toplayer2 wrote:David Pinnegar wrote:James wrote:Does this mean, David, that you still do not have a Hauptwerk installation?
James
I don't think you'd like the answer to that question . . .
We can handle it, Dave. Or perhaps you are reluctant because you have invented your own virtual organ product that is vastly superior to Hauptwerk in every way but you can't discuss details publicly because it would give away all your trade secrets?
Joe
Hi!
Thanks. Trade secrets, we all have them, of course . . .
(James - thanks so much for your post - very much appreciated)
The bottom line for me is that I know that Hauptwerk is the technology upon which great things can happen. However, getting there, is not always an easy path. At the heart of the system must be the best possible computer able to cope, and if it's not good enough, if one has an ambitious console and large sample set, it's going to drop out in fast passages. That is not a problem: of course Hauptwerk systems can be built for this but by ambitious, I'm looking at 5 manuals and 180 stops. It's no secret that one has to be very realistic about the sort of hardware required. Is Clinton Knight's installation the largest implementation?
For the purposes of INSPIRING public appreciation of the King of Instruments and therefore putting the organ on the concert platform with some of the world's greatest performers, my requirements are more exacting than one can tolerate forgivingly at home: the system has to be indestructably rock solid whilst providing the greatest possible versatility. It has to drive at sub-sonic speed and supersonically like Concorde, without dropping out of the sky.
Hauptwerk properly implemented will do this, but it's a different echelon to a home practice instrument.
Then what sample set/sets does one apply? I'm not reproducing an instrument elsewhere here, I'm presenting an instrument on its own account. It puts together traditional Edwardian English with Northern European, Italianesque, French Romantic and French Baroque all together. Of course all of this would be possible with a lot of CODM work and no doubt, for all its convenience, Hauptwerk samplesets would provide better voicing.
http://dustyfeet.com/santanyi_registration.html has me salivating.
In changing anything, during a performance it doesn't need reloading software, just merely pushing some buttons to change temperament. The hardware will fail in due course. That's when I should have made samples of everything throughout to then load into a Hauptwerk implementation. It's a beast that currently works and does its job, and has given me an insight into audio presentation issues in common with Hauptwerk instrument implementation rather its extension into the realm of virtual reality reproduction.
The experience that it's given me would lead any church implementation to shine . . . but in the meantime perhaps one day we might get together and organise a Battle of The Organs event?
Martin - you're based in the UK and not many hours away on the motorway and we'll happily put you up for the night - if you have any doubt about what I say about speakers, please bring down your best example speaker that you like to use and we'll plug it in to different organ departments and hear the result in comparison. That goes for any Hauptwerk user too . . . I can't be any more public than that . . .
About what I do use - any technology from any manufacturer that is easy to operate, as affordable as it can be, and works effectively with no fuss and capable of top results. The visible boxes are recognisable but the instrument does not use them exclusively.
Best wishes
David P
Postscript: Experience with organs and speakers extends beyond three decades - 1st pipe organ rebuilt 35 years ago, 30 years ago relayed a 5 rank extension pipe instrument 200 yards through cables reproducing through speakers in an 800 seat chapel, with reverse relay to headphones for organist, to suffice during a major pipe organ rebuild. I've been working with organs, and speakers for high quality orchestral accompaniment to firework displays and other events ever since . . .