Note that I've moved this post from the organ sample sets section of the forum to here as I think this is a more appropriate section.
Hello all,
Just a few questions regarding the creation of samples for Hauptwerk 2:
a) When making multiple attack samples per note for Hauptwerk 2 (i.e. samples for different key velocities), should full length samples be created for each sample including their own loops? Or should a short sample be created that just includes the attack phase for that particular velocity and Hauptwerk will crossfade to the loop(s) in the "main" sample at the end of the transient?
b) (semi-related to a) When making relatively wet samples, we are advised to make several recordings of each note with different shorter lengths (i.e. staccato) as to avoid the "bounce" effect that is present when Hauptwerk crossfades from the middle of an attack transient to the start of the steady state release transient. We can then define multiple-release samples that will be crossfaded to dependant on how long the sample has been playing for.
Is there any general advice one could follow to do this recording effectively? How many different samples should be made? One for the long main sample and one staccato? Or one for the main sample and several shorter ones?
Some of the pipes on the St. Stephens Organ (particularly of the 16ft violon rank) suffer quite badly from this effect due to their slow speech and it makes them unsuitable for quick playing as they simply don't sound realistic.
c) When recording the key-noise, is it desireable to have zero key-noise in the actual pipe samples? (i.e. include it all in separate files) And should multiple recordings of the noise actually be recorded using different key velocities and then use these parameters in the ODF to configure the key-noise based on how hard the key was pressed? (I would imagine this would greatly improve realism especially in trills where the keys tend to be depressed faster?). If this is the case, should we remove key noise from the actual pipe samples?
d) Finally, this question relates to the user interface. I really think that the whole photo-realistic console idea is quite interesting, but I am much more concerned with the audio quality and can't justify spending any money what-so-ever on a fancy camera or flash equipment to photograph. I have a standard Olympus 4 megapixel digital camera with a 10x optical zoom (no-idea if that is useful or relevant information) and intend on making the photographs with that. I figure that normal photographs are going to come out with that extremely realistic look and I just can't see it looking that great on a computer (especially when moving components such as drawknobs and expression pedals are introduced). Several sets that i've seen seem to mix both the photo-realism with an obvious computer generated component like the lavender audio sets, I find these quite appealing and am wondering if that's a better option?
---
If we have multiple attack and release samples for each pipe AND multiple samples for the key-noise, we are talking a LOT of recording. Is there a point where one can go too-far in the recording process?
I've been offered to inspect an organ at another local church, it's again only a 2 manual instrument with only has one more stop than St. Stephens (but I consider it having a much more useful swell department) but I think it will be great for my first attempt at a purpose-built HW2 organ. It wasn't the organ I had planned to record, but an offering to record is not something I think I can dismiss!
Thanks,
Nick.
Hello all,
Just a few questions regarding the creation of samples for Hauptwerk 2:
a) When making multiple attack samples per note for Hauptwerk 2 (i.e. samples for different key velocities), should full length samples be created for each sample including their own loops? Or should a short sample be created that just includes the attack phase for that particular velocity and Hauptwerk will crossfade to the loop(s) in the "main" sample at the end of the transient?
b) (semi-related to a) When making relatively wet samples, we are advised to make several recordings of each note with different shorter lengths (i.e. staccato) as to avoid the "bounce" effect that is present when Hauptwerk crossfades from the middle of an attack transient to the start of the steady state release transient. We can then define multiple-release samples that will be crossfaded to dependant on how long the sample has been playing for.
Is there any general advice one could follow to do this recording effectively? How many different samples should be made? One for the long main sample and one staccato? Or one for the main sample and several shorter ones?
Some of the pipes on the St. Stephens Organ (particularly of the 16ft violon rank) suffer quite badly from this effect due to their slow speech and it makes them unsuitable for quick playing as they simply don't sound realistic.
c) When recording the key-noise, is it desireable to have zero key-noise in the actual pipe samples? (i.e. include it all in separate files) And should multiple recordings of the noise actually be recorded using different key velocities and then use these parameters in the ODF to configure the key-noise based on how hard the key was pressed? (I would imagine this would greatly improve realism especially in trills where the keys tend to be depressed faster?). If this is the case, should we remove key noise from the actual pipe samples?
d) Finally, this question relates to the user interface. I really think that the whole photo-realistic console idea is quite interesting, but I am much more concerned with the audio quality and can't justify spending any money what-so-ever on a fancy camera or flash equipment to photograph. I have a standard Olympus 4 megapixel digital camera with a 10x optical zoom (no-idea if that is useful or relevant information) and intend on making the photographs with that. I figure that normal photographs are going to come out with that extremely realistic look and I just can't see it looking that great on a computer (especially when moving components such as drawknobs and expression pedals are introduced). Several sets that i've seen seem to mix both the photo-realism with an obvious computer generated component like the lavender audio sets, I find these quite appealing and am wondering if that's a better option?
---
If we have multiple attack and release samples for each pipe AND multiple samples for the key-noise, we are talking a LOT of recording. Is there a point where one can go too-far in the recording process?
I've been offered to inspect an organ at another local church, it's again only a 2 manual instrument with only has one more stop than St. Stephens (but I consider it having a much more useful swell department) but I think it will be great for my first attempt at a purpose-built HW2 organ. It wasn't the organ I had planned to record, but an offering to record is not something I think I can dismiss!
Thanks,
Nick.