Samples contain sounds of a pipe organ

Vowels and consonants
The stereo microphone should be very close to the pipes. This records the accent with which the tone begins along with the tone in the sample. Tones are like vowels that are given meaning by consonants and the organist must be able to hear them well. Two channels of DRY samples are sufficient to transfer the organ to the living room.

The loud tones in the church should be heard at a lower volume in the living room. As a result, the proportions between the higher and lower tones shift and these must be corrected by intonation. Voicing is simple and should not be compared to voicing pipes.

The acoustics are recorded with Impulse-Response technology and recorded in the memory of the Hauptwerk organ. Sounds and acoustics thus form an exact representation of the organ.

Schnitger organ Martini Church Groningen

For some organs I have a preference because their musical expressiveness inspires me to play. In the first place, this is the Schnitger organ of the Martini Church in Groningen with sounds that are colorful and sound relaxed. A pipe with a relaxed sound will already let the tone be heard by blowing lightly. With increasing pressure, it then reaches its full volume. If the wind flow from the languid is directed more outwards to an outwards pulled upper labium, more overtones are created and that colors the sound. The timbre of the Martini organ has the character of the North German Baroque. The organ builders knew how to voice pipes in order to achieve great sound beauty. A craft that was lost and only rediscovered late in the last century.
                                  see: Organ Martini church                      

Rudolf Janke organ in Bückeburg

The organ builders used the rediscovered craft to restore historic organs. They were able to voice the pipes in such a way that the original sound beauty returned in all its glory. New organs were also built with the restored knowledge of the old craft. The sounds of a new organ made by Jürgen Ahrend were equivalent to the historical sounds. I got to know many of his new organs and it is a pleasure to play them.
His colleague Rudolf Janke, who, like Jürgen Ahrend, had learned the trade from Paul Ott in Göttingen, built an organ in historic style for the Stadtkirche in Bückeburg. This organ is new, but the sounds have all the characteristics of the Middle German Baroque style. Rudolf Janke shows that he masters the traditional way of building organs. His refined voicing was highly valued by experts. In addition to clarity, the sounds have a deep Gravity. This is clearly audible in the flute registers when playing Bach's Trio Sonatas.                           see: Orgel in Bückeburg

Baroque organ Prytanée France

The organ from 1640 in the Prytanée in France is a Baroque organ with sounds that fit well with the Middle German sounds. The organ of the sample set corresponds almost entirely to the Couperin organ of the VU University in Amsterdam. The organ in the Prytanée plays at very low wind pressure in a church with excellent acoustics. This principle is especially common in Italy; by choosing the wind pressure low, the sounds are relaxed. The beautiful acoustics ensure that the sounds can be heard evenly throughout the large room. There is no sample set whose sounds sound so relaxed and mellow without any adjustment. Still, by voicing the samples I was able to improve the sound beauty considerably. The result was surprising; from each tone the character now came out clearly. The details of the response and tone shaping can be heard perfectly, better than I've ever heard in a sample.                                               see: Orgel Prytanée

Authentic North German Baroque Organ

Antonius Wilde built the organ in 1598 for the St. Jacobi Church in Lüdingworth, which was later expanded with a Positive by Arp Schnitger. A good Gravity and a singing clarity provide a vocal sound here. The human voice is the measure and the overtones form a Formant; that is a coloring by a group of overtones that remains the same per pitch, like a vowel that remains recognizable regardless of the pitch.
In the time of the Renaissance, the tones of an organ met the requirements and inspired Jan Pieterszoon Sweelinck to compose his music. The organ builders had the sounds right in their ears, but when they heard small deviations in the sounds, they did not voiced them, because it gave a pleasant nuance to the tone, as did the differences between the voices in the choir.                   
                                                               see: Schnitger-Wilde orgel    

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Pressing a key and pipe tone must coincide

Pressing the key activates a mechanism that opens the valve and let the pipe sounds. A mechanism with intermediate links is easy to make, but works with some delay. A direct connection between key and valve is constructively more difficult, but is still preferred because the tone responds immediately to key pressure.

To play an instrument, a musician must immediately hear the tone, whether it be a violin, flute, or piano. It cannot be otherwise with these instruments; they are in the immediate vicinity of the musician. With an organ there is more distance between keys via the valves to the pipes, but here too the delay must be minimal. An organist would prefer to play directly on the valves.

Amateurs who prefer a multi-channel organ should play more often in a church to hear the difference between a real organ with one source of sounds and a room full of loudspeakers that are all sound sources.


The samples are reproduced in the Hauptwerk organ with some delay – the latency. This latency can be reduced if computer performance is taken into account. On my organ I have greatly reduced the latency and although it is about milliseconds, the touch is much more pleasant. Now every nuance of my playing is immediately audible in the rapidly changing tones. This is only possible with DRY samples; it makes no sense to do this with the slow WET samples.