Composite Organ Suggestions Please!

1st Official Post
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    Hi Friends. A few questions for you:

    1. Do any of you have a suggestion for a large composite organ to fabricate. (Maybe suggest organs that are generally NOT commercially available). There are many ideas I have, and am currently in the process of making a large Mascioni composite for GrandOrgue - over 5 organs involved.

    2. Do most of you prefer playing pure organs or is there generally an acceptance of playing composites? That is, are most people here purists and find the idea of playing a composite an outrage? Or is there a general acceptance of the idea of playing composites?

    3. What is the average computer RAM that most of you have - it seems there is a great acceptance of small organs like the recent Rieger release from Augustine - which will easily run on an 8GB system. Maybe most of the organists here prefer less grand romantic repertoire and smaller baroque repertoire?

    4. I received this cryptic message from user NC64 - there was no response when I asked for elaboration. Do any of you know what this is? Is it an already existent composite? I cannot find any information on this organ. Thanks.

    Code

    Code
    Hello!, You have not forgotten to make the organ of Saarbrücken Wartburg a virtual organ composite (Friesach, Caen, Landau Demo, Cracow, Lipiny, Ledziny) please,
Thank you! 
Bye!
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    Most people with a notebook have 4 to 16 GB and with a PC 8 to 64 GB RAM. Of course, there are also some that have 128 GB of RAM. I am playing the most time my Composite for baroque and romantic, I have 64 GB on my PC.

    Some people have problems so that composites have different reverb lengths.

    I am currently rebuilding the disposition of Steinfeld myself for HW and GO.

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    Thanks Tim,

    Yes definitely a challenge with composite making as Augustine pointed out - he had to reprogram the wav files I believe on one of his composites?

    The reverb on shorter organs (especially with one perspective) can be artificially lengthened by creating a fake Rear that has a large pitch change of something like -500 or more.

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    Quote from WillNillson

    Thanks Tim,

    Yes definitely a challenge with composite making as Augustine pointed out - he had to reprogram the wav files I believe on one of his composites?

    The reverb on shorter organs (especially with one perspective) can be artificially lengthened by creating a fake Rear that has a large pitch change of something like -500 or more.

    Modifying wave files both in terms of pitch and length can be done very easily and with high quality with Melodyne.

    Melodyne 5: The basic workflow

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    I have tried to change pitch and length using Audacity - but was unable to save the metadata with the wave file so that it was not recognized in GrandOrgue. Do you know if it is possible to use the FREE Audacity to accomplish this? I am not willing to invest any money in Melodyne.

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    I prefer solving the problems within the coding and can therefore share some of my odf work here. As I said, one can easily extend reverb by using for example - Pitchtuning=-500 or whatever and using FirstPipeNumber=6. This creates a naturally extended reverb.

    Back to my question: Does anyone know what this Saarbrücken Wartburg organ is (either virtual or real) that NC64 is talking about?

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    Quote from WillNillson

    I have tried to change pitch and length using Audacity - but was unable to save the metadata with the wave file so that it was not recognized in GrandOrgue. Do you know if it is possible to use the FREE Audacity to accomplish this? I am not willing to invest any money in Melodyne.

    For Pitch shifting and Time Stretching, the "essentials" version of Melodyne is already enough. This also allows you to create new samples for composite registers by combining samples.
    I never tried to do pitch shifting with Audacity. Samplitude is the DAW I use the most. Samplitude has built in "Elastic Audio" for this purpose. I used that to correct choir recordings of a children's choir. While singing, the pitch had audibly dropped. The nice thing about "elastic audio" is that you can gradually increase the pitch of a recording to correct the pitch gradually again. I believe that Samplitude uses Zplane's technique. It is also available as a plug-in: https://products.zplane.de/products/elastiquepitch/ (and there are more plug-ins on the internet with this functionality that you should also be able to use in Audacity).

    With Samplitude I have made pitch changes with whole octaves for organ samples.
    The starting point was my own recordings with 192kHz. By loading them into Samplitude as if they were recordings with 96kHz or 48kHz, they are played at half or quarter speed and therefore one or two octaves lower. Conversions without interpolations. The resulting samples are then of course 48kHz. Perhaps that is a trick that also works with Audacity?

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    • Official Post

    Hello,

    personally, I'm not a big fan of composit sets, which is probably because I often use Hauptwerk and have lots of nice sample sets for it.

    But how about sample sets other than real pipe sounds? There's hardly anything out there yet. I'm thinking of synthetic sounds, for example. In the simplest case, these would be pure sine, square or sawtooth signals like on classic synthesizers. If feasible, with a mixture of different stops similar to drawbar organs.

    Or small samples of simple things such as flutes, percussion instruments, bells, water glasses, cooking pots or other sounds that can also be used for film soundtracks or background music for silent films.

    This can also be used for individual stops in conjunction with real pipe samples.

    All this, of course, with samples that may be distributed under a free license. Editing and distributing licensed pipe samples is legally problematic and should not be tolerated here.

    At this point, many thanks for all your great work so far.

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    Thank you,

    Your suggestion is an interesting one. I suppose that Hans Zimmer (who already endorsed Hauptwerk I believe) and other composers like Benjamin Wallfisch Etc. that use sound design in their movie scores already have a large sound library of effects. However, being able to generate them on demand as an organ stop is an interesting idea.

    I think what I am asking in this thread though, is, is there any other organ like St. Ouen (which apparently isn't allowing their organ to be recorded) that is interesting but not going to be sampled anytime soon for Hauptwerk. I think that's where a composite could have some validity in representing to a certain extent an organ that doesn't exist on Hauptwerk yet.

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    And I could make your ODF's playable for Hauptwerk, as already discussed. At the moment I'm still working on my 2nd ODF, then I wanted to make your Friesach ODF for Hauptwerk. But let's see how ODF's main work is accepted here.

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    WillNillson I like a composite-set as the Hauptwerk composite 'Great American'. https://hauptwerk-augustine.info/Great_American.php

    In my opinion the most wonderfull experience when you can place all register-buttons on the buttons of the San Fransico one. Adding some buttons perhaps?
    It's a very wonderfull organ with an very nice view on the manuals and registers.

    I'm afraid to say, but the square-buttons and front-view from 1 or more organfronts doesn't inspire me so lot as an original 'manual / pedal / register'-view.
    On this moment It's not possible to me to create some changes, but I appriciate all your work! Thanks a lot!

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    Hample Thank you for your feedback - I'll let you in on a little secret: I'm really not much of a programmer. I'm simply what I call "back programming" Michael P. Schmidt's wonderful SP-GIGA code to allow different samples to play.

    However, FOR ME (with all due respect to others' opinions), I am the exact opposite of you: I was so happy that I could put a picture of the organ cathedral as a backdrop for the stops (I have also made many other sets with more round stops other than the default square blocks). I find the grand majestic pictures of the organ to be infinitely more inspiring and interesting to me than the boring console or the even more boring "simple" view of the stops.

    I want to pretend I am a listener of my own majestic and awe-inspiring music in the huge cathedral! In fact, I was hoping that some of the professional sampleset makers would take note of this. For example, I recently downloaded Pipeloops wonderful Braunschweig Organ trial and was so disappointed to barely find any pictures or perception of what cathedral or organ I'm playing in! In my opinion the professional sampleset creators are VERY amateur in this regard (with all due respect to their wonderful work) - in not including a more awe-inspiring view of their stops and/or cathedral - maybe they are not allowed? I have to google the pictures of the cathedrals!. Again FOR ME, I find every organ console to basically look the same. The problem with Augustine's organs too is that I can barely read his stop names on the composites he made - much too small. I was also not too inspired by Augustine's recent Skinner composite either (sorry!)

    Please, please, if you can (or anyone, as you (Hample) mentioned you are not able) feel free to alter the code, add panels, add stop noise, add keynoise and re-share ANY of my samplesets to meet other people's needs - it's just about having fun, and for me, having fun on a budget. Take Care!

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    Hi, I know that hardly anyone but me will be interested in this...

    but I would like to be able to change the volume (swell) of every single register directly...

    I know that I can change the volume of every register, even every single sample in the settings

    of course...

    but I don't know if I can directly "connect" an external fader

    (midi learn)

    in case of doubt one might have to create a separate swell for each register?

    or is it much faster and easier possible ?