I bought Caen, not yet Metz which does not sound to me (from the demos) as a convincing CC. I will decide after hearing a concert at Metz. It does not mean that I will not find interest in Metz per se.
I would like to shear a remark about the relative sound level of some stops at Caen. With the earphones to avoid the influence of the room, the Montre 8 of the great is very shy as compared for example to the Gambe 8 which is strange. The Cromorne is nearly inexistant. Same remarks can be made for other stops. Are these relative acoustic levels the real ones ? Is there an HW customer living close to Caen who could answer or put the question to the organist ?
Fortunately HW allows to make adjustments. I brought the Montre 8 closer to CC's style and to the amplitude of the other 8' stops, the amplitude of the Cromorne and its brightness have been raised. More work had to be made on the Pedal and the Positif, including the equilibrium of bass and treble (I did use the teachings of some CDs). I started the organ on a pure CC (Jesuit chapel in Lyon) and heard many other CCs. Cavaillé's voicers brought so much care to the voicing that it is strange to have to make such adjustments. Am I alone to do so ?
I made only some minor additional adjustments with the loudspeakers. Now I am fully happy with this romantic organ. But when shall we be able to buy a sample set of St Sebastian ?
The extensions have no interest at all for me, including the reed 32.
I would like to shear a remark about the relative sound level of some stops at Caen. With the earphones to avoid the influence of the room, the Montre 8 of the great is very shy as compared for example to the Gambe 8 which is strange. The Cromorne is nearly inexistant. Same remarks can be made for other stops. Are these relative acoustic levels the real ones ? Is there an HW customer living close to Caen who could answer or put the question to the organist ?
Fortunately HW allows to make adjustments. I brought the Montre 8 closer to CC's style and to the amplitude of the other 8' stops, the amplitude of the Cromorne and its brightness have been raised. More work had to be made on the Pedal and the Positif, including the equilibrium of bass and treble (I did use the teachings of some CDs). I started the organ on a pure CC (Jesuit chapel in Lyon) and heard many other CCs. Cavaillé's voicers brought so much care to the voicing that it is strange to have to make such adjustments. Am I alone to do so ?
I made only some minor additional adjustments with the loudspeakers. Now I am fully happy with this romantic organ. But when shall we be able to buy a sample set of St Sebastian ?
The extensions have no interest at all for me, including the reed 32.