Beiträge von WillNillson

Great,

Can you copy the error message about the flute. Pneuma, as you may know from this thread, uses Linux and has some case or file issues in loading some of my sets in Linux. I'm glad that you can continue using these sets of mine.

If Anyone is Interested, I have added my Caen/Rotterdam as Regensburg Cathedral to the Filebase. Enjoy!

I believe the Kemper Organ has more than 100 stops. Realistically speaking, it is much easier to make composites that are between 30 to 70 stops in size. Especially as organs larger than this, if using dual perspective, will need 48GB or more of RAM.

If you have time, can find for me the disposition, temperament, reverb time and a youtube video demonstrating this organ (Kemper Organ) and I'll let you know if I think it is possible.

This the kind of answer that I was looking for in the Composite Suggestion thread - of course - if you accept composites as a solution for not having the sampleset you wish to have.

Composite construction is an excellent way of simulating any organ in my opinion! Of course it is very difficult to create a composite that is in a non-equal temperament such as many Baroque organs.

Interestingly, the Schnitger organ you are suggesting has an equal temperament. I wonder what the reverb time is?

The error sounds to me like a CPU issue or a polyphony issue. For many of my sets an I7 processor is required. I only have I5 and regularly get cut-outs and all kinds of defects on playing with full organ.

Does this happen when playing at full organ? or at any settings?

What kind of a system do you have?

I have not experienced any problems with these sets, but maybe some other users can chime in. Thanks.

I have now added my Mascioni Composite #1: The Santissimo Crocifisso Composite for anyone that is interested. See the filebase.

Later you may find out my interpretation of the Voci Corali in a later build.

Enjoy!

I am trying to make a composite with the stop "Voci Corali" in it. Likely translated "Choral Voices". Does anyone have any experience with this stop? It is labeled as a reed stop. Is this related to a Vox Humana at all, or is there a beating effect - aka celesting involved.

There also appears to be a non-reed form - I am wondering if this can be made similar to a Voce Umana with beating principals - perhaps several ranks- similar to what a Coro Viole would be with strings.

Thanks for any insight - very little info on the net.

Zitat von elias.orgel

Lieber WillNillson ich bin leider nicht Mary Poppins die ja bekanntlich "so gut wie vollkommen" ("practically perfect in every way") ist
aber zugleich sagt "ich erkläre nie etwas" ("i would never explain anything") ...

aber wenn Du denn unbedingt wissen möchtest warum ich gerne jedes Register einzeln "schwellbar" hätte
- (ich habe keine Ahnung ob ich das wirklich "brauche" )
hier zwar keine Erklärung aber zumindest ein erstes Bei-Spiel - nur mal so grob hingesch(m)issen:

GO SW Stops Enclosures Test (123,4MB - kein Witz !!!)

Very nice playing! Thank you for sharing that. Are you actually using a foot controlled swell in this playing or this is achieved without any swell in your hardware?

It does appears you are using a fair amount of expression control in the piece you are playing but I would not be able to discern if that was merely a swell control for the manual or a Master swell control, or even if you were simply switching to different manuals to achieve a lower or higher volume with what appeared to be the same registration settings. There was a couple of times where I could indeed hear the fading up and down of the sound.

As I told Tim, an alternative way to achieve this would be to simply double, triple or quadruple your stop display and have a couple of Gain positions below the default level and a couple of Gain positions above the default level in the stops - this would require more RAM of course as the same stops would have to have different WindChestGroups.

Zitat von elias.orgel

und die ursprünglichen Regler (SchwellPedale) für die einzelnen Werke, Master, Noise etc
sind nicht mehr vorhanden / sichtbar...

bestimmt weißt Du auch wie ich das lösen kann - oder ?

As I said earlier my experience with attempting to move the enclosures/console control to another panel is minimal or zero - I only tried once to set up an alternate enclosure panel but with no success - it appeared I created another panel with enclosure control but the enclosures were still present on the main screen. Can Tim please send me the file too that he sent Elias?

Do you know, Tim, if it is possible to move all of the enclosures and/or the console manual view to another panel using this SP-GIGA code and leave only the organ picture and stops? Any advice is appreciated.

Somebody earlier in this thread said they didn't like my organ picture view of the stops, and would rather have a console view with the stops - the solution to that is to create other panels - maybe a secondary panel for the console and perhaps a "simple view" of the stop controls. But it seems like a LOT of work to set that up. Of course, once a template is created this can be done more easily.

Zitat von tim25

I know Did you send him this, the code shouldn't come to me?

Umm...does not the reply to any post, automatically notify all participants?

Zitat von tim25

This is for elias.orgel or? i have make the same way of your code.

This code is for Elias - He wants to make an Enclosure for EACH register. He won't explain why he needs this - eg: What kind of organ music is he playing LOL? But I certainly respect his needs and wishes. Hope this helps him!

In The SP-GIGA coding that I use: (If you want to add extra panals etc. to display enclosure controls - you will have to figure that out!)

Let's say you have an organ like such (8 stops)

Manual 1: Principal 8, Principal 4, Trompet 8
Manual 2: Gedackt 8, Flute 4, Vox Humana 8
Pedal: Subbass 16, Bourdon 8

In The SP-GIGA coding:

NumberOfManuals=2
HasPedals=Y
NumberOfEnclosures=11
NumberOfTremulants=3
NumberOfWindchestGroups=8

We will set up 11 Enclosures (Swell Control)

1 For Pedal
2 For Manual 1
3 For Manual 2

4 For Principal 8
5 For Principal 4
6 For Trompet 8
7 For Gedackt 8
8 For Flute 4
9 For Vox Humana
10 For Subbass 16
11 For Bourdon 8

Coding for Windchest Group Section

;------------------------------------------------------------------------------
; Windchest group section
;------------------------------------------------------------------------------

[WindchestGroup001]
Name=Subbass 16
NumberOfEnclosures=2
Enclosure001=001
Enclosure002=010
NumberOfTremulants=1
Tremulant001=001

[WindchestGroup002]
Name=Bourdon 8
NumberOfEnclosures=2
Enclosure001=001
Enclosure002=011
NumberOfTremulants=1
Tremulant001=001

[WindchestGroup003]
Name=Principal 8
NumberOfEnclosures=2
Enclosure001=002
Enclosure002=004
NumberOfTremulants=1
Tremulant001=002

[WindchestGroup004]
Name=Principal 4
NumberOfEnclosures=2
Enclosure001=002
Enclosure002=005
NumberOfTremulants=1
Tremulant001=002

[WindchestGroup005]
Name=Trompet 8
NumberOfEnclosures=2
Enclosure001=002
Enclosure002=006
NumberOfTremulants=1
Tremulant001=002

[WindchestGroup006]
Name=Gedackt 8
NumberOfEnclosures=2
Enclosure001=003
Enclosure002=007
NumberOfTremulants=1
Tremulant001=003

[WindchestGroup007]
Name=Flute 4
NumberOfEnclosures=2
Enclosure001=003
Enclosure002=008
NumberOfTremulants=1
Tremulant001=003

[WindchestGroup008]
Name=Vox Humana 8
NumberOfEnclosures=2
Enclosure001=003
Enclosure002=009
NumberOfTremulants=1
Tremulant001=003

;------------------------------------------------------------------------------
; Enclosure section
;------------------------------------------------------------------------------

[Enclosure001]
Name=Pedal
DispLabelText=Pedal
MIDIInputNumber=001
AmpMinimumLevel=1

[Enclosure002]
Name=Manual I
DispLabelText=Manual I
MIDIInputNumber=002
AmpMinimumLevel=1

[Enclosure003]
Name=Manual II
DispLabelText=Manual II
MIDIInputNumber=003
AmpMinimumLevel=1

[Enclosure004]
Name=Principal 8
DispLabelText=Princ 8
MIDIInputNumber=004
AmpMinimumLevel=1

[Enclosure005]
Name=Principal 4
DispLabelText=Princ 4
MIDIInputNumber=005
AmpMinimumLevel=1

[Enclosure006]
Name=Trompete 8
DispLabelText=Trom 8
MIDIInputNumber=006
AmpMinimumLevel=1

[Enclosure007]
Name=Gedackt 8
DispLabelText=Ged 8
MIDIInputNumber=007
AmpMinimumLevel=1

[Enclosure008]
Name=Flute 4
DispLabelText=Fl 4
MIDIInputNumber=008
AmpMinimumLevel=1

[Enclosure009]
Name=Vox Humana 8
DispLabelText=Vox H 8
MIDIInputNumber=009
AmpMinimumLevel=1

[Enclosure010]
Name=Subbass 16
DispLabelText=SB 16
MIDIInputNumber=010
AmpMinimumLevel=1

[Enclosure011]
Name=Bourdon 8
DispLabelText=Bour 8
MIDIInputNumber=011
AmpMinimumLevel=1

;------------------------------------------------------------------------------
; Ranks section
;------------------------------------------------------------------------------

[Rank001]
Name=Subbass 16'
NumberOfLogicalPipes=30
FirstMidiNoteNumber=36
WindchestGroup=001
Etc.

[Rank002]
Name=Bourdon 8'
NumberOfLogicalPipes=30
FirstMidiNoteNumber=36
WindchestGroup=002
Etc.

And Etc. on the Ranks

-------------------

This establishes SWELL control for both the Manuals AND each individual Rank as you asked. Hope this helps!

Is it possible to set up multiple workspaces in windows? (EDIT: I see you already asked that question!) Or this is only a LINUX capability? On an earlier computer I was using (a 16 GB RAM one) I was able to run multiple iterations of GrandOrgue at once without it blocking the MIDI devices on the 2nd instance. I recorded on my channel a recording with 2 instances of Caen-Rotterdam running (The hymn - "Up From the Grave He Arose"). However I cannot run two iterations of GrandOrgue now or it nullifies the MIDI devices.

Zitat von elias.orgel

ist das eine "gute Frage" ?

Sure, I think any question is good - especially for those that don't understand. Dear Sir, I was not intending to denigrate you, but rather understand better. All the best with your endeavours! This board is certainly a very curious place with so many people I have talked to that have so many different and interesting (and of course very valid) ideas and pursuits in regards to enjoying this hobby!

A Question: Why would you want to have the volume of ALL registers to be constantly adjusted relative to one another? In a properly voiced organ build only the division that theoretically is in an enclosure for expression control needs to be adjusted by a swell as it is in a real organ.

As you said, the levels can be set within the coding as part of the "voicing" of any organ. For 1 or 2 additional stops such as a Chamade or Tuba or Vox Humana as you mentioned above, it may make sense to have an additional swell control.

Perhaps I do not understand your objective and will ask others to help you in this thread - all the best!

How many registers are you looking to control? The display would be very cluttered with individual swells for multiple registers. A few is OK.

It is very easy with the coding I am using to set up an extra swell for ANY register. I just set this up with a Tuba stop I recently added to a sampleset. Simply encode a new WindchestGroup for the new register and then link it to a new enclosure. For example if you are adding a Tuba stop to any manual you can have its volume controlled by both the enclosure (swell) for that manual and a separate enclosure (swell) for its own volume.

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!

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.

Oh Thank you so much! I will look into these suggestions!