 seconds. When I truncate the releases from that sample set, the result is acceptable.
Regards
Johannes
I have always been dissatisfied with the Skinner "ringing" sound when playing quickly so once again I just tried truncating the stops using mostly #3 truncation with HW version 3 and then adding large space reverb with a Lexicon MX300.
It isn't a perfect solution but to me it sounds much better than having the extremely wet reverb with short or staccato notes which produces that annoying rather harsh ringing sound.
Rob
It isn't a perfect solution but to me it sounds much better than having the extremely wet reverb with short or staccato notes which produces that annoying rather harsh ringing sound.
Rob
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Johannes Sørensen wrote:Reverberation also affects the attack and the steady tone.
How does Metz sound with truncated releases?
For example I have tried to truncate the releases from the very wet Skinner organ, but the result wasn't good, to say it without to exagerate.
Exactly.. I tried to truncate the releases from Metz but the result is not convincing, expecially with fast notes with fonds and flutes.. this is because the sound is recorded from far and, as you say, the reverberation affects the attack and steady tone..
I am VERY happy with the Milan news of a symphonic organ dry!! (cannot wait to have more infos..)
I think there is really need of such an instrument for Hauptwerk.
Lorenzo
PS: I have the Litomysl dry and it is nice, expecially if you need mixtures sound. I used it for Mendelssohn music and other performance of ancient music.
But not for symphonic music! especially French music..
I think it is not suited at all. It is more a neobaroque organ.
This is mainly because of the light fonds and because the Recit doesnt have the right reeds and sound for crescendos and diminuendos with the swell. (even for Poulenc there is need of this colour, I miss the the trompette 8, the clairon 4, the reed 16 would be good too.. and that "strange" Hautbois..)
telemanr wrote:I have always been dissatisfied with the Skinner "ringing" sound when playing quickly so once again I just tried truncating the stops using mostly #3 truncation with HW version 3 and then adding large space reverb with a Lexicon MX300.
It isn't a perfect solution but to me it sounds much better than having the extremely wet reverb with short or staccato notes which produces that annoying rather harsh ringing sound.
I am just curious if anyone can explain the difference between the Lexicon MX200 and the MX300?
Thanks
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