How to voice Cornet decompose on Georgian Series 55?

I'm playing some English classical voluntaries on the Georgian 55 composite sampleset from Silver Octopus. I got the 55 because of the separate 12th and 17th. I added some reverb, increased the wind effect, and it works well. I especially enjoy the variety of gently voiced Open Diapasons.

The Great 12th and 17th make a good substitute for a Cornet registration. But I miss having a sampled mounted Cornet.

I'm trying to voice the Choir's separate flutes to sound more focused like a mounted Cornet. The obvious thing is to tune the Nasard and Tierce to pure (non-beating) intervals, which means temporarily disabling random detuning and the wind model. That part I can do. And increase the volume.

Are there any other voicing suggestions to help make this work? Even if you don't have this sampleset, voicing flutes at 8', 4', 2 2/3', 2', and 1 3/5' to sound more like a Cornet and not just a Tierce registration might be something others have tried to do.

Thank you.

I may be missing a point here, but I'd have thought that a Nazard and Tierce would already be tuned to “pure, non-beating intervals”. The only exception would be on an extension organ, such as a theatre organ, where separate ranks were rarely provided for mutations.

Random detuning and the wind model would only introduce a degree of randomness which corresponds to that found in a pipe organ, so leaving those parameters as supplied should produce the most natural sound.

The Wikipedia article is helpful:

https://en.wikipedia.org/wiki/Cornet_(organ_stop)

It states that “The 8' rank is stopped while the other ranks are open”, so that might be worth thinking about – stopped flutes seem much more common than open ones, though maybe that depends on the period in which the organ was built, and the repertoire it was designed to play?

The purpose of "temporarily" disabling random and wind detuning was to be able to hear if the ranks are tuned to pure intervals -- otherwise I don't know if beats I hear are from detuning effects or the rank's tuning as shipped. I'll re-enable detuning effects when done, of course. It's just something I plan to verify when I have time.

The 8' is stopped, possibly the 4', and a Nasard is usually stopped. I can't choose other ranks for this -- they are what they are -- but that might help explain why it doesn't hang together very well. Also, I think the upper 3 ranks sound rounder than a real cornet, so maybe increasing their brightness and/or high frequency boost might help.

Thanks for the ideas!

Okay, that was easier than I expected. The Nazard and Tierce were, as you said, already tuned to pure intervals. I just raised the level by 6 dB on the Flute, Nazard, and Tierce, and used the Octave 2' instead of the Piccolo to get a more open sound. Thanks!