Tue Dec 12, 2023 6:36 pm
Thanks for the (extensive!) nice review...
A few things just to clear stuff up (and satisfy the curious)
- The SW Diapason is indeed too loud - some spurious levels in the ODF... that has been corrected in the latest update (which also fixes a couple other minor details)
- Mics were set in place, levels were set, recording was done.... so what you hear is indeed what you get when you play "in the flesh"
- The organ was carefully maintained, and in stunning shape, so I think it's not a winding issue - I played it flat-out full organ with no noticeable sag, and I didn't hear any wind leaks while I was up in the balcony.... Furthermore, it was most recently refurbished by Dobson, so I seriously doubt it was mucked with at all tonally or wind-wise... Dobson does top-shelf work.
- Digital "smoke and mirrors....." well, yes, we did some to get the added voices, always shifting by a few notes to avoid phasing issues. I don't remember exactly what we used on all of the stops, but for example, the celeste to the Salicional is actually the GT 8' Spitzfloete at lower volume, shifted a few notes, and tuned sharp. The big Trompete Harmonique was our one "pull" from the library - it's actually the TH from the Basilica of St. Mary in Minneapolis, truncated a bit as the reverb there approaches 7-9 sec. That's why there is only 2 perspectives of it - I only recorded 2 at the Basilica.
- The quintadena and quintaton are two separate stops.
I'll probably think of more, but that's what pops in mind for now.
What I've found playing this organ is that you very much either have to take it on its terms and "play what works", or if you want to force it to play by your rules, you have to revoice it. My only revoicing for my use has been to goose the bottom octave of the 32' reed a bit, as I think maybe we voiced the addition a bit too small.
We actually recorded 4 perspectives, but the far one was unusable, for the most part.... the reverb was so excessive that notes overlapped, so it was kind of a moot point.
I heard that the buyers of the property were respectful and willing to allow the building to stay viable until the organ could be relocated... I hope a similar acoustic is found, as it is a true gem.... I'm glad we were able to document it.
Now, back to testing the Northrop organ....
A few things just to clear stuff up (and satisfy the curious)
- The SW Diapason is indeed too loud - some spurious levels in the ODF... that has been corrected in the latest update (which also fixes a couple other minor details)
- Mics were set in place, levels were set, recording was done.... so what you hear is indeed what you get when you play "in the flesh"
- The organ was carefully maintained, and in stunning shape, so I think it's not a winding issue - I played it flat-out full organ with no noticeable sag, and I didn't hear any wind leaks while I was up in the balcony.... Furthermore, it was most recently refurbished by Dobson, so I seriously doubt it was mucked with at all tonally or wind-wise... Dobson does top-shelf work.
- Digital "smoke and mirrors....." well, yes, we did some to get the added voices, always shifting by a few notes to avoid phasing issues. I don't remember exactly what we used on all of the stops, but for example, the celeste to the Salicional is actually the GT 8' Spitzfloete at lower volume, shifted a few notes, and tuned sharp. The big Trompete Harmonique was our one "pull" from the library - it's actually the TH from the Basilica of St. Mary in Minneapolis, truncated a bit as the reverb there approaches 7-9 sec. That's why there is only 2 perspectives of it - I only recorded 2 at the Basilica.
- The quintadena and quintaton are two separate stops.
I'll probably think of more, but that's what pops in mind for now.
What I've found playing this organ is that you very much either have to take it on its terms and "play what works", or if you want to force it to play by your rules, you have to revoice it. My only revoicing for my use has been to goose the bottom octave of the 32' reed a bit, as I think maybe we voiced the addition a bit too small.
We actually recorded 4 perspectives, but the far one was unusable, for the most part.... the reverb was so excessive that notes overlapped, so it was kind of a moot point.
I heard that the buyers of the property were respectful and willing to allow the building to stay viable until the organ could be relocated... I hope a similar acoustic is found, as it is a true gem.... I'm glad we were able to document it.
Now, back to testing the Northrop organ....