Mon Aug 15, 2016 12:05 pm
I'm not sure what it is you want. Most of the sample sets out there are exact duplicates of the original pipe organs with "extended" versions having a few extra ranks (usually from the same builder). The extended versions make the organ sample set far more flexible. The sample set producers always retain the original specification in case the purists object.
In this digital age anything seems possible. In ordinary times, one would be completely satisfied with a fixed specification that a digital organ manufacturer offers. Selecting different "voicing" options, i.e. going from English to German changes the sound very little ( in my opinion) and you are still stuck with "x" number of stops offered by the manufacturer.
All of my sample sets are perfectly adequate, but I always found myself saying it would be nice to have this stop or that stop available. Now it seems that you can have this stop, or that stop, or as many stops as you want. One of my sample sets (the Freiberg Silberman) has gorgeous Principals and Stopped Flutes, but then so does my Zwolle sample set and my St. Maximin set. Even my Forcalquier sample set has delightful Flute sounds. Wouldn't it be nice to have all of them in one organ ? Josq creates fabulous organs by combining stops from different sample sets. He also will fill in missing octaves below Tenor C or G so that you don't get an abrupt change in sound as you go up and down the scale. I proposed a 105 stop organ over four manuals and pedals and the results are fabulous.
One may ask if the different acoustics or reverb lengths would mess things up. Well we did a series of tests and I found it to be totally satisfactory, perfect in fact !!!!!
You will notice that in some sample sets, stops are sampled at differing distances from the microphone. When you combine these with stops sampled at different distances, the effect, (at least in my case) is quite extraordinary. The Flute on one stop may appear to be up close as if the pipes were in front of you, another Flute may sound further away as if it were in a division located above you.
My custom specification by Josq includes Mixture stops galore and Trompette reed stops such as from the St. Maximin. Mixtures possibly unsuited in one combination may be well suited in another. But if you have both, you have far more flexibility. My custom organ doesn't have 105 stops that I intend to play "Full", although I could, but 60 or 70 stops would give an equally as impressive a Tutti. The additional 35 stops offer huge registration options that I could not do with any of my sample sets.
Antoni
In this digital age anything seems possible. In ordinary times, one would be completely satisfied with a fixed specification that a digital organ manufacturer offers. Selecting different "voicing" options, i.e. going from English to German changes the sound very little ( in my opinion) and you are still stuck with "x" number of stops offered by the manufacturer.
All of my sample sets are perfectly adequate, but I always found myself saying it would be nice to have this stop or that stop available. Now it seems that you can have this stop, or that stop, or as many stops as you want. One of my sample sets (the Freiberg Silberman) has gorgeous Principals and Stopped Flutes, but then so does my Zwolle sample set and my St. Maximin set. Even my Forcalquier sample set has delightful Flute sounds. Wouldn't it be nice to have all of them in one organ ? Josq creates fabulous organs by combining stops from different sample sets. He also will fill in missing octaves below Tenor C or G so that you don't get an abrupt change in sound as you go up and down the scale. I proposed a 105 stop organ over four manuals and pedals and the results are fabulous.
One may ask if the different acoustics or reverb lengths would mess things up. Well we did a series of tests and I found it to be totally satisfactory, perfect in fact !!!!!
You will notice that in some sample sets, stops are sampled at differing distances from the microphone. When you combine these with stops sampled at different distances, the effect, (at least in my case) is quite extraordinary. The Flute on one stop may appear to be up close as if the pipes were in front of you, another Flute may sound further away as if it were in a division located above you.
My custom specification by Josq includes Mixture stops galore and Trompette reed stops such as from the St. Maximin. Mixtures possibly unsuited in one combination may be well suited in another. But if you have both, you have far more flexibility. My custom organ doesn't have 105 stops that I intend to play "Full", although I could, but 60 or 70 stops would give an equally as impressive a Tutti. The additional 35 stops offer huge registration options that I could not do with any of my sample sets.
Antoni