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organsRgreat wrote:
Finally, we need to be constantly aware that both Youtube and the Contrebombarde site use compression – Youtube uses aac and Contrebombarde uses mp3. The reduction in file size is useful, but compression inevitably degrades the sound.
larason2 wrote:As Colin Pyket describes in his article, the amount of intermodulation distortion is directly proportional to the number of sound sources being played back. So a recorded orchestra, unless it’s some kind of multi track, will always have less IMD than a Hauptwerk organ, unless you have only one stop registered and only play one note at a time. It’s a function of more than one recording being digitally combined, not a function of more than one instrument (or pipe) being recorded. It’s probably that most of us don’t notice the difference.
Here's what I'm thinking..... Rather than the sample set producer recording the instrument and each pipe in it's acoustic from various perspectives, instead record the instrument and each pipe as dry as possible, then make separate IR's of the room the instrument resides in from different perspectives, allowing the end user to apply the perspective of choice. You could even apply the various perspectives via IR's to side channels, rear channels, what have you.
How do these recordings get made, anyway? "We use high-quality recording equipment that we generally set up in the church in the evening,” ….“We place a total of eight microphones in various positions in the church, with a few of them as close as possible to the front of the organ, so we capture the information in great detail. By recording at multiple locations within the church, we make sure that we can use the recordings for all applications, and that we are prepared for the future.
“We used to have to press the keys one by one ourselves, but we have a robot for that now. Each stop is recorded key by key, for ten seconds per pipe.”
It’s worth mentioning, ….that sound and reverb are recorded separately. “Since we record each key separately, we can decouple all the keys from the reverb individually later. This is a complicated process, but it has considerable advantages. The most important of these is that we retain the sharpness and purity of the original pipe organ sound. We can then use the authentic reverb to mimic the desired acoustic effect.
Thanks to this recording technique, organists can even determine their preferred ‘reverb position’ in the church from behind their digital organ, whether they prefer to hear the organ the way it would sound from their position on the bench, as it would sound from the front-row seats, from the middle of the church, or from a location beyond the scope of the reverb. “We record the reverb at four positions, and by thoroughly analysing the differences in these recordings, we can get a very accurate idea of the effect of the reverb on the original sound. This information enables us to reproduce the sound as faithfully as possible.”
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