Ja klar, ein composite Set von Organist 117 selbst darauf bin ich natürlich nicht gekommen (wie peinlich) ...
Aber gerade deshalb wäre es doch wünschenswert, wenn solche Infos kurz mit bei dem Video zu sehen wären...
Ja, ich versuche natürlich immer Orgelinormationen aufzuschreiben.
Ich war nur zu dem Zeitpunkt etwas in Eile und habe es vergessen 
Vielen Dank für deine Antwort und dir Ebenfalls einen schönen Palmsonntag 
Singt dem König Freudenpsalmen.
(Es ist nicht perfekt gespielt da es ein Jahr her ist seit dem ich es zuletzt gespielt habe. Aber ich hoffe man kann es sich trotzdem anhören.)
Die Frage hat wahrscheinlich nichts mit dem Thema zu tun aber: was ist das für eine Orgel?
Und was ist ein Tacet?
Danke Franciscus
Kennt von euch jemand ein Organ builder programm dass mehr Einstellungen hat wie zb. Spieltisch Optik als OrganBuilderPortable?
Oder muss man dafür die ODF-datei selber schreiben?
Bei einem Harmonium ist das auch gut gelöst. Da ist nur eine Schwebungsreihe eingebaut und die andere wird von einem bestehenden Register genommen.
So eine bauart wäre an der Orgel bestimt auch möglich
Auf jeden Fall sehr interessant so eine eine Schwebung
(Stelle 12.14)
Eigentlich braucht jede Orgel eine Schwebung, in Kombination mit einer großen Akustik ist das wirklich wundervoll
Schöne kleine Orgel
Display MoreThe other main point when programming is you must use perfect intervals on Quintations, Tierces, Septiemes and ANY other aliquot.
The 700 of the G must be raised another 1.955 cent for the perfect interval. You CANNOT use 700 pitchtuning for a Nasard or Quint, you must use 701.955!
Organist 117: I just retuned your recent Orgel Der Johanneskirche using the perfect intervals: Ie: Change 700 to 701.955, 1000 to 968.826 and 400 to 386.31. It sounds better this way because those aliquots are tuned to the perfect intervals! Maybe take a few minutes and try that yourself if you want (it only took me 1 minute).
Piotr Grabowski's pipes always have pitch correction within them - but I believe that the pipes are still within the equal temperament after the correction - on his non-Baroque organs - and this method works fine for his organs.
This method, in my opinion, also works very well even for organs that have relative non-consistent tuning within the equal temperament. That is, within a few cents between each pipe. I recently made a build of the Goerlitz Organ demo and through LoopAuditioneer, the tuning of the samples are quite inconsistent between pipes more than other sets (within the equal temperament) and the result is still stunning!
No organ is perfectly in tune and in fact they sound better if they are not perfectly in tune as GrandOrgue does when you select a certain tuning temperament. A natural equal temperament organ will sound much better than an organ that has been forced into equal temperament by GrandOrgue - because it eliminates the natural pitch differences that occur between pipes.
However, with all of this said - to each his own, the result that is pleasing to you and your ears, is what counts!
Take Care!
Thanks for the reminder, I corrected it
Danke, deine Tabelle ist toll
mich hatte nur Hall mit der Oktave dureinander gebracht 
??? wofür habe ich denn eine komplette ausführliche Liste / Tabelle hier für Dich / Euch eingestellt...
und was steht da bei 300/600/1200/2400...
701.955...
Ich verstehe deine Liste ja
Display MoreI feel I must chime in on this discussion - despite me having to use Google Translate to understand it!
Maybe you guys should study my work on composites and composi-stop builds in GrandOrgue. I have made dozens and dozens of GrandOrgue organs, some of which I have shared here!
When you attempt to make builds that use the extremes of pitchtuning the result is extreme distortion on the reverb fields. When you do this, you then have to create ranks that remove the releases altogether or substitute other releases in its place. If you do not do this you then have to tolerate reverb lengthening of pitch lowered ranks or the reverb shortening of pitch raised ranks!
Dear Organist 117 - you must use the "perfect intervals" of pitch tuning to create organs that do not sound out of tune! For example for a Nasard you cannot use 700 pitchtuning -you must use 701.955.
However, there is generally no need to exceed a few cents in pitch tuning except at the extremes of the keyboard range.
Example 1: In creating a Trompet 16 from a Trompet 8 you can use the first 4 notes of the rank and set up 3 ranks - The first at PitchTuning=-400, The Second at Pitchtuning=-800 and the third at PitchTuning=-1200. This way only the first 4 notes of the Trompet16 have the maximum reverberation lengthening!
Example 2: In creating a Nasard from a Flute 4. Simply use PitchTuning=1.955 and begin the rank on FirstPipeNumber=8. In so doing this you automatically are raising the pitch by 700 (by using the 8th note of the rank) and then the 1.955 pitchtuning raises it further to the proper tuning.
This only works within the concept of the equal temperament organ of course - it does NOT work for Baroque organs. For the missing 7 notes then you can program 701.955 for those missing notes - where the reverberation shortening (on pitch raising) is no longer noticed!) and replace the missing 7 notes with a separate rank using the FirstAccessibleKeyNumber and FirstPipeNumber coding.
Just about any mixture, is possible to be created using GrandOrgue. I have created dozens and dozens of different kinds of mixtures including, Cymbales, Fournitures, Mixtures, Tierce Mixtures Etc. Etc. This is very easy to understand once you realize that you can borrow from higher notes within the existing available ranks to create these. For example to create a Mixture III 1 1/3 you can use an Octave 2 Rank to reconstruct the entire thing.
To create the Mixture III 1/6 (Corona III 1/6) would be extremely bright and not too useful (the designation of this implies that the 1/6 level is the pitch of the notes at the upper end of the keyboard) - Most mixtures do not even arrive at 1/6 pitch (2 octaves brighter than a 1 1/3 Larigot!) until much lower down in the keyboard range. Even the Cymbale III's that I have made to the 1 foot level are more than bright enough for most organ constructions. If you study the sample sets we have been given - a rank that is to the 1 foot level begins to almost be inaudible by the time you get to the upper range. Eg: Doesburg Piccolo1, Den Haag Flageolet 1 etc.
The first step in reconstructing any mixtures is to understand its construction - Organ Encylopedia of Stops is so helpful with this!
Further info:
To make a Tierce you must use PitchTuning=-13.69 and Begin the Rank on FirstPipeNumber=5. Then you can replace the missing upper notes in the rank with PitchTuning=386.31.
To make a Septieme you must use PitchTuning=-31.174 and begin the rank on FirstPipeNumber=11
Sometimes you don't even need to recreate the upper notes because you can construct a 54 note organ from a 61 note rank. This way you have 7 extra notes that allow you to create the Quint 2 2/3s and the Tierces etc.
Anyway, all the best with your builds. Let me know if you have any questions etc. or wish me to elaborate on any of these points.
Ich verstehe nur nicht wass mit der Trompete gemeit ist
Thank you very much for your feedback, but how do I know how much cent I have to set.
So like 700 but 701,955?
Das ist die 2/13' Reihe des Buntzimbels mit Principal 8'.
Ich habe sie nach jeder Oktave repertieren lassen um zu testen wie es sich anhört
Ja ich denke schon, dann versuche ich einen zu programmieren
Danke jezt habe ich es verstanden
Mein einziges Hindernis um den Buntzimbel zu Programmieren ist nur noch: dass ich den Ton in der Programmierung
nicht über zwei Oktaven erhöen kann, denn ab 2400.00000ct überschreitet es den Wert, und da 1' das Höhste Register (zumindest in GO) dass keine Mixtur ist komme ich da leider nicht hin.
Also so?
2/13 = 13. Teilton zur 2' Basis = Ab (bei Taste C)
