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Hauptwerk Virtual Pipe Organ Cracked
On Friday, November 5, I was able to present the inaugural Hauptwerk Organ Musicians in Play (OMIP) program at St. Thomas More Cathedral in my home parish, St. Thomas the Apostle. The program, now in its second year, features an ensemble of organists and vocalists who demonstrate a commitment to the sacred art of organ performance. This has been a demanding but rewarding experience for the musicians, and I am thrilled to see how successful it has been.
Unfortunately, this makes it an inappropriate instrument to use in a more reverberant architectural setting. I am writing this post with a blank mind, and will walk out of the church and have no memory of the experience. While in the church, I could sense the depth and space of the church, and the quality of the instrument, but after the hearing wear off, am I still going to be impressed with the sound? For these questions, I do not have a direct answer, as this was not a possible situation for Dan. The ability to capture the acoustical nature of the church environment in a way that is not disturbing is a very difficult task. I applaud Dan for what he did there. If he had the luxury of using a more expensive recording studio and a steady orchestra to record an entire week, with total acoustical control, I think that was the sound Dan wanted to achieve. However, given the constraints of the situation, Dan created a virtual instrument that not only sounds great, but does so without disturbing the sanctity and beauty of the church.
Something that I found helpful is their deep melodic and polyphonic nature. They sound like an actual pipe organ, with layers of subtlety and depth to them that make them musical and pleasing to the ear. I think the best way to describe how they sound is to think of a cat purring. The Hauptwerk samples are incredibly rich with multiple layers of sound that create a sound which is not artificial. Like the cat purring, they are out of focus, not obtrusive. The modeling is competent and realistic, based on the actual samples played and recorded. A few might argue that the modeling is not perfect, but in my opinion, this is clearly not what Dan was going for. Dan admits that he has no experience with the pipes and that is evident in the results. The natural sound of the pipes combined with the awesome complexity of the effect is so very interesting. There is no other instrument which has the ambience and quality of reverberation that these pipes have.
The software has other interesting features, such as the ability to turn the organ on and off. This feature is combined with the ability to save mutes as presets. The concept behind the software is to make it a live tool. I can imagine that someday it will be integrated in to the organ.
«Generously recorded and heavily compressed, these samples can be easily imported into any software. Choose your instrument, adjust the panning, decay settings and the feel of the organ is immersively delivered at the touch of a finger.
Finally we reached a point where we believed we had the implementation worked out in full detail. So we took one last trip up to the town hall with all the parts in one place and we began the difficult task of debugging and debugging. We sent the first assets over the Net including the professional organ test music and organist Lindley was thrilled with the results. Everyone was very impressed with the console and we were all happy with the results and so we decided to press the «publish» button.
The organ was shown to many people. One of the organ builder’s sons was impressed by the concept and encouraged us to put an organ in his own church. He was a church organ builder and knew a thing or two about recording organs. The Idea was to record, in a media that would give as good or better sound quality than an actual organ.
All of the parts from the console to the mechanical key-actuated pipes were replicated with the only difference being that we used software to control the key-presses instead of mechanical relays. The loudspeaker was built from scratch but just before we started recording the console, we found out that the CD player and speakers were very prone to distortion. So we ordered a local electronics shop to make a passive amplifier which solved our problem.
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