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1925 Steinmeyer Berlin (III,71) work in progress

Existing and forthcoming Hauptwerk instruments, recommendations, ...
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adri

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Re: 1925 Steinmeyer Berlin (III,71) work in progress

PostMon Nov 09, 2020 5:17 am

münsterorganist wrote:I also support the postion of Prof.Maier. HW is a wonderful thing to do for study or at home.But for me, HW doesn't belong in the public as a replacement for a pipe organ in a church or as a tinkering alienated.HW became known as an authentic reproduction of pipeorgans and in my opinion that should stay that way.We are proud to have founded a series "Famous organs as guest in ..." our city as part of a music school.If HW and thus the samples are changed by to many users, critics will rightly refrain from what is otherwise a very good thing.Dear Prof.Maier, carry on. Thir sets are also highly praised in specialist circles.


I second this. Many people who tinker with sets or add reverb to sample sets, in most cases, make it sound worse. This is my experience. I do occasionally add reverb to my virtual harpsichord or harmonium or claviorganum. These, alogn with continuo organs, are instruments that are not tied down to fixed spaces and are neither voiced for particular rooms, so here taking the liberty to add some reverb is in my view justified. But not with organs that were specifically voiced for a particular room. I have tried, just to understand this better, and in all cases, the organs sound worse.

Now there are people who prefer dry sets and the add their own acoustics to taste, so to say. But this is like placing an organ in a different building, without any further voicing adjustments; and this is unrealistic.

What about a dry set and then adding the church's own acoustics? In theory this may be good, and some people are advocating this, but I have no experience with this at all. Only a few make such dry sets available, so your choices are limited anyways.

I welcome the purist attitude of Herr Maier and others. It's also totally within his rights, preference and choice to do so.

I don't find the Metzler muddy at all, but very transparent. I was organist once in an extremely reverberant space (the Basilica of the Shrine of the Immaculate Conception in Washington DC) and I learned to adjust. If you always play in a very dry space, then playing in a reverberant space will throw you off, and vice versa as well.

But should, what you are used to or even prefer, become the basis of complaining?
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Erzahler

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Re: 1925 Steinmeyer Berlin (III,71) work in progress

PostMon Nov 09, 2020 4:46 pm

I hope this excellent organ sample is released soon - can't wait.
I'll be happy to use it as it is.
My main concern is that my current computer will be adequate.
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OAM

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Re: 1925 Steinmeyer Berlin (III,71) work in progress

PostTue Nov 10, 2020 4:54 am

Hello Erzahler,

thanks, yes, I think the set will be working even for non "super workstations" very well:
RAM Surround only 20 GByte, even an older Quad-Core processor will run for nearly all registrations except very massive General Tutti (all sub- and super-couplers!)

Beta version now ready, demos should come soon
Prof. Helmut Maier
OrganArt Media Sound Engineering
D-88662 Überlingen/Lake Constance
http://www.organartmedia.com
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OAM

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Re: 1925 Steinmeyer Berlin (III,71) work in progress

PostWed Nov 18, 2020 7:06 am

First demos are now available on ConcertHall:

Interesting, early modern, while not "easy-listening" piece of the younger Peeters (1928), performed on a contemporary instrument similar to his Belgium Klais organ, showing the instrument nearly in full dynamics
Flor Peeters: Variationen und Finale über ein altflämisches Lied (Laet ons mit herten reyne)

Dupré:Cortège et Litanie (op. 19,2)
especially showing the tubular bells, string ensemble, and cinema organ like vibrato effects etc.

Perhaps you now may imagine the sound of the giant Steinmeyer Passau (built 1925-28, "re-organized" (destroyed) in the 70th)

More demos to follow
Prof. Helmut Maier
OrganArt Media Sound Engineering
D-88662 Überlingen/Lake Constance
http://www.organartmedia.com
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