“brings cathedral acoustics to your home“
Attila Pásztor, HU
Esztergom Pipe Organ Samples
IA Holiday Sale 2016 effective from today until 1 January 2017: all products 20% off. See it here
It is with utmost sadness that we write to share with you news of the passing of Stephen Phillips and his two stepsons.
The Esztergom Pipe Organ Samples with the largest cathedral acoustic to date for Hauptwerk is shipping now.
The 91-stop Esztergom Pipe Organ Samples with pristine wet cathedral acoustics is available for pre-order today. Download delivery is available now, retail box delivery starts 1 May 2012.
Inspired Acoustics' flagship virtual pipe organ sample set PAB Gravissimo is shipping now. The virtual organ features exciting new capabilities including the first virtual 64' stop and a virtual aging feature that allows transforming the sonic properties of entire instrument into a historic, darker voice.
PAB Gravissimo is available for pre-ordering from today. Shipping before 15 January 2011, PAB Gravissimo is a 144-stop virtual pipe organ offering easy-to-use new features for virtual pipe organ players.
The fourth in a series of articles dedicated to what many regard as Australia’s finest church organ – and the story of its hard-won virtualization by Inspired Acoustics.
The third in a series of articles dedicated to what many regard as Australia’s finest church organ – and the story of its hard-won virtualization by Inspired Acoustics.
The second in a series of articles dedicated to what many regard as Australia’s finest church organ – and the story of its hard-won virtualization by Inspired Acoustics.
The first in a series of articles dedicated to what many regard as Australia’s finest church organ – and the story of its hard-won virtualization by Inspired Acoustics.
Brooke Benfield (USA) introduces the Gethsemane Lutheran Church in Portland Oregon and its new instrument: the PAB organ.
This article describes the main idea behind the technical approach how Inspired Acoustics virtual pipe organs are recorded.
Inspired Acoustics gathering at Melbourne Town Hall will take place on 23 Jan 2015.
Inspired Acoustics and its parent company Entel is visiting Tokyo between 19-23 November 2013 for partnership meetings.
Inspired Acoustics CEO presents an invited paper on the 2nd International Acoustics and Audio Engineering Conference in Novi Sad, Serbia, co-organized by the Audio Engineering Society (AES). When: 14 November 2013 starting 10:30.
Inspired Acoustics CEO talks about virtual instruments at an event organized by the Acoustical Committee of the Hungarian Academy of Sciences. The talk is open to the public and takes place on 12 November 2013 starting 15:00.
Inspired Acoustics and its parent company Entel visits India to establish long-term partnerships. (17-18 October, 2013)
A scientific paper related to multi-component reverberation decays will be presented at the InterNoise 2013 international congress.
Antoni Scott (United States) - April 22, 2012 - Esztergom Pipe Organ Samples
I was so impressed I could hardly believe my ears.
Rev. Frederick Kihm (Ohio USA) - March 15, 2008 - Notre Dame de Budapest Pipe Organ Samples
These organ samples are positively stunning! I was so absolutely mesmerized with the tone quality that I actually upgraded the speaker system on my computer in order to totally enjoy the fine audio nuances of these grand organs. Many, many thanks for this great product!
Paul Wood (Apache Junction, Arizona, USA) - October 16, 2004 - Notre Dame de Budapest Pipe Organ Samples
I have nothing but the greatest enthusiasm for your NDB Pipe Organ Samples. They are simply marvelous. As it happens, I am one of a good many people who do not have a great enough space in my home to accommodate a pipe organ... until now.
The instrument has always fascinated me, even from an early age. The technology which allowed a practical simulation has been very long in coming, however; I am past the age of fifty. Yet, here I am, at long last, producing such realistic (it's uncanny, really)and beautiful sounds.
Between the two sampled organs, and with a little tuning or other adjustments, I can now play a surprising variety of organ works: Widor, Langlais, Vierne, Liszt, Piston, Franck, as well as the great works of Bach.
I would encourage anyone who truly loves the pipe organ to purchase the NDB Pipe Organ Samples. There are other pipe organ samples on the market, but they are not worth the disappointment.
Congratulations on a splendid achievement - and keep those samples coming!
With special regards,
Stephen Phillips (Brisbane, Australia) - October 12, 2004 - Notre Dame de Budapest Pipe Organ Samples
I am very happy to report the response to using these gorgeous samples from the loft of our little St. Lukes Church, Buranda Brisbane for our Latin Mass has been tears of joy and many smiles.
I am very happy to report the response to using these gorgeous samples from the loft of our little St. Lukes Church, Buranda Brisbane for our Latin Mass has been tears of joy and many smiles. I can only play the manual stops yet, through a Sony amplifier and Cabasse Clipper speakers, but will play some pedal stops soon, with subwoofer. I have listened from the downstairs - it is astonishingly realistic (reverb samples OFF) - but I love playing with headphones and release samples ON - so beautiful. I played last week on our Klais Concert Hall organ - the Notre Dame de Buda is better and I am waiting for Gigastudio 3! Bravo for your wonderful and sensitive work. It is a new standard and just LOTS OF FUN. God Bless You
Bruce Richardson (Dallas, Texas, USA) - October 5, 2004 - Notre Dame de Budapest Pipe Organ Samples
I'm not an organist--I'll state that flat out. But I often incorporate pipe organ sounds into my work. The Notre Dame de Budapest Pipe Organ Samples are absolutely breathtaking in their detail and realistic presence.
I'm not an organist--I'll state that flat out. But I often incorporate pipe organ sounds into my work. The Notre Dame de Budapest Pipe Organ Samples are absolutely breathtaking in their detail and realistic presence. From the thickest tuttis to delicate single-stops, this collection sounds amazing. In particular, the releases provide not only the lovely cathedral reverb, but the pipe behavior as its air is stopped. This product is at the top of its class, and not likely to be something one would ever tire of using in the future. A+++++
Francois Ratte (Quebec, Canada) - February 14, 2009 - Palace of Arts Budapest Pipe Organ Samples
=== An organ for the rest of us ===
If you've read Rob Stefanussen review, you already know how great the PAB sample set his, and Rob is a lot more qualify than me to analyse and critic a sample set, being a professional organist. Me, I'm just a really "amateur organist" who loves pipe organs.
I titled my review "An organ for the rest of us"; in the Hauptwerk community there are professionnals, with years of musical training, earning their living playing and teaching the king of the instrument, able to recognize the sound of each and every ranks, who can explain the differences between organs build in different era, who will register the organ exactly as it should for a given piece.... then there is the "rest of us", amateur with a wide range of training (from none to almost professional), who loves the pipe organs and often can only dream to play the "real one".
Hauptwerk with the PAB PRO sample set makes this dream come thru for many of us; the Pro version, with it 92 ranks gives us a wide palette of sounds. From Baroque to modern, you will find the stops that will allow you to play your repertoire.
For the amateur with a limited repertoire, just changing the registration will give a whole new dimension to the piece. Improvising some chords and playing with the crescendo pedal will transform the organ from a little, soft sounding instrument to a monstruous, melodic monster with it Chamade and 32' pedal ranks.
Quality, versatily are to words that perfectly express what this sample set is; but the PAB is available in other versions. A new one is the PAB Medium Edition with CSA (some kind of scientific acronym to basically say "with some nice reverb added"). The PAB is semi/dry samplet set, it is a concert Hall acoustic, not one from a large church or cathedral. Thanks to the magic of convolution, Csaba and his team added some reverb to the Medium Edition.
This 45 ranks, slim down version of the PAB PRO but still powerful instrument, offers a lot "bang" for it price; same great sound quality as the PAB PRO, wide palette of sounds, this set comes out of the box in 2 versions; the semi-dry and the sCSA; the sCSA (s=shorter version CSA) offers an acoutic similar to a good size-church. The sound, articulation remains clear with enough room presence to make you feel "there". My teacher prefers the semi/dry one.... better show the mistakes I make he says! It's up to you to choose. And available as a free download for the Med Edition owners, you can get a third version with a longer version of the CSA, let's call it "cathedral like", lots of presence (better to hide some mistakes...).
Hours of fun exploring the possibilities of this set, great sound, various reverb available. I truly like it.
Is it a "10"... well since perfection doesn't really exist in this world, I'll give it a 9!
Rob Stefanussen (Utah, USA) - December 9, 2008 - Palace of Arts Budapest Pipe Organ Samples
When I heard the first PAB demos, I was concerned by the rather dry acoustics. That didn't change when I first loaded it, either. After playing so much of the Metz and Hinsz, I had become used to the huge acoustic.
When I heard the first PAB demos, I was concerned by the rather dry acoustics. That didn't change when I first loaded it, either. After playing so much of the Metz and Hinsz, I had become used to the huge acoustic. I've spent a lot of time lately working on some of my pieces, and I've been surprised at how quickly my ears have adjusted.
Over the last few days, I have come to greatly appreciate the clarity and richness of tone that this sample set delivers. All of this is not to say that it's not nice to have a lush acoustic. Fortunately, with this sample set, you don't necessarily have to compromise the lush acoustic for all the other goodies this sample set has to offer.
I played through Fox's "Nun Danket" which starts relatively light and works up to full organ in the end. Anyone who has seen the score knows that this piece is incredibly demanding in terms of registration. Even on the largest sample sets currently available, multiple significant compromises have to be made in the registration of this piece. In contrast, the PAB had everything this piece called for with some headroom for creative additions. I can't tell you how nice it is to actually have stops like a 10 2/3' in the pedal when a piece calls for it! One mark of a world-class organ is not only to be able to register a wide range of pieces with little to no compromise, but also to be able to do so in slightly different ways. From what I've experienced, that would accurately describe this sample set.
Another item which I believe deserves mention is the many features on this organ, and the level of detail with which these features have been implemented. This organ has two enclosed divisions which accurately replicate the original organ's unusually dynamic swell boxes. A welcome change from the current status-quo is the availability of so many flexible couplers. The solo, swell, and positive have unison sub and super couplers, and there are even more options for sub and super coupling between manuals. The PAB organ also has 2 configurable crescendos, which are surprisingly useful due to its large tonal resources. On some smaller instruments, the crescendo is less useful because the changes in registration are about as subtle as a shovel to the face. With the PAB, the crescendo produces a subtle buildup that one could actually consider using in a performance. The highly professional console, stop jamb, and crescendo pages also deserve mention. The PAB sets the bar a few notches higher for virtual organ graphics. The entire console was modeled in 3D, and the appropriate views were rendered using this model. The end result is an amazing virtual console and stop jamb pages that are a pleasure to use. The indicator lights on stops are also very practical without looking too "digital."
The quality of the samples is top notch. The samples are clear, colorful, and convincing. The organ is also very well balanced. I was particularly impressed with the 32' stops in the pedal. I'm also thrilled to have a full compass for a change (time to start learning Lemare's transcription of "Ride of the Valkyries"!)
This sample set screams quality from top to bottom, and that brings me to one of the most important points: price. Currently, sample sets range from about $5 - $25 / stop. From what I've heard, you generally get what you pay for, but that is certainly not always the case. In terms of sound and "look-and-feel", the PAB seems like a very high-end sample set, yet it weighs in at less than $10/stop! Some have suggested that the price of this sample set should be brought down even further. To this I would respectfully disagree. I'd say that the price of the PAB is a steal as it is.
One of the biggest concerns about this organ is the relatively dry acoustics. For me, it's taken a few days to adjust, but I've come to enjoy the out-of-the-box sound of the organ just fine. Having said that, a bigger acoustic is really not that hard to get. I recently tried micdev's wonderful tutorial on Sonar & Pristine Space using demo software. The results were very promising! The tutorial is very well written, and I'd say that anyone that is willing to take the time to go through his step-by-step tutorial would be able to get up and running easily.
If you don't already think that this an absolute must-have sample set, I can't see how the ability to have effective reverb wouldn't make this set a no-brainer for the fence-sitters. I've determined that Sonar and Pristine Space would cost about $350 if you shop around. I'm planning on ordering the software soon. If you went this route, this organ would cost you $1,250 (though the reverb could be applied to any organ). That's still a steal.
All in all, the PAB is a fantastic sample set. The samples are top-notch. The console and stop jamb graphics are way ahead of their time. The price is a steal. The semi-dry nature of this sample set makes it suitable for practice, installation in churches/concert halls, and the addition of convolution reverb. For anyone that's sitting on the fence about this organ: If my experience is any indicator, it would be hard to go wrong with this sample set.
Daniel Lay (Cambridge, UK) - October 7, 2010 - Palace of Arts Budapest Pipe Organ Samples
I have just recently bought the PAB Medium set. It is a fantastic sampleset. I was initially unsure about the acoustic, as at first it does seem rather dry, however I have now decided that it is just perfect.
I have just recently bought the PAB Medium set. It is a fantastic sampleset. I was initially unsure about the acoustic, as at first it does seem rather dry, however I have now decided that it is just perfect. It is dry enough to highlight every single inaccuracy, however slight, in your playing, and yet is great for performing as well! I have yet to find another sampleset that does this. The inclusion of the sCSA and CSA acoustics also mean that you can have a huge acoustic with this organ, should you want one, without convolution reverb and the darkening of the sound that results. As others have said, every stop individually is exquisite, and the ensemble is just as good. This organ has unmatched versatility. With such large tonal resources at your disposal, you can play any piece of music you like and make it sound great! In short, I love it. Keep up the good work inspired acoustics!! =]
Stephen Eppley (Boynton Beach, Florida) - July 3, 2010 - Palace of Arts Budapest Pipe Organ Samples
I purchased the Extended version of the PAB organ and it is well worth every penny. Listening stop by stop is marvelous and the ensemble is just outstanding. The first piece I played after installation was Lemmens famous Fanfare and with the build-in Cathedral Acoustics!!! - WOW!!
I purchased the Extended version of the PAB organ and it is well worth every penny. Listening stop by stop is marvelous and the ensemble is just outstanding. The first piece I played after installation was Lemmens famous Fanfare and with the build-in Cathedral Acoustics!!! - WOW!!
The new technology coupled with the advances in these sample sets has really swayed me insofar has comparing a real pipe organ with the sampled version. I happen to own a 18 rank Moller Pipe Organ which I have not been able to install since moving to South Florida (space limitations) and although I still miss the real pipes, I have to say that the digital samples are nothing short of outstanding and I can also have a much larger organ than would be possible with real ranks - how many installs could boast over 100 ranks? The products are great - KEEP THEM COMING INSPIRED ACOUSTICS!! I think my next purchase will be the Matyas organ. Once again, EXCELLENT products, and the detail about them is by far the best and most comprehensive of all the websites I visited thus far.
Attila Pasztor (Budapest) - August 16, 2009 - Palace of Arts Budapest Pipe Organ Samples
Let me start with a few words about myself: my name is Attila Pásztor, I have a degree in electrical engineering and in teaching IT. Currently I am mostly teaching IT in a high school for talented children (in the Fazekas Mihály Secondary School) in Budapest, Hungary.
Let me start with a few words about myself: my name is Attila Pásztor, I have a degree in electrical engineering and in teaching IT. Currently I am mostly teaching IT in a high school for talented children (in the Fazekas Mihály Secondary School) in Budapest, Hungary. Besides my science studies, I have been learning the organ and of course, the piano for 10 years. Between 1989 and 1998, as the organist of the Zoltán Kodály Hungarian Choir School, during the tours I had the chance to play many-many organs in the U.S., England, Germany, Austria, the Czech Republic, Italy and Belgium. In my free time, in the week-ends, I am performing organ duties in several churches.
I have been planning for years to have an organ at home for practice. An instrument with real pipes was out of the question because of the neighborhood; and I did not like the sounds, the stop sets and the quality of the materials in the console of the electronic organs I could afford (with 3 manuals and about 40 stops). I felt that no middle-class electronic instrument is adequate to play a wide range of organ literature.
I met the Hauptwerk software first in 2008 and by using the resources on the Web (demos and forums) I decided to create (to have manufactured) a 4-manual console with a pedalboard. Unfortunately, I could not afford the excellent manuals of Laukhuff (used widely in Europe), so I ended up using the manuals of the Canadian Classic Midi Organ Works. The pedalboard, the bench and the console was made by Váradi and Son Organ Builders http://www.varadi-orgona.hu/html_eng/main_eng.htm, who I was working together with on many organs (I helped creating the microcontroller-based controls). I think they made a beautiful console, you can find pictures at http://www.aticomp.eu/orgona/pictures.html.
My first sound sample library was the Litomysl (if I remember correctly, this was the only 4-manual library), followed by the Notre Dame de Metz Extended, Zwolle and most recently PAB (Professional, then Extended). I like playing Bach on the Zwolle library and Franck on the Metz, but for about half a year I have been only using PAB, and I hope you’ll soon understand why. The above-mentioned libraries feature wet samples, which is really good for the listener (if not listening for a long time), they even cover a few small mistakes of the performer but they are not ideal to learn the pieces. The performer usually sits at a console much closer to the organ, and hears the instrument in a different space than those for CD recordings. So far I have seen only two instruments where a console is placed in the middle of the audience (the Synagogue in Budapest and the Church of St. Eustache in Paris). There it is almost impossible to play fast pieces evenly. Wet samples sound cool only in an acoustically neutral space (such as a room), they are unenjoyable already in a classroom.
I do not like the totally dry samples, either, because in the recordings made extremely closely, the characteristics of the pipes are very different (whoever tuned an organ, could experience this). The acoustic modeling of the mass of the pipes and the organ case could help but I know of no such developments.
Using semi-dry samples having only a small amount of (concert hall) reverb, such as PAB, you can learn the pieces very well (you can hear the uneven fingering, phrasing mistakes, etc). And to give a true-life performance of the pieces learnt, all you need is either the PAB Extended sCSA (offering a church reverb by default), or an adequate reverberation program. This latter one has the advantage that everyone may set up the reverberation parameters according to their own taste and requirements, and it also puts a lighter load on the computer. I use a second computer (of less power) for the subsequent reverberation (the sound is transmitted digitally), and the cost of the necessary programs (Plogue Bidule and Knufinke SIR2) is low even compared to a sound sample library.
A few thoughts on the organ of the Palace of Arts:
The organ of the PAB is one of the largest concert organ in Europe (5 manuals, 92 stops, double action), which is placed in a concert hall with variable acoustic parameters. You can find more information about the organ at http://www.mupa.hu/orgona.jsp (in English). The organ is a modern ‘symphonic organ’ and I have the honor of knowing the Hungarian designers of it personally. In my opinion, this instrument is adequate to perform all the existing organ literature without any major compromises. Artists giving concerts (Olivier Latry, Philippe Lefebvre, Thierry Escaich,...) praised the organ highly, mentioning that a concert instrument of this size must be registered and played differently than a medium-sized church instrument.
The manufacturers of the organ solved the issue of having an impressive sound in a somewhat dry concert hall (most naturally, I heard the instrument myself as I live in Budapest). I am only missing a Trompete 4’ in the positive work and a glockenspiel – never a bigger problem!
To me the expression ‘symphonic organ’ means that this instrument is capable of bridging the various periods in the history of music. The stop set and the voicing allows defining a medium-sized (35-stop) neobaroque (http://www.aticomp.eu/orgona/pabnb.jpg) and a 60-stop French Romantic (http://www.aticomp.eu/orgona/pabfr.jpg) instrument as well. The pictures show the settings for the couplers, the tremulants and the string stops. If you have the PAB library, listen to the ‘sound sets’ shown in the picture (without the tremulants, the Voce Humana and the Unda Maris). They sound to me quite like the above-mentioned instruments.
The sample library created from the instrument keeps the huge dynamic and rich voice range of the organ. The difference between a single note of the quietest stop and the tutti is about 80 dB. Naturally, the sound samples of smaller instruments cannot have such a wide dynamic range. If you have the necessary tool, you can even measure it. The huge dynamism of PAB cannot really be enjoyed in a room with speakers (especially if you have neighbors); perhaps if you use excellent headphones. Because of this, one usually normalizes the organ samples (sets the sound system) so that you can ‘survive’ the tutti, which, unfortunately, results in having some of the stops of libraries with a large dynamic range very quiet in themselves. Unfortunately, the human ear tends to hear the quiet sounds also of less color.
It is an interesting experiment to listen to multiple sound sample libraries by setting the amplitude of a note of the Principal 8’ of the main work to the same level (e.g. by using the gain meter in the software of the sound card). If you try this, you will hear that some of the stops in the PAB have a real character (only that you have not heard it before).
I would not like to make comments on the mensure and voicing features of the different organ builders; and I cannot decide whether a Cavaillé-Coll organ is better than a Schnittger. None of these people can build organs today. Nor can I know what Bach or Franck would say about e.g. the PAB organ (but I know that Bach ‘left no stone unturned’ to try any new organs). I am always happy when I can use an instrument with clear sounds, when there is a variety of stops and the noise of the action does not suppress the sound played (I am talking about real instruments now). I had played an organ with pneumatic action and Barker levers action for two years and I do not long to be back. I am happy that the couplers (marked ‘e’) are not additive (P+I and I+II does not mean automatically P+II).
In my opinion, the PAB sound sample library has the following advantages:
The graphical interface of the library is very sophisticated (I think currently it is standing far out). All the console features are implemented. It is extremely useful that the direction of the sweller pedal can be reversed (I can get used to the organ I will play). It can be used perfectly with one monitor; with two monitors it offers a photorealistic look; the reverse couplers (pedal-to-manual) and the 100 direct combination frame selector buttons can also be useful for many. In the console view the features are exactly as in the original electronic console. The LED displays also truly follow the original instrument, with an exemplary aesthetic and operational quality. Pipe organ sound libraries made for the Hauptwerk platform often claim to preserve the values embodied in the instruments, which in my case means not only preserving the sound but also a functionally true implementation of the console features and a sophisticated graphical interface. When talking about preserving the sound, for me the really important part is to preserve the sound of the organ and not the acoustics, the sound as heard at one point in the church. That is why I prefer semi-dry sound libraries.
The modeling of the original combination system of the organ is also exemplary, the registration is much easier. Please note how difficult it is to store the same registration multiple times so that you can use the built-in virtual combination system of Hauptwerk, as that is only capable of stepping through the virtual combinations during play (beside the 8 starting values). I feel very sorry that even the latest Hauptwerk version (3.23) does not include a modern combination system (considering Europe, such as the one in PAB) that would not depend (greatly) on the sample library.
Pedal division allows to use only the pedal couplers above a certain division point, and below that only the pedal stops. Together with the sostenuto function it can be useful when improvising.
The two swellboxes offer a huge, continuous dynamic range. Having two whole works in the sweller is ideal for both romantic and modern organ pieces. The attenuation of the sweller (just like in the real instrument) is huge (at least 30 dB).
The independent aliquots (fifths, thirds, sevenths,...) allow a more sophisticated and more variable registration, e.g. you can define different Cornets (having more principals, more flute, more sevenths...).
The two mixtures of the main work can be used well together and alone.
Implementing the chamades as a separate work, together with their couplers mean that they can be used from any of the manuals.
The organ is particularly rich in reed pipes. The three trumpets of the main work are not very strong (they can also be used for German Baroque pieces). There is a well-chosen number of reeds in the positive as well (although I know that many find the Clarinet strange); the Basson and the Trompete are stronger, the Dulcian and the Cromorne are quieter but more colorful. The swellwork has the traditional 5 French reeds (it follows the French Romantic traditions both in the way it is built and it is voiced), the solo work features an English horn beside its strong Tuba. The pedal reeds are well-defined but not unpleasantly loud.
The manuals feature 16' stops full of character (Principal, Rohrburdon, Quintatön, Viola and Gedackt).
The quality of the sound samples in the library is extremely high. The microphones used, the applied sound recording technology (e.g. the recording was synchronized to the manuals of the organ) and the software-based post-processing resulted in having the deepest (32') and highest stops of the instrument sound in a balanced way (using a quality monitor speaker or headphones). If you have the chance to use the 24-bit samples, you can hear that the sounds are rich in harmonics, yet they have no noise and sound clearly.
My current computer (Q9650 Core 2 Quad CPU @ 3,33GHz (+10%), 8 GB DDR3-1333,...) allows a polyphony of around 9500. When performing fast pieces, the semi-dry library with short reverberation times (and with subsequent reverbs) is really useful: if you had samples with 6-10 s of reverbs, the computer could not play many stops and couplers. The performance of the computers is ever growing (not mentioning their price), but in case of really large instruments I expect that the only feasible way is to have the reverbs post-processed.
Finally I would like to mention that the architects of the sample library not only sell their product but also provide excellent support (and not only for installation). I received countless pieces of advice from Csaba Huszty, from fine-tuning to implementing secondary reverberation. I am looking forward to their new sample libraries. Their home page is at http://www.inspiredacoustics.com
If you are interested in recordings made with my virtual organ, you can download them from http://www.aticomp.eu/orgona, or you can find some recordings at http://www.contrebombarde.com (username: pasztor).
James Russell (New Hampshire, United States) - April 12, 2009 - Pusztaszabolcs Pipe Organ Samples
This sampleset is superb--small, but with just about everything for baroque music. The attention to detail is wonderful. The very detailed screen shots are the best I have seen. The sounds of the action are authentic, and give me, the player, a real feeling of being at the actual console.
This sampleset is superb--small, but with just about everything for baroque music. The attention to detail is wonderful. The very detailed screen shots are the best I have seen. The sounds of the action are authentic, and give me, the player, a real feeling of being at the actual console. But best of all are the sounds of the actual pipes. The realism is uncanny. I have about 20 different samplesets, and this one tops the list for my enjoyment. James Russell
Robert Douglass (USA) - October 5, 2010 - Pusztaszabolcs Pipe Organ Samples
I just wanted to let you know how much we are enjoying the Pusztaszabolcs Virtual Pipe Organ, which we purchased this week by download. This set is absolutely beautiful, and great fun to play!
I was just thinking about all the investment that goes into a Hauptwerk System... console, computer, sound system, and software... and realized that the whole thing would still be very much worthwhile, even if the Pusztaszabolcs were the ONLY available sample set! It is beautiful enough and flexible enough to justify the whole project in itself.
Thanks again for this magnificent product.
Stephen Eppley (Florida) - July 9, 2010 - Pusztaszabolcs Pipe Organ Samples
What can I say - just another OUTSTANDING sample set. I have this installed at the full 24 bit rate and the overall quality is just wonderful.
What can I say - just another OUTSTANDING sample set. I have this installed at the full 24 bit rate and the overall quality is just wonderful. Even things like the blower startup and shutdown are just like being there, the recorded console - key and stop action movements make me feel like I'm actually sitting at the real console. Of course, the samples themselves are nothing short of glorious - extremely clean and articulate - just enough natural acoustic - not too dry nor wet in my opinion. As far as price is concerned: It's a bargain a real no-brainer to purchase this set.
Still looking forward to purchasing the Matyas set (after the budget recovers).
Francois Ratte (Quebec, Canada) - April 12, 2009 - Pusztaszabolcs Pipe Organ Samples
A newcomer as an Hauptwerk sample set producers, Inspired Acoustics first offering was the large PAB organ; impressive organ by it size (92 ranks), the PAB also offered high quality recording, wonderful virtual console and an innovative combination system. Pretty impressive for a newcomer!
This second set, the PSZ, while not as impressive in size as the PAB (only 17 ranks) is another truly impressive sample set. Once again you get great graphics, the same innovative combination system (on the extended version), same high quality recording, and to add even more realism to your virtual experience, trakker and blower sounds and velocity sensitive touch. This set used with some good trakker touch keyboards with get you as close as you can get to the real thing.
The PSZ is a lovely baroque organ, with a “sound” of authenticity, a 1778 sound, with all it quality and little defaults! When buying the PSZ, you get 2 versions of the organ bundled; the original version with it limited keyboards compass and short octave pedalboard and an extended version with extended compass for both the keyboards and pedalboard and the same combination system created for the PAB, something that sure didn’t exist in 1778, but very useful when you don’t get your own organ assistant to register the organ.
Inspired Acoustics second offering is just as spectacular as its first; totally different but with the same high quality that we found with the PAB. Highly recommended.
Just like the PAB, since perfection doesn't truly exist, I will give it a 9 (but you do understand that both the PAB and PSZ are "ten" to my heart!)
I have indeed never ever heard such a great pipe organ sound coming out of my GigaStudio, although I have a lot of CDs of that genre. What you did is unbelievable.
During the digitizing process of the Grand-Orgue of the Church of Our Lady at Kispest I could not have dreamed of such an excellent result that the many-many hours of work and the excellent professional preparedness of the creators yielded. The sound samples offer an exceptional experience, the sounds are rich and detailed and truly authentic
The Notre Dame de Budapest sample collection opens new horizons for pipe organ fans that no other electronic organs of reasonable price managed to do so far. The samples are so perfect that one actually feels as if playing the organ in church
If you've always wanted an immense pipe organ but couldn't afford it, the new Notre Dame de Budapest Pipe Organ Samples is for you. (...) this (...) GigaStudio library is undoubtedly the most massive compilation of symphonic-organ samples ever.
The folks at NDB have created nothing short of a masterpiece. (...) You hear individual pipes coming from distinctive points in the soundstage, combining to give the fullness you want without washing out...a very tricky balance, well achieved. You can lose yourself for hours in the sheer grandeur of the playing experience.
Inspired Acoustics (IA) is a division and brand of ENTEL. Launched in 2005, IA specializes in research and development related to acoustics and media technology, creating award-winning products, media content and software solutions for the audio, music, film, IT and research industries. ENTEL Engineering Research and Consulting Ltd founded in 1990, is a privately held company offering services and consultation related to information and communications technology. For the last decades of operation, ENTEL has been working for industry professionals in numerous projects resulting in a high number of plans, documentations, studies and expert opinions. ENTEL implements the ISO 9001 quality management system.
Core competences of Inspired Acoustics:
With our virtual instrument and acoustic products, our purpose is to enable accessing and experiencing significant intangible heritage while providing new means to protect and sustain these unique qualities, employing continuous innovation focused on quality, with the goal of uniting art and technology.
Investing in one or more of our products is an investment in the future with practical results in the present. Our innovative methods and cutting-edge algorithms are empowering innovation and permit the preservation of intangible values, such as the distinctive sound qualities of a pipe organ or an acoustical space, with ever-greater authenticity and realism. Recognizing the need for ongoing work and the room for improvement ahead, the small team of Inspired Acoustics aims at a continuous, step-by-step self-development, based on the support of a larger community.
Developers at Inspired Acoustics are deeply committed to science, particularly to signal processing and applied acoustic science, electro-acoustic and music-related research. All IA developments are based on research results. Among our key research activities are
Our methods, knowledge and publications are the results of continuous in-house research and development. Recent research topics include
ENTEL’s Inspired Acoustics division has completed both large and small-scale organ virtualization projects. It introduced a more holistic approach to virtualization by providing a triad of features: sonic, visual and functional documentation of pipe organs combined with professional acoustic measurements and CAD modelling. Empowered by broad cooperation with organ builders, world class organists, professional composers, music academies and a vast and diverse range of organ enthusiasts, Inspired Acoustics creates virtual pipe organs drawn from uniquely significant venues with unprecedented authenticity and attention to detail. As an industry first, Inspired Acoustics virtual pipe organs are equipped, not only with all console functions of the original instrument, but with additional selectable user convenience features for the utmost in performance versatility. In a real, practical sense, this comprehensive virtualization allows the player access to the actual organ without having to be there.
Inspired Acoustics has completed successful sampling and audio development projects for various sampler and software platforms. The first product, Notre Dame de Budapest Pipe Organ Samples was a sound sample library with church organ data developed for Shirokuma Ltd., becoming a market-leading reference product shortly after its release.
For the Palace of Arts, Budapest, Inspired Acoustics has developed a totally unique, first-in–the-world integrated system we call the Organ Simulator, where a software organ ‘in the background’ provides sonic access to the instrument of the concert hall with real, physical pipe organ keyboards and pedalboard, while an interactive user interface with rich media content enables the user in listening to and experiencing the instrument, information on upcoming concerts and more.
The initiative to preserve the sound of pipe organs and their accompanying acoustic environments in a virtually playable form is widely supported by our current partners. Originally these were separate missions, but with the passage of time they have become integrated. We are implementing the initiative of preserving acoustical heritage under the official patronage of the Hungarian National Commission for UNESCO, as well as the Secretariat of the Hungarian World Heritage Committee. Leading partner institutes include the Liszt Ferenc Academy of Music and the Palace of Arts Budapest from Hungary.
Computer-based virtual or software pipe organs function and play back their recorded sound using a modelled interface of the original instrument. The main properties of such software organs can be summarized as follows:
Projects implemented by Inspired Acoustics have different, customized business models providing the possibility of assistance in the maintenance of the instrument. Inspired Acoustics virtual instruments can financially support the preservation of the real pipe organs recorded. Unlike (for example) sneaking up to the choir loft to "grab samples in the dark", our virtual organs shed light on each unique instrument and venue while bringing new opportunities. By enjoying our virtual organs, you join our mission and materially help the real instruments.
Software organs employ a database hundreds of times larger than commercial digital organs, chromatically sampled, sometimes in multiple layers for a single pipe depending on speech, and play back extended data samples for each pipe resulting in the sonic nuances and time-variance of the instruments accurately and convincingly reproduced. Software organs, in the concept employed by Inspired Acoustics, do not – and are not intended to – exist without real pipe organs. Instead, the concept is wholly dedicated to these important actual instruments.
Software organ technology, therefore, can be the ideal choice
In some cases, based on the requirements or restrictions of the owner of the organ, this approach can also be used:
Every pipe organ is unique and different. Virtual pipe organs, as a family of virtual instruments, enable the rare experience of playing and exploring worlds of sound only a fortunate few could formerly access, hear and enjoy.
Adam Herrick (UK) introduces himself and the creation of a series of documents: the Historical Registration for PAB. The documents are available for download.