I do have some samplesets with L and R samples, but I route them to my usual audio groups of stereo channel pairs. Is there some reason I missed for routing them differently? I assumed the L and R samples would be placed correctly in a stereo output, and it sounds like they are. Thank you.

I use a preexisting digital organ with about 70 fixed-label drawknobs to control 12 Hauptwerk sample sets. I had to plan the drawknob-to-sample stop layout for the largest organs in advance, on paper, to come up with a consistent scheme I could remember. As another poster dicussed above, the bulk of ...

There is an option in HW 4 to autosave combination sets under General Settings, General Preferences. I use this and never have to manually save piston combinations. Page 133 of the user guide.

The problem seems to be my tablet's browser. I do see it when I use a real computer.

You have me interested! When do you expect the Organs page to be updated, as it says to look there in the announcement under Free Stuff? Thank you.

Whether dry sets are better than wet for mid-field monitors probably depends a lot on the room and speaker placements, and the listener. My speakers are dispersed along two walls in an L through a 15' height, with none aimed directly at the console. The room isn't completely dry, a 17' cube plus ...

Very beautiful piece! I also don't play it with the Cromorne alone, with Bourdon and sometimes the Prestant, and had to boost its treble on St. Maximin.

Just another opinion here, not an argument. I don't have Forqalquier, so I don't know what you're hearing. All the French classical Cromornes I've heard on CDs are ugly, blatting, croaking, in-your-face reeds just like the ones in the St. Michel and St. Maximin sample sets. I think it works in the ...

I've been using the default cyclic output algorithm, but you inspired me to check out the tone matching ones. Setup is 8 stereos pairs plus subwoofer, divided into matched speaker groups of 4, 2, and 2 pairs. The speakers are arranged in an L shape along two walls, positioned from the floor up to ...

There's a basic convention that Anches without any further designation such as 8' or 8 and 4' means all of them. But adjust to taste and consider the organ the composer usually played. Franck's usual organ's Recit had no 16' stops or mixtures, but Widor's did.

They're in Hauptwerk 4 under the View drop down menu, large floating something. I don't have it in front of me, but I use the registration window and the audio/midi/volume one.

I'm using a 23" 16:9 touchscreen for 11 sample sets. All of their virtual consoles or stop/control views take about 2/3 of the screen width, leaving room on one side for two large control panels that I always have visible. Works nicely. The biggest I play are Hereford and Zwolle. But I use my ...

Probably a stupid question, but have you tried aiming your bp10s so that the treble drivers are angled away from you by 30 degrees or so? That should dull the highs a bit.

a35, you might want to look at the topic "Sample rate conversion" on this forum where a lower cost Behringer alternative is mentioned. I don't know anything about it, but it should be on your research list if it isn't already.

Thanks to all for the ideas and discussion. After experimenting with Hereford, I ended up with Solo merged on Choir permanently, and assigned about half of my console's Choir drawknobs to Solo stops. The reason this seems best for me is that I tend to default to using a French symphonic scheme for ...