I’m glad you find that thread helpful. When I started it, I was mostly stumbling around in the dark, and the good folks here on the forum helped me navigate the endless possibilities that Hauptwerk affords us. After the thread started to develope, I realized that it was becoming the very thing that I myself wished already existed to aid me in my early days of “figuring it out.” Much like writing a good story or piece of music, it’s the “where do I even begin” - that first step - that’s seemingly the hardest, because you’re afraid it might be “wrong.”
That said, I think you’re on the right path. One of the many beauties of Hauptwerk is that it’s NEVER “finished.” There’s always something that you’ll want to improve or modify. It’s an addiction, really, that all of us can absolutely attest to. We all started out oblivious (to some degree) of what we were getting into, and a bit curious, and with each gradual success, we became more and more addicted. You undoubtedly will as well. That’s the way of addiction.
You can always add, change, modify, rework, revolve.... that’s the beauty of it. That’s the “living” element of Hauptwerk. That’s the part that is both invigorating but also challenging. If you’re looking for “out of the box,” Hauptwerk isn’t for you, but if you can’t stand the idea of being handed an “organ out of a box,” then Hauptwerk IS for you.
Where are you located (just curious) and who is your builder?
The routing layout you propose seems perfectly logical to me. Still, though, there’s no greater teacher than experimentation. One of the most important things to keep in mind, is that sound and “quality” are entirely subjective. What one person here says, may completely contradict what YOU hear and observe. There are general guidelines, yes, and you seem to have a grasp on those. So now, experiment. Come up with 2-3 routing setups - inevitably, you’ll find pros and cons to all of them - but one will likely stick.
What Danny suggested about mapping them in Excel, is exactly what I did. It forced me to really THINK through how to make the most of it, while sitting at home away from the instrument, instead of getting excited/impatient and just routing things at random just to get things going so I could make some noise (which is all too tempting!), so come up with a couple.
I have Leo’s layout/routing file somewhere. I can send it to you if you don’t already have it. It’s a godsend.
And as for the wet/dry debate....
I have a relatively dry quintessentially American wooden A-frame sanctuary. Not a lot of reverb. So, having some wetness in the samples really helps liven things up a bit, but when playing with other musicians/instruments, their natural reverb with the organ samples built-in acoustic, it’s quite noticeable. Now, playing solo, and with your eyes closed, you suddenly couldn’t care less - the sound is awesome, transportive really! So, wet has its place. If you have a wet sanctuary, I’d advise against adding any more
That said, I think you’re on the right path. One of the many beauties of Hauptwerk is that it’s NEVER “finished.” There’s always something that you’ll want to improve or modify. It’s an addiction, really, that all of us can absolutely attest to. We all started out oblivious (to some degree) of what we were getting into, and a bit curious, and with each gradual success, we became more and more addicted. You undoubtedly will as well. That’s the way of addiction.
You can always add, change, modify, rework, revolve.... that’s the beauty of it. That’s the “living” element of Hauptwerk. That’s the part that is both invigorating but also challenging. If you’re looking for “out of the box,” Hauptwerk isn’t for you, but if you can’t stand the idea of being handed an “organ out of a box,” then Hauptwerk IS for you.
Where are you located (just curious) and who is your builder?
The routing layout you propose seems perfectly logical to me. Still, though, there’s no greater teacher than experimentation. One of the most important things to keep in mind, is that sound and “quality” are entirely subjective. What one person here says, may completely contradict what YOU hear and observe. There are general guidelines, yes, and you seem to have a grasp on those. So now, experiment. Come up with 2-3 routing setups - inevitably, you’ll find pros and cons to all of them - but one will likely stick.
What Danny suggested about mapping them in Excel, is exactly what I did. It forced me to really THINK through how to make the most of it, while sitting at home away from the instrument, instead of getting excited/impatient and just routing things at random just to get things going so I could make some noise (which is all too tempting!), so come up with a couple.
I have Leo’s layout/routing file somewhere. I can send it to you if you don’t already have it. It’s a godsend.
And as for the wet/dry debate....
I have a relatively dry quintessentially American wooden A-frame sanctuary. Not a lot of reverb. So, having some wetness in the samples really helps liven things up a bit, but when playing with other musicians/instruments, their natural reverb with the organ samples built-in acoustic, it’s quite noticeable. Now, playing solo, and with your eyes closed, you suddenly couldn’t care less - the sound is awesome, transportive really! So, wet has its place. If you have a wet sanctuary, I’d advise against adding any more
Drew A. Worthen
Master of Music in Composition - Butler University
http://www.drewworthen.com
Director of Music & Website Admin - Greenwood UMC
http://www.greenwoodumc.org
Design Engineer - American Sound and Electronics - Indy
https://americansound.cc/
Master of Music in Composition - Butler University
http://www.drewworthen.com
Director of Music & Website Admin - Greenwood UMC
http://www.greenwoodumc.org
Design Engineer - American Sound and Electronics - Indy
https://americansound.cc/