Member
- Posts: 69
- Joined: Mon Dec 08, 2014 4:32 am
- Location: Katzweiler, Rheinland-Pfalz, Germany
Ahlborn Positiv 3 Console (III/51)
HW Advanced Edition/Mac Mini
Saffire 24/6+ Channels Audio
Background
I first fell in love with the organ when I was 10. While I eventually went on to become a full-time professional musician for many years, I never owned a practice instrument, because we moved too much for it to be practical. I now live in Germany, and had a chance to attend a seminar in Leipzig with the Gesellschaft der Orgelfreunde in April 2014. After playing such amazing organs, I knew I couldn't wait any longer, and returned home knowing it was time to look for an instrument.
As providence would have it, I soon found a terrific instrument, located less than 10km from our house(!). A local University professor had passed away in 2012, and his family was looking for a home for his custom-built Ahlborn 3-manual digital organ, delivered in 2008.
While the instrument was essentially a standard Praeludium V model under the hood, the Professor had demonstrated exceptionally good taste with some significant upgrades. The positiv-style console featured lighted drawknobs, a decent internal 3-way sound system, and most importantly, very nice real wooden Fatar keyboards. It also included some extras like an Allen sound module and Lexicon reverb unit. From photos I knew that the owner had primarily used the instrument to drive a HW setup, but that was gone. An opportunistic dealer had swept in earlier; while he had no interest in the console, he bought the HW PC, components and software from the family for well below what they were worth. Sigh...I can't complain, though, because the Professor's family settled on a fair price for the organ, and they included his excellent library of printed organ music as well.
Installation & Setup
Following carefully documented disassembly and reassembly, I set up the instrument in my tower room office/studio. Pictures tell the story; it fits like a glove.
The overall project has progressed in several phases:
Phase 1: Setup Ahlborn System
The console was generally in good shape, but after a couple of years without use, it naturally needed some work. I replaced some electronic componants, as well as several rubber bubble contact strips on the Fatar keyboards. After this, I spent a couple of months just enjoying the Ahlborn instrument on its own merits. No, it's not HW, but it still sounds pretty good, and I wanted to take some time without distractions to thoroughly understood the system, document its system routing, etc.
Phase 2: Added external componants and connected instrument to existing external audio system
As a composer, for my Finale composition setup, I already had a small audio system in my studio with Bose bookshelf speakers and a small subwoofer.
The next step was to connect the Alhborn to this, along with the Allen box and Lexicon reverb. This allowed me to play with the audio routing somewhat, and figure out what crossover and reverb settings work best for the room. I found a small kitchen cart (with the same bamboo finish as the instrument) which fits perfectly and serves as a rack for the audio components.
I couldn't resist replacing the drawer knobs with a couple of mini drawstops.
Phase 3: Added Hauptwerk system/connected to Ahlborn console
Now things got interesting. I purchased a mac mini (w/ extra RAM) to run HW advanced edition, using a touchscreen (which also required 3rd party software). Audio and MIDI is handled by a Focusrite Saffire Pro 24 digital interface with multiple outputs. I also installed my first couple of sample sets. This phase was all about making sure I understood HW's MIDI implementation, and experimenting with multichannel audio routing for the best sound.
Phase 4: Added secondary external audio system, Reaper, and additional sample sets
While the sound was already pretty good, I felt like the tower room presented an opportunity for some exciting effects. So, when budget allowed, I added two JBL powered monitors to the tower, strapping them down to the rafter (using rubberized buffers for sound insulation).
At the same time, I added a KRK powered sub to provide more gravitas to the bass.
For aesthetics, I draped the tower monitors with light fabric, and topped that with a woodcarving purchased at a flea market for a bit of a gothic look.
These new speakers have significantly improved the experience! I generally route my Great/Hauptwerk divisions to the Ahlborn console's internal three-way stereo monitors. I route Swell/Oberwerk/Solo ranks to my tower speakers, with some Choir/Positiv ranks and surround channels going to Bose bookshelf speakers on the opposite wall. The lower ranks of the pedal divisions go to the subwoofers, of course. Specific rank routing all depends on works/sounds best for each individual sample set in the room.
Playability
At this stage, the system works wonderfully. The Fatar wooden tracker-touch keyboards are a joy; most instruments I grew up with had plastic keys, but wow, what a difference wood makes to the feel of the instrument.
The Ergonomics of the positiv-style console make the instrument very comfortable to play. The expression and crescendo pedals work smoothly.
The lighted drawknobs are paired with reasonable equivalents in my sample sets; HW drives them and they drive HW.
All of this combines to provide the experience of playing a traditional organ console with benefits of HW sound. That being said, the touchscreen fills in the gaps for controlling virtual instruments.
Sample Sets
I use a variey of sample sets reflecting organbuilding schools that interest me and that are suited to the repertoire I play. I'm very pleased with most of them. I'll post that list seperately--suffice to say that at this point I'm convinced that illegal drugs would be a cheaper habit...
Sound Performance
As stated previously, routing different divisions to different sound systems creates a really cool playing/listening experience. My office/studio isn't a big room, but the tower helps the resonance a lot. The German hard wall/floor/ceiling construction provides some bounce, albeit tempered by all the junk in the room (the art materials are for my calligraphy/illumination studio).
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Depending on the wetness of the sample set I'm using, I use either Reaper or my hardware Lexicon reverb unit to adjust the ambience for the room. Metz, Georgenkirche, Dortmund, Trost and Mt Carmel wet all sound great without any help. Naturally, Some others require a little reverb to sound right.
Residual Issues
Like other digital organs, there is no way for the pistons on the Ahlborn to send MIDI controls without also setting its own stops, meaning that I can't use them with HW. There is likely no solution to that issue, as there's no workaround via HW, and I can't see Generalmusic reprogramming their Ahlborn Drake boards to accomdate HW any time soon. It's all right, though, because the Touchscreen is within reach and works just fine. There is also something weird about the MIDI implentation for some of the toe studs; I can't get them to work in HW without doing strange things.
Future Improvements/Dream Sheet
I'm really please with my sample sets at the moment, but who knows what wonderful instruments will be available in the future. I'd also like to create a real pipe façade at some point, if not a working MIDI-controlled pipe chest. I understand that hybrid instruments don't play well with HW, but I'd still like to mess around with real windworks at some point, just for the learning expetience.
If I had it do to over again, or if I ever roll into unlimited funds:
I'd keep the positiv style console, or switch to a Skinner type. While I respect and appreciate the simplicity of the minimalist HW setups, I personally prefer the feeling of playing an instrument with the look and feel of those I grew up with. I'd also much prefer moving electro-magnetic drawknobs; I've always loved the tactile, kinetic experience of magnetic stop action. As a dream request, it would be extra nice if each drawknob had its own electronic LCD stop label display, with stop names sent by HW matching its paired sample set stop.
A fourth manual would be nice, of course, and I'd definately invest the extra money to have wood keys again, although if possible I'd take it to the next level with UHT keyboards--their touch and quality is amazing. I'd also reverse the sharps because I've always liked that look. I miss my American-style divisional pistons, but Continental organs don't often have them. If I were ordering custom, I would include them. On the other hand, I've come to prefer the German-style roller crescendo. Finally, I'd add an adjustable bench.
Thanks for reading, and I look forward to your questions and/or feedback!
Tower Office/Studio as seen from outside
Last edited by blueband95 on Mon Aug 03, 2015 6:18 am, edited 5 times in total.