Martin,
Back in August of last year I posted a list of questions in the “Help” threads. One of those questions was “Are there any problems using tremulant samples (for example, cross fading to release)?” You responded:
I assume I start by sampling each pipe with the tremulant on, correct? Then I’d extract short samples from various pressure phases of a tremulant cycle, for each pipe, right? HW2 will cycle through these layers, cross-fading from one to the next, when the tremulant is on. Through trial and error one will determine the number of layers necessary to give a good simulation.
Am I right so far or completely screwed-up? Assuming I’ve got the right idea, how does one handle attack and release samples? Does HW2 cross over at the end of the attack to the current tremulant cycle no matter how discontinuous that might be? Or does HW2 stay on the full-pressure (non-tremulant) sample until the next tremulant cycle starts? Or does one record several attack and release samples as well? The more I think about this, the less sure I am that I’m on the right track.
Back in August of last year I posted a list of questions in the “Help” threads. One of those questions was “Are there any problems using tremulant samples (for example, cross fading to release)?” You responded:
In another thread we have been discussing the best way to implement theatre organ tremulants. Although I believe I understand the general concept, I’m not clear on how one might implement your wind supply modeling for tremulants.Of course you can get Hauptwerk to load them, but I think it's far from an ideal solution. The main problems are:
- the phase of the tremulant won't align when cross-fading to the release, as you point out
- the phase of the tremulant of each pipe that is playing simultaneously won't match
- you cannot model the spin up/down of the tremulant.
Version 2 will include wind supply modeling, which will affect the pitch and amplitude, and also allow for wind pressure-determined cross-fading between layered samples (this simulating periodic harmonic changes). I'm hoping that this should give a very realistic tremulant model, without the shortcomings of using tremulant-effected samples.
I assume I start by sampling each pipe with the tremulant on, correct? Then I’d extract short samples from various pressure phases of a tremulant cycle, for each pipe, right? HW2 will cycle through these layers, cross-fading from one to the next, when the tremulant is on. Through trial and error one will determine the number of layers necessary to give a good simulation.
Am I right so far or completely screwed-up? Assuming I’ve got the right idea, how does one handle attack and release samples? Does HW2 cross over at the end of the attack to the current tremulant cycle no matter how discontinuous that might be? Or does HW2 stay on the full-pressure (non-tremulant) sample until the next tremulant cycle starts? Or does one record several attack and release samples as well? The more I think about this, the less sure I am that I’m on the right track.
-David-NA