I apologize for resurrecting a long-silent thread, but I hope to ask - I appreciate the Prague Baroque model's current "Dryness" or intimacy, as it makes for a good practice instrument, but I feel the sound of the virtual instrument is often somewhat sharp, thin and frankly unattractive, unlike that of recordings on the real instrument which sound brilliant, and yet full and beautiful. I would love to play Pachelbel, Froberger, Frescobaldi, Gabrieli, perhaps some Bach, etc. on this instrument as I've heard on CD's, but the dryness of the samples is an instant turn-off to me.
Some sound samples of the real instrument:
https://www.youtube.com/watch?v=tozHIw-6eYg
https://www.jpc.de/jpcng/classic/detail ... um/4289566
Initially I thought this had to do with the wind model, but I chanced upon some recordings by Fazioli on contrebombarde which stuck me with their true-ness to the marvelous sounds of the original organ. Apparently, these were done from the virtual model, but treated with IR reverb.
http://www.contrebombarde.com/concerthall/music/3474
http://www.contrebombarde.com/concerthall/music/3473
http://www.contrebombarde.com/concerthall/music/3472
Thus, I think that the problem is with the recording position - although the closer position to the pipes offers more clarity, it doesn't give us much of an impression of (to use a clichéd - at least in the organ world - expression) the most important stop - the reverberant interior of the church. And thus, the beauty of the highly Italianate plenum of this Baroque masterpiece, and the colorful timbre of the individual stops, is lost without the ambience. We can hear some of the original sounds from the samples treated with reverb by Fazioli, but I think it would do most justice to this remarkable instrument to make some more samples farther from the instrument, and make a surround version of the model. So, if I may ask, is this a project that you are undertaking, or considering in the future?
If not, has anyone have experience with playing around with the model and adding reverb like Fazioli did, in order to improve its sound?
Some sound samples of the real instrument:
https://www.youtube.com/watch?v=tozHIw-6eYg
https://www.jpc.de/jpcng/classic/detail ... um/4289566
Initially I thought this had to do with the wind model, but I chanced upon some recordings by Fazioli on contrebombarde which stuck me with their true-ness to the marvelous sounds of the original organ. Apparently, these were done from the virtual model, but treated with IR reverb.
http://www.contrebombarde.com/concerthall/music/3474
http://www.contrebombarde.com/concerthall/music/3473
http://www.contrebombarde.com/concerthall/music/3472
Thus, I think that the problem is with the recording position - although the closer position to the pipes offers more clarity, it doesn't give us much of an impression of (to use a clichéd - at least in the organ world - expression) the most important stop - the reverberant interior of the church. And thus, the beauty of the highly Italianate plenum of this Baroque masterpiece, and the colorful timbre of the individual stops, is lost without the ambience. We can hear some of the original sounds from the samples treated with reverb by Fazioli, but I think it would do most justice to this remarkable instrument to make some more samples farther from the instrument, and make a surround version of the model. So, if I may ask, is this a project that you are undertaking, or considering in the future?
If not, has anyone have experience with playing around with the model and adding reverb like Fazioli did, in order to improve its sound?