Version 4 – is there an algorithm for 12 channels (C, C# etc

I’m considering expanding one group of Hauptwerk speakers from eight to twelve, as I’ve discovered that twelve can give the lowest level of intermodulation distortion, if each channel is set to one note of the scale – C, C#, D etc. Does version 4 have an algorithm that will do this? In order to see a list of available algorithms I think I’d have to partly load an organ, and very likely someone here will know the best way to proceed. Thanks.

[mdyde]

Hello organsRgreat,

Briefly (since we no longer officially support Hauptwerk v4, although the equivalent applies in v5+):

Yes -- the "Cyclic within octave, octaves constant (C/C# split)" cyclic algorithm will do that if there are exactly 12 members in a group, i.e. every C pipe of each rank and octave would go to the first speaker, and every C# pipe of each rank and octave would go to the second, and so on.

[mdyde]

P.S. If your aim is to improve audio quality/realism then upgrading to the current version of Hauptwerk would give a major quality benefit -- probably much more noticeably so than anything you could achieve by re-routing ranks amongst your speakers.

Thanks Martin – it would have taken me quite a while to confirm that information; now I have the confidence to go ahead and buy the speakers. Fortunately the model I used – Adam A3X – is still available second-hand at reasonable prices, though it has been superseded.

Regarding your PS: an unusual aspect of my system is the contribution made by a pair of Quad electrostatic speakers. The model I have – ESL57 – was made between 1956 and 1963, but Quad are still willing to repair any equipment made by the company, provided that parts are not impossibly difficult to obtain. Electrostatic speakers are known for their exceptionally low distortion, especially in the treble; so quite likely I’m obtaining as good a sound from them in my Version 4 system as users of later versions feeding more common magnetic speakers. A man well known as a broadcaster on BBC Radio 3 (he had better remain nameless) recently heard a friend’s modern Quad electrostatics, and was amazed. He said “It’s just like being there” – which is what most people say on hearing them for the first time. If a professional with that background had not realised just how good electrostatic speakers are, it’s not surprising that many people with a serious interest in music are completely unaware of them.

Colin Pykett has pointed out

https://www.colinpykett.org.uk/EndOfPipeOrgan.htm

that distortion in most speakers is considerably greater than anywhere else in the audio chain: “As with amplifiers, there will be some distortion over the working voltage range of the loudspeaker, but in this case the figure is at least 50 times worse and often more”.

I use Hauptwerk mainly for its theatre organs; the electrostatic speakers are complemented by a set of eight Adam A3X for the Main chamber (accompaniment stops); eight Martin Logan Motion 10 for the Solo chamber (more powerful stops); pedals and lower manual piches are handled by a Behringer B2031A and a REL subwoofer. The electrostatic speakers receive a mix-down of all the channels, plus Liquidsonics reverb (via Reaper). With careful adjustment of balance this gives me the low distortion and consequent clarity of the electrostatics, combined with the the spread of sound from multiple channels.

I already have a spare pair of the Adam speakers, so by adding a further pair I can take that group up to 12 channels. I would only be re-routing the sounds in a limited sense – distributing one set of ranks between twelve speakers instead of eight. As you will know, intermodulation distortion is much worse when different notes feed one speaker, than when one speaker each receives all the Cs, C#s etc. On a theatre organ one is often playing melody plus accompaniment, with more notes in the left hand, so it makes sense to augment the speaker group for the “Main” organ chamber.

I’m trained as a classical pianist and organist; I’m fortunate in having a 1985 Feurich Model 190 grand – 6ft 3. In the 1980s this small German company was producing superb instruments - my piano tuner/technician considers them comparable with Steinways and Bosendorfers. In the year 2000 the company was taken over and manufacture transferred to China; I’ve not heard any of their current pianos so can’t comment on their quality. But I do have a top quality piano as a constant reminder of the sound of an acoustic instrument – over two hundred strings, all the sounds mixing in the air – and zero distortion! Meanwhile I’m sincerely grateful for your continued help at a time when you no longer officially support Version 4.

[mdyde]

Thanks, organsRgreat.

(Regardless of speakers, I do think you would hear a very noticeable improvement in audio quality and realism if you do decide to upgrade Hauptwerk at some point.)

Expanding to only 12 speakers in a group is only 6 stereo channels, not putting all 12 notes on separate speakers (unless you're doing mono, which throws away some realism in the samples). At 6 channels, maybe one of the tone matching algorithms would help. (I use dynamic cycling within group, but HW4 doesn't have that.)

It's questionable to me whether IMD is really more audible than the repitching artifacts eliminated by HW6 and the other audio improvements in HW7 and HW8. Yes, I know what Pykett wrote, but he really was comparing to ordinary sources of playback distortion, not to the kind of mass combination and model-based manipulation of samples that Hauptwerk has to do at playback. It's not like a CD player.

The difference between HW4 and HW8 is quite audible on headphones and through my 26 speaker + sub sound system. All Adams (A and T series) except pedals (KRK RP10).

HW8 lets you switch to the old HW4 algorithms, so it's easy to test that.

In contrast, the reduction in IMD when I went from 2 stereo pairs up to 6 pairs in one group was barely audible. Most of that improvement was the more diffuse sources, not reduced distortion.

Here's the original blog article about one source of distortion in HW4 - 5:

https://www.sonusparadisi.cz/en/blog/al ... epitching/

HW8 really makes a vast improvement in sound over HW4.

However, for a few older samplesets, its clarity brings out some ugliness that convinced me to set those few organs back to HW4 audio quality because they just don't hold up well in that much light, and HW4 mode smears them into sounding better. Like certain LPs that didn't sound so good when reissued as CDs.