Sat Apr 14, 2012 8:13 pm
Dear forum members,
I'm wondering whether it would be useful to have a more structured forum section for sharing sample set experiences. For existing users, who explain tips and experience with a specific sample set. The forum does offer ample possibilities for such threads, but because they may be in a general category like "Hauptwerk Instruments" or "Performance practice" maybe they don't stick out sufficiently and may not get the casi "permanent" position they may deserve.
To see how this might work, I kick off for the Dom Bedos organ model, the organ constructed in 2009 by Bartolomeo Formentelli for the church of San Domenico in Rieti, Italy.
First, I would like to make some personal comments.
(1) My capability and education as an 'organist' is extremely limited, and I only start this thread because I miss such a learning and exchange option currently and hope that others, with more luggage than I have, may get involved.
(2) I am amazed that so little is being written about the Dom Bedos organ model. I have some 20 sample sets, of which say 10 are of the somewhat larger and more expensive type. But despite that I have some reputable and praised sample sets, I find myself almost exclusively using the Bartolomeo Formentelli Rieti sample set - and I keep enjoying it after hours of playing, though sometimes, reluctantly, I change to drier sets to better improve my playing.
Some observations.
- the (original) stop lay-out I find quite confusing. I have 3 manuals, the first two I use as Positif de Dos (Rückpositiv) and GO. The remaining three virtual manuals I have combined on my 3rd manual.
- I miss the bottom octave of the Bourdon 8 of the Echo, for example when I use a registration with a loud, a modest and a soft manual and I try to play a part of the piece on the soft (3rd) manual with just the Bourdon 8.
- I use still very simple registrations, mainly the principals and bourdons and occasionally an bourdon 8 / Nasard / Tierce combination.
- I almost always use the so-called Barnes-Bach temperament (used a tool to make that).
- I have just installed a pedal board and started to learn to play it, so I have no experience there still.
- The mean issue to me is the sound - the incredible sound of this organ. It never bores me, and after any other try I get back to Dom Bedos. The way the pipes speak, their mild colour and liveliness, the subtle way the sound starves after release - well, how can you describe sound in words...
A question. When a play a choral (or a fugue), and I use a modest registration, the voices stand out clear against the acoustics (the reverberation) - a very nice mix. However, when I use a much heavier registration all of a sudden I feel the sound gets a lot muddier - so much so that is starts to bother me. Is that normal, is that generally the case?
I do hope that this leads to useful contributions of opinions, experience and suggestions.
Ernst
Note: edited to be more concise.
I'm wondering whether it would be useful to have a more structured forum section for sharing sample set experiences. For existing users, who explain tips and experience with a specific sample set. The forum does offer ample possibilities for such threads, but because they may be in a general category like "Hauptwerk Instruments" or "Performance practice" maybe they don't stick out sufficiently and may not get the casi "permanent" position they may deserve.
To see how this might work, I kick off for the Dom Bedos organ model, the organ constructed in 2009 by Bartolomeo Formentelli for the church of San Domenico in Rieti, Italy.
First, I would like to make some personal comments.
(1) My capability and education as an 'organist' is extremely limited, and I only start this thread because I miss such a learning and exchange option currently and hope that others, with more luggage than I have, may get involved.
(2) I am amazed that so little is being written about the Dom Bedos organ model. I have some 20 sample sets, of which say 10 are of the somewhat larger and more expensive type. But despite that I have some reputable and praised sample sets, I find myself almost exclusively using the Bartolomeo Formentelli Rieti sample set - and I keep enjoying it after hours of playing, though sometimes, reluctantly, I change to drier sets to better improve my playing.
Some observations.
- the (original) stop lay-out I find quite confusing. I have 3 manuals, the first two I use as Positif de Dos (Rückpositiv) and GO. The remaining three virtual manuals I have combined on my 3rd manual.
- I miss the bottom octave of the Bourdon 8 of the Echo, for example when I use a registration with a loud, a modest and a soft manual and I try to play a part of the piece on the soft (3rd) manual with just the Bourdon 8.
- I use still very simple registrations, mainly the principals and bourdons and occasionally an bourdon 8 / Nasard / Tierce combination.
- I almost always use the so-called Barnes-Bach temperament (used a tool to make that).
- I have just installed a pedal board and started to learn to play it, so I have no experience there still.
- The mean issue to me is the sound - the incredible sound of this organ. It never bores me, and after any other try I get back to Dom Bedos. The way the pipes speak, their mild colour and liveliness, the subtle way the sound starves after release - well, how can you describe sound in words...
A question. When a play a choral (or a fugue), and I use a modest registration, the voices stand out clear against the acoustics (the reverberation) - a very nice mix. However, when I use a much heavier registration all of a sudden I feel the sound gets a lot muddier - so much so that is starts to bother me. Is that normal, is that generally the case?
I do hope that this leads to useful contributions of opinions, experience and suggestions.
Ernst
Note: edited to be more concise.
