more PAB demos

Still getting to know this wonderfully flexible set:

a wonderful Grand Choeur Dialogue by Vadon, showcasing the Tuba and reeds under expression:
http://www.contrebombarde.com/concerthall/music/1504

A shimmering Adagio, utilizing the Rec strings and the GO flute:
http://www.contrebombarde.com/concerthall/music/1500

both are performed with 250ms truncation, custom SIR reverb impulse (7+ sec. decay, applied at -6db for both wet and dry).

I am finding that one has to register this organ much differently - there are so many more
levels of amplitude as well as color, that it seems to call for more careful changing of stops.

Best,

Hello Jonathan,

I am finding that one has to register this organ much differently - there are so many more
levels of amplitude as well as color, that it seems to call for more careful changing of stops.

I am so happy for you that you did acquire the PAB Pro, despite your previous sonic concerns and admissions of doubt about the set and its developer's intentions. Bravo to you for taking the rather expensive plunge!

The words in your quotation show that you are in the process of learning a great lesson that one has to use his ears as well as his eyes to register a piece on the PAB. A lesser organist might slavishly register a piece only one way and miss the vast tonal resources this instrument has to offer.

In a different posting, someone asked about the registration used in a YouTube video of Bach's Wachet Auf. I was immediately able to identify the 1-1/3' mutation stop (by ear) in combination with an 8' and 4' flute-type stop because of many years' worth of experimenting/listening to stop combinations on several important instruments.

The good news is that your experimentation with the PAB in the privacy of your own home will add to your ability to register current and future pieces on this instrument as well as others.

Cheers,

Joe

Thanks for the kind words, Joe....

It really was not a huge risk to "take the plunge" as you say - I've worked quite a bit with truncated or dry samples, and my hunch was that I could post-process this set in a way that I was pleased with... I usually can figure it out. So much depends on finding the right impulse and emphasizing the correct frequencies - I'm satisfied that my result sounds like I wished (and I'm happy to share my tricks with anyone who likes the sound I came up with!)

Registering this organ reminds me of the first time I played a really large organ, a 125rk Casavant. It took the first hour or so to get comfortable, then I spent a LOT of time reveling in the registrational detail I could achieve as well as the much finer graduations of amplitude and the greater ability for contrast. Hopefully, I can understand this organ as well as time progresses.

Best,

- J