dry sample sets of symphonic organs for live performance?

Aristide · Post by **Aristide** » Mon Feb 18, 2008 8:59 am

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

Johannes Sørensen · Post by **Johannes Sørensen** » Mon Feb 18, 2008 9:34 am

Look at the Litomysl dry version from Jiri Zurek, Hauptwerk.cz .

If it has the stops you want, I think it is a good choice.
It is a great high quality sample set with 51 stops and furthermore to an unbielivable low price.

Regards
Johannes

Stefanussen · Post by **Stefanussen** » Mon Feb 18, 2008 11:21 am

Or you can use your Metz for example and load it in simulated dry (truncated releases).

Johannes Sørensen · Post by **Johannes Sørensen** » Mon Feb 18, 2008 4:02 pm

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

telemanr · Post by **telemanr** » Mon Feb 18, 2008 4:31 pm

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

Post by **B. Milan** » Mon Feb 18, 2008 4:49 pm

Greetings,

In the next few weeks we'll have a new option for those wishing for a dry symphonic virtual organ. Once the set is completed and ready to go more information will be posted here and on our website along with audio demonstrations.

Stay tuned!

Lougheed · Post by **Lougheed** » Mon Feb 18, 2008 5:47 pm

Looking forward to it, Brett. I really enjoy your work!

I'm looking forward to the day when I'll have computer resources to run Milan organs in my studio. For now, I have to be content to listen to mp3 demos through my organ sound system.

Lawrence

Stefanussen · Post by **Stefanussen** » Mon Feb 18, 2008 6:17 pm

Lougheed, what are your system specs?

Lougheed · Post by **Lougheed** » Mon Feb 18, 2008 6:28 pm

Pentium 4, 3.2 Ghz, 2GB, VSL2020 audio card, XP Pro SP2

I'm planning on Mac Pro 16GB.

Stefanussen · Post by **Stefanussen** » Mon Feb 18, 2008 7:23 pm

Yes, a MacPro 16 GB is the way to go, but will set you back quite a bit ...right now I'm using a consumer motherboard with 8G of ram ...at $99 or less for 4G of RAM, it's very affordable. A server motherboard with ECC fully buffered RAM (essentially what a MacPro is...) is not going to be nearly as affordable.

Anton Heger · Post by **Anton Heger** » Tue Feb 19, 2008 1:50 am

Pentium 4, 3.2 Ghz, 2GB, VSL2020 audio card, XP Pro SP2

An excelent system to use the dry Litomysl with or without Reaper!
And that with a very satisfying sound.

Aristide · Post by **Aristide** » Wed Feb 20, 2008 11:45 am

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..)

Nate1693 · Post by **Nate1693** » Tue May 20, 2008 11:14 am

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

Stefanussen · Post by **Stefanussen** » Tue May 20, 2008 11:24 am

mx200 has 2 channels, mx300 has 3 channels (to which reverb may be applied)