Hi Jan
Jan Loosman wrote:I use about the same curve as you do and i also use the combined left right correction now.
It sounds so transparant and natural this way.
Thanks for reminding the L+R correction. I was so much focusing on the target curve improvement I completely forgot about this point. I shall try it by tonight - unfortunately, I live in an apartment and I can't afford to play at any time!
In my case al my sample sets improve with Arc as in your case some benefit no as much as others.
As far as I am concerned, the point might not be fully linked to ARC 2 by the way.
My Hauptwerk computer is a 16-GB Mac Mini. Under Hauptwerk 4.0, I can dedicate only 9.8 GB of the RAM to organ playing - Mac's OS X limitation of 2/3. Brett stated earlier in the upcoming 4.1 version, advantage would be taken of the higher possible allocation of RAM made available by newest Mountain Lion OSX 10.8 to expand the addressable RAM to 80% - 13 GB in my case.
It might help me to load Saint-Maximin, the main acoustic issue I'm currently facing, in the optimal resolution of 24 bits - today in 20 only. I have already seen the noticeable difference for another Sonus Paradisi sample set, Saint-Michel-en-Thiérache. Under my previous Mini I could load it at 20 bits, I can now do it at 24 bits. There's a world between the two configurations.
Interestingly - but we start to be far from our subject - sample set's audio rendering quality seems to vary significantly or not, according to which sample set editor is considered. Milan Audio (Kampen) sounds quite natural although still in 16 bits (I'm expecting to be able to load it in 20 bits when Hauptwerk 4.1 is released). Sonus Paradisi (Saint-Michel-de-Thiérache, Saint-Maximin, Caen) appears to be much more dependent to the selected resolution.
At the end of the day, ARC 2 cannot make any miracle - if the source is not optimal, the correction cannot make the organ sound perfectly. As usual in audio, the weakest point triggers the overall quality.