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Some questions to Jiri

Existing and forthcoming Hauptwerk instruments, recommendations, ...

Some questions to Jiri

Postby » Sun Oct 26, 2008 2:48 am

@ Jiri:

Afore said: The promised evaluation set (Silbermann/Petrikirche Freiberg) is a very good consumer-friendly idea.

I still think three native releases would be better - seeing "The reverberation time is up to 4 seconds". The "automatic release scaling ..." isn’t the silver bullet. But now your new Freiberg demos are slightly better – except the wind model. Karel wrote "up to two release samples", you wrote "multiple releases (2 sets ...)".

What is true?


In particular the dry demos are nice.

Some questions to these:

1. “Dry: … (recorded in front of the Prospekt, not inside the case).”

Why not inside the case? Okay, the case response would be also an acoustic feedback problem. But it seems to be the lower problem. Recording in front of the case enlarges the possibility of staccato artefacts.


What about the trills? I’m irritated.

3. “This sample set may be used well in self-reverberant spaces (such as halls) …”

Some of my Orgeljournal readers are worry to digital organ producers could steal these unprotected dry samples and affect the work of traditional organ builders. I suppose it is perhaps an important consideration.

For clarification: I like dry sets. Click here! (Don’t forget: I’m your purchaser.)

No offence and best regards,



Hauptwerk-News for German readers

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Postby zurek » Sun Oct 26, 2008 10:46 am

Dear Matthias,
thank you for your questions. Unfortunately, I have to spend my time for about 3 weeks now on other work - I have one theological conference comming and since I was not able to prepare anything during the past 3months (I had the problems with the leg from the summer), I have to be very very very busy now with the work. Therefore, I am afraid that the release of the Freiberg sample set must be postponed. I am very sorry about that. That means also the preparation of the demo sample set is postponed for now. I still hope I will find time to finish it, but unfortunately other duties are now very urgent, too urgent to neglect them.

Of course, native releases are always better than the release scaling, but for not extremely wet sample sets, I think that short+long release + release scaling might work well for good organ model. But still, I have to find time for finetuing, which I cannot dedicate to it right now. I am sorry.
In the listening test, we used "up to 2 releases", this is true since as you can read in the results, I made some of the demo pieces with single release only (the default Hauptwerk releases option), to hear the difference - you can compare no.3+4 with 6+8. So, this was why we wrote "up to 2releases". But in fact, in the sample set itself, there are always two releases. Also, you must know that Karel Kvaca never knows all my secrets:-) since he is not Sonus Paradisi, so the information from him may not always be precise, I am sorry to say that. What he does is the convolution and all the questions about the convolution he is able to answer to great detail, but not questions about my sample set.

1. Well, to get absolutely dry sound, we would have to dismantle the organ, bring it to anechoic chamber (we have one in Prague by prof. Syrovy) and record it there. You can guess that I would NEVER get such a permission. Recording inside the case is problematic - we tried that in some stops of Litomysl dry (the swell manual) and as you can remember, that recording is inferior to that which we took outside the case. I think it is the box effect and perhaps some other acoustic features. Imagine, that you would have to record the pipes about 20 cm in front of the mouth and then about 20 cm above the top. Top recording is possible in normal organs, but to get in front of mouths is very impossible except the Prospekt pipes and perhaps the latest rank in the organ. If you know how the organ normally looks like inside, you know why this recording is not possible without complete dismantling. I see it exactly the oposite to what you say, for me the case problem is more important than the staccato problem. There are other reasons for recording outside the case, but I think it is not important to speak about them (compatibility with our IRs and so on). To record outside the case is simply our option. Anyone is free to do the work in different manner.

2. I do not know what you think about the trills.

3. I will not answer that question since in this way I would have to reveal many background issues going on here what other parties would certainly not like to know. Therefore, there is no comment on this but of course, it is VERY IMPORTANT CONSIDERATION and we care about that. I will not disclose more now, I am sorry, but suffice it to say that Sonus Paradisi is always very reliable partner of the parishes where we record and we always listen to what the parish says and wants.
However, our dry set is not that dry as the digital organ producers would like it to be anyway, so there is little usage of the manipulated data as they are in the sample set. The scientificaly highly important unmanipulated raw data which we have will safely be stored in the archives of Academy of Sciences and no third hand will get hands on them, this is for sure. To put it in theological terms, this is more strict than the auricular confession secret.
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Re: Some questions to Jiri

Postby bcollins » Mon Oct 27, 2008 12:36 am

“Dry: … (recorded in front of the Prospekt, not inside the case).”

It is for this very reason that I am looking forward to this sample set. In my experience I have had much better results with samples that are not recorded too dry (20cm from the pipes). At Zion, even though the space is large, the acoustics are only about 1 second due to heavy carpeting in the aisles and on the chancel floor. Samples that have just a slight bit of the reverberation from the organs original casework sound much more realistic.
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