Dear friends,

as I am trying out a new reverb configuration (nooooo, really, Paolo!) and preparing the setup for my Concerto 355cc I would ask you if you could tell me how Cavaillé-Coll arranged the windchests of his instruments.

So, for example, grand choeur and grand orgue: which one is in front and which one behind? And supposed that the windchests were not arranged at different heights, between positive and grand orgue, which one is closer to the façade? And the pedal, was always at the back of the instrument, behind the other windchests or did he sometimes arrange the pipes on both sides?

I found the layout of St. Sulpice and it does not really help because it is not written, on the windchests, to which division they belong and, in any case, that is a very big instrument with a strong development in height.

Thanks to anyone who could help me :)

Oh! How interesting! The positive in the center, and behind the recit. Grand orgue at the sides, in front of the pedal. Cool!

Thanks

Zitat von Aeoline im Beitrag #5

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Here ist a picture that shows the assignement of the division.

bR
Aeoline

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Ok, so, I prepared a virtual room simulation that would fit a CC sound.

Unfortunately I do not have the concerto 355cc at reach here (that still has to be voiced anyway). However I did a test with the Sonus 60, and played a little around. Few chords with the full organ to give an idea of the result.

I would like to hear what you think about this room simulation. It is a totally new concept that I have not used so far. It does not require a very powerful CPU (compared to the last system which was a power hog) and allows a better positioning of the divisions in the space. It is still in beta testing, so it can certainly be improved. Also the listener perspective can be adjusted to be more close or far from the organ.

You will forgive my sloppy playing :)

Now I am a little bit torn between this grand lush perspective, which is what one would experience sitting in the nave of a large church, and a more detailed and close - but less charming - perspective...

I need to sleep some more nights over it :)

I use both approaches: when I am practicing I use no reverb whatsoever, just pure dry sound. When I play a finished piece for my own enjoyment I add reverb. Then, I also use different reverbs for differs pieces: Bach normally comes with a smaller, more intimate reverb, but Franck must come in a gorgeous grand acoustics otherwise everything sounds just wrong.

Zitat von Flauten im Beitrag #13

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Was spricht denn dagegen, sich verschiedene Presets zurechtzulegen und dann entsprechend zu switchen?

Und wenn ich mir diesen Herrn hier anschaue/anhöre, dann genießt er seine Orgel sichtlich ja auch im Raum . . .
Und haben nicht einige größere Orgeln 2 Spieltische (darunter einen beweglichen und mehr oder weniger frei im Raum platzierbaren), um eben die Orgel aus unterschiedlichen Positionen heraus am Spieltisch hören zu können . . .

Ein Meister Deines Fachs sollte doch da technische Lösungen dazu finden können . . .

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