Freiberg - G. Silbermann Organ Model

The new bellows of the organ:



Specification:

Die Orgel besitzt 32 Register auf zwei Manualen und Pedal. Sie ist die größte zweimanualige Orgel von Gottfried Silbermann.

32 stops over 2 manuals and epdal; the largest 2-manual organ from Gottfried Silbermann

Stimmtonhöhe/pitch: 462,5 Hz
Temperierung/temperament: Neidhardt 2 – „für die kleine Stadt“ (for the small city) von 1732

1784 klingende Pfeifen/speaking pipes, zwei der Prospektpfeifen sind stumm/2 facade pipes don't speak

Tonumfang/Compass: C,D-c3 (Manuale) und C,D-c1 (Pedal)


Hauptwerk I. Manual
Principal 16 Fuß
Octav Principal 8 Fuß
Viol di Gamba 8 Fuß
Rohr-Flöte 8 Fuß
Octava 4 Fuß
Spitz-Flöte 4 Fuß
Qvinta 3 Fuß
Octava 2 Fuß
Tertia aus 2 Fuß
Cornet 4fach (ab c1)
Mixtur 4fach
Cymbel 3fach
Fachott 16 Fuß
Trompete 8 Fuß

Oberwerk II. Manual
Qvinta dena 16 Fuß
Principal 8 Fuß
Gedackts 8 Fuß
Qvinta dena 8 Fuß
Octava 4 Fuß
Rohr-Flöte 4 Fuß
Nassat 3 Fuß
Octava 2 Fuß
Qvinta 1 1/2 Fuß
Sufflöt 1 Fuß
Sechst Qvint altra (4/5, ab c1: 1 3/5)
Mixtur 3 fach
Vox humana 8 Fuß

Pedal
Groß Untersatz 32 Fuß
Principal Bass 16 Fuß
Octaven Bass 8 Fuß
Possaune 16 Fuß
Trompete 8 Fuß

Nebenregister/Other stops
Tremulante
Schwebung/Not sure what this is: "undulation"
Schiebekoppel I/II /Shove coupler
Bassventil (Ventilkoppel I/P) /Valve
Klingel/Bell (to summon pumping?)

"Schwebung" is the name of a slow tremulant here. But you use the word "Schwebung" also for what you hear, when two pipes are not exactly in tune - the slow wowowow as the difference tone between the two pipes.

Martin

[micdev]

" But you use the word "Schwebung" also for what you hear, when two pipes are not exactly in tune -Martin

Céleste?

The stops named "Celeste" or "Unda Maris" or the italian "Vox coelestis" are "Schwebungsregister". But you also use the Schwebung to tune your instrument by removing the Schwebung.

Martin

The Schwebung is here listed as a "Nebenregister", i.e., not as a real stop with pipes. That it is a different speed tremulang makes sense, and is what I suspected.

There are two tremulants in the Freiberg Petrikirche organ. The first one is for Hauptwerk, the other for the Oberwerk - this is called the Schwebung. Both of them are Kanal-tremulants. However, it is not reasonably possible to model the Kanal-tremulant in Hauptwerk software. The problem is that the depth of the undulation is based on the amount of wind consumed by pipes speaking at any given moment. In fact, it is perfectly possible to model this in the Hauptwerk software, but only building it into the wind model which is not very good idea because then big portion of Hauptwekr users would not get it working (U.S. customers and those who use the basic edition). Therefore, we modelled normal tremulants instead using Hauptwerk dedicated tremulant model.

Why not implement both? It is a great opportunity to use the wind model. It would make the sample set more attractive to European users

1.positive is right-there are ten files becouse of statistics and reward
2.the test is easy for people who are able to hear the differences in recorded output of those sample sets/dry w.convolution,wet-direct,rear/
3.the test is maybe not good idea for people that likes to talk about the differences in those sample sets but actually cannot hear them,or are unable to sort them-it seems to me that they are very angry and often call it boring and confusing
4.the CD quality of files is enough to make good decisions/compare it to many demos ONLY in mp3 quality promoting very expensive sample sets/
Additional info- for those kind peole who want to participate on the test-up to two release samples were used/normal,short/ and up to 3 IRs for dry set were used.

Jiri:
Is it true that only two releases in the sample set, or only in the test? If so, can you tell us why only two? How many loops per sample?

I listened carefully to the 4 demo pieces again, and this sample set doesn't sound totally optimal, and even though short notes were supposedly sampled, on the staccato parts (e.g. Scheidt and fast passages therein), I can't say that I am totally convinced yet on the virtual reality being truly close to the organ itself.

Could you please provide further clarification on the sampling techniques employed, and what you are planning to improve upon compared to the demos provided so far? The organ itself sounds lovely otherwise.

1.Only in the test,organ is still in development.Jiri wants to improve this thing a bit.He is very busy now,but maybe he clarify later.
2.organ was recorded in 10 channels,4dry and 3 stereo/AB,ORTF,rear diffuse/
Karel

(C) www.orgeljournal.de

... Is it true that only two releases in the sample set, or only in the test? If so, can you tell us why only two? How many loops per sample?

... this sample set doesn't sound totally optimal, and even though short notes were supposedly sampled, on the staccato parts (e.g. Scheidt and fast passages therein), I can't say that I am totally convinced yet on the virtual reality being truly close to the organ itself. ...

Explicit consent!

Excuse my criticism, but a salesman wants to get 300 - 400 Euro from me! Product information is statutory.


Best regards,
Matthias

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Hauptwerk-News
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Proposal: create standard tech sheet on sample sets

Indeed, we would like to know not only the organ's specification, but also all the technical details of how the set was produced. I think we could probably devise a standard technical spec sheet for each sample set, so that we as potential customers have a better way of comparing sets also on technical merit.

We as customers really want the best for less.

What technical details do you like to know?

I'll respond in a few days.

I am put in mind of George Orwell's Animal Farm when the everyone had to chant " Four Legs Good Two Legs Bad" or was that Loops or Releases !

Peter

Today, it is the last day to sumbit your anwers to the Great Listening Teston the Freiberg organ. I hope I will be able to create some statistical results from what I have tomorrow, publishing it either tomorrow or on Monday at latest.
Also, I think then we can start answering some of the questions which were asked here. I am sure Mr. Kvaca will answer the technical questions about his demo pieces created from the dry set, I will answer the rest. But I am sure that good reader can find most of the information on our website - the project pageand the specification pagesof the organs. All the information I want to say about the sample set are there. Of course, there are some very precise information about the recording, which are reserved only for myself, my colleagues from the Academy of Music (prof. Syrovy) and the owner of the organ. I will never publish these.