mdyde wrote:Thanks, abaymajr.
If you wanted to, you could potentially also experiment with adjusting the wind model depth and/or flow adjustments on the "Organ settings | Organ preferences | Wind supply model" screen tab. However, since the Balint Karosi demo recording was made directly on the real Trost organ, it will inevitably never sound exactly the same as any recording made from a sample set. (Aside from Hauptwerk, mic. positions/models, sample processing, etc. would make a significant difference to the end result.)
I performed the additional experimentation you suggested, and another one, like applying a compatible convolution reverb to 120 ms live truncated samples to check if a richer resonance would make a noticeable difference in that aspect, but no avail. The best solution was, indeed, achieved with a -1.5db adjustment to the overall brightness. The comparison with another famous recording, the Hans André Stamm's one, reproduced on the same speakers and at the same sound intensity and inside the same audio workflow, confirmed this adjustment.
In any case, I'm very very grateful to the developers of Hauptwerk for providing it with so many useful adjustments that allow us to make such fine objective/subjective adjustments to the material recorded on these samplesets.
This sampleset was made at the time of HW3 and might be optimized by Prof. Meier for those particular circumstances. I'm not sure if that would have an influence or if, influencing, it would be decisive though. Of course, I still grant the not small possibility that this argued sonority was always present in the sampleset, but it only caught my attention after this recent sampleset revisitation of and direct comparison, side by side, with these live recordings.
Prof. Meier and/or another organist who uses the mentioned sampleset and has played the real Trost or preferably listened to it in the acoustic perspective of the recital recordings and the sampleset could make a valuable contribution to this debate.