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pwhodges

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  • Birthday 02/08/1946

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  1. Here is a similar comparison made by an American sample set producer: https://www.contrebombarde.com/concerthall/music/57796 Paul
  2. Salisbury used the (unreleased) sample set while the actual organ was out of action (rebuilding the blower room, as I recall); they also used a French sample set for some voluntaries, I think. I never heard or saw any comments on how well it was received. The organist at the time had built a replica of the real console for his home use, and I suppose that got used in the cathedral. Paul
  3. The nearest to a true comparison that I can think of would be to record the organ "live" at the same time and using the same microphones as the recording of the sample set, played back on the same system. This would enable a comparison in which presence and setup of the sampling software was the only variable. Paul
  4. I'm wondering whether MM is even still with us (though he's younger than me)... Anyway, higher up this thread he provided an email address which it might be worth trying: camitch49@yahoo.com Paul
  5. That is taken straight from Peter Williams - who suggests the same treatment for BWV 600. Paul
  6. Publishing the spec is a change of the stated intent, though. Back in April, James wrote (in this post) : "We have decided that it would be preferable for the organ to be heard before any details of the specification is revealed". Paul
  7. Not a hymn book, but I had a book pre-ordered on Amazon for delivery in October. When the due date came, they said it was not available and they could not give me a date. I'd had this on other books and the delivery had then appeared within days. But this time it stayed in this state, and when I realised it was in stock everywhere, and going to the Amazon page for it showed it as available from Amazon, it was clear they were not going to sort it out - so I cancelled the order, and reordered elsewhere (at a higher price, of course...). The idea that this is deliberate because they don't want to fulfil their promise of the lower price seems realistic, I fear. Paul
  8. This might be a clue? https://www.newneuromarketing.com/the-most-overlooked-psychological-factor-in-what-makes-advertising-music-work No explanation here, but other people have noticed something similar: Paul
  9. I have nothing to say that has not already been said; but I would second all of it. Paul
  10. Or use a proper audio interface on Windows. Paul
  11. Hmm - I just did a test, and find that I cut out at around 8kHz now - i.e. top of a fifteenth. Increasing volume doesn't help, and the cut-off is quite sharp, so I don't feel the need to consider hearing aids yet. Paul
  12. I'm amused that the Sonata score has the wrong time signature for the second movement. And here, just for curiosity, is a recording I made of some students playing the Sextet exactly thirty years ago: https://cassland.org/sounds/Thuille/ Paul
  13. Hearing aids are developing by leaps and bounds. My wife's hearing aids (absolute latest top of the range in-ear Phonaks) have a number of settings, and she says the music setting in particular is amazing in comparison to earlier models; though as her deafness is congenital, she has no ideal to judge against. In their normal default setting (which is actually adaptive) she now hears birdsong which she's never heard before. But yes, they are expensive, I'm afraid. It's a little while since I tested my own hearing, but I think the top is down to about 10kHz, maybe a little lower (I haven't determined a reference volume to listen at, which affects the apparent result). I am not conscious of the loss as a change of apparent sound quality, but have started to realise that conversation in adverse conditions is now that bit harder to follow, even though it seems to sound the same - which is a curious contradiction! Still, the result is probably not bad for age 77. I've also had continuous tinnitus for more than half my life, but curiously it's never really interfered with hearing other things, or even been a nuisance at all. It's very high-pitched, but I have never been able to identify it as a note for some reason. I had been planning when I retired to make a couple of Hauptwerk sample sets of organ of interest to me, building on my sound recording experience and expertise. But when I started experimenting with techniques, I realised that one of the most crucial aspects of this work is noise reduction - because sample noise is additive from every single sample - and this noise is naturally concentrated in the highest frequencies. But in the top octave or more I would be unable any longer to judge the retention of required frequencies against the suppression of unwanted ones - and so I might end up making samples that sound perfect to me, but are clearly defective to those with younger ears. Inevitably similar considerations must affect pipe organ builders and maintainers. Paul
  14. A link from the Wikipedia article gives the reason for this: It was his only organ installed outside Sweden. Paul
  15. And to swivel back to the thread title, until I was corrected here my head-canon was that the name Hele looked kinda Germanic, so I was inclined to pronounce it accordingly as two syllables! Paul
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