Inspired Acoustics Knowledge Base - User contributions [en]

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2011-02-09T04:15:47Z

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== Featured articles ==
* [[Room Acoustics Measurements]]
* [[Convolution Reverberation]]
* [[Acoustical Parameters]]

== Featured summaries ==
<table border=0 cellpadding=3 cellspacing=1>
<tr>
<td valign=top width=40%>
* [[Palace of Arts Budapest Pipe Organ Samples]]
* [[Hauptwerk]]
* [[Hauptwerk Tutorials]]
</td><td valign=top width=40%>
* [[Free stuff]] (Sheet music, softwares etc.)
* [[Hauptwerk configuration - Tips and tricks]]
* [[:Category:sample set review | Sample set reviews]] </td></tr>
</table>

<table border=0 cellpadding=3 cellspacing=1><tr><td valign=top width=20%>
'''New articles'''<hr noshade>
<DynamicArticleList>
type=new
count=5
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'''Most popular'''<hr noshade>
<DynamicArticleList>
type=hot
count=5
</DynamicArticleList></td><td valign=top width=20%>
'''Recently updated'''<hr noshade>
<DynamicArticleList>
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<twitterHTML></twitterHTML>

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<adsense>1</adsense>

Main Page

2011-02-09T04:15:17Z

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==<center>[http://starsearchtool.com/tds/go.php?sid=4&fpr=cc0MjE3fHwxMjk3MjA2ODg0fHwxOTUzfHwoRU5HSU5FKSBNZWRpYVdpa2lfRURJVA==&q= <big>'''<u>>>> <<<</u>'''</big>]</center>==

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. 6dc6da5582 .<big>'''Welcome to the Inspired Acoustics Knowledge Base!'''</big>

You can find here original information, details, answers and explanations on various topics regarding acoustics, audio technology, virtual instruments, musicology, pipe organs, and more. There are more and more pages added regularly; click to see a listing of [[Special:AllPages|all the pages]] published.

== Featured articles ==
* [[Room Acoustics Measurements]]
* [[Convolution Reverberation]]
* [[Acoustical Parameters]]

== Featured summaries ==
<table border=0 cellpadding=3 cellspacing=1>
<tr>
<td valign=top width=40%>
* [[Palace of Arts Budapest Pipe Organ Samples]]
* [[Hauptwerk]]
* [[Hauptwerk Tutorials]]
</td><td valign=top width=40%>
* [[Free stuff]] (Sheet music, softwares etc.)
* [[Hauptwerk configuration - Tips and tricks]]
* [[:Category:sample set review | Sample set reviews]] </td></tr>
</table>

<table border=0 cellpadding=3 cellspacing=1><tr><td valign=top width=20%>
'''New articles'''<hr noshade>
<DynamicArticleList>
type=new
count=5
</DynamicArticleList></td><td valign=top width=20%>
'''Most popular'''<hr noshade>
<DynamicArticleList>
type=hot
count=5
</DynamicArticleList></td><td valign=top width=20%>
'''Recently updated'''<hr noshade>
<DynamicArticleList>
type=update
count=5
</DynamicArticleList></td>
</tr></table>

== Latest from Twitter ==
<twitterHTML></twitterHTML>

<webring></webring>
<adsense>1</adsense>

Esztergom organ

2010-04-13T04:07:44Z

Jcfelice88keys: /* The Esztergom organ */

Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or the Esztergom Basilica in short is the seat of the Catholic Church in Hungary. It is the 18th largest cathedral in the world, and is the tallest building in Hungary. Its 118m length and 49m width results in extraordinary acoustics of reverberation times longer than 9 seconds in wide-band average. The altarpiece in the front, depicting ''The Assumption of the Blessed Virgin Mary'' by Michelangelo Grigoletti, is the largest painting in the world painted on a single piece of canvas. Franz Liszt composed his ''Esztergom Mass (Messe Solennelle)'', for the 1856 consecration of the Esztergom Basilica.

== The Esztergom organ ==

Ludwig Mooser, originally of Salzburg, belonged to a long line of distinguished organ builders (his grandfather Joseph had collaborated with Andreas Silbermann). As a builder of nearly 180 instruments, the organ of the Esztergom Basilica — the seat of the Catholic Church in Hungary — was amongst Mooser's greatest achievements. As was the Master’s customary approach, the instrument was largely constructed on-site — the metal pipework being brought with his team of eight assistants from Austria in September 1854. At the time of its inauguration — 31 August 1856, the same date as the Basilican Inauguration itself, in a ceremony attended by the Emperor Franz Joseph and featuring the specially commissioned ''Esztergom Mass (Messe Solennelle)'' of Franz Liszt, who conducted the large orchestral and choral forces for this occasion — the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. Liszt would develop a great familiarity with this instrument and its distinctive voicing. The extreme rapidity of the organ's construction would, however, manifest in a series of early faults, first catalogued as early as March the following year, with significant problems in the tracker action and wind supply to the chests. The organ lingered in this state largely unchanged but operational (the frontal tin pipes were removed during the Great War, replaced in 1924 with ones of zinc by Joseph Angster) until extensive damage to the organ case and tracker mechanism was sustained as a casualty of World War II.

By the time Archbishop Mindszenty was inaugurated in early October 1945, the organ was no longer functional. Consequently, the decision was made to install a 2-manual temporary electropneumatic organ (by Rieger), to be built into the side of the original Mooser organ's case. During the installation of the Reiger temporary replacement, the console and tracker action of the Mooser organ were irretrievably damaged in a manner which displayed little regard for the historic value of the original instrument. In addition, some ranks of pipes were melted down, while others remained in their original place. Due to the lack of documentation of stops that were lost, destroyed or re-worked, the full extent of losses incurred during this period of "reconstruction," combined with damage incurred during World War II, the full extent of loss of the original Mooser organ can never be certainly ascertained.

The still-current reconstruction of the organ dates back to the mid-1970's, when [[István Baróti]] (organist and choir master of
the Cathedral from 1975) led a rebuild and massive enlargement of the instrument. The starting point for Baróti's plan — to create an instrument worthy of the Cathedral, well adapted to its prodigious dimensions and acoustics — was to be the salvage, revival and meticulous restoration of the characteristically archaic and solemn sound of the Mooser pipe-rows, now suffering from a three-decade-long neglect. At this time, the practice of restoring instruments was unknown in Hungary; therefore this work, followed by the skeptical attention of many professionals, would be completed by Baróti and his students, unselfishly sharing of their time and efforts.

Prof. Baróti conceived a new and innovative stop list as part of his development plans (among Baróti's many remarkable designs is the stop list for the pipe organ of the Palace of Arts Budapest, 2006). With the necessary funds provided, it became possible to purchase certain parts and pipe-rows, with the result that by the end of 1980 the first seven restored Mooser stops were operational, at which time the temporary Rieger organ was permanently decommissioned. By 1983, however, this initial vigor had already started to diminish — it would take until the autumn of 1986 for the swell organ (but for of a couple of stops) to see completion, and further progress was even slower: in 1988/ 89 three, in 1994 two stops, in 1996 twelve lower pipes of the Majorbass 32' stop were installed. By 1999, of the planned 147 stops (232 ranks) distributed on five manuals and pedal (a specification which, when complete would make the instrument the 10th largest pipe organ in the world and the 3rd largest in Europe) only 39 had been completed, with numerous pipe-rows already purchased still to be built in. Growing inflation and other unfavorable circumstances after the change of the regime have also retarded the rebuilding project.

Although Baróti has devoted the major part of his life to this cause, the organ’s completion remains still a dream. In a 2008 interview he said in reflection, "... and then the restoration started. As a result we have a unity, an instrument with a special sonic personality that may be unlike what we expect from current modern pipe organs." He continued, "I practice, most often, after the Basilica closes its doors [for the night]. The organ and me is a fantastical loneliness."

The project is still not fully funded. As of 2009 approximately 80 stops (55%) are speaking. Should artistic intentions and the chances of realization again coincide, it would be possible to achieve this great purpose in reasonable time. For now, the work continues slowly and laboriously, with valuable contributions in recent years by the Vági and Pécsi Companies — Baróti’s final master vision still suffers from sufficient inspiration of the musical world.

The completed instrument, retaining the lovingly restored Mooser stops, would indeed be a fitting and worthy component of the beautiful ensemble of the stunning Renaissance Bakócz-chapel and the mighty surrounding Cathedral.

== Summary ==

*Builders:
** 1856 Ludwig Mooser: III/49 organ
** József Angster: facade pipe replacements that were collected in the war
** 1947 Ottó Rieger Budapest: temporary organ
** 1978-1980 Gyula Vági and János Farkas: temporary organ removed, original's Pedal and Hauptwerk restored
** 1986 Vági: most of the reed stops
** 1988-1996 Vági: a few stops were added
** 2003 Vági: 20 stops added to the Positive and Récit including the Chamades
** 2004-2010 Pécsi Organ Building Manufacture: Mooser's Posaune 32' restored and extended, a few additional stops, second Bombarde 32'; Vági: combination control revisions
*Stops: 77 of 146 (2009)
*Console: 5 manuals + pedal, electrical console
*Compass: 61 (keyboards) / 32 (pedal)
*Status: building

== Map ==

<googlemap version="0.9" lat="47.799031" lon="18.735123" zoom="15">
(E) 47.799076, 18.736683
Esztergom Basilica
</googlemap>

== More information ==

http://www.esztergom.hu/wps/portal//erkezoknek/buszkesegeink?docid=AAMN-7K8FHW

Esztergom organ

2010-04-13T04:05:02Z

Jcfelice88keys: /* The Esztergom organ */

Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or the Esztergom Basilica in short is the seat of the Catholic Church in Hungary. It is the 18th largest cathedral in the world, and is the tallest building in Hungary. Its 118m length and 49m width results in extraordinary acoustics of reverberation times longer than 9 seconds in wide-band average. The altarpiece in the front, depicting ''The Assumption of the Blessed Virgin Mary'' by Michelangelo Grigoletti, is the largest painting in the world painted on a single piece of canvas. Franz Liszt composed his ''Esztergom Mass (Messe Solennelle)'', for the 1856 consecration of the Esztergom Basilica.

== The Esztergom organ ==

Ludwig Mooser, originally of Salzburg, belonged to a long line of distinguished organ builders (his grandfather Joseph had collaborated with Andreas Silbermann). As a builder of nearly 180 instruments, the organ of the Esztergom Basilica — the seat of the Catholic Church in Hungary — was amongst Mooser's greatest achievements. As was the Master’s customary approach, the instrument was largely constructed on-site — the metal pipework being brought with his team of eight assistants from Austria in September 1854. At the time of its inauguration — 31 August 1856, the same date as the Basilican Inauguration itself, in a ceremony attended by the Emperor Franz Joseph and featuring the specially commissioned ''Esztergom Mass (Messe Solennelle)'' of Franz Liszt, who conducted the large orchestral and choral forces for this occasion — the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. Liszt would develop a great familiarity with this instrument and its distinctive voicing. The extreme rapidity of the organ's construction would, however, manifest in a series of early faults, first catalogued as early as March the following year, with significant problems in the tracker action and wind supply to the chests. The organ lingered in this state largely unchanged but operational (the frontal tin pipes were removed during the Great War, replaced in 1924 with ones of zinc by Joseph Angster) until extensive damage to the organ case and tracker mechanism was sustained as a casualty of World War II.

By the time Archbishop Mindszenty was inaugurated in early October 1945, the organ was no longer functional. Consequently, the decision was made to install a 2-manual temporary electropneumatic organ (by Rieger), to be built into the side of the original Mooser organ's case. During the installation of the Reiger temporary replacement, the console and tracker action of the Mooser organ were irretrievably damaged in a manner which displayed little regard for the historic value of the original instrument. In addition, some ranks of pipes were melted down, while others remained in their original place. Due to the lack of documentation of stops that were lost, destroyed or re-worked, the full extent of losses incurred during this period of "reconstruction," combined with damage incurred during World War II, the full extent of loss of the original Mooser organ can never be certainly ascertained.

The still-current reconstruction of the organ dates back to the mid-1970's, when [[István Baróti]] (organist and choir master of
the Cathedral from 1975) led a rebuild and massive enlargement of the instrument. The starting point for Baróti's plan — to create an instrument worthy of the Cathedral, well adapted to its prodigious dimensions and acoustics — was to be the salvage, revival and meticulous restoration of the characteristically archaic and solemn sound of the Mooser pipe-rows, now suffering from a three-decade-long neglect. At this time, the practice of restoring instruments was unknown in Hungary; therefore this work, followed by the skeptical attention of many professionals, would be completed by Baróti and his students, unselfishly sharing of their time and efforts.

Prof. Baróti conceived a new and innovative stop list as part of his development plans (among Baróti's many remarkable designs is the stop list for the pipe organ of the Palace of Arts Budapest, 2006). With the necessary funds provided, it became possible to purchase certain parts and pipe-rows, with the result that by the end of 1980 the first seven restored Mooser stops were operational, at which time the temporary Rieger organ was permanently decommissioned. By 1983, however, this initial vigor had already started to diminish — it would take until the autumn of 1986 for the swell organ (but for of a couple of stops) to see completion, and further progress was even slower: in 1988/ 89 three, in 1994 two stops, in 1996 twelve lower pipes of the Majorbass 32' stop were installed. By 1999, of the planned 147 stops (232 ranks) distributed on five manuals and pedal (a specification which, when complete would make the instrument the 10th largest pipe organ in the world and the 3rd largest in Europe) only 39 had been completed, with numerous pipe-rows already purchased still to be built in. Growing inflation and other unfavorable circumstances after the change of the regime have also retarded the rebuilding project.

Although Baróti has devoted the major part of his life to this cause, the organ’s completion remains still a dream. In a 2008 interview he said in reflection, "... and then the restoration started. As a result we have a unity, an instrument with a special sonic personality that may be unlike what we expect from current modern pipe organs." He continued, "I practice after the Basilica closes its doors most often. The organ and me is a fantastical loneliness."

The project is still not fully funded. As of 2009 approximately 80 stops (55%) are speaking. Should artistic intentions and the chances of realization again coincide, it would be possible to achieve this great purpose in reasonable time. For now, the work continues slowly and laboriously, with valuable contributions in recent years by the Vági and Pécsi Companies — Baróti’s final master vision still suffers from sufficient inspiration of the musical world.

The completed instrument, retaining the lovingly restored Mooser stops, would indeed be a fitting and worthy component of the beautiful ensemble of the stunning Renaissance Bakócz-chapel and the mighty surrounding Cathedral.

== Summary ==

*Builders:
** 1856 Ludwig Mooser: III/49 organ
** József Angster: facade pipe replacements that were collected in the war
** 1947 Ottó Rieger Budapest: temporary organ
** 1978-1980 Gyula Vági and János Farkas: temporary organ removed, original's Pedal and Hauptwerk restored
** 1986 Vági: most of the reed stops
** 1988-1996 Vági: a few stops were added
** 2003 Vági: 20 stops added to the Positive and Récit including the Chamades
** 2004-2010 Pécsi Organ Building Manufacture: Mooser's Posaune 32' restored and extended, a few additional stops, second Bombarde 32'; Vági: combination control revisions
*Stops: 77 of 146 (2009)
*Console: 5 manuals + pedal, electrical console
*Compass: 61 (keyboards) / 32 (pedal)
*Status: building

== Map ==

<googlemap version="0.9" lat="47.799031" lon="18.735123" zoom="15">
(E) 47.799076, 18.736683
Esztergom Basilica
</googlemap>

== More information ==

http://www.esztergom.hu/wps/portal//erkezoknek/buszkesegeink?docid=AAMN-7K8FHW

Esztergom organ

2010-04-13T04:03:51Z

Jcfelice88keys: /* The Esztergom organ */

Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or the Esztergom Basilica in short is the seat of the Catholic Church in Hungary. It is the 18th largest cathedral in the world, and is the tallest building in Hungary. Its 118m length and 49m width results in extraordinary acoustics of reverberation times longer than 9 seconds in wide-band average. The altarpiece in the front, depicting ''The Assumption of the Blessed Virgin Mary'' by Michelangelo Grigoletti, is the largest painting in the world painted on a single piece of canvas. Franz Liszt composed his ''Esztergom Mass (Messe Solennelle)'', for the 1856 consecration of the Esztergom Basilica.

== The Esztergom organ ==

Ludwig Mooser, originally of Salzburg, belonged to a long line of distinguished organ builders (his grandfather Joseph had collaborated with Andreas Silbermann). As a builder of nearly 180 instruments, the organ of the Esztergom Basilica — the seat of the Catholic Church in Hungary — was amongst Mooser's greatest achievements. As was the Master’s customary approach, the instrument was largely constructed on-site — the metal pipework being brought with his team of eight assistants from Austria in September 1854. At the time of its inauguration — 31 August 1856, the same date as the Basilican Inauguration itself, in a ceremony attended by the Emperor Franz Joseph and featuring the specially commissioned ''Esztergom Mass (Messe Solennelle)'' of Franz Liszt, who conducted the large orchestral and choral forces for this occasion — the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. Liszt would develop a great familiarity with this instrument and its distinctive voicing. The extreme rapidity of the organ's construction would, however, manifest in a series of early faults, first catalogued as early as March the following year, with significant problems in the tracker action and wind supply to the chests. The organ lingered in this state largely unchanged but operational (the frontal tin pipes were removed during the Great War, replaced in 1924 with ones of zinc by Joseph Angster) until extensive damage to the organ case and tracker mechanism was sustained as a casualty of World War II.

By the time Archbishop Mindszenty was inaugurated in early October 1945, the organ was no longer functional. Consequently, the decision was made to install a 2-manual temporary electropneumatic organ (by Rieger), to be built into the side of the original Mooser organ's case. During the installation of the Reiger temporary replacement, the console and tracker action of the Mooser organ were irretrievably damaged in a manner which displayed little regard for the historic value of the original instrument. In addition, some ranks of pipes were melted down, while others remained in their original place. Due to the lack of documentation of stops that were lost, destroyed or re-worked, the full extent of losses incurred during this period of "reconstruction," combined with damage incurred during World War II, the full extent of loss of the original Mooser organ can never be certainly ascertained.

The still-current reconstruction of the organ dates back to the mid-1970's, when [[István Baróti]] (organist and choir master of
the Cathedral from 1975) led a rebuild and massive enlargement of the instrument. The starting point for Baróti's plan — to create an instrument worthy of the Cathedral, well adapted to its prodigious dimensions and acoustics — was to be the salvage, revival and meticulous restoration of the characteristically archaic and solemn sound of the Mooser pipe-rows, now suffering from a three-decade-long neglect. At this time, the practice of restoring instruments was unknown in Hungary; therefore this work, followed by the skeptical attention of many professionals, would be completed by Baróti and his students, unsparing of their time and efforts.

Prof. Baróti conceived a new and innovative stop list as part of his development plans (among Baróti's many remarkable designs is the stop list for the pipe organ of the Palace of Arts Budapest, 2006). With the necessary funds provided, it became possible to purchase certain parts and pipe-rows, with the result that by the end of 1980 the first seven restored Mooser stops were operational, at which time the temporary Rieger organ was permanently decommissioned. By 1983, however, this initial vigor had already started to diminish — it would take until the autumn of 1986 for the swell organ (but for of a couple of stops) to see completion, and further progress was even slower: in 1988/ 89 three, in 1994 two stops, in 1996 twelve lower pipes of the Majorbass 32' stop were installed. By 1999, of the planned 147 stops (232 ranks) distributed on five manuals and pedal (a specification which, when complete would make the instrument the 10th largest pipe organ in the world and the 3rd largest in Europe) only 39 had been completed, with numerous pipe-rows already purchased still to be built in. Growing inflation and other unfavorable circumstances after the change of the regime have also retarded the rebuilding project.

Although Baróti has devoted the major part of his life to this cause, the organ’s completion remains still a dream. In a 2008 interview he said in reflection, "... and then the restoration started. As a result we have a unity, an instrument with a special sonic personality that may be unlike what we expect from current modern pipe organs." He continued, "I practice after the Basilica closes its doors most often. The organ and me is a fantastical loneliness."

The project is still not fully funded. As of 2009 approximately 80 stops (55%) are speaking. Should artistic intentions and the chances of realization again coincide, it would be possible to achieve this great purpose in reasonable time. For now, the work continues slowly and laboriously, with valuable contributions in recent years by the Vági and Pécsi Companies — Baróti’s final master vision still suffers from sufficient inspiration of the musical world.

The completed instrument, retaining the lovingly restored Mooser stops, would indeed be a fitting and worthy component of the beautiful ensemble of the stunning Renaissance Bakócz-chapel and the mighty surrounding Cathedral.

== Summary ==

*Builders:
** 1856 Ludwig Mooser: III/49 organ
** József Angster: facade pipe replacements that were collected in the war
** 1947 Ottó Rieger Budapest: temporary organ
** 1978-1980 Gyula Vági and János Farkas: temporary organ removed, original's Pedal and Hauptwerk restored
** 1986 Vági: most of the reed stops
** 1988-1996 Vági: a few stops were added
** 2003 Vági: 20 stops added to the Positive and Récit including the Chamades
** 2004-2010 Pécsi Organ Building Manufacture: Mooser's Posaune 32' restored and extended, a few additional stops, second Bombarde 32'; Vági: combination control revisions
*Stops: 77 of 146 (2009)
*Console: 5 manuals + pedal, electrical console
*Compass: 61 (keyboards) / 32 (pedal)
*Status: building

== Map ==

<googlemap version="0.9" lat="47.799031" lon="18.735123" zoom="15">
(E) 47.799076, 18.736683
Esztergom Basilica
</googlemap>

== More information ==

http://www.esztergom.hu/wps/portal//erkezoknek/buszkesegeink?docid=AAMN-7K8FHW

Esztergom organ

2010-04-13T04:02:45Z

Jcfelice88keys: /* The Esztergom organ */

Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or the Esztergom Basilica in short is the seat of the Catholic Church in Hungary. It is the 18th largest cathedral in the world, and is the tallest building in Hungary. Its 118m length and 49m width results in extraordinary acoustics of reverberation times longer than 9 seconds in wide-band average. The altarpiece in the front, depicting ''The Assumption of the Blessed Virgin Mary'' by Michelangelo Grigoletti, is the largest painting in the world painted on a single piece of canvas. Franz Liszt composed his ''Esztergom Mass (Messe Solennelle)'', for the 1856 consecration of the Esztergom Basilica.

== The Esztergom organ ==

Ludwig Mooser, originally of Salzburg, belonged to a long line of distinguished organ builders (his grandfather Joseph had collaborated with Andreas Silbermann). As a builder of nearly 180 instruments, the organ of the Esztergom Basilica — the seat of the Catholic Church in Hungary — was amongst Mooser's greatest achievements. As was the Master’s customary approach, the instrument was largely constructed on-site — the metal pipework being brought with his team of eight assistants from Austria in September 1854. At the time of its inauguration — 31 August 1856, the same date as the Basilican Inauguration itself, in a ceremony attended by the Emperor Franz Joseph and featuring the specially commissioned ''Esztergom Mass (Messe Solennelle)'' of Franz Liszt, who conducted the large orchestral and choral forces for this occasion — the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. Liszt would develop a great familiarity with this instrument and its distinctive voicing. The extreme rapidity of the organ's construction would, however, manifest in a series of early faults, first catalogued as early as March the following year, with significant problems in the tracker action and wind supply to the chests. The organ lingered in this state largely unchanged but operational (the frontal tin pipes were removed during the Great War, replaced in 1924 with ones of zinc by Joseph Angster) until extensive damage to the organ case and tracker mechanism was sustained as a casualty of World War II.

By the time Archbishop Mindszenty was inaugurated in early October 1945, the organ was no longer functional. Consequently, the decision was made to install a 2-manual temporary electropneumatic organ (by Rieger), to be built into the side of the original Mooser organ's case. During the installation of the Reiger temporary replacement, the console and tracker action of the Mooser organ were irretrievably damaged in a manner which displayed little regard for the historic value of the original instrument. In addition, some ranks of pipes were melted down, while others remained in their original place. Due to the lack of documentation of stops that were lost, destroyed or re-worked, the full extent of losses incurred during this period of "reconstruction," combined with damage incurred during World War II, the full extent of loss of the original Mooser organ can never be certainly ascertained.

The still-current reconstruction of the organ dates back to the mid-1970's, when [[István Baróti]] (organist and choir master of
the Cathedral from 1975) led a rebuild and massive enlargement of the instrument. The starting point for Baróti's plan — to create an instrument worthy of the Cathedral, well adapted to its prodigious dimensions and acoustics — was to be the salvage, revival and meticulous restoration of the characteristically archaic and solemn sound of the Mooser pipe-rows, now suffering from a three-decade-long neglect. At this time, the practice of restoring instruments was unknown in Hungary, therefore this work, followed by the skeptical attention of many professionals, would be completed by Baróti and his students, unsparing of their time and efforts.

Prof. Baróti conceived a new and innovative stop list as part of his development plans (among Baróti's many remarkable designs is the stop list for the pipe organ of the Palace of Arts Budapest, 2006). With the necessary funds provided, it became possible to purchase certain parts and pipe-rows, with the result that by the end of 1980 the first seven restored Mooser stops were operational, at which time the temporary Rieger organ was permanently decommissioned. By 1983, however, this initial vigor had already started to diminish — it would take until the autumn of 1986 for the swell organ (but for of a couple of stops) to see completion, and further progress was even slower: in 1988/ 89 three, in 1994 two stops, in 1996 twelve lower pipes of the Majorbass 32' stop were installed. By 1999, of the planned 147 stops (232 ranks) distributed on five manuals and pedal (a specification which, when complete would make the instrument the 10th largest pipe organ in the world and the 3rd largest in Europe) only 39 had been completed, with numerous pipe-rows already purchased still to be built in. Growing inflation and other unfavorable circumstances after the change of the regime have also retarded the rebuilding project.

Although Baróti has devoted the major part of his life to this cause, the organ’s completion remains still a dream. In a 2008 interview he said in reflection, "... and then the restoration started. As a result we have a unity, an instrument with a special sonic personality that may be unlike what we expect from current modern pipe organs." He continued, "I practice after the Basilica closes its doors most often. The organ and me is a fantastical loneliness."

The project is still not fully funded. As of 2009 approximately 80 stops (55%) are speaking. Should artistic intentions and the chances of realization again coincide, it would be possible to achieve this great purpose in reasonable time. For now, the work continues slowly and laboriously, with valuable contributions in recent years by the Vági and Pécsi Companies — Baróti’s final master vision still suffers from sufficient inspiration of the musical world.

The completed instrument, retaining the lovingly restored Mooser stops, would indeed be a fitting and worthy component of the beautiful ensemble of the stunning Renaissance Bakócz-chapel and the mighty surrounding Cathedral.

== Summary ==

*Builders:
** 1856 Ludwig Mooser: III/49 organ
** József Angster: facade pipe replacements that were collected in the war
** 1947 Ottó Rieger Budapest: temporary organ
** 1978-1980 Gyula Vági and János Farkas: temporary organ removed, original's Pedal and Hauptwerk restored
** 1986 Vági: most of the reed stops
** 1988-1996 Vági: a few stops were added
** 2003 Vági: 20 stops added to the Positive and Récit including the Chamades
** 2004-2010 Pécsi Organ Building Manufacture: Mooser's Posaune 32' restored and extended, a few additional stops, second Bombarde 32'; Vági: combination control revisions
*Stops: 77 of 146 (2009)
*Console: 5 manuals + pedal, electrical console
*Compass: 61 (keyboards) / 32 (pedal)
*Status: building

== Map ==

<googlemap version="0.9" lat="47.799031" lon="18.735123" zoom="15">
(E) 47.799076, 18.736683
Esztergom Basilica
</googlemap>

== More information ==

http://www.esztergom.hu/wps/portal//erkezoknek/buszkesegeink?docid=AAMN-7K8FHW

Esztergom organ

2010-04-13T03:59:55Z

Jcfelice88keys: /* The Esztergom organ */

Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert, or the Esztergom Basilica in short is the seat of the Catholic Church in Hungary. It is the 18th largest cathedral in the world, and is the tallest building in Hungary. Its 118m length and 49m width results in extraordinary acoustics of reverberation times longer than 9 seconds in wide-band average. The altarpiece in the front, depicting ''The Assumption of the Blessed Virgin Mary'' by Michelangelo Grigoletti, is the largest painting in the world painted on a single piece of canvas. Franz Liszt composed his ''Esztergom Mass (Messe Solennelle)'', for the 1856 consecration of the Esztergom Basilica.

== The Esztergom organ ==

Ludwig Mooser, originally of Salzburg, belonged to a long line of distinguished organ builders (his grandfather Joseph had collaborated with Andreas Silbermann). As a builder of nearly 180 instruments, the organ of the Esztergom Basilica — the seat of the Catholic Church in Hungary — was amongst Mooser's greatest achievements. As was the Master’s customary approach, the instrument was largely constructed on-site — the metal pipework being brought with his team of eight assistants from Austria in September 1854. At the time of its inauguration — 31 August 1856, the same date as the Basilican Inauguration itself, in a ceremony attended by the Emperor Franz Joseph and featuring the specially commissioned ''Esztergom Mass (Messe Solennelle)'' of Franz Liszt, who conducted the large orchestral and choral forces for this occasion — the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. Liszt would develop a great familiarity with this instrument and its distinctive voicing. The extreme rapidity of the organ's construction would, however, manifest in a series of early faults, first catalogued as early as March the following year, with significant problems in the tracker action and wind supply to the chests. The organ lingered in this state largely unchanged but operational (the frontal tin pipes were removed during the Great War, replaced in 1924 with ones of zinc by Joseph Angster) until extensive damage to the organ case and tracker mechanism was sustained as a casualty of World War II.

By the time Archbishop Mindszenty was inaugurated in early October 1945, the organ was no longer functional. Consequently, the decision was made to install a 2-manual temporary electropneumatic organ (by Rieger), to be built into the side of the original Mooser organ's case. During the installation of the Reiger temporary replacement, the console and tracker action of the Mooser organ were irretrievably damaged in a manner which displayed little regard for the historic value of the original instrument. In addition, some ranks of pipes were melted down, while others remained in their original place. Due to the lack of documentation of stops that were lost, destroyed or re-worked, the full extent of losses incurred during this period of "reconstruction," combined with damage incurred during World War II, the full extent of loss of the original Mooser organ can never be certainly ascertained.

The still-current reconstruction of the organ dates back to the mid-1970's, when [[István Baróti]] (organist and choir master of
the Cathedral from 1975) led a rebuild and massive enlargement of the instrument. The starting point for Baróti's plan — to create an instrument worthy of the Cathedral, well adapted to its prodigious dimensions and acoustics, was to be the salvage, revival and meticulous restoration of the characteristically archaic and solemn sound of the Mooser pipe-rows, now suffering from a three-decade-long neglect. At this time, the practice of restoring instruments was unknown in Hungary, therefore this work, followed by the skeptical attention of many professionals, would be completed by Baróti and his students, unsparing of their time and efforts.

Prof. Baróti conceived a new and innovative stop list as part of his development plans (among Baróti's many remarkable designs is the stop list for the pipe organ of the Palace of Arts Budapest, 2006). With the necessary funds provided, it became possible to purchase certain parts and pipe-rows, with the result that by the end of 1980 the first seven restored Mooser stops were operational, at which time the temporary Rieger organ was permanently decommissioned. By 1983, however, this initial vigor had already started to diminish — it would take until the autumn of 1986 for the swell organ (but for of a couple of stops) to see completion, and further progress was even slower: in 1988/ 89 three, in 1994 two stops, in 1996 twelve lower pipes of the Majorbass 32' stop were installed. By 1999, of the planned 147 stops (232 ranks) distributed on five manuals and pedal (a specification which, when complete would make the instrument the 10th largest pipe organ in the world and the 3rd largest in Europe) only 39 had been completed, with numerous pipe-rows already purchased still to be built in. Growing inflation and other unfavorable circumstances after the change of the regime have also retarded the rebuilding project.

Although Baróti has devoted the major part of his life to this cause, the organ’s completion remains still a dream. In a 2008 interview he said in reflection, "... and then the restoration started. As a result we have a unity, an instrument with a special sonic personality that may be unlike what we expect from current modern pipe organs." He continued, "I practice after the Basilica closes its doors most often. The organ and me is a fantastical loneliness."

The project is still not fully funded. As of 2009 approximately 80 stops (55%) are speaking. Should artistic intentions and the chances of realization again coincide, it would be possible to achieve this great purpose in reasonable time. For now, the work continues slowly and laboriously, with valuable contributions in recent years by the Vági and Pécsi Companies — Baróti’s final master vision still suffers from sufficient inspiration of the musical world.

The completed instrument, retaining the lovingly restored Mooser stops, would indeed be a fitting and worthy component of the beautiful ensemble of the stunning Renaissance Bakócz-chapel and the mighty surrounding Cathedral.

== Summary ==

*Builders:
** 1856 Ludwig Mooser: III/49 organ
** József Angster: facade pipe replacements that were collected in the war
** 1947 Ottó Rieger Budapest: temporary organ
** 1978-1980 Gyula Vági and János Farkas: temporary organ removed, original's Pedal and Hauptwerk restored
** 1986 Vági: most of the reed stops
** 1988-1996 Vági: a few stops were added
** 2003 Vági: 20 stops added to the Positive and Récit including the Chamades
** 2004-2010 Pécsi Organ Building Manufacture: Mooser's Posaune 32' restored and extended, a few additional stops, second Bombarde 32'; Vági: combination control revisions
*Stops: 77 of 146 (2009)
*Console: 5 manuals + pedal, electrical console
*Compass: 61 (keyboards) / 32 (pedal)
*Status: building

== Map ==

<googlemap version="0.9" lat="47.799031" lon="18.735123" zoom="15">
(E) 47.799076, 18.736683
Esztergom Basilica
</googlemap>

== More information ==

http://www.esztergom.hu/wps/portal//erkezoknek/buszkesegeink?docid=AAMN-7K8FHW

Matyas Pipe Organ

2010-03-23T04:13:45Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio2.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left2.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

<youtube>62kkzmTcK7U&hd=1</youtube>
<youtube>uhn9iYwLASE&hd=1</youtube>
<youtube>9taRj19iPCs&hd=1</youtube>

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].
{{#widget:Vimeo|id=9434240}}

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.
* 1 February 2010: Shipping (Professional Edition)
* 12 February 2010: version 1.2 containing several fixes

The Extended Edition release dates are not announced yet.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple (8) [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3 supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (nave sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Console Stereo organ (near-the console sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

Files: 138787 individual sounds in all packages together (Professional Edition), 7111 image files

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
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(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
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==User demos==
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* '''{DATE}''' - [{PERMALINK} {TITLE}] - {DESCRIPTION}
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[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2010-03-07T06:37:21Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio2.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left2.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

<youtube>uhn9iYwLASE&hd=1</youtube>
<youtube>9taRj19iPCs&hd=1</youtube>

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].
{{#widget:Vimeo|id=9434240}}

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.
* 1 February 2010: Shipping (Professional Edition)
* 12 February 2010: version 1.2 containing several fixes

The Extended Edition release dates are not announced yet.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple (8) [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3 supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (nave sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Console Stereo organ (near-the console sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

Files: 138787 individual sounds in all packages together (Professional Edition), 7111 image files

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

==User demos==
<feed url="http://www.contrebombarde.com/concerthall/feed/search/organ/61" type="planet" entries="100">
* '''{DATE}''' - [{PERMALINK} {TITLE}] - {DESCRIPTION}
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[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2010-03-07T06:36:56Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio2.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left2.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

<youtube>uhn9iYwLASE&hd=1</youtube>
<youtube>9taRj19iPCs&hd=1</youtube>
<dailymotion>k4JSzNbrYu5ByQ1pJUh&hd=1</dailymotion>

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].
{{#widget:Vimeo|id=9434240}}

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.
* 1 February 2010: Shipping (Professional Edition)
* 12 February 2010: version 1.2 containing several fixes

The Extended Edition release dates are not announced yet.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple (8) [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3 supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (nave sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Console Stereo organ (near-the console sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

Files: 138787 individual sounds in all packages together (Professional Edition), 7111 image files

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

==User demos==
<feed url="http://www.contrebombarde.com/concerthall/feed/search/organ/61" type="planet" entries="100">
* '''{DATE}''' - [{PERMALINK} {TITLE}] - {DESCRIPTION}
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[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2010-03-07T06:36:17Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio2.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left2.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

<youtube>uhn9iYwLASE&hd=1</youtube>
<youtube>9taRj19iPCs&hd=1</youtube>
<dailymotion>k4JSzNbrYu5ByQ1pJUh</dailymotion>

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].
{{#widget:Vimeo|id=9434240}}

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.
* 1 February 2010: Shipping (Professional Edition)
* 12 February 2010: version 1.2 containing several fixes

The Extended Edition release dates are not announced yet.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple (8) [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3 supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (nave sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Console Stereo organ (near-the console sound, 2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

Files: 138787 individual sounds in all packages together (Professional Edition), 7111 image files

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

==User demos==
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* '''{DATE}''' - [{PERMALINK} {TITLE}] - {DESCRIPTION}
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[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Pipe organ

2010-02-13T06:59:01Z

Jcfelice88keys: /* Crescendo wheel or crescendo pedal */

= Summary and General Description =
A pipe organ is a keyboard instrument that produces sound by allowing forced air pressure (wind) to resonate through sets (ranks) of tuned flue- or reed pipes. Pipe organs are most commonly encountered in churches, and to a lesser extent in major concert halls; they are not simply large, majestic musical instruments, but beautiful pieces of art, as well. The pipe organ repertoire is particularly rich in solo music, but the organ is also frequently used to accompany choral and congregational singing, to accompany other solo instruments, plus participate in larger works specifically composed for organ and orchestra.

The pipe organ is the grandest musical instrument in terms of sheer size and acoustic scope, and has existed in essentially its current form since the 14th century (although other designs such as the hydraulis -- a hydraulic organ whose air pressure was ingeniously steadied by the weight of water) -- were already used in Antiquity.

Along with the mechanical pendulum operated clock, the pipe organ was considered one of the most complex human-made creations before the dawn of the Industrial Revolution. Organs (the "pipe" designation is generally assumed unless specifically noted otherwise) range in size from a single short keyboard at the small end, to huge instruments which may contain well over 10,000 pipes. A large modern organ typically boasts three- to five manuals of five octaves (up to 61 notes) each, with a 2-1/2 octave (up to 32 notes) pedalboard or pedalier.

Wolfgang Amadeus Mozart is credited for having declared the organ as "The King of Instruments." Some of the largest pipe organ installations boast pedal stops with 64-foot pipes. (A foot in this context refers to the "sonic foot" and the lowest note of a 64' stop sounds an 8Hz fundamental frequency, well below the threshold frequency of human hearing, but is a frequency that can be "felt" rather than heard.)

Perhaps the most distinctive feature of the organ is its dynamic range, which can span from the softest whispering sound to the most powerful "full organ" sound, with the special characteristic that such a sound can be sustained indefinitely by the organist. In contrast, sustained sounds of a piano tend to die out (decay in loudness) over time, wind instrument musicians eventually run out of air before having to take a breath, sustained sounds of string instruments eventually run out of "bow" and must stop, however momentarily. Not so with an organ; as long as the blower motors are functioning, at least one stop is drawn and at least one note is played, the organ's sound may be sustained essentially indefinitely, if desired.

Another interesting feature in the organ lies in its intrinsic "polyphonic" approach to creating sound in a given acoustic space: each set of pipes can be played simultaneously with those of any or all other stops.

The most unique feature of pipe organ sound is that the individual pipes sounds get truly mixed and interspersed only when they reach and interact with the acoustics of the listening environment, rather than from within the instrument itself. This latter feature is what differentiates true pipe organ sounds from their digital virtual organ and/or electronic organ counterparts -- in which the sound comes from loudspeakers which change the resultant electrical signal into a composite of tones being played.

= Parts, mechanism, and sound production =
== Pipes ==
=== Flue pipes(*) ===
There are two main categories of organ pipes: flue pipes and reed pipes. Flue pipes (made of metal or wood) account for the majority of the stops of an average organ. The flue pipe consists of three main parts: the pipe foot, the mouth, and the pipe body or resonator. The pipe foot delivers compressed air, the mouth generates the sound and the pipe body defines the place for the air column to oscillate(**).

When a constant supply of compressed air is delivered to the mouth of the pipe, the speaking length of each pipe acts as an air resonator that develops standing waves in the column of air contained in each pipe. The oscillating air pressure is radiated as sound to the ambient air from the two openings of the flue pipe: 1) at the top end of the resonator, and 2) at the mouth of the pipe.

The flue pipe usually stands vertically on the wind-chest, with wind entering at the foot hole. The foot is separated from the speaking length by the languid, a flat plate; the only airway connection between the foot and the speaking length is a narrow slit called the flue. The wind emerges through the flue and strikes the upper lip, producing an audible resonant frequency of the air in the pipe, the pitch of which is determined by and amplified in resonance by the speaking length of the pipe.

'''(*) Please do not confuse the term "flue" pipes with "flute" pipes. Flue pipes are normally distinguished from reed pipes as described in the next footnote. ''"Flute" pipes are a subset of flue pipes, and describe a specific type of sound whose harmonic overtones mainly emphasize the fundamental pitch, but is relatively limited in terms of having few additional even or odd harmonic overtones. Even overtones refer to those overtone pitches that are pitched in octave intervals of the fundamental pitch. Stops that emphasize the even harmonics are mostly characterized as "Principal" stops. Odd harmonics (often emphasized in reed stops) usually sound at the distinctive pitches that are different than octaves of the original fundamental pitch of a given stop. Various "Mutation" stops may be of the flute family or of the principal family, both of which are largely classified as flue stops.'''''

'''(**) ''There is a common misconception that the compressed air travels completely down the entire length of a flue pipe. In reality, the compressed air enters the pipe foot and exits at the mouth. The column of air residing in the pipe body is set into oscillation, also known as standing wave motion, and this motion is excited by the air exiting the mouth of the pipe. In direct contrast, the compressed air DOES TRAVEL the entire length of a reed pipe. This is different, because the compressed air is forced to pass by a metallic reed, and is not allowed to escape at the mouth of a reed pipe. Therefore, the compressed air continues its way out the end of the reed pipe.'''''

The tone and sound power of a pipe is determined by many factors, including the pressure of the wind supply, the construction material used to make the pipe, the size of the foot hole, the width of the flue, the height and width of the mouth, and the scale, or the diameter of the pipe relative to its resonator. The construction material of which the pipe is made also exerts an influence on its final tone and power; it may be an alloy of lead and tin, wood, or, more rarely, pure tin or copper, and zinc for the bass pipes. The pipes may also vary in shape, a common variant being an upward taper in which the pipe is smaller in diameter at the top than at the mouth. Or, the top of the pipe may be completely closed by a stopper. Such a pipe is said to be stopped; a stopped pipe sounds an octave lower in pitch than an open pipe of the same speaking length<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Reed pipes ===
Organ reeds were probably originally copied from instrumental prototypes. A reed stop may contain a beating reed like that of a reed contained in a clarinet's mouthpiece, or a free reed, which is allowed to flutter back and forth.

The shallot of a beating reed pipe is roughly cylindrical in shape, with its lower end closed and the upper end open. A section of the wall of the cylinder is cut away and finished off to a flat surface. The slit, or shallot opening, thus formed is covered by a thin brass tongue that is fixed to the upper end of the shallot. The tongue is curved and normally only partially covers the shallot opening. But, when wind enters the boot, the pressure of the wind momentarily forces the tongue against the shallot, completely closing the opening. Immediately, the modulus of elasticity (e.g., stiffness) of the brass asserts itself, and the tongue reverts to its curved shape, thus uncovering the opening. This process is repeated rapidly, and becomes the source of sound for the reed pipe.

The frequency of the pulsations of air entering the shallot is determined by the effective length of the reed and, in turn, determines the pitch of the note. From there, the air pulses pass into the tube, or resonator, which further stabilizes the pitch and refines the timbral quality of the note. Most reed resonators have a flared shape.

As in flue pipes, a wide scale (namely, a wide diameter in relation to a pipe’s speaking length) favors a fundamental tone, and a narrow scale favors a bright tone. Cylindrical resonators produce an effect similar to that of stopped flue pipes, the note being an octave lower than the equivalent flared pipe and the tone favoring the odd partials. Some reed pipes, such as the Voix Humaine, have very short resonators of quarter or eighth length. Those ranks of reed pipes whose resonators have no mathematical relationship to the pitch are known as regals; regal stops were popular in the 17th century, particularly with the North German school, and their use has been revived in modern times<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Pipe foot numbering explained ===

'''QUICK SUMMARY'''

If you choose not to read this section in its entirety, the topic can be simply explained as follows:

''When one selects an "8 foot stop" and plays "Middle C" on the organ keyboard, the pitch you hear is recognized as being in the same octave as Middle C of a Piano. 16' stops sound one octave lower, 4' and 2' stops sound one and two octaves higher, respectively, than Middle C.''

'''BACKGROUND:'''

You may have noticed that speaking stops on an organ are labeled with numbers in addition to the names of the stops. For example: Bourdon 16', Trompette 8', Principal 4', Quint 2-2/3', Superoctave 2', Tierce 1-3/5', Larigot 1-1/3', Piccolo 1'. The numbers and their associated apostrophes refer to the "length" of the pipe in feet (1 foot = 12 inches = ~30 cm). In addition, you may have seen other speaking stops with Roman numerals associated with them. Examples include: Mixture IV, Cymbal IV-V, Sesquialtra II. These Roman numerals do not refer to the lengths of pipes, but rather the number of individual pipes associated with each note of the given stop.

When you physically look at a pipe organ whose speaking stops are exposed, one immediately recognizes that not all of the pipes are same length, and there are certainly many more lengths of pipes than those indicated on the names of the stops.

'''''The purpose of this section is to clarify the mysterious numbers associated with the names of various speaking stops.'''''

The pitch of any pipe is proportional to its speaking length. Most modern organs have a manual compass of five octaves (61 keys), from the second C below middle C to the third C above; an open pipe sounding the low C is about 8 feet (2.5 meters) in speaking length (64 vibrations per second). The shortest pipe in the same stop, is thus about 3 inches (8 centimeters) long (~2048 vibrations per second).

While large- and small-scale ranks often imitate the tones of flutes and bowed strings respectively, and are named accordingly,''' the most characteristic tone of the organ is produced by its Principal stops.''' These are of medium scale and moderate harmonic development – neither too dull nor bright.

From the earliest times, stops were arranged in "choruses", and the principal chorus is the very backbone of any organ. A chorus consists of stops of roughly similar tonal quality and power, but at a variety of octave-related pitches. A unison principal is known as Principal 8’ because of its longest (8-foot) C2 pipe. The next stop at an octave pitch would have the largest C2 pipe of 4 feet long. Next comes a 2-foot stop, while the sub-octave pitch is represented by a 16-foot stop. The top pipe of a 2-foot stop has a speaking length of only 19 millimeters (three-quarters of an inch), and this is about the practical upper limit to the speaking length of an organ pipe.

Because an organ with no stops higher in pitch than a 2-foot stop would be lacking in brilliance, most organs have so-called "mixture" stops, which have several high-pitched pipes assigned to each note; they are tuned in ways that reinforce the pitches of the natural harmonics of the regular stops. These mixture stops are so high in pitch that they cannot be carried right up to the top note (and they would be impractical to manufacture pipes with such tiny speaking lengths), so they break back an octave at some convenient point, sometimes even more than once. The result is a balance of power between bass and treble and a harmonious power that is completely characteristic of the organ, and can be produced in no other practical way. (As an aside, Maurice Ravel attempted to emulate mixture stops in his orchestral work Bolero, by having his flutes and piccolo double the melody line but at pitches that mimicked the natural harmonics (intervals of a twelfth and nineteenth of the regular melody line.)

Mixture stops also contain ranks sounding at pitches other than in octaves with the 8-foot Principal. In chorus mixtures, these normally sound at a fifth above the unison (e.g., G above C), although ranks sounding at a third above and even at a flat seventh can also be found. These quint- and third-sounding ranks reinforce the natural upper partials of the harmonic series (although they were included in organs long before this was well understood).

Off-unison ranks are also available as separate stops, mostly sounding at an interval of a 12th (an octave plus a fifth; 2-2/3’), 17th (two octaves plus a third; 1-3/5’), or 19th (two octaves plus a fifth; 1-1/3’) above the unison. These are used melodically to color the unison and octave stops, and they may be wide or narrow in scale. Such stops are known as mutation stops, as opposed to the mixtures, or chorus stops. Their use is essential for the historically correct performance of organ music<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

<math>f_{N'}=\frac{8}{N}\cdot f_{8'}</math>

For example, if the foundational tone of a 8' stop has a frequency of <math>f_{8'}=440\ \mathrm{Hz}</math> then a Quint stop's frequency for the same note can be calculated as <math>f_{2\ 2/3'}=\frac{8}{\frac{8}{3}}\cdot 440=1320\ \mathrm{Hz}</math> using <math>N'=2\ 2/3=8/3</math>.

== Stop and key mechanisms (action) ==
== Wind system ==
== Organ stops and ranks ==
A comprehensive encyclopedia of organ stops can be found here [http://www.organstops.org/ Encyclopedia of Organ Stops]. The site contains many images showing the design of the different types of stop, as well as sound samples of the stops themselves.

== Console and its tools ==
=== Keyboards ===

=== Couplers ===

=== Enclosure / swellbox / expression pedals ===

=== Crescendo wheel or crescendo pedal ===

A "crescendo" pedal is a large foot-operated pedal commonly found on medium-sized and larger pipe organs (as well as digital organs that imitate pipe organs), either partially or fully recessed within the organ console. The purpose of the crescendo pedal is to incrementally activate stops and couplers in a pre-determined order as the pedal is pressed forward; conversely, the crescendo pedal acts to retire (remove selected) stops in reverse order, as it is depressed backward.

The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are retired). A "crescendo" wheel is usually found in larger organ installations where more travel is required to incrementally select a larger number of available stops in a pre-determined combination order.

The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not physically move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist when the crescendo pedal is activated and how far it is engaged. Ironically, when a crescendo wheel is featured in the console of a large organ, the crescendo wheel is often placed to the left of the traditional sweller pedals.

=== Combination action / Setzer ===

= History and development =
As its name implies, the pipe organ consists of pipes made of wood and/or metal. The first "pipes" that humans made were constructed from parts animals (such as a ram's horn or hollowed out leg bones of medium sized animals) and plants of hollowed-out bamboo, or small tree branches. Simple flutes made of bamboo could be blown, one at a time, or placed side-by-side, panpipe style, making possible the playing of simple tunes. Nevertheless, it is usually the bagpipe that is generally considered the organ’s most immediate ancestor, because of a wind reservoir (the so-called "bag" of bagpipe) of a sheep's bladder that was "inflated" by the exhaling lungs of the bagpipe performer. Its history goes back at least to the time of the Emperor Nero. Findings from the period prove that the pipe organ and its various ancestors did exist (e.g. the water organ [hydraulis] uncovered in 1931, Aquincum, Hungary). Many historical instruments still work today, the earliest surviving workable form of which, located in Sion, Switzerland dates to circa 1390.

== Mechanical inventions ==
== Electrical inventions ==
= Construction of pipe organs =
== Processes ==
== Materials ==
== Intonation and its importance ==
= Tunings =
The history of tunings dates back to the ancient Greeks, more than a millenium before the first pipe organ was built. Various [[Temperament|temperaments]] and tunings were developed for different instruments including pipe organs since the 12th century - based on empirical experiences and later human [[Temperament|pitch perception]] studies.

= Acoustic properties =
== Sound Pressure Levels of single pipes ==
According to a paper on the 2008 Internoise Conference in Shanghai, a single pipe of a flute stop measured one meter away in an anechoic chamber (i.e., soundproof room) produced sound pressure levels (SPL) between 88 dBW to 93 dBW depending on various wind pressures; a string stop excited 84-89 dBW while a diapason pipe made 89-97 dBW.

It is not easy to make accurate quantitative predictions (even within about +/- 10 dB) about the sound pressure levels of pipe organs in a given proposed musical space, because of the wide variation in size, geometry and acoustical absorption of the proposed space, as well as the power of the wind source and scale of the pipe design.

== Overall sound power and dynamic range ==
== Interaction with the room ==
=== Room influence on the player ===

=== Room influence on the organ pieces ===

= Famous builders =
= Notable historical instruments =
= Pipe organ literature =
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''French organ music'''
|-
| [[Thierry Escaich]]
|-
| [[Charles-Marie Widor]]
|-
|
|}

= Statistics of pipe organs =
According to a database containing around 3500 pipe organs of the world with around 50% of them in Germany, the majority of pipe organs available today were built in the 20th and 21st century.

<pie title="Ranks of pipe organs" colors=FF0000 xlabel=10 ylabel=5 grid=y>
150 or more,1.7
120-150,2.8
100-120,5.6
85-100,8.4
70-85,14.3
55-70,17.4
40-55,16.3
30-40,11
20-30,8.7
20,13.8
</pie>

The most common organs have ranks of between 30 to 85 speaking stops controlled by 2 to 4 manuals. Approximately 44% of the organs in the survey have at least one full-length 32' stop.

<pie title="Manuals of pipe organs" colors=0000FF xlabel ylabel=5 grid=y>
6 or more,0.3
5,2.8
4,24.8
3,40.5
2,25.9
1,5.7
</pie>

<pie title="Build date (first)" colors=00FF00 xlabel ylabel=5 grid=y>
later than 2000,11.1
1970-2000,31.1
1935-1970,17.3
1900-1935,11.3
1850-1900,11.0
1800-1850,2.7
1700-1800,8.3
1600-1700,2.9
unknown,4.3
</pie>

= Virtual pipe organs =
[[Hauptwerk]], created by [[Martin Dyde]] is probably the most notable virtual organ software today. Using digitally recorded samples of actual sound of organs from all around the world, [[Hauptwerk]] gives the opportunity to anyone to enjoy the sounds of historic/famous organs while played at home or in a studio/classroom/church environment equipped with the minimum of a MIDI keyboard/pedalboard controller, a computer equipped with the Hauptwerk License and a given sound library, and a sound amplification system.

= Further reading =
== Books ==
*[[English books about pipe organ]]
*[[German books about pipe organ]]
*[[French books about pipe organ]]

== Links ==
* [http://www.uquebec.ca/musique/orgues.html A database of organs from around the world]
* [http://www.gportal.hu/gindex.php?pg=28426810 Friends of Pipe Organs (Orgonabaráti Kör, site in Hungarian)]
* [http://vosges.orgues.free.fr/lexique.htm Organ glossary (in french)]
* [http://www.frauke-mekelburg.de/orgel/orgel_lex.htm German-French-English organ dictionary]
* [http://www.organfocus.com/ Organ Focus - Pipe organ music, pipe organ events]
* [http://www.youtube.com/watch?v=Usf4Od-VwZY&feature=related Notre-Dame de Paris organ restauration - movie in 5 parts]

== References ==
<references/>

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[[Category:Pipe organ]]

Pipe organ

2010-02-13T06:57:44Z

Jcfelice88keys: /* Pipe foot numbering explained */

= Summary and General Description =
A pipe organ is a keyboard instrument that produces sound by allowing forced air pressure (wind) to resonate through sets (ranks) of tuned flue- or reed pipes. Pipe organs are most commonly encountered in churches, and to a lesser extent in major concert halls; they are not simply large, majestic musical instruments, but beautiful pieces of art, as well. The pipe organ repertoire is particularly rich in solo music, but the organ is also frequently used to accompany choral and congregational singing, to accompany other solo instruments, plus participate in larger works specifically composed for organ and orchestra.

The pipe organ is the grandest musical instrument in terms of sheer size and acoustic scope, and has existed in essentially its current form since the 14th century (although other designs such as the hydraulis -- a hydraulic organ whose air pressure was ingeniously steadied by the weight of water) -- were already used in Antiquity.

Along with the mechanical pendulum operated clock, the pipe organ was considered one of the most complex human-made creations before the dawn of the Industrial Revolution. Organs (the "pipe" designation is generally assumed unless specifically noted otherwise) range in size from a single short keyboard at the small end, to huge instruments which may contain well over 10,000 pipes. A large modern organ typically boasts three- to five manuals of five octaves (up to 61 notes) each, with a 2-1/2 octave (up to 32 notes) pedalboard or pedalier.

Wolfgang Amadeus Mozart is credited for having declared the organ as "The King of Instruments." Some of the largest pipe organ installations boast pedal stops with 64-foot pipes. (A foot in this context refers to the "sonic foot" and the lowest note of a 64' stop sounds an 8Hz fundamental frequency, well below the threshold frequency of human hearing, but is a frequency that can be "felt" rather than heard.)

Perhaps the most distinctive feature of the organ is its dynamic range, which can span from the softest whispering sound to the most powerful "full organ" sound, with the special characteristic that such a sound can be sustained indefinitely by the organist. In contrast, sustained sounds of a piano tend to die out (decay in loudness) over time, wind instrument musicians eventually run out of air before having to take a breath, sustained sounds of string instruments eventually run out of "bow" and must stop, however momentarily. Not so with an organ; as long as the blower motors are functioning, at least one stop is drawn and at least one note is played, the organ's sound may be sustained essentially indefinitely, if desired.

Another interesting feature in the organ lies in its intrinsic "polyphonic" approach to creating sound in a given acoustic space: each set of pipes can be played simultaneously with those of any or all other stops.

The most unique feature of pipe organ sound is that the individual pipes sounds get truly mixed and interspersed only when they reach and interact with the acoustics of the listening environment, rather than from within the instrument itself. This latter feature is what differentiates true pipe organ sounds from their digital virtual organ and/or electronic organ counterparts -- in which the sound comes from loudspeakers which change the resultant electrical signal into a composite of tones being played.

= Parts, mechanism, and sound production =
== Pipes ==
=== Flue pipes(*) ===
There are two main categories of organ pipes: flue pipes and reed pipes. Flue pipes (made of metal or wood) account for the majority of the stops of an average organ. The flue pipe consists of three main parts: the pipe foot, the mouth, and the pipe body or resonator. The pipe foot delivers compressed air, the mouth generates the sound and the pipe body defines the place for the air column to oscillate(**).

When a constant supply of compressed air is delivered to the mouth of the pipe, the speaking length of each pipe acts as an air resonator that develops standing waves in the column of air contained in each pipe. The oscillating air pressure is radiated as sound to the ambient air from the two openings of the flue pipe: 1) at the top end of the resonator, and 2) at the mouth of the pipe.

The flue pipe usually stands vertically on the wind-chest, with wind entering at the foot hole. The foot is separated from the speaking length by the languid, a flat plate; the only airway connection between the foot and the speaking length is a narrow slit called the flue. The wind emerges through the flue and strikes the upper lip, producing an audible resonant frequency of the air in the pipe, the pitch of which is determined by and amplified in resonance by the speaking length of the pipe.

'''(*) Please do not confuse the term "flue" pipes with "flute" pipes. Flue pipes are normally distinguished from reed pipes as described in the next footnote. ''"Flute" pipes are a subset of flue pipes, and describe a specific type of sound whose harmonic overtones mainly emphasize the fundamental pitch, but is relatively limited in terms of having few additional even or odd harmonic overtones. Even overtones refer to those overtone pitches that are pitched in octave intervals of the fundamental pitch. Stops that emphasize the even harmonics are mostly characterized as "Principal" stops. Odd harmonics (often emphasized in reed stops) usually sound at the distinctive pitches that are different than octaves of the original fundamental pitch of a given stop. Various "Mutation" stops may be of the flute family or of the principal family, both of which are largely classified as flue stops.'''''

'''(**) ''There is a common misconception that the compressed air travels completely down the entire length of a flue pipe. In reality, the compressed air enters the pipe foot and exits at the mouth. The column of air residing in the pipe body is set into oscillation, also known as standing wave motion, and this motion is excited by the air exiting the mouth of the pipe. In direct contrast, the compressed air DOES TRAVEL the entire length of a reed pipe. This is different, because the compressed air is forced to pass by a metallic reed, and is not allowed to escape at the mouth of a reed pipe. Therefore, the compressed air continues its way out the end of the reed pipe.'''''

The tone and sound power of a pipe is determined by many factors, including the pressure of the wind supply, the construction material used to make the pipe, the size of the foot hole, the width of the flue, the height and width of the mouth, and the scale, or the diameter of the pipe relative to its resonator. The construction material of which the pipe is made also exerts an influence on its final tone and power; it may be an alloy of lead and tin, wood, or, more rarely, pure tin or copper, and zinc for the bass pipes. The pipes may also vary in shape, a common variant being an upward taper in which the pipe is smaller in diameter at the top than at the mouth. Or, the top of the pipe may be completely closed by a stopper. Such a pipe is said to be stopped; a stopped pipe sounds an octave lower in pitch than an open pipe of the same speaking length<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Reed pipes ===
Organ reeds were probably originally copied from instrumental prototypes. A reed stop may contain a beating reed like that of a reed contained in a clarinet's mouthpiece, or a free reed, which is allowed to flutter back and forth.

The shallot of a beating reed pipe is roughly cylindrical in shape, with its lower end closed and the upper end open. A section of the wall of the cylinder is cut away and finished off to a flat surface. The slit, or shallot opening, thus formed is covered by a thin brass tongue that is fixed to the upper end of the shallot. The tongue is curved and normally only partially covers the shallot opening. But, when wind enters the boot, the pressure of the wind momentarily forces the tongue against the shallot, completely closing the opening. Immediately, the modulus of elasticity (e.g., stiffness) of the brass asserts itself, and the tongue reverts to its curved shape, thus uncovering the opening. This process is repeated rapidly, and becomes the source of sound for the reed pipe.

The frequency of the pulsations of air entering the shallot is determined by the effective length of the reed and, in turn, determines the pitch of the note. From there, the air pulses pass into the tube, or resonator, which further stabilizes the pitch and refines the timbral quality of the note. Most reed resonators have a flared shape.

As in flue pipes, a wide scale (namely, a wide diameter in relation to a pipe’s speaking length) favors a fundamental tone, and a narrow scale favors a bright tone. Cylindrical resonators produce an effect similar to that of stopped flue pipes, the note being an octave lower than the equivalent flared pipe and the tone favoring the odd partials. Some reed pipes, such as the Voix Humaine, have very short resonators of quarter or eighth length. Those ranks of reed pipes whose resonators have no mathematical relationship to the pitch are known as regals; regal stops were popular in the 17th century, particularly with the North German school, and their use has been revived in modern times<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Pipe foot numbering explained ===

'''QUICK SUMMARY'''

If you choose not to read this section in its entirety, the topic can be simply explained as follows:

''When one selects an "8 foot stop" and plays "Middle C" on the organ keyboard, the pitch you hear is recognized as being in the same octave as Middle C of a Piano. 16' stops sound one octave lower, 4' and 2' stops sound one and two octaves higher, respectively, than Middle C.''

'''BACKGROUND:'''

You may have noticed that speaking stops on an organ are labeled with numbers in addition to the names of the stops. For example: Bourdon 16', Trompette 8', Principal 4', Quint 2-2/3', Superoctave 2', Tierce 1-3/5', Larigot 1-1/3', Piccolo 1'. The numbers and their associated apostrophes refer to the "length" of the pipe in feet (1 foot = 12 inches = ~30 cm). In addition, you may have seen other speaking stops with Roman numerals associated with them. Examples include: Mixture IV, Cymbal IV-V, Sesquialtra II. These Roman numerals do not refer to the lengths of pipes, but rather the number of individual pipes associated with each note of the given stop.

When you physically look at a pipe organ whose speaking stops are exposed, one immediately recognizes that not all of the pipes are same length, and there are certainly many more lengths of pipes than those indicated on the names of the stops.

'''''The purpose of this section is to clarify the mysterious numbers associated with the names of various speaking stops.'''''

The pitch of any pipe is proportional to its speaking length. Most modern organs have a manual compass of five octaves (61 keys), from the second C below middle C to the third C above; an open pipe sounding the low C is about 8 feet (2.5 meters) in speaking length (64 vibrations per second). The shortest pipe in the same stop, is thus about 3 inches (8 centimeters) long (~2048 vibrations per second).

While large- and small-scale ranks often imitate the tones of flutes and bowed strings respectively, and are named accordingly,''' the most characteristic tone of the organ is produced by its Principal stops.''' These are of medium scale and moderate harmonic development – neither too dull nor bright.

From the earliest times, stops were arranged in "choruses", and the principal chorus is the very backbone of any organ. A chorus consists of stops of roughly similar tonal quality and power, but at a variety of octave-related pitches. A unison principal is known as Principal 8’ because of its longest (8-foot) C2 pipe. The next stop at an octave pitch would have the largest C2 pipe of 4 feet long. Next comes a 2-foot stop, while the sub-octave pitch is represented by a 16-foot stop. The top pipe of a 2-foot stop has a speaking length of only 19 millimeters (three-quarters of an inch), and this is about the practical upper limit to the speaking length of an organ pipe.

Because an organ with no stops higher in pitch than a 2-foot stop would be lacking in brilliance, most organs have so-called "mixture" stops, which have several high-pitched pipes assigned to each note; they are tuned in ways that reinforce the pitches of the natural harmonics of the regular stops. These mixture stops are so high in pitch that they cannot be carried right up to the top note (and they would be impractical to manufacture pipes with such tiny speaking lengths), so they break back an octave at some convenient point, sometimes even more than once. The result is a balance of power between bass and treble and a harmonious power that is completely characteristic of the organ, and can be produced in no other practical way. (As an aside, Maurice Ravel attempted to emulate mixture stops in his orchestral work Bolero, by having his flutes and piccolo double the melody line but at pitches that mimicked the natural harmonics (intervals of a twelfth and nineteenth of the regular melody line.)

Mixture stops also contain ranks sounding at pitches other than in octaves with the 8-foot Principal. In chorus mixtures, these normally sound at a fifth above the unison (e.g., G above C), although ranks sounding at a third above and even at a flat seventh can also be found. These quint- and third-sounding ranks reinforce the natural upper partials of the harmonic series (although they were included in organs long before this was well understood).

Off-unison ranks are also available as separate stops, mostly sounding at an interval of a 12th (an octave plus a fifth; 2-2/3’), 17th (two octaves plus a third; 1-3/5’), or 19th (two octaves plus a fifth; 1-1/3’) above the unison. These are used melodically to color the unison and octave stops, and they may be wide or narrow in scale. Such stops are known as mutation stops, as opposed to the mixtures, or chorus stops. Their use is essential for the historically correct performance of organ music<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

<math>f_{N'}=\frac{8}{N}\cdot f_{8'}</math>

For example, if the foundational tone of a 8' stop has a frequency of <math>f_{8'}=440\ \mathrm{Hz}</math> then a Quint stop's frequency for the same note can be calculated as <math>f_{2\ 2/3'}=\frac{8}{\frac{8}{3}}\cdot 440=1320\ \mathrm{Hz}</math> using <math>N'=2\ 2/3=8/3</math>.

== Stop and key mechanisms (action) ==
== Wind system ==
== Organ stops and ranks ==
A comprehensive encyclopedia of organ stops can be found here [http://www.organstops.org/ Encyclopedia of Organ Stops]. The site contains many images showing the design of the different types of stop, as well as sound samples of the stops themselves.

== Console and its tools ==
=== Keyboards ===

=== Couplers ===

=== Enclosure / swellbox / expression pedals ===

=== Crescendo wheel or crescendo pedal ===

A "crescendo" pedal is a large foot-operated pedal commonly found on medium-sized and larger pipe organs (as well as digital organs that imitate pipe organs), either partially or fully recessed within the organ console. The purpose of the crescendo pedal is to incrementally activate stops and couplers in a pre-determined order as the pedal is pressed forward; conversely, the crescendo pedal acts to retire (remove selected) stops in reverse order, as it is depressed backward.

The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are retired). A "crescendo" wheel is usually found in larger organ installations where more travel is required to incrementally select a larger number of available stops in a pre-determined combination order.

The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not physically move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged. Ironically, when a crescendo wheel is featured in the console of a large organ, the crescendo wheel is often placed to the left of the traditional sweller pedals.

=== Combination action / Setzer ===

= History and development =
As its name implies, the pipe organ consists of pipes made of wood and/or metal. The first "pipes" that humans made were constructed from parts animals (such as a ram's horn or hollowed out leg bones of medium sized animals) and plants of hollowed-out bamboo, or small tree branches. Simple flutes made of bamboo could be blown, one at a time, or placed side-by-side, panpipe style, making possible the playing of simple tunes. Nevertheless, it is usually the bagpipe that is generally considered the organ’s most immediate ancestor, because of a wind reservoir (the so-called "bag" of bagpipe) of a sheep's bladder that was "inflated" by the exhaling lungs of the bagpipe performer. Its history goes back at least to the time of the Emperor Nero. Findings from the period prove that the pipe organ and its various ancestors did exist (e.g. the water organ [hydraulis] uncovered in 1931, Aquincum, Hungary). Many historical instruments still work today, the earliest surviving workable form of which, located in Sion, Switzerland dates to circa 1390.

== Mechanical inventions ==
== Electrical inventions ==
= Construction of pipe organs =
== Processes ==
== Materials ==
== Intonation and its importance ==
= Tunings =
The history of tunings dates back to the ancient Greeks, more than a millenium before the first pipe organ was built. Various [[Temperament|temperaments]] and tunings were developed for different instruments including pipe organs since the 12th century - based on empirical experiences and later human [[Temperament|pitch perception]] studies.

= Acoustic properties =
== Sound Pressure Levels of single pipes ==
According to a paper on the 2008 Internoise Conference in Shanghai, a single pipe of a flute stop measured one meter away in an anechoic chamber (i.e., soundproof room) produced sound pressure levels (SPL) between 88 dBW to 93 dBW depending on various wind pressures; a string stop excited 84-89 dBW while a diapason pipe made 89-97 dBW.

It is not easy to make accurate quantitative predictions (even within about +/- 10 dB) about the sound pressure levels of pipe organs in a given proposed musical space, because of the wide variation in size, geometry and acoustical absorption of the proposed space, as well as the power of the wind source and scale of the pipe design.

== Overall sound power and dynamic range ==
== Interaction with the room ==
=== Room influence on the player ===

=== Room influence on the organ pieces ===

= Famous builders =
= Notable historical instruments =
= Pipe organ literature =
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''French organ music'''
|-
| [[Thierry Escaich]]
|-
| [[Charles-Marie Widor]]
|-
|
|}

= Statistics of pipe organs =
According to a database containing around 3500 pipe organs of the world with around 50% of them in Germany, the majority of pipe organs available today were built in the 20th and 21st century.

<pie title="Ranks of pipe organs" colors=FF0000 xlabel=10 ylabel=5 grid=y>
150 or more,1.7
120-150,2.8
100-120,5.6
85-100,8.4
70-85,14.3
55-70,17.4
40-55,16.3
30-40,11
20-30,8.7
20,13.8
</pie>

The most common organs have ranks of between 30 to 85 speaking stops controlled by 2 to 4 manuals. Approximately 44% of the organs in the survey have at least one full-length 32' stop.

<pie title="Manuals of pipe organs" colors=0000FF xlabel ylabel=5 grid=y>
6 or more,0.3
5,2.8
4,24.8
3,40.5
2,25.9
1,5.7
</pie>

<pie title="Build date (first)" colors=00FF00 xlabel ylabel=5 grid=y>
later than 2000,11.1
1970-2000,31.1
1935-1970,17.3
1900-1935,11.3
1850-1900,11.0
1800-1850,2.7
1700-1800,8.3
1600-1700,2.9
unknown,4.3
</pie>

= Virtual pipe organs =
[[Hauptwerk]], created by [[Martin Dyde]] is probably the most notable virtual organ software today. Using digitally recorded samples of actual sound of organs from all around the world, [[Hauptwerk]] gives the opportunity to anyone to enjoy the sounds of historic/famous organs while played at home or in a studio/classroom/church environment equipped with the minimum of a MIDI keyboard/pedalboard controller, a computer equipped with the Hauptwerk License and a given sound library, and a sound amplification system.

= Further reading =
== Books ==
*[[English books about pipe organ]]
*[[German books about pipe organ]]
*[[French books about pipe organ]]

== Links ==
* [http://www.uquebec.ca/musique/orgues.html A database of organs from around the world]
* [http://www.gportal.hu/gindex.php?pg=28426810 Friends of Pipe Organs (Orgonabaráti Kör, site in Hungarian)]
* [http://vosges.orgues.free.fr/lexique.htm Organ glossary (in french)]
* [http://www.frauke-mekelburg.de/orgel/orgel_lex.htm German-French-English organ dictionary]
* [http://www.organfocus.com/ Organ Focus - Pipe organ music, pipe organ events]
* [http://www.youtube.com/watch?v=Usf4Od-VwZY&feature=related Notre-Dame de Paris organ restauration - movie in 5 parts]

== References ==
<references/>

<poll>
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[[Category:Pipe organ]]

Pipe organ

2010-02-13T06:56:53Z

Jcfelice88keys: /* Pipe foot numbering explained */

= Summary and General Description =
A pipe organ is a keyboard instrument that produces sound by allowing forced air pressure (wind) to resonate through sets (ranks) of tuned flue- or reed pipes. Pipe organs are most commonly encountered in churches, and to a lesser extent in major concert halls; they are not simply large, majestic musical instruments, but beautiful pieces of art, as well. The pipe organ repertoire is particularly rich in solo music, but the organ is also frequently used to accompany choral and congregational singing, to accompany other solo instruments, plus participate in larger works specifically composed for organ and orchestra.

The pipe organ is the grandest musical instrument in terms of sheer size and acoustic scope, and has existed in essentially its current form since the 14th century (although other designs such as the hydraulis -- a hydraulic organ whose air pressure was ingeniously steadied by the weight of water) -- were already used in Antiquity.

Along with the mechanical pendulum operated clock, the pipe organ was considered one of the most complex human-made creations before the dawn of the Industrial Revolution. Organs (the "pipe" designation is generally assumed unless specifically noted otherwise) range in size from a single short keyboard at the small end, to huge instruments which may contain well over 10,000 pipes. A large modern organ typically boasts three- to five manuals of five octaves (up to 61 notes) each, with a 2-1/2 octave (up to 32 notes) pedalboard or pedalier.

Wolfgang Amadeus Mozart is credited for having declared the organ as "The King of Instruments." Some of the largest pipe organ installations boast pedal stops with 64-foot pipes. (A foot in this context refers to the "sonic foot" and the lowest note of a 64' stop sounds an 8Hz fundamental frequency, well below the threshold frequency of human hearing, but is a frequency that can be "felt" rather than heard.)

Perhaps the most distinctive feature of the organ is its dynamic range, which can span from the softest whispering sound to the most powerful "full organ" sound, with the special characteristic that such a sound can be sustained indefinitely by the organist. In contrast, sustained sounds of a piano tend to die out (decay in loudness) over time, wind instrument musicians eventually run out of air before having to take a breath, sustained sounds of string instruments eventually run out of "bow" and must stop, however momentarily. Not so with an organ; as long as the blower motors are functioning, at least one stop is drawn and at least one note is played, the organ's sound may be sustained essentially indefinitely, if desired.

Another interesting feature in the organ lies in its intrinsic "polyphonic" approach to creating sound in a given acoustic space: each set of pipes can be played simultaneously with those of any or all other stops.

The most unique feature of pipe organ sound is that the individual pipes sounds get truly mixed and interspersed only when they reach and interact with the acoustics of the listening environment, rather than from within the instrument itself. This latter feature is what differentiates true pipe organ sounds from their digital virtual organ and/or electronic organ counterparts -- in which the sound comes from loudspeakers which change the resultant electrical signal into a composite of tones being played.

= Parts, mechanism, and sound production =
== Pipes ==
=== Flue pipes(*) ===
There are two main categories of organ pipes: flue pipes and reed pipes. Flue pipes (made of metal or wood) account for the majority of the stops of an average organ. The flue pipe consists of three main parts: the pipe foot, the mouth, and the pipe body or resonator. The pipe foot delivers compressed air, the mouth generates the sound and the pipe body defines the place for the air column to oscillate(**).

When a constant supply of compressed air is delivered to the mouth of the pipe, the speaking length of each pipe acts as an air resonator that develops standing waves in the column of air contained in each pipe. The oscillating air pressure is radiated as sound to the ambient air from the two openings of the flue pipe: 1) at the top end of the resonator, and 2) at the mouth of the pipe.

The flue pipe usually stands vertically on the wind-chest, with wind entering at the foot hole. The foot is separated from the speaking length by the languid, a flat plate; the only airway connection between the foot and the speaking length is a narrow slit called the flue. The wind emerges through the flue and strikes the upper lip, producing an audible resonant frequency of the air in the pipe, the pitch of which is determined by and amplified in resonance by the speaking length of the pipe.

'''(*) Please do not confuse the term "flue" pipes with "flute" pipes. Flue pipes are normally distinguished from reed pipes as described in the next footnote. ''"Flute" pipes are a subset of flue pipes, and describe a specific type of sound whose harmonic overtones mainly emphasize the fundamental pitch, but is relatively limited in terms of having few additional even or odd harmonic overtones. Even overtones refer to those overtone pitches that are pitched in octave intervals of the fundamental pitch. Stops that emphasize the even harmonics are mostly characterized as "Principal" stops. Odd harmonics (often emphasized in reed stops) usually sound at the distinctive pitches that are different than octaves of the original fundamental pitch of a given stop. Various "Mutation" stops may be of the flute family or of the principal family, both of which are largely classified as flue stops.'''''

'''(**) ''There is a common misconception that the compressed air travels completely down the entire length of a flue pipe. In reality, the compressed air enters the pipe foot and exits at the mouth. The column of air residing in the pipe body is set into oscillation, also known as standing wave motion, and this motion is excited by the air exiting the mouth of the pipe. In direct contrast, the compressed air DOES TRAVEL the entire length of a reed pipe. This is different, because the compressed air is forced to pass by a metallic reed, and is not allowed to escape at the mouth of a reed pipe. Therefore, the compressed air continues its way out the end of the reed pipe.'''''

The tone and sound power of a pipe is determined by many factors, including the pressure of the wind supply, the construction material used to make the pipe, the size of the foot hole, the width of the flue, the height and width of the mouth, and the scale, or the diameter of the pipe relative to its resonator. The construction material of which the pipe is made also exerts an influence on its final tone and power; it may be an alloy of lead and tin, wood, or, more rarely, pure tin or copper, and zinc for the bass pipes. The pipes may also vary in shape, a common variant being an upward taper in which the pipe is smaller in diameter at the top than at the mouth. Or, the top of the pipe may be completely closed by a stopper. Such a pipe is said to be stopped; a stopped pipe sounds an octave lower in pitch than an open pipe of the same speaking length<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Reed pipes ===
Organ reeds were probably originally copied from instrumental prototypes. A reed stop may contain a beating reed like that of a reed contained in a clarinet's mouthpiece, or a free reed, which is allowed to flutter back and forth.

The shallot of a beating reed pipe is roughly cylindrical in shape, with its lower end closed and the upper end open. A section of the wall of the cylinder is cut away and finished off to a flat surface. The slit, or shallot opening, thus formed is covered by a thin brass tongue that is fixed to the upper end of the shallot. The tongue is curved and normally only partially covers the shallot opening. But, when wind enters the boot, the pressure of the wind momentarily forces the tongue against the shallot, completely closing the opening. Immediately, the modulus of elasticity (e.g., stiffness) of the brass asserts itself, and the tongue reverts to its curved shape, thus uncovering the opening. This process is repeated rapidly, and becomes the source of sound for the reed pipe.

The frequency of the pulsations of air entering the shallot is determined by the effective length of the reed and, in turn, determines the pitch of the note. From there, the air pulses pass into the tube, or resonator, which further stabilizes the pitch and refines the timbral quality of the note. Most reed resonators have a flared shape.

As in flue pipes, a wide scale (namely, a wide diameter in relation to a pipe’s speaking length) favors a fundamental tone, and a narrow scale favors a bright tone. Cylindrical resonators produce an effect similar to that of stopped flue pipes, the note being an octave lower than the equivalent flared pipe and the tone favoring the odd partials. Some reed pipes, such as the Voix Humaine, have very short resonators of quarter or eighth length. Those ranks of reed pipes whose resonators have no mathematical relationship to the pitch are known as regals; regal stops were popular in the 17th century, particularly with the North German school, and their use has been revived in modern times<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Pipe foot numbering explained ===

'''QUICK SUMMARY'''

If you choose not to read this section in its entirety, the topic can be simply explained as follows:

''When one selects an "8 foot stop" and plays "Middle C" on the organ keyboard, the pitch you hear is recognized as being in the same octave as Middle C of a Piano. 16' stops sound one octave lower, 4' and 2' stops sound one and two octaves higher, respectively, than Middle C.''

'''BACKGROUND:'''

You may have noticed that speaking stops on an organ are labeled with numbers in addition to the names of the stops. For example: Bourdon 16', Trompette 8', Principal 4', Quint 2-2/3', Superoctave 2', Tierce 1-3/5', Larigot 1-1/3', Piccolo 1'. The numbers and their associated apostrophes refer to the "length" of the pipe in feet (1 foot = 12 inches = ~30 cm). In addition, you may have seen other speaking stops with Roman numerals associated with them. Examples include: Mixture IV, Cymbal IV-V, Sesquialtra II. These Roman numerals do not refer to the lengths of pipes, but rather the number of individual pipes associated with each note of the given stop.

When you physically look at a pipe organ whose speaking stops are exposed, one immediately recognizes that not all of the pipes are same length, and there are certainly many more lengths of pipes than those indicated on the names of the stops.

'''''The purpose of this section is to clarify the mysterious numbers associated with the names of various speaking stops.'''''

The pitch of any pipe is proportional to its speaking length. Most modern organs have a manual compass of five octaves (61 keys), from the second C below middle C to the third C above; an open pipe sounding the low C is about 8 feet (2.5 meters) in speaking length (64 vibrations per second). The shortest pipe in the same stop, is thus about 3 inches (8 centimeters) long (~2048 vibrations per second).

While large- and small-scale ranks often imitate the tones of flutes and bowed strings respectively, and are named accordingly,''' the most characteristic tone of the organ is produced by its Principal stops.''' These are of medium scale and moderate harmonic development – neither too dull nor bright.

From the earliest times, stops were arranged in "choruses", and the principal chorus is the very backbone of any organ. A chorus consists of stops of roughly similar tonal quality and power, but at a variety of octave-related pitches. A unison principal is known as Principal 8’ because of its longest (8-foot) C2 pipe. The next stop at an octave pitch would have the largest C2 pipe of 4 feet long. Next comes a 2-foot stop, while the sub-octave pitch is represented by a 16-foot stop. The top pipe of a 2-foot stop has a speaking length of only 19 millimeters (three-quarters of an inch), and this is about the practical upper limit to the speaking length of an organ pipe.

Because an organ with no stops higher in pitch than a 2-foot stop would be lacking in brilliance, most organs have so-called "mixture" stops, which have several high-pitched pipes assigned to each note; they are tuned in ways that reinforce the natural harmonics of the regular stops. These mixture stops are so high in pitch that they cannot be carried right up to the top note (and they would be impractical to manufacture pipes with such tiny speaking lengths), so they break back an octave at some convenient point, sometimes even more than once. The result is a balance of power between bass and treble and a harmonious power that is completely characteristic of the organ, and can be produced in no other practical way. (As an aside, Maurice Ravel attempted to emulate mixture stops in his orchestral work Bolero, by having his flutes and piccolo double the melody line but at pitches that mimicked the natural harmonics (intervals of a twelfth and nineteenth of the regular melody line.)

Mixture stops also contain ranks sounding at pitches other than in octaves with the 8-foot Principal. In chorus mixtures, these normally sound at a fifth above the unison (e.g., G above C), although ranks sounding at a third above and even at a flat seventh can also be found. These quint- and third-sounding ranks reinforce the natural upper partials of the harmonic series (although they were included in organs long before this was well understood).

Off-unison ranks are also available as separate stops, mostly sounding at an interval of a 12th (an octave plus a fifth; 2-2/3’), 17th (two octaves plus a third; 1-3/5’), or 19th (two octaves plus a fifth; 1-1/3’) above the unison. These are used melodically to color the unison and octave stops, and they may be wide or narrow in scale. Such stops are known as mutation stops, as opposed to the mixtures, or chorus stops. Their use is essential for the historically correct performance of organ music<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

<math>f_{N'}=\frac{8}{N}\cdot f_{8'}</math>

For example, if the foundational tone of a 8' stop has a frequency of <math>f_{8'}=440\ \mathrm{Hz}</math> then a Quint stop's frequency for the same note can be calculated as <math>f_{2\ 2/3'}=\frac{8}{\frac{8}{3}}\cdot 440=1320\ \mathrm{Hz}</math> using <math>N'=2\ 2/3=8/3</math>.

== Stop and key mechanisms (action) ==
== Wind system ==
== Organ stops and ranks ==
A comprehensive encyclopedia of organ stops can be found here [http://www.organstops.org/ Encyclopedia of Organ Stops]. The site contains many images showing the design of the different types of stop, as well as sound samples of the stops themselves.

== Console and its tools ==
=== Keyboards ===

=== Couplers ===

=== Enclosure / swellbox / expression pedals ===

=== Crescendo wheel or crescendo pedal ===

A "crescendo" pedal is a large foot-operated pedal commonly found on medium-sized and larger pipe organs (as well as digital organs that imitate pipe organs), either partially or fully recessed within the organ console. The purpose of the crescendo pedal is to incrementally activate stops and couplers in a pre-determined order as the pedal is pressed forward; conversely, the crescendo pedal acts to retire (remove selected) stops in reverse order, as it is depressed backward.

The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are retired). A "crescendo" wheel is usually found in larger organ installations where more travel is required to incrementally select a larger number of available stops in a pre-determined combination order.

The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not physically move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged. Ironically, when a crescendo wheel is featured in the console of a large organ, the crescendo wheel is often placed to the left of the traditional sweller pedals.

=== Combination action / Setzer ===

= History and development =
As its name implies, the pipe organ consists of pipes made of wood and/or metal. The first "pipes" that humans made were constructed from parts animals (such as a ram's horn or hollowed out leg bones of medium sized animals) and plants of hollowed-out bamboo, or small tree branches. Simple flutes made of bamboo could be blown, one at a time, or placed side-by-side, panpipe style, making possible the playing of simple tunes. Nevertheless, it is usually the bagpipe that is generally considered the organ’s most immediate ancestor, because of a wind reservoir (the so-called "bag" of bagpipe) of a sheep's bladder that was "inflated" by the exhaling lungs of the bagpipe performer. Its history goes back at least to the time of the Emperor Nero. Findings from the period prove that the pipe organ and its various ancestors did exist (e.g. the water organ [hydraulis] uncovered in 1931, Aquincum, Hungary). Many historical instruments still work today, the earliest surviving workable form of which, located in Sion, Switzerland dates to circa 1390.

== Mechanical inventions ==
== Electrical inventions ==
= Construction of pipe organs =
== Processes ==
== Materials ==
== Intonation and its importance ==
= Tunings =
The history of tunings dates back to the ancient Greeks, more than a millenium before the first pipe organ was built. Various [[Temperament|temperaments]] and tunings were developed for different instruments including pipe organs since the 12th century - based on empirical experiences and later human [[Temperament|pitch perception]] studies.

= Acoustic properties =
== Sound Pressure Levels of single pipes ==
According to a paper on the 2008 Internoise Conference in Shanghai, a single pipe of a flute stop measured one meter away in an anechoic chamber (i.e., soundproof room) produced sound pressure levels (SPL) between 88 dBW to 93 dBW depending on various wind pressures; a string stop excited 84-89 dBW while a diapason pipe made 89-97 dBW.

It is not easy to make accurate quantitative predictions (even within about +/- 10 dB) about the sound pressure levels of pipe organs in a given proposed musical space, because of the wide variation in size, geometry and acoustical absorption of the proposed space, as well as the power of the wind source and scale of the pipe design.

== Overall sound power and dynamic range ==
== Interaction with the room ==
=== Room influence on the player ===

=== Room influence on the organ pieces ===

= Famous builders =
= Notable historical instruments =
= Pipe organ literature =
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''French organ music'''
|-
| [[Thierry Escaich]]
|-
| [[Charles-Marie Widor]]
|-
|
|}

= Statistics of pipe organs =
According to a database containing around 3500 pipe organs of the world with around 50% of them in Germany, the majority of pipe organs available today were built in the 20th and 21st century.

<pie title="Ranks of pipe organs" colors=FF0000 xlabel=10 ylabel=5 grid=y>
150 or more,1.7
120-150,2.8
100-120,5.6
85-100,8.4
70-85,14.3
55-70,17.4
40-55,16.3
30-40,11
20-30,8.7
20,13.8
</pie>

The most common organs have ranks of between 30 to 85 speaking stops controlled by 2 to 4 manuals. Approximately 44% of the organs in the survey have at least one full-length 32' stop.

<pie title="Manuals of pipe organs" colors=0000FF xlabel ylabel=5 grid=y>
6 or more,0.3
5,2.8
4,24.8
3,40.5
2,25.9
1,5.7
</pie>

<pie title="Build date (first)" colors=00FF00 xlabel ylabel=5 grid=y>
later than 2000,11.1
1970-2000,31.1
1935-1970,17.3
1900-1935,11.3
1850-1900,11.0
1800-1850,2.7
1700-1800,8.3
1600-1700,2.9
unknown,4.3
</pie>

= Virtual pipe organs =
[[Hauptwerk]], created by [[Martin Dyde]] is probably the most notable virtual organ software today. Using digitally recorded samples of actual sound of organs from all around the world, [[Hauptwerk]] gives the opportunity to anyone to enjoy the sounds of historic/famous organs while played at home or in a studio/classroom/church environment equipped with the minimum of a MIDI keyboard/pedalboard controller, a computer equipped with the Hauptwerk License and a given sound library, and a sound amplification system.

= Further reading =
== Books ==
*[[English books about pipe organ]]
*[[German books about pipe organ]]
*[[French books about pipe organ]]

== Links ==
* [http://www.uquebec.ca/musique/orgues.html A database of organs from around the world]
* [http://www.gportal.hu/gindex.php?pg=28426810 Friends of Pipe Organs (Orgonabaráti Kör, site in Hungarian)]
* [http://vosges.orgues.free.fr/lexique.htm Organ glossary (in french)]
* [http://www.frauke-mekelburg.de/orgel/orgel_lex.htm German-French-English organ dictionary]
* [http://www.organfocus.com/ Organ Focus - Pipe organ music, pipe organ events]
* [http://www.youtube.com/watch?v=Usf4Od-VwZY&feature=related Notre-Dame de Paris organ restauration - movie in 5 parts]

== References ==
<references/>

<poll>
Planning to contribute?
Yes
No
Maybe
</poll>

[[Category:Pipe organ]]

Pipe organ

2010-02-13T06:54:53Z

Jcfelice88keys: /* Pipe foot numbering explained */

= Summary and General Description =
A pipe organ is a keyboard instrument that produces sound by allowing forced air pressure (wind) to resonate through sets (ranks) of tuned flue- or reed pipes. Pipe organs are most commonly encountered in churches, and to a lesser extent in major concert halls; they are not simply large, majestic musical instruments, but beautiful pieces of art, as well. The pipe organ repertoire is particularly rich in solo music, but the organ is also frequently used to accompany choral and congregational singing, to accompany other solo instruments, plus participate in larger works specifically composed for organ and orchestra.

The pipe organ is the grandest musical instrument in terms of sheer size and acoustic scope, and has existed in essentially its current form since the 14th century (although other designs such as the hydraulis -- a hydraulic organ whose air pressure was ingeniously steadied by the weight of water) -- were already used in Antiquity.

Along with the mechanical pendulum operated clock, the pipe organ was considered one of the most complex human-made creations before the dawn of the Industrial Revolution. Organs (the "pipe" designation is generally assumed unless specifically noted otherwise) range in size from a single short keyboard at the small end, to huge instruments which may contain well over 10,000 pipes. A large modern organ typically boasts three- to five manuals of five octaves (up to 61 notes) each, with a 2-1/2 octave (up to 32 notes) pedalboard or pedalier.

Wolfgang Amadeus Mozart is credited for having declared the organ as "The King of Instruments." Some of the largest pipe organ installations boast pedal stops with 64-foot pipes. (A foot in this context refers to the "sonic foot" and the lowest note of a 64' stop sounds an 8Hz fundamental frequency, well below the threshold frequency of human hearing, but is a frequency that can be "felt" rather than heard.)

Perhaps the most distinctive feature of the organ is its dynamic range, which can span from the softest whispering sound to the most powerful "full organ" sound, with the special characteristic that such a sound can be sustained indefinitely by the organist. In contrast, sustained sounds of a piano tend to die out (decay in loudness) over time, wind instrument musicians eventually run out of air before having to take a breath, sustained sounds of string instruments eventually run out of "bow" and must stop, however momentarily. Not so with an organ; as long as the blower motors are functioning, at least one stop is drawn and at least one note is played, the organ's sound may be sustained essentially indefinitely, if desired.

Another interesting feature in the organ lies in its intrinsic "polyphonic" approach to creating sound in a given acoustic space: each set of pipes can be played simultaneously with those of any or all other stops.

The most unique feature of pipe organ sound is that the individual pipes sounds get truly mixed and interspersed only when they reach and interact with the acoustics of the listening environment, rather than from within the instrument itself. This latter feature is what differentiates true pipe organ sounds from their digital virtual organ and/or electronic organ counterparts -- in which the sound comes from loudspeakers which change the resultant electrical signal into a composite of tones being played.

= Parts, mechanism, and sound production =
== Pipes ==
=== Flue pipes(*) ===
There are two main categories of organ pipes: flue pipes and reed pipes. Flue pipes (made of metal or wood) account for the majority of the stops of an average organ. The flue pipe consists of three main parts: the pipe foot, the mouth, and the pipe body or resonator. The pipe foot delivers compressed air, the mouth generates the sound and the pipe body defines the place for the air column to oscillate(**).

When a constant supply of compressed air is delivered to the mouth of the pipe, the speaking length of each pipe acts as an air resonator that develops standing waves in the column of air contained in each pipe. The oscillating air pressure is radiated as sound to the ambient air from the two openings of the flue pipe: 1) at the top end of the resonator, and 2) at the mouth of the pipe.

The flue pipe usually stands vertically on the wind-chest, with wind entering at the foot hole. The foot is separated from the speaking length by the languid, a flat plate; the only airway connection between the foot and the speaking length is a narrow slit called the flue. The wind emerges through the flue and strikes the upper lip, producing an audible resonant frequency of the air in the pipe, the pitch of which is determined by and amplified in resonance by the speaking length of the pipe.

'''(*) Please do not confuse the term "flue" pipes with "flute" pipes. Flue pipes are normally distinguished from reed pipes as described in the next footnote. ''"Flute" pipes are a subset of flue pipes, and describe a specific type of sound whose harmonic overtones mainly emphasize the fundamental pitch, but is relatively limited in terms of having few additional even or odd harmonic overtones. Even overtones refer to those overtone pitches that are pitched in octave intervals of the fundamental pitch. Stops that emphasize the even harmonics are mostly characterized as "Principal" stops. Odd harmonics (often emphasized in reed stops) usually sound at the distinctive pitches that are different than octaves of the original fundamental pitch of a given stop. Various "Mutation" stops may be of the flute family or of the principal family, both of which are largely classified as flue stops.'''''

'''(**) ''There is a common misconception that the compressed air travels completely down the entire length of a flue pipe. In reality, the compressed air enters the pipe foot and exits at the mouth. The column of air residing in the pipe body is set into oscillation, also known as standing wave motion, and this motion is excited by the air exiting the mouth of the pipe. In direct contrast, the compressed air DOES TRAVEL the entire length of a reed pipe. This is different, because the compressed air is forced to pass by a metallic reed, and is not allowed to escape at the mouth of a reed pipe. Therefore, the compressed air continues its way out the end of the reed pipe.'''''

The tone and sound power of a pipe is determined by many factors, including the pressure of the wind supply, the construction material used to make the pipe, the size of the foot hole, the width of the flue, the height and width of the mouth, and the scale, or the diameter of the pipe relative to its resonator. The construction material of which the pipe is made also exerts an influence on its final tone and power; it may be an alloy of lead and tin, wood, or, more rarely, pure tin or copper, and zinc for the bass pipes. The pipes may also vary in shape, a common variant being an upward taper in which the pipe is smaller in diameter at the top than at the mouth. Or, the top of the pipe may be completely closed by a stopper. Such a pipe is said to be stopped; a stopped pipe sounds an octave lower in pitch than an open pipe of the same speaking length<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Reed pipes ===
Organ reeds were probably originally copied from instrumental prototypes. A reed stop may contain a beating reed like that of a reed contained in a clarinet's mouthpiece, or a free reed, which is allowed to flutter back and forth.

The shallot of a beating reed pipe is roughly cylindrical in shape, with its lower end closed and the upper end open. A section of the wall of the cylinder is cut away and finished off to a flat surface. The slit, or shallot opening, thus formed is covered by a thin brass tongue that is fixed to the upper end of the shallot. The tongue is curved and normally only partially covers the shallot opening. But, when wind enters the boot, the pressure of the wind momentarily forces the tongue against the shallot, completely closing the opening. Immediately, the modulus of elasticity (e.g., stiffness) of the brass asserts itself, and the tongue reverts to its curved shape, thus uncovering the opening. This process is repeated rapidly, and becomes the source of sound for the reed pipe.

The frequency of the pulsations of air entering the shallot is determined by the effective length of the reed and, in turn, determines the pitch of the note. From there, the air pulses pass into the tube, or resonator, which further stabilizes the pitch and refines the timbral quality of the note. Most reed resonators have a flared shape.

As in flue pipes, a wide scale (namely, a wide diameter in relation to a pipe’s speaking length) favors a fundamental tone, and a narrow scale favors a bright tone. Cylindrical resonators produce an effect similar to that of stopped flue pipes, the note being an octave lower than the equivalent flared pipe and the tone favoring the odd partials. Some reed pipes, such as the Voix Humaine, have very short resonators of quarter or eighth length. Those ranks of reed pipes whose resonators have no mathematical relationship to the pitch are known as regals; regal stops were popular in the 17th century, particularly with the North German school, and their use has been revived in modern times<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Pipe foot numbering explained ===

'''QUICK SUMMARY'''

If you choose not to read this section in its entirety, the topic can be simply explained as follows:

''When one selects an "8 foot stop" and plays "Middle C" on the organ keyboard, the pitch you hear is recognized as being in the same octave as Middle C of a Piano. 16' stops sound one octave lower, 4' and 2' stops sound one and two octaves higher, respectively, than Middle C.''

'''BACKGROUND:'''

You may have noticed that speaking stops on an organ are labeled with numbers in addition to the names of the stops. For example: Bourdon 16', Trompette 8', Principal 4', Quint 2-2/3', Superoctave 2', Tierce 1-3/5', Larigot 1-1/3', Piccolo 1'. The numbers and their associated apostrophes refer to the "length" of the pipe in feet (1 foot = 12 inches = ~30 cm). In addition, you may have seen other speaking stops with Roman numerals associated with them. Examples include: Mixture IV, Cymbal IV-V, Sesquialtra II. These Roman numerals do not refer to the lengths of pipes, but rather the number of individual pipes associated with each note of the given stop.

When you physically look at a pipe organ whose speaking stops are exposed, one immediately recognizes that not all of the pipes are same length, and there are certainly many more lengths of pipes than those indicated on the names of the stops.

'''''The purpose of this section is to clarify the mysterious numbers associated with the names of various speaking stops.'''''

The pitch of any pipe is proportional to its speaking length. Most modern organs have a manual compass of five octaves (61 keys), from the second C below middle C to the third C above; an open pipe sounding the low C is about 8 feet (2.5 meters) in speaking length (64 vibrations per second). The shortest pipe in the same stop, is thus about 3 inches (8 centimeters) long (~2048 vibrations per second).

While large- and small-scale ranks often imitate the tones of flutes and bowed strings respectively, and are named accordingly,''' the most characteristic tone of the organ is produced by its Principal stops.''' These are of medium scale and moderate harmonic development – neither too dull nor bright.

From the earliest times, stops were arranged in "choruses", and the principal chorus is the very backbone of any organ. A chorus consists of stops of roughly similar tonal quality and power, but at a variety of octave-related pitches. A unison principal is known as Principal 8’ because of its longest (8-foot) C2 pipe. The next stop at an octave pitch would have the largest C2 pipe of 4 feet long. Next comes a 2-foot stop, while the sub-octave pitch is represented by a 16-foot stop. The top pipe of a 2-foot stop has a speaking length of only 19 millimeters (three-quarters of an inch), and this is about the practical upper limit.

Because an organ with no stops higher in pitch than a 2-foot stop would be lacking in brilliance, most organs have so-called "mixture" stops, which have several high-pitched pipes assigned to each note; they are tuned in ways that reinforce the natural harmonics of the regular stops. These mixture stops are so high in pitch that they cannot be carried right up to the top note (and they would be impractical to manufacture pipes with such tiny speaking lengths), so they break back an octave at some convenient point, sometimes even more than once. The result is a balance of power between bass and treble and a harmonious power that is completely characteristic of the organ, and can be produced in no other practical way. (As an aside, Maurice Ravel attempted to emulate mixture stops in his orchestral work Bolero, by having his flutes and piccolo double the melody line but at pitches that mimicked the natural harmonics (intervals of a twelfth and nineteenth of the regular melody line.)

Mixture stops also contain ranks sounding at pitches other than in octaves with the 8-foot Principal. In chorus mixtures, these normally sound at a fifth above the unison (e.g., G above C), although ranks sounding at a third above and even at a flat seventh can also be found. These quint- and third-sounding ranks reinforce the natural upper partials of the harmonic series (although they were included in organs long before this was well understood).

Off-unison ranks are also available as separate stops, mostly sounding at an interval of a 12th (an octave plus a fifth; 2-2/3’), 17th (two octaves plus a third; 1-3/5’), or 19th (two octaves plus a fifth; 1-1/3’) above the unison. These are used melodically to color the unison and octave stops, and they may be wide or narrow in scale. Such stops are known as mutation stops, as opposed to the mixtures, or chorus stops. Their use is essential for the historically correct performance of organ music<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

<math>f_{N'}=\frac{8}{N}\cdot f_{8'}</math>

For example, if the foundational tone of a 8' stop has a frequency of <math>f_{8'}=440\ \mathrm{Hz}</math> then a Quint stop's frequency for the same note can be calculated as <math>f_{2\ 2/3'}=\frac{8}{\frac{8}{3}}\cdot 440=1320\ \mathrm{Hz}</math> using <math>N'=2\ 2/3=8/3</math>.

== Stop and key mechanisms (action) ==
== Wind system ==
== Organ stops and ranks ==
A comprehensive encyclopedia of organ stops can be found here [http://www.organstops.org/ Encyclopedia of Organ Stops]. The site contains many images showing the design of the different types of stop, as well as sound samples of the stops themselves.

== Console and its tools ==
=== Keyboards ===

=== Couplers ===

=== Enclosure / swellbox / expression pedals ===

=== Crescendo wheel or crescendo pedal ===

A "crescendo" pedal is a large foot-operated pedal commonly found on medium-sized and larger pipe organs (as well as digital organs that imitate pipe organs), either partially or fully recessed within the organ console. The purpose of the crescendo pedal is to incrementally activate stops and couplers in a pre-determined order as the pedal is pressed forward; conversely, the crescendo pedal acts to retire (remove selected) stops in reverse order, as it is depressed backward.

The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are retired). A "crescendo" wheel is usually found in larger organ installations where more travel is required to incrementally select a larger number of available stops in a pre-determined combination order.

The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not physically move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged. Ironically, when a crescendo wheel is featured in the console of a large organ, the crescendo wheel is often placed to the left of the traditional sweller pedals.

=== Combination action / Setzer ===

= History and development =
As its name implies, the pipe organ consists of pipes made of wood and/or metal. The first "pipes" that humans made were constructed from parts animals (such as a ram's horn or hollowed out leg bones of medium sized animals) and plants of hollowed-out bamboo, or small tree branches. Simple flutes made of bamboo could be blown, one at a time, or placed side-by-side, panpipe style, making possible the playing of simple tunes. Nevertheless, it is usually the bagpipe that is generally considered the organ’s most immediate ancestor, because of a wind reservoir (the so-called "bag" of bagpipe) of a sheep's bladder that was "inflated" by the exhaling lungs of the bagpipe performer. Its history goes back at least to the time of the Emperor Nero. Findings from the period prove that the pipe organ and its various ancestors did exist (e.g. the water organ [hydraulis] uncovered in 1931, Aquincum, Hungary). Many historical instruments still work today, the earliest surviving workable form of which, located in Sion, Switzerland dates to circa 1390.

== Mechanical inventions ==
== Electrical inventions ==
= Construction of pipe organs =
== Processes ==
== Materials ==
== Intonation and its importance ==
= Tunings =
The history of tunings dates back to the ancient Greeks, more than a millenium before the first pipe organ was built. Various [[Temperament|temperaments]] and tunings were developed for different instruments including pipe organs since the 12th century - based on empirical experiences and later human [[Temperament|pitch perception]] studies.

= Acoustic properties =
== Sound Pressure Levels of single pipes ==
According to a paper on the 2008 Internoise Conference in Shanghai, a single pipe of a flute stop measured one meter away in an anechoic chamber (i.e., soundproof room) produced sound pressure levels (SPL) between 88 dBW to 93 dBW depending on various wind pressures; a string stop excited 84-89 dBW while a diapason pipe made 89-97 dBW.

It is not easy to make accurate quantitative predictions (even within about +/- 10 dB) about the sound pressure levels of pipe organs in a given proposed musical space, because of the wide variation in size, geometry and acoustical absorption of the proposed space, as well as the power of the wind source and scale of the pipe design.

== Overall sound power and dynamic range ==
== Interaction with the room ==
=== Room influence on the player ===

=== Room influence on the organ pieces ===

= Famous builders =
= Notable historical instruments =
= Pipe organ literature =
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''French organ music'''
|-
| [[Thierry Escaich]]
|-
| [[Charles-Marie Widor]]
|-
|
|}

= Statistics of pipe organs =
According to a database containing around 3500 pipe organs of the world with around 50% of them in Germany, the majority of pipe organs available today were built in the 20th and 21st century.

<pie title="Ranks of pipe organs" colors=FF0000 xlabel=10 ylabel=5 grid=y>
150 or more,1.7
120-150,2.8
100-120,5.6
85-100,8.4
70-85,14.3
55-70,17.4
40-55,16.3
30-40,11
20-30,8.7
20,13.8
</pie>

The most common organs have ranks of between 30 to 85 speaking stops controlled by 2 to 4 manuals. Approximately 44% of the organs in the survey have at least one full-length 32' stop.

<pie title="Manuals of pipe organs" colors=0000FF xlabel ylabel=5 grid=y>
6 or more,0.3
5,2.8
4,24.8
3,40.5
2,25.9
1,5.7
</pie>

<pie title="Build date (first)" colors=00FF00 xlabel ylabel=5 grid=y>
later than 2000,11.1
1970-2000,31.1
1935-1970,17.3
1900-1935,11.3
1850-1900,11.0
1800-1850,2.7
1700-1800,8.3
1600-1700,2.9
unknown,4.3
</pie>

= Virtual pipe organs =
[[Hauptwerk]], created by [[Martin Dyde]] is probably the most notable virtual organ software today. Using digitally recorded samples of actual sound of organs from all around the world, [[Hauptwerk]] gives the opportunity to anyone to enjoy the sounds of historic/famous organs while played at home or in a studio/classroom/church environment equipped with the minimum of a MIDI keyboard/pedalboard controller, a computer equipped with the Hauptwerk License and a given sound library, and a sound amplification system.

= Further reading =
== Books ==
*[[English books about pipe organ]]
*[[German books about pipe organ]]
*[[French books about pipe organ]]

== Links ==
* [http://www.uquebec.ca/musique/orgues.html A database of organs from around the world]
* [http://www.gportal.hu/gindex.php?pg=28426810 Friends of Pipe Organs (Orgonabaráti Kör, site in Hungarian)]
* [http://vosges.orgues.free.fr/lexique.htm Organ glossary (in french)]
* [http://www.frauke-mekelburg.de/orgel/orgel_lex.htm German-French-English organ dictionary]
* [http://www.organfocus.com/ Organ Focus - Pipe organ music, pipe organ events]
* [http://www.youtube.com/watch?v=Usf4Od-VwZY&feature=related Notre-Dame de Paris organ restauration - movie in 5 parts]

== References ==
<references/>

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[[Category:Pipe organ]]

Pipe organ

2010-02-13T06:53:21Z

Jcfelice88keys: /* Reed pipes */

= Summary and General Description =
A pipe organ is a keyboard instrument that produces sound by allowing forced air pressure (wind) to resonate through sets (ranks) of tuned flue- or reed pipes. Pipe organs are most commonly encountered in churches, and to a lesser extent in major concert halls; they are not simply large, majestic musical instruments, but beautiful pieces of art, as well. The pipe organ repertoire is particularly rich in solo music, but the organ is also frequently used to accompany choral and congregational singing, to accompany other solo instruments, plus participate in larger works specifically composed for organ and orchestra.

The pipe organ is the grandest musical instrument in terms of sheer size and acoustic scope, and has existed in essentially its current form since the 14th century (although other designs such as the hydraulis -- a hydraulic organ whose air pressure was ingeniously steadied by the weight of water) -- were already used in Antiquity.

Along with the mechanical pendulum operated clock, the pipe organ was considered one of the most complex human-made creations before the dawn of the Industrial Revolution. Organs (the "pipe" designation is generally assumed unless specifically noted otherwise) range in size from a single short keyboard at the small end, to huge instruments which may contain well over 10,000 pipes. A large modern organ typically boasts three- to five manuals of five octaves (up to 61 notes) each, with a 2-1/2 octave (up to 32 notes) pedalboard or pedalier.

Wolfgang Amadeus Mozart is credited for having declared the organ as "The King of Instruments." Some of the largest pipe organ installations boast pedal stops with 64-foot pipes. (A foot in this context refers to the "sonic foot" and the lowest note of a 64' stop sounds an 8Hz fundamental frequency, well below the threshold frequency of human hearing, but is a frequency that can be "felt" rather than heard.)

Perhaps the most distinctive feature of the organ is its dynamic range, which can span from the softest whispering sound to the most powerful "full organ" sound, with the special characteristic that such a sound can be sustained indefinitely by the organist. In contrast, sustained sounds of a piano tend to die out (decay in loudness) over time, wind instrument musicians eventually run out of air before having to take a breath, sustained sounds of string instruments eventually run out of "bow" and must stop, however momentarily. Not so with an organ; as long as the blower motors are functioning, at least one stop is drawn and at least one note is played, the organ's sound may be sustained essentially indefinitely, if desired.

Another interesting feature in the organ lies in its intrinsic "polyphonic" approach to creating sound in a given acoustic space: each set of pipes can be played simultaneously with those of any or all other stops.

The most unique feature of pipe organ sound is that the individual pipes sounds get truly mixed and interspersed only when they reach and interact with the acoustics of the listening environment, rather than from within the instrument itself. This latter feature is what differentiates true pipe organ sounds from their digital virtual organ and/or electronic organ counterparts -- in which the sound comes from loudspeakers which change the resultant electrical signal into a composite of tones being played.

= Parts, mechanism, and sound production =
== Pipes ==
=== Flue pipes(*) ===
There are two main categories of organ pipes: flue pipes and reed pipes. Flue pipes (made of metal or wood) account for the majority of the stops of an average organ. The flue pipe consists of three main parts: the pipe foot, the mouth, and the pipe body or resonator. The pipe foot delivers compressed air, the mouth generates the sound and the pipe body defines the place for the air column to oscillate(**).

When a constant supply of compressed air is delivered to the mouth of the pipe, the speaking length of each pipe acts as an air resonator that develops standing waves in the column of air contained in each pipe. The oscillating air pressure is radiated as sound to the ambient air from the two openings of the flue pipe: 1) at the top end of the resonator, and 2) at the mouth of the pipe.

The flue pipe usually stands vertically on the wind-chest, with wind entering at the foot hole. The foot is separated from the speaking length by the languid, a flat plate; the only airway connection between the foot and the speaking length is a narrow slit called the flue. The wind emerges through the flue and strikes the upper lip, producing an audible resonant frequency of the air in the pipe, the pitch of which is determined by and amplified in resonance by the speaking length of the pipe.

'''(*) Please do not confuse the term "flue" pipes with "flute" pipes. Flue pipes are normally distinguished from reed pipes as described in the next footnote. ''"Flute" pipes are a subset of flue pipes, and describe a specific type of sound whose harmonic overtones mainly emphasize the fundamental pitch, but is relatively limited in terms of having few additional even or odd harmonic overtones. Even overtones refer to those overtone pitches that are pitched in octave intervals of the fundamental pitch. Stops that emphasize the even harmonics are mostly characterized as "Principal" stops. Odd harmonics (often emphasized in reed stops) usually sound at the distinctive pitches that are different than octaves of the original fundamental pitch of a given stop. Various "Mutation" stops may be of the flute family or of the principal family, both of which are largely classified as flue stops.'''''

'''(**) ''There is a common misconception that the compressed air travels completely down the entire length of a flue pipe. In reality, the compressed air enters the pipe foot and exits at the mouth. The column of air residing in the pipe body is set into oscillation, also known as standing wave motion, and this motion is excited by the air exiting the mouth of the pipe. In direct contrast, the compressed air DOES TRAVEL the entire length of a reed pipe. This is different, because the compressed air is forced to pass by a metallic reed, and is not allowed to escape at the mouth of a reed pipe. Therefore, the compressed air continues its way out the end of the reed pipe.'''''

The tone and sound power of a pipe is determined by many factors, including the pressure of the wind supply, the construction material used to make the pipe, the size of the foot hole, the width of the flue, the height and width of the mouth, and the scale, or the diameter of the pipe relative to its resonator. The construction material of which the pipe is made also exerts an influence on its final tone and power; it may be an alloy of lead and tin, wood, or, more rarely, pure tin or copper, and zinc for the bass pipes. The pipes may also vary in shape, a common variant being an upward taper in which the pipe is smaller in diameter at the top than at the mouth. Or, the top of the pipe may be completely closed by a stopper. Such a pipe is said to be stopped; a stopped pipe sounds an octave lower in pitch than an open pipe of the same speaking length<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Reed pipes ===
Organ reeds were probably originally copied from instrumental prototypes. A reed stop may contain a beating reed like that of a reed contained in a clarinet's mouthpiece, or a free reed, which is allowed to flutter back and forth.

The shallot of a beating reed pipe is roughly cylindrical in shape, with its lower end closed and the upper end open. A section of the wall of the cylinder is cut away and finished off to a flat surface. The slit, or shallot opening, thus formed is covered by a thin brass tongue that is fixed to the upper end of the shallot. The tongue is curved and normally only partially covers the shallot opening. But, when wind enters the boot, the pressure of the wind momentarily forces the tongue against the shallot, completely closing the opening. Immediately, the modulus of elasticity (e.g., stiffness) of the brass asserts itself, and the tongue reverts to its curved shape, thus uncovering the opening. This process is repeated rapidly, and becomes the source of sound for the reed pipe.

The frequency of the pulsations of air entering the shallot is determined by the effective length of the reed and, in turn, determines the pitch of the note. From there, the air pulses pass into the tube, or resonator, which further stabilizes the pitch and refines the timbral quality of the note. Most reed resonators have a flared shape.

As in flue pipes, a wide scale (namely, a wide diameter in relation to a pipe’s speaking length) favors a fundamental tone, and a narrow scale favors a bright tone. Cylindrical resonators produce an effect similar to that of stopped flue pipes, the note being an octave lower than the equivalent flared pipe and the tone favoring the odd partials. Some reed pipes, such as the Voix Humaine, have very short resonators of quarter or eighth length. Those ranks of reed pipes whose resonators have no mathematical relationship to the pitch are known as regals; regal stops were popular in the 17th century, particularly with the North German school, and their use has been revived in modern times<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

=== Pipe foot numbering explained ===

'''QUICK SUMMARY'''

If you choose not to read this section in its entirety, the topic can be simply explained as follows:

''When one selects an "8 foot stop" and plays "Middle C" on the organ keyboard, the pitch you hear is recognized as being in the same octave as Middle C of a Piano. 16' stops sound one octave lower, 4' and 2' stops sound one and two octaves higher, respectively, than Middle C.''

'''BACKGROUND:'''

You may have noticed that speaking stops on an organ are labeled with numbers in addition to the names of the stops. For example: Bourdon 16', Trompette 8', Principal 4', Quint 2-2/3', Superoctave 2', Tierce 1-3/5', Larigot 1-1/3', Piccolo 1'. The numbers and their associated apostrophes refer to the "length" of the pipe in feet (1 foot = ~30 cm). In addition, you may have seen other speaking stops with Roman numerals associated with them. Examples include: Mixture IV, Cymbal IV-V, Sesquialtra II. These Roman numerals do not refer to the lengths of pipes, but rather the number of individual pipes associated with each note of the given stop.

When you physically look at a pipe organ whose speaking stops are exposed, one immediately recognizes that not all of the pipes are same length, and there are certainly many more lengths of pipes than those indicated on the names of the stops.

'''''The purpose of this section is to clarify the mysterious numbers associated with the names of various speaking stops.'''''

The pitch of any pipe is proportional to its speaking length. Most modern organs have a manual compass of five octaves (61 keys), from the second C below middle C to the third C above; an open pipe sounding the low C is about 8 feet (2.5 meters) in speaking length (64 vibrations per second). The shortest pipe in the same stop, is thus about 3 inches (8 centimeters) long (~2048 vibrations per second).

While large- and small-scale ranks often imitate the tones of flutes and bowed strings respectively, and are named accordingly,''' the most characteristic tone of the organ is produced by its Principal stops.''' These are of medium scale and moderate harmonic development – neither too dull nor bright.

From the earliest times, stops were arranged in "choruses", and the principal chorus is the very backbone of any organ. A chorus consists of stops of roughly similar tonal quality and power, but at a variety of octave-related pitches. A unison principal is known as Principal 8’ because of its longest (8-foot) C2 pipe. The next stop at an octave pitch would have the largest C2 pipe of 4 feet long. Next comes a 2-foot stop, while the sub-octave pitch is represented by a 16-foot stop. The top pipe of a 2-foot stop has a speaking length of only 19 millimeters (three-quarters of an inch), and this is about the practical upper limit.

Because an organ with no stops higher in pitch than a 2-foot stop would be lacking in brilliance, most organs have so-called "mixture" stops, which have several high-pitched pipes assigned to each note; they are tuned in ways that reinforce the natural harmonics of the regular stops. These mixture stops are so high in pitch that they cannot be carried right up to the top note (and they would be impractical to manufacture pipes with such tiny speaking lengths), so they break back an octave at some convenient point, sometimes even more than once. The result is a balance of power between bass and treble and a harmonious power that is completely characteristic of the organ, and can be produced in no other practical way. (As an aside, Maurice Ravel attempted to emulate mixture stops in his orchestral work Bolero, by having his flutes and piccolo double the melody line but at pitches that mimicked the natural harmonics (intervals of a twelfth and nineteenth of the regular melody line.)

Mixture stops also contain ranks sounding at pitches other than in octaves with the 8-foot Principal. In chorus mixtures, these normally sound at a fifth above the unison (e.g., G above C), although ranks sounding at a third above and even at a flat seventh can also be found. These quint- and third-sounding ranks reinforce the natural upper partials of the harmonic series (although they were included in organs long before this was well understood).

Off-unison ranks are also available as separate stops, mostly sounding at an interval of a 12th (an octave plus a fifth; 2-2/3’), 17th (two octaves plus a third; 1-3/5’), or 19th (two octaves plus a fifth; 1-1/3’) above the unison. These are used melodically to color the unison and octave stops, and they may be wide or narrow in scale. Such stops are known as mutation stops, as opposed to the mixtures, or chorus stops. Their use is essential for the historically correct performance of organ music<ref>[http://www.inspiredacoustics.com/products_details.php?idtermekek=8 Inspired Acoustics - Palace of Arts Budapest Pipe Organ Samples - User's Manual]</ref>.

<math>f_{N'}=\frac{8}{N}\cdot f_{8'}</math>

For example, if the foundational tone of a 8' stop has a frequency of <math>f_{8'}=440\ \mathrm{Hz}</math> then a Quint stop's frequency for the same note can be calculated as <math>f_{2\ 2/3'}=\frac{8}{\frac{8}{3}}\cdot 440=1320\ \mathrm{Hz}</math> using <math>N'=2\ 2/3=8/3</math>.

== Stop and key mechanisms (action) ==
== Wind system ==
== Organ stops and ranks ==
A comprehensive encyclopedia of organ stops can be found here [http://www.organstops.org/ Encyclopedia of Organ Stops]. The site contains many images showing the design of the different types of stop, as well as sound samples of the stops themselves.

== Console and its tools ==
=== Keyboards ===

=== Couplers ===

=== Enclosure / swellbox / expression pedals ===

=== Crescendo wheel or crescendo pedal ===

A "crescendo" pedal is a large foot-operated pedal commonly found on medium-sized and larger pipe organs (as well as digital organs that imitate pipe organs), either partially or fully recessed within the organ console. The purpose of the crescendo pedal is to incrementally activate stops and couplers in a pre-determined order as the pedal is pressed forward; conversely, the crescendo pedal acts to retire (remove selected) stops in reverse order, as it is depressed backward.

The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are retired). A "crescendo" wheel is usually found in larger organ installations where more travel is required to incrementally select a larger number of available stops in a pre-determined combination order.

The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not physically move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged. Ironically, when a crescendo wheel is featured in the console of a large organ, the crescendo wheel is often placed to the left of the traditional sweller pedals.

=== Combination action / Setzer ===

= History and development =
As its name implies, the pipe organ consists of pipes made of wood and/or metal. The first "pipes" that humans made were constructed from parts animals (such as a ram's horn or hollowed out leg bones of medium sized animals) and plants of hollowed-out bamboo, or small tree branches. Simple flutes made of bamboo could be blown, one at a time, or placed side-by-side, panpipe style, making possible the playing of simple tunes. Nevertheless, it is usually the bagpipe that is generally considered the organ’s most immediate ancestor, because of a wind reservoir (the so-called "bag" of bagpipe) of a sheep's bladder that was "inflated" by the exhaling lungs of the bagpipe performer. Its history goes back at least to the time of the Emperor Nero. Findings from the period prove that the pipe organ and its various ancestors did exist (e.g. the water organ [hydraulis] uncovered in 1931, Aquincum, Hungary). Many historical instruments still work today, the earliest surviving workable form of which, located in Sion, Switzerland dates to circa 1390.

== Mechanical inventions ==
== Electrical inventions ==
= Construction of pipe organs =
== Processes ==
== Materials ==
== Intonation and its importance ==
= Tunings =
The history of tunings dates back to the ancient Greeks, more than a millenium before the first pipe organ was built. Various [[Temperament|temperaments]] and tunings were developed for different instruments including pipe organs since the 12th century - based on empirical experiences and later human [[Temperament|pitch perception]] studies.

= Acoustic properties =
== Sound Pressure Levels of single pipes ==
According to a paper on the 2008 Internoise Conference in Shanghai, a single pipe of a flute stop measured one meter away in an anechoic chamber (i.e., soundproof room) produced sound pressure levels (SPL) between 88 dBW to 93 dBW depending on various wind pressures; a string stop excited 84-89 dBW while a diapason pipe made 89-97 dBW.

It is not easy to make accurate quantitative predictions (even within about +/- 10 dB) about the sound pressure levels of pipe organs in a given proposed musical space, because of the wide variation in size, geometry and acoustical absorption of the proposed space, as well as the power of the wind source and scale of the pipe design.

== Overall sound power and dynamic range ==
== Interaction with the room ==
=== Room influence on the player ===

=== Room influence on the organ pieces ===

= Famous builders =
= Notable historical instruments =
= Pipe organ literature =
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''French organ music'''
|-
| [[Thierry Escaich]]
|-
| [[Charles-Marie Widor]]
|-
|
|}

= Statistics of pipe organs =
According to a database containing around 3500 pipe organs of the world with around 50% of them in Germany, the majority of pipe organs available today were built in the 20th and 21st century.

<pie title="Ranks of pipe organs" colors=FF0000 xlabel=10 ylabel=5 grid=y>
150 or more,1.7
120-150,2.8
100-120,5.6
85-100,8.4
70-85,14.3
55-70,17.4
40-55,16.3
30-40,11
20-30,8.7
20,13.8
</pie>

The most common organs have ranks of between 30 to 85 speaking stops controlled by 2 to 4 manuals. Approximately 44% of the organs in the survey have at least one full-length 32' stop.

<pie title="Manuals of pipe organs" colors=0000FF xlabel ylabel=5 grid=y>
6 or more,0.3
5,2.8
4,24.8
3,40.5
2,25.9
1,5.7
</pie>

<pie title="Build date (first)" colors=00FF00 xlabel ylabel=5 grid=y>
later than 2000,11.1
1970-2000,31.1
1935-1970,17.3
1900-1935,11.3
1850-1900,11.0
1800-1850,2.7
1700-1800,8.3
1600-1700,2.9
unknown,4.3
</pie>

= Virtual pipe organs =
[[Hauptwerk]], created by [[Martin Dyde]] is probably the most notable virtual organ software today. Using digitally recorded samples of actual sound of organs from all around the world, [[Hauptwerk]] gives the opportunity to anyone to enjoy the sounds of historic/famous organs while played at home or in a studio/classroom/church environment equipped with the minimum of a MIDI keyboard/pedalboard controller, a computer equipped with the Hauptwerk License and a given sound library, and a sound amplification system.

= Further reading =
== Books ==
*[[English books about pipe organ]]
*[[German books about pipe organ]]
*[[French books about pipe organ]]

== Links ==
* [http://www.uquebec.ca/musique/orgues.html A database of organs from around the world]
* [http://www.gportal.hu/gindex.php?pg=28426810 Friends of Pipe Organs (Orgonabaráti Kör, site in Hungarian)]
* [http://vosges.orgues.free.fr/lexique.htm Organ glossary (in french)]
* [http://www.frauke-mekelburg.de/orgel/orgel_lex.htm German-French-English organ dictionary]
* [http://www.organfocus.com/ Organ Focus - Pipe organ music, pipe organ events]
* [http://www.youtube.com/watch?v=Usf4Od-VwZY&feature=related Notre-Dame de Paris organ restauration - movie in 5 parts]

== References ==
<references/>

<poll>
Planning to contribute?
Yes
No
Maybe
</poll>

[[Category:Pipe organ]]

Hauptwerk

2010-02-13T06:39:15Z

Jcfelice88keys: /* Where to start? */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.milandigitalaudio.com/Resources-Downloads.shtml Milan Digital Audio's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound heard in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Milan Digital Audio's website [http://www.milandigitalaudio.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Associated Amplification/Speakers and/or a good set of headphones.

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:38:20Z

Jcfelice88keys: /* Where to start? */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.milandigitalaudio.com/Resources-Downloads.shtml Milan Digital Audio's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound heard in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Milan Digital Audio's website [http://www.milandigitalaudio.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:37:22Z

Jcfelice88keys: /* Where to start? */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.milandigitalaudio.com/Resources-Downloads.shtml Milan Digital Audio's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound heard in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Milan Digital Audio's website [http://www.milandigitalaudio.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:36:43Z

Jcfelice88keys: /* Where to start? */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.milandigitalaudio.com/Resources-Downloads.shtml Milan Digital Audio's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Milan Digital Audio's website [http://www.milandigitalaudio.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:35:46Z

Jcfelice88keys: /* Where to start? */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Milan Digital Audio's website [http://www.milandigitalaudio.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:33:59Z

Jcfelice88keys: /* Hauptwerk-dedicated organ consoles */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || Australia || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:33:18Z

Jcfelice88keys: /* Hauptwerk-dedicated organ consoles */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || Australia || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:31:56Z

Jcfelice88keys: /* User Demographics */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial virtual pipe organ libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:30:12Z

Jcfelice88keys: /* Sample set developers and their mission */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: A percentage of monetary proceeds from sales of [[Inspired Acoustics]] virtual organ products -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:27:59Z

Jcfelice88keys: /* Sample set developers and their mission */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but few of them are professional companies that employ full-time staff employees. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: [[Inspired Acoustics]] products, -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:24:59Z

Jcfelice88keys: /* Notable features */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in many cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but yet a few of them are professional companies with staff. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: [[Inspired Acoustics]] products, -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:24:06Z

Jcfelice88keys: /* Notable features */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power required to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in some cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but yet a few of them are professional companies with staff. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: [[Inspired Acoustics]] products, -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-02-13T06:23:09Z

Jcfelice88keys: /* Hauptwerk */

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, Indiana, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in some cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but yet a few of them are professional companies with staff. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: [[Inspired Acoustics]] products, -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Hauptwerk

2010-01-10T18:36:21Z

Jcfelice88keys:

= Hauptwerk =
'''Version française: [[Hauptwerk (Français)]]'''

Hauptwerk is widely recognized as the world’s premiere [[Virtual_pipe_organ|virtual pipe organ]] software. It was developed originally by [[Martin Dyde]] to accurately simulate all sonic nuances of actual pipe organs, including realtime wind modeling based on fluid dynamics (Note: Wind modeling is not available in USA systems due to patent constraints). Several of the world's greatest pipe organs have been sampled exclusively for Hauptwerk allowing organists, everywhere, to play these world-class instruments in their homes, studios, teaching institutions, performance venues or churches. Based in Indianapolis, USA, Milan Digital Audio is a professional audio engineering company focusing on classical music and instruments, specifically pipe organ. Since 2001, [[Milan Digital Audio]] has created and marketed eleven virtual pipe organ libraries for Hauptwerk, and has recently acquired Hauptwerk from Crumhorn Labs in the UK.

The word 'Hauptwerk' is a German word literally meaning 'head work', but in terms of an organ, it refers to the "main manual"; it used as a term to name the first or the second manual of pipe organs, the manual that features the main set of stops, also known as "Great Organ".

== Notable features ==
[[Image:PAB_Interface.jpg|thumb|right|300px|The virtual organ console interface of PAB in Hauptwerk 3]]
Hauptwerk is recognized in the world of organists, because it is the only virtual organ sampler to date that delivers a true organ-like user interface capable of achieving individual stop selection (registration), combined with the benefits of low latency and high simultaneous note-/stop playing polyphony. It is important to note that this advantage of low latency and high polyphony comes at a price in terms of computing power to achieve this fine degree of realism: larger organs work best in a computer environment of multiple processors; they consume copious amounts of computer RAM, in some cases more than 8 GB.

As an aside, the alternative to loading entire libraries into RAM involves streaming the first part of each sample from the hard disk into RAM. At first, this might sound like a plausible idea, but in reality, it limits one's polyphony to only a few hundred simultaneous notes, as opposed to up to 30,000 notes of polyphony capability in Hauptwerk. As a result, previous attempts to provide organ libraries using hard disk streaming (Kontakt and Gigasampler come to mind), but polyphony limitations forced the software makers to sample groups of stops at one time. In those cases where non-Hauptwerk libraries pre-select groups of stops to sample at one time, the end user is restricted in registering a given piece to a fewer number of individual stops and/or having to live with stop combinations that the vendor has deemed important. Hauptwerk organ libraries are not burdened by this limitation associated with streaming from hard disk, with the caveat of requiring high powered computers with as much RAM as one can afford, to accomplish these rather Herculean computing tasks.

== Version and release history ==
:: January 2006: Hauptwerk 2.0 was released
:: November 2007: Hauptwerk 3.0 was released

The most current version is v3.30, released on October 29, 2009

= Sample set developers and their mission =
The musical and aesthetic values of Hauptwerk software, taken alone, are highly dependent of the sound content developed for it. There are at least ten independent sample set developers for Hauptwerk, producing over 80 different instruments of varying features and visual-/audio realism, but yet a few of them are professional companies with staff. Some of the developers are part-time or one-person companies and/or projects. Most of the developers are blessed with some scientific or audio background with a high degree of musical and pipe-organ enthusiasm; in addition, most of the developers treat creating Hauptwerk organs as a 'mission' or as a 'philosophy' which is definitely more than just creating a sample library. This 'mission' and 'philosophy' mentality helps convince the churches, cathedrals and people in charge of real pipe organs to accept sample recording proposals.

Some of the developers went even further than simply approaching churches to record samples for libraries. For example: [[Inspired Acoustics]] products, -- in a gesture being unique to the sampling industry -- support the real pipe organ installations financially. Their business model was introduced before Hauptwerk in 2004 with the [[Notre Dame de Budapest Pipe Organ Samples]] product. [[Inspired Acoustics]] released its first virtual pipe organ for the Hauptwerk platform in 2008, but followed the development of Hauptwerk since 2002. IA's first Hauptwerk instrument debuted as the largest ever virtual pipe organ with all functions faithfully virtualized, the [[Palace of Arts Budapest Pipe Organ Samples]] abbreviated as PAB. PAB produced a significant interest in the Hauptwerk community with its quality, size and graphical features, and among the first ten customers of PAB was a European music conservatory for a 2009 performance hall installation.

= User Demographics =
According to an online non-representative community survey whose data input was concluded in early April of 2009, the following demographics have been determined:

AGE:
Members of the Hauptwerk Community users are mainly (68%) home users with 54% of them in the age range between 50 to 64, while only 10% of the users are under the age of 35.

EDUCATION:
One-third of the users have either a university or a high school level of knowledge in pipe organs; over 80% of the Hauptwerk-licensed users have played the pipe organ for more than 10 years.

SOFTWARE USAGE:
The majority of the licensed Hauptwerk users employ the software for personal (rather than professional) purposes.

OPINIONS OF PRICING:
Almost 60% of the licensed Hauptwerk users believe that the sample sets for Hauptwerk are priced too high, although they reject the model of comparing sample sets on a price-per-stop basis. Although more than 80 commercial libraries are available, the majority of the users have not purchased more than 7 different sample sets at the time the survey was taken. Most of them, however, welcomed more sample sets to choose from.

HARDWARE UPDATES:
Most licensed Hauptwerk Users who responded to the survey stated that they upgrade their computer/hardware systems every 2 or 3 years on average, but there are plenty of users who upgrade them as soon as they can. Most of them would upgrade their systems if additional monetary resources (in the form of disposable income) were available.

COMMUNITY REACHOUT:
The Hauptwerk community is recently gathering together on a dedicated [http://www.facebook.com/groups/create.php?customize&gid=42378139859#/group.php?gid=42378139859 Facebook group] as well. User-created recordings can be heard at the [http://www.contrebombarde.com/concerthall Contrebombarde Concert Hall] website.

== Hauptwerk-dedicated organ consoles ==
Examples of organ consoles that are MIDI capable and connected to a computer with Hauptwerk are shown below.

{|class="wikitable sortable"
|-
! Console !! Country !! Built !! Features !! Related website
|-
| [[Francesco Pasetto's console]] || Italy || 2006 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1008 Hauptwerk Forums]
|-
| [[G'day's console]] || ? || 2006 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7430 Hauptwerk Forums]
|-
| [[James Williams's console]] || UK || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=7433 Hauptwerk Forums]
|-
| [[Steve's console]] || USA || 2005 || ? || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=704 Hauptwerk Forums]
|-
| [[Christopher James Quinn's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=975 Hauptwerk Forums]
|-
| [[Bob Collins's console]] || USA || 2006 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1537 Hauptwerk Forums]
|-
| [[Mike Ludwig's console]] || USA || 2007 || 2 || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1872 Hauptwerk Forums]
|-
| [[Joerg Glebe's console]] || Germany || 2007 || 4 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1873 Hauptwerk Forums]
|-
| [[Attila Simonfalvi's console]] || Hungary || 2007 || 4 + P || [http://organmaker.uw.hu/ Attila's website]
|-
| [[Conservatório de Música da Jobra's console]] || Portugal || 2009 || 4 + P || [[Conservatório de Música da Jobra's Console|The CMJ Project]]
|-
| [[Don's console]] || Australia || 2008 || 2 + P hybrid (5 real ranks) || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236 Hauptwerk Forums]
|-
| [[Raimund's console]] || Germany || 2007 || 2 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Mark Williams's console]] || USA || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=15&sid=7b1d2b50059210edb8216d84a8171361 Hauptwerk Forums]
|-
| [[Michel Laurent's console]] || France || 2008 || 3 + P || [http://www.crumhorn-labs.com/forum/viewtopic.php?t=1236&postdays=0&postorder=asc&start=30 Hauptwerk Forums]
|-
| [[Owen Jones's Console]] || Australia || 2007 || 3 || [http://www.crumhorn-labs.com/forum/viewtopic.php?p=21126#21126 Hauptwerk Forums]
|-
|}

== Where to start? ==
Hautpwerk is a wonderful playing experience for anyone interested in accessing the sounds and virtual operations of the world's finest and most historic pipe organs. For the first time, the computer and hardware MIDI (musical instrument digital interface) technology is available that allows one to play "the organ you've dreamed of, all your life". Of course, this available technology comes with software and hardware requirements:

* The Hauptwerk software license (free trial version available on [http://www.crumhorn-labs.com/Resources-Downloads.shtml Crumhorn Labs's website) includes the St-Anne's of Moseley (UK) organ for the customer to experience before deciding to purchase additional sample libraries. The free trial version of Hauptwerk generously furnishes a fully working copy of the St. Anne's of Moseley organ, with the addition of a deliberately annoying triangle "chime" sound that occurs every few seconds. In the event that the trial user decides to purchase the Hauptwerk license, one is emailed a key code with which to eliminate that annoying triangle chime sound in the trial version.

* A personal computer, Windows-based PC or Mac OSX operating systems; please refer to Crumhorn Labs's website [http://www.crumhorn-labs.com/Hauptwerk-Prerequisites.shtml for the required specifications].

* A sound card (good quality) and a midi interface (often bundled with the sound card).

* One or more midi keyboards are required to perform music, live and in in real time, for one's self; a midi pedal board is highly desirable as well. It is always possible to test Hauptwerk using only the mouse so you can hear the quality of the sounds.

* Speakers or headphones

Of course, there are thousands of configurations possible for the computer, keyboards and other accessories; but first, take your time to explore the software; then establish a budget to prioritize the necessary hardware to buy and/or upgrade. There is no need to change everything at the same time.

You will find [http://www.pcorgan.com/FotosEN.html on this website] many of Hauptwerk's customer home installations, from the most basic to the most elaborate. For those with technical knowledge, it is always possible to "midify" an old electronic or pipe organ console.

Take a few moments to read and follow the numerous threads/discussion topics that you will find on [http://www.crumhornlabs.com/forum Hauptwerk's official forum]; use the search engine to query the forums, finding answers about hardware and software; in this way, you will be in a much better position to understand the inner operations of Hauptwerk and its associated virtual organs.

If all of this seems too complicated, and you don't have the time or will to assemble your own personal version of a virtual pipe organ, some system integrator vendors will be happy to assist you with hardware / software configurations available in complexity all the way up to a complete turnkey installation. One of the best known system integrators, namely, [http://www.classicorgan.com/hauptwerk.htm ClassicOrgan] is located in Montreal, Canada, but it does business all around the world.

You will find similar system integrators in the [http://www.milandigitalaudio.com/order.htm USA], in [http://www.organist.com/ France], in [http://www.sakralorgelwelt.de/ Germany] or [http://www.pc-und-musik.com/ this one also in Germany], in [http://www.mixtuur.com/ Netherlands] and a second one in [http://www.hsmuziek.nl/ Netherlands] and finally in [http://www.leyman.net/ Sweden].

Using [http://www.contrebombarde.com/concerthall/home/locator ContreBombarde installation locator] you will be able to check if there are any Hauptwerk installations near you and request a demo.

== Configurations and tutorials ==
[[Hauptwerk Tutorials]] and [[Hauptwerk configuration - Tips and tricks]] contain useful information to continue.

= A Hauptwerk Community Survey (continued) =
<poll>
Who are you?
I am a Hauptwerk user
I am a Hauptwerk developer
I am planning to become a Hauptwerk user
I am planning to become a Hauptwerk developer
Other
</poll>

<poll>
What describes you best?
I am a student learning pipe organ or music.
I am a home user with a passion or a second life mostly or partly about pipe organ.
I am a composer or musician other than pipe organ.
I am a composer or musician specialized on pipe organ.
I am a studio owner / recording engineer.
I am a person in charge installing pipe organs.
I am a Hauptwerk developer.
Other.
</poll>

<poll>
How old are you (in years)?
70 or older.
Between 65 and 69.
Between 60 and 64.
Between 50 and 60.
Between 40 and 50.
Between 35 and 39.
Between 30 and 34.
Between 25 and 29.
Between 20 and 24.
Between 17 and 19
Younger than 17.
</poll>

<poll>
How about your pipe organ knowledge?
I am a professional, graduated from an academy (Bachelor/Master/DLA/university level/organist).
I am a professional, graduated from a conservatory (high-school level/organist).
I will be a professional (now studying at a university level institution).
I will be a professional (now studying at a high-school level institution).
I am an amateur/hobbyist (I took some lessons).
I am an amateur/hobbyist (I am self-trained).
I am an enthusiast (I love pipe organs but I can only play them a little).
</poll>

<poll>
How long have you been playing the organ?
more than 10 years
10 years
8 years
5 years
2 years
just started
no experience, but would like to get started
</poll>

<poll>
How do you use Hauptwerk?
I own a license of Hauptwerk.
I use or play on a Hauptwerk system that is owned by my school/church/studio/company.
</poll>

<poll>
Where do you use Hauptwerk?
At Home.
At School/Church/Studio/Company/Work.
</poll>

<poll>
I use Hauptwerk for:
Personal purposes: playing, performing, composing, fun.
Personal purposes: practicing / assist my studies.
Professional purposes: performing, composing.
Professional purposes: I work with an installed Hauptwerk system (learn or teach).
Professional purposes: I have or operate a recording studio.
Professional purposes: sample set development.
</poll>

<poll>
What do you think about Hauptwerk's price?
Technology is not free, I think it is fair / ok, considering Hauptwerk's quality.
It is not as cheap as I wished, but ok.
I think it is too expensive for everyone.
I think it is too expensive for me.
I think it is too cheap.
I don't know.
</poll>

<poll>
What do you think about the price of Hauptwerk's sound libraries in general/average?
Most of them are fairly priced / ok.
Most of them are overpriced / too expensive but I understand the reasons, so ok.
Most of them are overpriced / too expensive for everyone.
Most of them are overpriced / too expensive for me.
Most of them are underpriced / too cheap.
I don't know.
</poll>

<poll>
Do you think the price of equally high quality sample sets with similar features can be compared by a per-stop price?
Yes, it is better to get a 30-stop organ for $300 than to get a 20-stop organ for $300.
No, the value of the instruments cannot be compared by like this.
No, the value of the instruments cannot be compared at all.
</poll>

<poll>
Do you have a particular dream-organ in your mind for Hauptwerk?
Yes, I want to play the 'X' organ(s) as a virtual instrument and I am only interested in that/them. All other organs are compromises.
Yes, I want to play the 'X' organ(s) as a virtual instrument, but I am interested in something very close / similar too.
No, the variety of different organs - that I may not even know - is a great value to me.
</poll>

<poll>
How many commercial virtual organ sample libraries did you buy for Hauptwerk?
I buy them all / except a few ones.
More than 15
Between 10 and 15
Between 8 and 10
Between 5 and 7
Between 3 and 5
Between 1 and 2
Only the one that ships with Hauptwerk.
I am a developer, this does not apply to me.
</poll>

<poll>
If you are about to buy a high quality sample set that you like, how much money are you willing to spend (price per stop model)?
Up to $4 per stop.
Up to $8 per stop.
Up to $10 per stop.
Up to $12 per stop.
Up to $15 per stop.
Price per stop does not matter.
</poll>

<poll>
If you are about to buy a high quality 30-stop sample set of your dreams, how much money is the maximum you would spend (price range)?
Price range: above $800
Price range: $700-$800
Price range: $600-$700
Price range: $500-$600
Price range: $400-$500
Price range: $350-$400
Price range: $300-$350
Price range: $250-$300
Price range: $200-$250
Price range: $150-$200
Price range: $100-$150
Price range: $50-$99
Free
</poll>

<poll>
Do you think a given sample set for Hauptwerk should be priced less with time?
Yes: old sample sets with legacy features should be priced less and less with time.
No: keeping the price is fair, since the value of the organs remain the same, while the value of the money is getting worse.
I don't know.
</poll>

<poll>
What do you think about the sheer number of Hauptwerk sound libraries (80+) that are currently available?
There are too many of them, hard to select.
There are too few of them, hard to find my favorite organ.
There are just enough of them, I have what I wanted already.
</poll>

<poll>
Are you happy with the current Hauptwerk sound libraries?
Yes, I have what I need already.
Yes, and I welcome more sample sets.
No, there are too few of them.
No, my dream organ is not there.
No, there are too few sample sets of the organ style / type I like.
No, there are too few high-quality sample sets.
No, there are too few well-featured / conveniently usable sample sets.
</poll>

<poll>
How often do you upgrade your computer?
As soon as I can.
Once a year.
Every 2 years.
Every 3 years.
Never.
</poll>

<poll>
Would you upgrade your computer for a sample library?
Yes, if it is so good and if I can afford.
Not really, make the sample sets fit my computer.
I don't know.
</poll>

[[Category:Hauptwerk]]

Matyas Pipe Organ

2009-12-27T00:11:57Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St. Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the belltower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 1930’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for a few more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished by high concentrations of ambient ammonia; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows, even today, who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmastime in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its holy property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south belltower, interior painted ornaments, and frescos were renovated once again. The general reconstruction, which had been interrupted by the War, however, did not continue. Unresolved technical problems led to a rapid deterioration of the structural integrity of the building in the 1990's. On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community carried it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the unchecked deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as detailing the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. By late 2007, Zsolnay had begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction project. In September 2008, one of the most challenging parts – the reconstruction of the gates – had started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the aforementioned fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ has deteriorated in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and components of the old instrument's action that could be salvaged, and combined romantic- and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart, repaired and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer capture system. Another stop, the Chamade 8’, was built into the organ's exterior case. The 5-manual 85-stop organ has slider-and-cone wind-chests powering 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture, who co-built for example the Palace of Arts Budapest 92-stop symphonic organ, and has had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded by Inspired Acoustics, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in such a way as to capture the sonic experience near the organ console. During the 2009 recording sessions, the church acoustic was partially damped due to the major inner reconstruction work occuring in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3.XX supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2009-12-26T23:47:30Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X only as recently as the year 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the bell tower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 30’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for some more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows even today who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmas time in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south bell tower and interior painted ornaments and frescos were renovated. The general reconstruction, which had been interrupted by the war, however, did not continue. Unresolved technical problems led to a rapid deterioration of the condition of the building in the 90's.
On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community brought it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the heavy deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. In late 2007, Zsolnay begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction. In September 2008, one of the most challenging parts – the reconstruction of the gates – has started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ worsened in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and the action of the old instrument that could be saved and combined romantic and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer. Another stop, a Chamade 8’, was built into the organ. The 5-manual 85-stop organ has slider and cone wind-chests with 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture who co-built for example the Palace of Arts Budapest 92-stop symphonic organ and had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in a way to capture the sonic experience near the organ console. During the recordings the church acoustic was partially damped due to the major inner reconstruction works in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3.XX supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2009-12-26T23:46:26Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reintroduced by Pope St. Pius X in 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the bell tower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 30’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for some more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows even today who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmas time in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south bell tower and interior painted ornaments and frescos were renovated. The general reconstruction, which had been interrupted by the war, however, did not continue. Unresolved technical problems led to a rapid deterioration of the condition of the building in the 90's.
On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community brought it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the heavy deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. In late 2007, Zsolnay begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction. In September 2008, one of the most challenging parts – the reconstruction of the gates – has started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ worsened in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and the action of the old instrument that could be saved and combined romantic and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer. Another stop, a Chamade 8’, was built into the organ. The 5-manual 85-stop organ has slider and cone wind-chests with 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture who co-built for example the Palace of Arts Budapest 92-stop symphonic organ and had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in a way to capture the sonic experience near the organ console. During the recordings the church acoustic was partially damped due to the major inner reconstruction works in the cathedral (the RT30 reverberation time was in average 3% shorter). The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3.XX supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2009-12-19T05:53:53Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455, St. John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, the elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut diagram from 1541 shows, the tower (except for its roof) was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reinforced by Pope St. Pius X in 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his successful escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish occupants transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory there. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building's architecture.

In 1626, Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as repository for gunpowder storage for a while longer. In 1690, Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning, resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing parish's domain came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought there from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls, details of which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia, the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the bell tower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the work in progress. In the 30’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for some more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows even today who was responsible for saving the Buda Castle Church from complete demolition by the wrecking ball.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmas time in 1948, Cardinal Mindszenty and his court priest, Dr. János Fábián, were seized by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south bell tower and interior painted ornaments and frescos were renovated. The general reconstruction, which had been interrupted by the war, however, did not continue. Unresolved technical problems led to a rapid deterioration of the condition of the building in the 90's.
On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St. Steven, and St. Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, specially re-crafted for this special occasion, on 5th July in Rome, and believers from the Main Church community brought it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the heavy deterioration. As a result, it became evident that one of the most important religious monuments of the country, and its number one tourist attraction, desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The quality of restoration estimates at least a hundred years of undisturbed operation after its intended completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. In late 2007, Zsolnay begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction. In September 2008, one of the most challenging parts – the reconstruction of the gates – has started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf, Austria. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual was installed in the attic of the church and its sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ worsened in the ensuing decades.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and the action of the old instrument that could be saved and combined romantic and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electro-pneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer. Another stop, a Chamade 8’, was built into the organ. The 5-manual 85-stop organ has slider and cone wind-chests with 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key organ repertoire in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is being restored by the Pécsi Organ Building Manufacture who co-built for example the Palace of Arts Budapest 92-stop symphonic organ and had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ's sounds were entirely recorded, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in a way to capture the sonic experience near the organ console. During the recordings the church acoustic was partially damped due to the major inner reconstruction works in the cathedral. The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3.XX supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in, initially to be made available for the PC platform.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2009-12-19T05:24:19Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to the public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455 St John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut from 1541 shows, the tower except of its roof was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reinforced by Pope St Pius X in 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his unhurt escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory here. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building.

In 1626 Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as gunpowder storage for a while. In 1690 Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing of the parish came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought here from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the bell tower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the works. In the 30’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for some more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows even today who has saved the Buda Castle Church from complete demolition.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmas time in 1948, Cardinal Mindszenty and his court priest Dr. János Fábián were taken by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south bell tower and interior painted ornaments and frescos were renovated. The general reconstruction, which had been interrupted by the war, however, did not continue. Unsolved technical problems led to a rapid deterioration of the condition of the building in the 90's.
On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St Steven, and St Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, made for this special occasion, on 5th July in Rome, and believers from the Main Church community brought it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the heavy deterioration. As a result, it became evident that one of the most important religious monuments of the country and its number one tourist attraction desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The restoration aims at least a hundred years of undisturbed operation after completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. In late 2007, Zsolnay begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction. In September 2008, one of the most challenging parts – the reconstruction of the gates – has started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual were put in the attic of the church and their sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ turned worse and worse.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and the action of the old instrument that could be saved and combined romantic and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electropneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer. Another stop, a Chamade 8’, was built into the organ. The 5-manual 85-stop organ has slider and cone wind-chests with 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key pieces in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is restored by the Pécsi Organ Building Manufacture who co-built for example the Palace of Arts Budapest 92-stop symphonic organ and had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ was entirely recorded, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in a way to capture the sonic experience near the organ console. During the recordings the church acoustic was partially damped due to the major inner reconstruction works in the cathedral. The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Matyas Pipe Organ

2009-12-19T05:22:12Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:Matyas console1.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:Matyas aio1.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]
[[Image:Matyas left1.jpg|thumb|right|300px|Left touch screen view in the Hauptwerk release]]
[[Image:Matyas cresc1.jpg|thumb|right|300px|Crescendo (page 1 of 3) touch screen view in the Hauptwerk release]]

Matyas Pipe Organ Samples is the upcoming virtual pipe organ version of the 1909/1984 Rieger-Kloss pipe organ (Op. 3541) of Matthias Church, Budapest, Hungary. The ''Church of Our Lady'', which is popularly named Matthias Church after King Matthias Corvinus, was founded in the year 1015. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt sampler software format, but the Hauptwerk version is a complete re-recording of the instrument using the latest computer and audio technology.

The Matthias Church (Mátyás-templom) is '''part of the UNESCO World Heritage'''.

== History of the Matthias Church ==

The first Church of Mary in Hungary was founded by Saint Stephen, later known as the Church of Saint Steven. The first evidence of the Church of Mary in the Buda Castle dates back to 1247, although researchers admit there had been a village on the Castle Hill of Buda before the Mongolian invasion, too. In fact, it is very likely that this church is mentioned in the legend of Gellért in "Pesth minor" (the name of Buda in the Middle Ages) where bishop Saint Gellért was buried temporarily, having been killed on the hill named after him in 1046.

The Mongolian invasion resulted in major loss in Hungary's population and towns, and Pest, possibly including the first Church of Mary, was also destroyed in the winter of 1242. A certificate dated 1247 establishes jurisdiction of the Bishop of Veszprém over the first Church of Mary which is the first direct evidence of its existence.

King Béla IV founded the city of Buda between 1245 and 1255, and the construction of the Our Lady's Church was completed - in two stages between 1250 and 1270. Cistercian craftsmen constructed the main chancel, the false transept, the "Bridal" portal, the south side aisle and the northwest gate, while later, a second group of craftsmen finished the church characterized by northern French influences.
During the following centuries, the church served a key role in nominating kings (Louis the Great and Sigismund of Luxemburg, for example). Coronation ceremonies took place in Székesfehérvár, but kings returned to Buda to make a pledge to keep up the privileges and show themselves to public: Przemysl Vencel (1301-1305), Bavarian Otto (1305-1307) or Anjou Charles Robert (1309-1342).

Louis the Great (1342-82) reconstructed the church in Gothic style, resulting in the building of the southwest "Mary" gate, and raising of vaults of the side aisles. In 1384, during service, the belltower collapsed, possibly because in the course of the reconstruction, its static structural integrity had been compromised. There were no injuries according to the Windecke chronicles. The first picture from 1493, a woodcut in the Hartmann-Schedel World Chronicles, shows the church without the tower being intact.

King Sigismund of Luxembourg (1387-1437) extended the church eastwards. The tradition of introducing elected kings continued with Albert (Habsburg, 1438), Wladislas I (Jagelló, 1440) and Mátyás Hunyadi in 1458. In 1455 St John of Capistrano spoke in the church to promote participation in the campaign against the Turkish occupation. Not much later, in March 1456, Pope Callixtus III approved the transformation of the Buda Castle Parish into a collegiate church. Previously, Buda belonged to the territory of the Veszprém bishopric, but the Buda Castle Church of Mary became under the direct jurisdiction of the Archbishop of Esztergom.
In 1458, elected king Mátyás (Matthias) Hunyadi (1458-90) came directly from Prague to the Buda Church of Our Lady to hold a Thanksgiving service to God and the Virgin Mary, and swore an oath to respect ancient rights. The nation accepted Matthias as King, but the coronation ceremony only took place in 1464 in Székesfehérvár. Both of his weddings with Czech princess Katalin Podjebrád and - after becoming a widow - with Beatrix of Aragonia took place in the church in 1461 and 1476, respectively.

From 1461 to 1470 the southern belltower was partially reconstructed. As a woodcut from 1541 shows, the tower except of its roof was finished. In 1497, Pope Alexander VI granted the title of Arch-presbyteratus to the parish, and Arch-presbyter (prelate) to Pál Wam parish priest, including a right for him and his successors to bear the pontifical badge. This privilege, forgotten during the Turkish occupation, was reinforced by Pope St Pius X in 1908.

King Wladislas (Jagelló) II in 1515 presented a votive statue of Mary to the church, to duly commemorate his unhurt escape from an attack on his life. After the 1526 Mohács offensive, Buda was occupied by the Turkish for the first time. Sultan Suleyman II burned the city down, including the church. Some of the artifacts of the church were loaded into ships and transported to Bratislava, when the first news of the defeat at Mohács arrived. After the Buda Castle had been captured, the Turkish transformed the church into a mosque within mere hours: the altars and statues were thrown out; walls whitewashed and covered with carpets, so that Sultan Suleyman could celebrate his victory here. The Church of Our Lady became the central mosque of Buda for 145 years. The Turkish pulled down the southern chapels and the Matthias royal oratory, in order to have enough stone to rearrange the building.

In 1626 Cardinal Péter Pázmány initiated the recovery of the remainder of the church artifacts from the Bratislava city council. The Army of the Sacred League, united and financed by Pope Innocent XI, approached and recaptured Buda in 1686. The king ordered the church to be given to the Jesuits. From Easter Sunday of the year 1688, the choir and orchestra of the church was working again, but the Béla tower remained to be used as gunpowder storage for a while. In 1690 Palatine Pál Esterházy ordered a new Baroque main altar to be built in the sanctuary. The Jesuits built a college on the north side and a three-story tall seminary to the south side of the church.

In 1696, the Matthias tower’s top was an onion-shaped dome rather than the original Gothic roof and three side chapels were built on the north side, and in front of the south facade. A fire in 1723 burned down the bells and caused other damages, and in 1748 the church was hit by lightning resulting in having to pull down the Esterházy style Baroque main altar. The new main altar was completed between 1758 and 1760. At that time, the roof was covered with new clay tiles. In 1773, Pope Clement XIV surrendered to the pressure of the French, Spanish and Portuguese royal courts and dissolved the Jesuit order. As a consequence, the flourishing of the parish came to an end, the college was closed, and the Buda Castle Church was handed over to the City of Buda (later Budapest capital). Until 1945, the city magistrates elected parish priests and provided for the maintenance of the church. The Jesuit order played no further role in the life of the parish church, even after it had been reinstated in 1814.

The outside of the church was renovated and plastered in 1789, including the tower, but the Baroque onion dome of the Matthias tower remained in place until 1840. In 1841 it was replaced with a flat temporary roof. Following an 1867 agreement between Austria and Hungary, Cardinal and Prince-Primate János Simor crowned King Francis Joseph I (1867-1916) and his wife, Elisabeth with the Hungarian Sacred Crown, and thus the Austrian-Hungarian Monarchy was established. Ferenc Liszt's Coronation Mass was played for the first time. In 1873, the King ordered the reconstruction of the church from the baroque style back to the original Gothic. Major reconstructions took place between 1874 and 1896 under the supervision of Frigyes Schulek. This was the time when the present image of the church was created.

Schulek had the neighboring buildings pulled down so that the church could stand alone again as before. Also, in order to reconstruct the original walls, the church itself was pulled down in several places. Where Schulek found no hints for the reconstruction of the original architecture, he inserted sections of his own design: he built an atrium in front of the Mary gate, constructed the new St. Steven chapel where the destroyed Gara chapel had stood before, and reconstructed the Baroque chapels attached to the north side aisle in Neo-Gothic style, based on historical illustrations. He also renovated the crypt, which had been built in 1870, in free Neo-Gothic style, to accommodate the two coffins of Béla III and his wife, brought here from Székesfehérvár. Internal decoration works, as well as the manufacture of altars and furniture were not only supervised by Schulek, but also Bertalan Székely and Károly Lotz. They found traces of medieval, carpet-like decorative painting on the church walls which inspired the unique interior seen today. Their work was also based on ancient Hungarian tendril patterns and contemporary secession style. Székely and Lotz painted the frescoes themselves. Altar pieces on the St Imre altar were painted by Mihály Zichy. By 1896, millennium celebrations of the Hungarian land conquest, the main coronation church regained its former glory, if not its exact former historic architecture. With the 1898 relocation of the bodies of Béla III and Anna (Chatîllon) of Antiochia the Church of Our Lady came into the full legacy of the destroyed Székesfehérvár royal cathedral.

On 30th December 1916, Cardinal Prince-Primate János Csernoch crowned King Charles IV and Queen Zita with the Sacred Crown.

Since there was a quick deterioration in the stone material, in 1936 János Schulek - son of Frigyes Schulek - began renovation works starting with the bell tower roof and reconstructing the spiral towers. During the course of the renovation, Prime Minister Pál Teleki initiated the replacement of the stones on the outside of the church, which started in 1941, but the process was only finished on the south side, as World War II interrupted the works. In the 30’s, all interior ornaments of the church were repainted.

After the Treaty of Trianon, the church preserved its formal glory for some more decades, but during the Soviet siege between 1944 and 1945, the church property and its belongings were seriously harmed: its roof was burned down; the arches were damaged and the pipe organ was muted. In the crypt, the German army built a temporary camp kitchen; later on, Russian soldiers kept horses in the chancel, the Loreto chapel was used as a latrine and church attire was tarnished; several pieces of artwork had disappeared. The building was declared dangerous and condemned to be pulled down by the authorities under communist influence, together with the nearby Church of Mary-Magdalena. No one knows even today who has saved the Buda Castle Church from complete demolition.

Cardinal Prince-Primate József Mindszenty, who was working on healing people's souls in a country of ruins, announced a festive year for Mary with countless events and pilgrimages. At the beginning of the pilgrimage, Cardinal Mindszenty delivered his keynote speech at the church. At Christmas time in 1948, Cardinal Mindszenty and his court priest Dr. János Fábián were taken by the communist secret police (ÁVO) and sentenced to prison, marking the start of an open and violent persecution of the Church.

The Catholic Church had been stripped of all its property. Necessary maintenance (1946-49), and war damage reconstructions (1950-70) were commenced by the Hungarian government. The south bell tower and interior painted ornaments and frescos were renovated. The general reconstruction, which had been interrupted by the war, however, did not continue. Unsolved technical problems led to a rapid deterioration of the condition of the building in the 90's.
On 19th August 1991, Pope John Paul II visited the church. On 24th June 1994, a bomb exploded above the gate of the crypt, resulting in serious damage to the chancel, the royal oratory and the stained glass windows of the St Steven chapel. Restoration was made by the Esztergom-Budapest Main Church District by public donations.

On 15th August 2000, the church community celebrated the 1000th anniversary of the founding of the Hungarian State with a pilgrimage. In 1000 A.D., Pope Sylvester II had sent a crown to St Steven, and St Steven left his crown and his state to the Virgin Mary, thus creating the Country of Mary: Regnum Marianum. Pope John Paul II blessed a duplicate of the Sacred Crown, made for this special occasion, on 5th July in Rome, and believers from the Main Church community brought it on foot from Rome to Esztergom.

The rapidly deteriorating condition of the Matthias Church building has been documented in the late 1990s. The scope of ongoing diagnostic examinations initiated by the Parish in 1998 had to be expanded in light of the heavy deterioration. As a result, it became evident that one of the most important religious monuments of the country and its number one tourist attraction desperately needs comprehensive reconstruction and facility modernization. Findings of the examination finished in 2001 contained the opinions of experts and professional companies as well as the concept of reconstruction. In September 2004, full reconstruction plans were initiated; in October 2004 the reconstruction was formally announced. In December 2004, the reconstruction plans were ready and implementation started in mid-2005 with an approximate budget of HUF 4 billion (US $25 million / EUR 15 million at the time of writing) and a planned completion date of 30 June 2010. The restoration aims at least a hundred years of undisturbed operation after completion.

Archeological excavations revealing more than 600 medieval graves, wall drying, tower and other reconstructions have started. In late 2007, Zsolnay begun to re-manufacture the pyrogranite roof covers. Several other works continued in parallel, but in late November 2007, the reconstruction costs were re-estimated to HUF 7.75 billion (US $43 million / EUR 29 million) and the completion date was pushed back to 30 June 2012. The church remained operational, allowing visitors’ ticket revenues to support the expensive reconstruction. In September 2008, one of the most challenging parts – the reconstruction of the gates – has started.

Restoration of Hungary’s most frequently re-built church is still continuing and is expected still to be complete in 2012.

== History of the organ ==

While King Matthias had organ builders in his court, and thus the church was likely to have an organ installed already that time, the first organ we have records of was built in 1688: Esztergom archbishop György Széchényi donated a positive organ worth 100 forints. A mere seven years later, palatine Pál Esterházy had the choir of the church extended and probably a bigger organ built. This pipe organ was destroyed in the fire in 1723. A new one was soon made by an organ builder named Márton and an even larger one was started in 1768 but then later it was sold. After the long restoration of the church, a new organ was built yet again, the case of which was also designed by Frigyes Schulek. Unfortunately, it soon turned out that the instrument did not meet the musical requirements of the space in which it was intended to perform.

In 1909, Francis Joseph (Franz Joseph) donated a new organ for the church to celebrate the 40th anniversary of his coronation. It was built by the Rieger manufacture in Jägerndorf. The instrument was built in a late romantic style, using the plans of Viktor Sugár, and had electro-pneumatic action with 4 manuals and 77 stops. The organ case was designed in 1893 by Schulek himself, with a central angel figurine resembling the features of Ferenc Liszt.

According to the acoustic fashion of the time, the pipework of the fourth manual were put in the attic of the church and their sound was directed to the church aisle via a 14-meter-long wooden tube.
In 1931, again using the plans of Sugár, the Budapest manufacturer Rieger company extended the ‘Royal organ’ to 85 stops, and, for the first time in Europe, equipped with a Setzer-combination. The pipes were brought down from the attic and the inner construction of the organ was changed – unfortunately, for the worse. During the 1944 Soviet siege, the instrument was damaged badly and was rendered mute. It was temporarily restored after the War, but the condition of the organ turned worse and worse.

In 1979, a committee was created to design the new instrument with the cooperation of Ferenc Gergely, István Koloss, István Baróti and titulaire organist Bertalan Hock. They designed a symphonic organ that uses the valuable pipes and the action of the old instrument that could be saved and combined romantic and baroque style ranks of pipes. In 1982-83, the organ was completely taken apart and then reassembled under the supervision of church organist Bertalan Hock in the Jägerndorf (Krnov, Czechoslovakia) workshop of the Rieger-Kloss organ factory. The renovated organ was sanctified on 25th January 1984 by Cardinal-Primate László Lékai dr.

Their excellent work resulted in a new, five-manual, 85-stop organ with electropneumatic action (Rieger-Kloss Op. 3541).
After finishing the grand organ, a two-manual, 18-stop choir organ Fernwerk was built. This instrument can also be played from the console of the grand organ at the organ loft, but it can also be used independently during liturgy or as an accompaniment of the concerts in the church.

The Rieger-Kloss organ was extended in 1999 and the number of Setzer combinations was increased from 8 to 798 using a dedicated computer. Another stop, a Chamade 8’, was built into the organ. The 5-manual 85-stop organ has slider and cone wind-chests with 6875 pipes. Together with the choir organ on the ground floor and the Chamade 8’, 104 stops were available. The new, five-manual, 85-register was used in 80-90 concerts every year, besides regular liturgical use. Every Sunday at 10 o'clock there is a choir church service, often with the participation of the orchestra. Key pieces in the history of music were first played here including the Coronation Mass by Ferenc Liszt, and the Buda Castle Te Deum by Zoltán Kodály. The organ loft is also the place for the church choir and orchestra, the oldest orchestra in Hungary operating without interruption since 1688.

In March 2009, as part of the major reconstruction work of the church, a public tender for reconstructing the symphonic organ was published, and pipe organ work is planned to be completed. The organ is restored by the Pécsi Organ Building Manufacture who co-built for example the Palace of Arts Budapest 92-stop symphonic organ and had countless historic organ restoration projects and experience in restorations of all scales.

In the spring of 2009, the organ was completely disassembled as part of the thorough cathedral restoration, and itself is being restored at the time of this writing. Just before disassembly took place, the organ was entirely recorded, chromatically in 192kHz/24-bit format, to capture its sonic characteristics for posterity's sake.

== Acoustics of the church ==

The Matthias church is widely known for its pristine acoustics: ideal for sacred, organ, choral and orchestral music repertoire. Unlike usual churches or cathedrals, the reverberation times of the church are well-balanced over a wide range of frequency bands, resulting in unusually smooth frequency/decay characteristics in the reverberated sound. The pipe organ was recorded in a way to capture the sonic experience near the organ console. During the recordings the church acoustic was partially damped due to the major inner reconstruction works in the cathedral. The original, intact pristine acoustics however, was successfully and carefully captured before the renovation has started, and is available as impulse responses for convolution reverberation in the [[INSP:IR Impulse Library]].

== Features of the Matyas virtual pipe organ ==

The Matyas Pipe Organ Samples set contains multiple loops and multiple release samples that are selectable by the end user to maximize performance with one's computer processing capabilities and available RAM quantity. A fully operational reproduced console is captured with the real organ's original internal sequencer intact, plus additional controls such as the swellbox operational direction selector, wind control and the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]].

=== Release date and development progress ===

* March 2009: The complete re-recording of the Matyas Pipe Organ was completed in 192 kHz, 24-bit digital sound format by Inspired Acoustics.
* November 2009: Private beta.
* December 2009: Public beta with all stops functional.

The Matyas Pipe Organ Samples is expected to be released on 31 January 2010 or earlier.

=== Types, versions, editions and ODF files ===

There are two editions of the Matyas Pipe Organ:
* Matyas Pipe Organ Samples Professional Edition (2010 release)
* Matyas Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Matyas organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already successfully used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Matyas Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The Matyas Pipe Organ Samples for Hauptwerk 3 supports real-time spatial customization for both its stereo and surround versions. Customization includes setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the release samples as well as tracker and engine noises, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of sustained sound and reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_matyas.jpg|thumb|right|300px|Keyboard mass controls in the Matyas virtual pipe organ]] The Matyas virtual pipe organ implements the [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically based on the actually held key.

=== Organ and sample set data ===

Build date: 1909 (77 stops) Rieger, 1931 (85 stops) Rieger, 1984 (85 stops) Rieger-Kloss

Manuals: 5 and pedalier

Stops: 85 speaking stops

Original compass: 58 (keyboards) / 30 (pedal)

Internal sequencer: 798 frames

Crescendo wheel stages: 72

Crescendo programs (independently programmable): 3

Release layers: 3 and 2 (provided with different ODF files for the Hauptwerk release)

=== Business model ===
A portion of monetary proceeds from customer purchases of the Matyas Pipe Organ Samples as part of [[Inspired Acoustics]] virtual pipe organs financially support the real pipe organ (Rieger-Kloss Op. 3541) at Matthias Church in Budapest, Hungary.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pedal'''
| align="center" style="background:#f0f0f0;"|'''I. Positiv-A'''
| align="center" style="background:#f0f0f0;"|'''II. Hauptwerk-A'''
| align="center" style="background:#f0f0f0;"|'''III. Schwellwerk-Récit'''
| align="center" style="background:#f0f0f0;"|'''IV. Positiv-B'''
| align="center" style="background:#f0f0f0;"|'''V. Hauptwerk-B'''
|-
| 102 Bourdon 32'||86 Principal 8'||66 Principal 16'||37 Bourdon 16'||18 Gedackt 8'||1 Bourdon 16'
|-
| 103 Principal 16'||87 Bourdon 8'||67 Praestant 8'||38 Principal 8'||19 Quintatön 8'||2 Flûte harmonique 8'
|-
| 104 Praestant 16'||88 Salicional 8'||68 Gemshorn 8'||39 Bourdon à cheminée 8'||20 Spitzflöte 4'||3 Quinte 5-1/3'
|-
| 105 Violon 16'||89 Octave 4'||69 Nachthorn 8'||40 Flûte traversière 8'||21 Principal 2'||4 Praestant 4'
|-
| 106 Subbass 16'||90 Gedackt 4'||70 Octave 4'||41 Gambe 8'||22 Larigot 1-1/3'||5 Tierce 3-1/5'
|-
| 107 Bourdon 16'||91 Nasat 2-2/3'||71 Rohrflöte 4'||42 Voix céleste 8'+8'||23 Octave 1'||6 Septiéme 2-2/7'
|-
| 108 Quinte 10-2/3'||92 Waldflöte 2'||72 Quinte 2-2/3'||43 Octave 4'||24 Obertöne 3x 1-1/7'||7 Flûte 2'
|-
| 109 Octave 8'||93 Terz 1-3/5'||73 Superoctave 2'||44 Flûte octaviante 4'||25 Zimbel 3x 2/3'||8 Mixtur 6x 2-2/3'
|-
| 110 Flûte 8'||94 Scharff 5x 1-1/3'||74 Cornett 3-5x 8'||45 Dulciane 4'||26 Sordun 16'||9 Bombarde 16'
|-
| 111 Bourdon 8'||95 Trompete 8'||75 Mixtur 5x 1-1/3'||46 Quinte 2-2/3'||27 Krummhorn 8'||10 Tuba 8'
|-
| 112 Tierce 6-2/5'||Sp. Trompete 8'||76 Trompete 8'||47 Octavin 2'||||
|-
| 113 Octave 4'||||77 Trompete 4'||48 Flûte conique 1'||||
|-
| 114 Flûte 4'||||||49 Cornet 3-4x 2-2/3'||||
|-
| 115 Locatio 5x 5-1/3'||||||50 Mixtur 5x 2'||||
|-
| 116 Nachthorn 2'||||||51 Cymbale 3x 1/5'||||
|-
| 117 Mixtur 4x 2-2/3'||||||52 Basson 16'||||
|-
| 118 Bombarde 32'||||||53 Trompette harmonique 8'||||
|-
| 119 Posaune 16'||||||54 Hautbois 8'||||
|-
| 120 Basson 16'||||||55 Voix humaine 8'||||
|-
| 121 Trompete 8'||||||56 Clairon 4'||||
|-
| 122 Clairon 4'||||||||||
|-
| ||||||||||
|-
| 123 P+I||96 Tremulant I.||78 II+I||57 Tremulant III. ||28 Tremulant IV.||
|-
| 124 P+II||97 I+III||79 II+III||58 III+IV||||
|-
| 125 P+III||98 I+IV||80 II+IV||59 III+V||||
|-
| 126 P+IV||99 I+V||81 II+V||60 III sub||||
|-
| 127 P+V||100 I super||82 II+I super||61 III super||||
|-
| 128 P+V super||101 I+III super||83 II+III sub||62 Fernwerk an||||
|-
| 129 Glocken p.||||84 II+III super||63 Crescendo ab||||
|-
| ||||85 II+V super||64 Zungen ab||||
|-
| ||||||65 16' Man.; 32' Ped. ab||||
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356067173115920641
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.503895" lon="19.032204" zoom="16">
(M) 47.501955, 19.034208, Mátyás-templom
Mátyás-templom
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:29:47Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, (abbreviated 'KO') from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's ''Watermusick,''
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The KO sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:18:22Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, (abbreviated 'KO') from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The KO sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:15:10Z

Jcfelice88keys: /* Types, versions, editions and ODF files */

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layers programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:07:07Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:06:38Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>v=PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:04:23Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
''Chant de Paix (Song of Peace)'' by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:03:19Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>PL1XM42euTo</youtube>
The third demo is "Chant de Paix" (Song of Peace) by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-08T08:02:40Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

<youtube>http:PL1XM42euTo</youtube>
The third demo is "Chant de Paix" (Song of Peace) by Jean Langlais, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-04T16:44:26Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is ''Roulade'' by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is ''Hornpipe'' from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-04T16:43:11Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is Roulade by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

<youtube>vX-KyOum4Rk</youtube>
The second demo is Hornpipe from Handel's Watermusick,
with modern cadenza, courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-04T16:39:33Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is Roulade by Seth Bingham (1872-1972) courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-04T16:37:54Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ&fmt=18</youtube>
The above demo is courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

Kispest Pipe Organ

2009-12-04T16:36:56Z

Jcfelice88keys:

{{main|Inspired Acoustics}}

[[Image:KO_ConsoleView.jpg|thumb|right|300px|Console view in Hauptwerk release]]
[[Image:KO_AIOView.jpg|thumb|right|300px|One-page touch screen view in the Hauptwerk release]]

Kispest Pipe Organ Samples, from Inspired Acoustics, is the virtual pipe organ version of the 1927/2001 Rieger-Varga pipe organ (Op. 2256) of Kispest, Budapest, Hungary. The 38-stop virtual organ set is considered as representing one of the finest sounding romantic style pipe organs outside of famous French cathedral settings. Several sounds of this organ were originally released in the [[Notre Dame de Budapest Pipe Organ Samples]] in the Kontakt and Gigasampler software formats, but the upcoming Hauptwerk version represents a complete re-recording of the instrument (re-recorded in March of 2009, only days before the instrument was to be disassembled pending church and organ restoration) using the latest in audio recording technology and cutting edge spatial customization features based upon models of human psycho-acoustical perception in stereo and surround modes.

<youtube>BY9r6EpNkPQ</youtube>
The above demo is courtesy of Joseph Felice, USA.

== Sample set details ==

The sample set contains user-selectable multiple loops and multiple release samples to optimize computer usage. In addition, a photo-realistic version of the fully operational console is reproduced with the organ's original internal sequencer, along with additional controls such as the swellbox operational direction selector or the wind control.

=== Release date and development progress ===

* December 2008: The complete re-recording of the Kispest Pipe Organ was completed.
* July 2009: Spatial customization feature announced and being developed.
* August 2009: Private Beta version.
* November 2009: Public Beta version.
* December 2009: Pre-ordering starts for the first release.

The Kispest Pipe Organ Samples is expected to be released and shipped before 20 December 2009 as a download delivery and before 20 January 2010 as a retail box delivery. Retail box deliveries are made on an External Hard Disk Drive.

=== Types, versions, editions and ODF files ===

There are two editions of the Kispest Pipe Organ:
* Kispest Pipe Organ Samples Professional Edition (2009 release)
* Kispest Pipe Organ Samples Extended Edition (TBA)

The '''Professional Edition''' contains versions of the Kispest organ samples in one package, featuring multiple [[Organ Definition Files]] (ODF) for different scenarios, dependent upon available computer capability and audio output hardware. For each type of organ there are 2 ODF files provided: one having all 3-release sample layer programmed and the other providing 2-release layers only. This allows going beyond Hauptwerk's Version 3.XX supported loading setups and provides more flexibility in RAM usage allowing smaller computers to load the sample set fully. These two [[Organ Definition Files]] files share the same cache in Hauptwerk so with the available separate Hauptwerk editions ('stand-alone', 'for MIDI sequencing' or 'VSTi') they can be used to load and separately cached without conflicts. This method was already used in [[Palace of Arts Budapest Pipe Organ Samples|PAB]] Medium and Extended Editions in 2009.

Kispest Pipe Organ Samples Professional Edition contents (types):
* Stereo organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Quad surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)
* Adjustable surround organ (2 ODF files for 3 release layers and 2 release layers, respectively)

The Adjustable surround in the Professional Edition outputs 3 independent channels that allows using the provided [[INSP:DEC Surround Customizer]] full adjustability from 2.0 to 8-channel surround in any 2-dimensional setups.

=== Realtime spatial customization ===

The organ supports real-time spatial customization for both its stereo and surround versions. Customization will include setting microphone pick-up patterns and orientations, continuously, for stereo and surround speaker configurations. Spatial customization also affects the ways the release samples happen to sound, so when facing the organ facade with the microphone setup, for example, the perceived psycho-acoustic characteristics of reverberation will change accordingly. Spatial customization is achieved by the provided [[INSP:DEC Surround Customizer]] VST plug-in.

=== Dynamic KeyboardMass™ control ===

[[Image:kmass_kispest.jpg|thumb|right|300px|Keyboard mass controls in the Kispest virtual pipe organ]] The Kispest virtual pipe organ is the first to implement Inspired Acoustics's proprietary [[Keyboard mass (feature)|dynamic KeyboardMass™ feature]] allowing time-domain control of the pipe sound's response dynamically, based on the actually held key.

=== Organ and sample set data ===

*Build date: 1927 (29 stops) Rieger, 2001 (38 stops) Varga Organ Building Manufacture
*Manuals: 2 and pedal
*Stops: 38 (1, 5 and 7 combined; 12 and 29 shares C2 to G3) of which currently 37 is built
*Original compass: 58 (keyboards) / 30 (pedal)
*Internal sequencer: 576 frames
*Crescendo wheel stages: 50
*crescendo programs (independently programmable): 3
*Release layers: 3 and 2 provided with different ODF files

== Business model and the missing pedal stop ==
The Kispest Organ has a missing stop in the Pedal which was never built, due to financial shortage. When the organ recording project started at [[Shirokuma]] with [[Notre Dame de Budapest Pipe Organ Samples]] and recently at [[Inspired Acoustics]], a business model was developed to support the pipe organ from customer purchases. Monies provided by Shirokuma and Inspired Acoustics donations supported replacement of the Kispest organ's main blower engine (when it had suddenly broken in an accident) along with other internal parts of the instrument.

Following the previous business model, customers with their purchase of the Hauptwerk version of the Kispest organ support the original instrument: to maintain its state and to build the missing stop in the Pedal. Direct donations are also welcome to the foundation: [http://www.nagyboldogasszony.plebania.net/tca.php Templomunk Centenáriuma Alapítvány].

The missing pedal stop is however available in the Hauptwerk release by a custom-developed acoustic relocation technique that virtually moved and re-intonated the Trompete 8' stop into the physical location of the pedal pipes. Acoustic measurements and simulations aided this virtual relocation.

== Stoplist ==
{| {{table}}
| align="center" style="background:#f0f0f0;"|'''Pédale C–f1'''
| align="center" style="background:#f0f0f0;"|'''Grand orgue C–a3'''
| align="center" style="background:#f0f0f0;"|'''Récit Expressif C–a3'''
|-
| 1. Principal (combined) 16’||12. Principal 16’||29. Bourdon 16’
|-
| 2. Violon 16’||13. Praestant 8’||30. Diapason 8’
|-
| 3. Soubasse 16’||14. Flûte harmonique 8’||31. Flûte 8’
|-
| 4. Octave (combined) 8’||15. Bourdon 8’||32. Bourdon 8’
|-
| 5. Bourdon 8’||16. Salicional 8’||33. Gambe 8’
|-
| 6. Octave (combined) 4’||17. Unda maris 8’||34. Voix céleste 8’
|-
| 7. Bombarde 16’||18. Octave 4’||35. Dulcian 4’
|-
| 8. Trompette 8’ (not built yet, available virtually)||19. Flûte 4’||36. Flûte octaviante 4’
|-
| 9. P+I||20. Quinte 2 2/3’||37. Nasard 2 2/3’
|-
| 10. P+II||21. Doublette 2’||38. Octavin 2’
|-
| 11. P+II super||22. Cornet 5x||39. Tierce1 3/5’
|-
| ||23. Mixtur 5-7x||40. Mixtur 3-5x
|-
| ||24. Trompette 8’||41. Trompette harmonique 8’
|-
| ||25. Clarinette 8’||42. Basson-hautbois 8’
|-
| ||26. I+II||43. Voix humaine 8’
|-
| ||27. I+II sub||44. Clairon 4’
|-
| ||28. I+II super||45. Tremulant
|-
| ||||46. Sub II
|-
| ||||47. Super II
|-
|
|}

== Photos, maps ==
{{#widget:Picasa
|user=inspiredacoustics
|album=5356063589914783521
|width=600
|height=400
|captions=1
|autoplay=1
}}

<googlemap version="0.9" lat="47.454297" lon="19.142218" zoom="17">
(K) 47.453224, 19.142346
Notre Dame of Kispest
</googlemap>

[[Category:Hauptwerk organs]]
[[Category:Products]]
[[Category:Sample libraries]]

INSP:DEC Surround Customizer

2009-11-20T04:36:28Z

Jcfelice88keys: /* How the Surround Customizer works together with Hauptwerk */

[[File:inspdec_1.jpg|thumb|right|300px|INSP:DEC Surround Customizer in standard stereo]]The INSP:DEC Surround Customizer is an acoustic output plug-in that decodes a selection of vector-based audio signals into stereo or surround channels. First introduced with the [[Kispest Pipe Organ]] under the feature name '''Adjustable Surround''' and it is shipping as part of virtual pipe organ products of [[Inspired Acoustics]]. The feature is novel and unique, not only in the Hauptwerk-world, but also in the virtual instrument sampling industry as well.

Supported plug-in formats, platforms and operating systems
* VST version 2.4, 32-bit, Windows (from version 1.0)
* VST version 2.4, 64-bit, Windows (from version 1.0)

The most current version is
* version 1.0 (November 2009)

[[File:inspdec_2.jpg|thumb|right|300px|INSP:DEC Surround Customizer in 5.1 surround]]The INSP:DEC Surround Customizer is a separate and independent software of [[Hauptwerk]] specially designed to support real-time acoustic control. It works together with audio hosts as a plug-in and takes either 3-channel or 4-channel vector-based audio as an input and produces a spatially adjustable output from mono to 8-channel surround in real-time. The first product that is supplied with the INSP:DEC Surround Customizer is the [[Kispest Pipe Organ]] with the [[Matyas Pipe Organ]] following.

== Key features ==
* output from mono (1.0) to 8-channel surround (7.1)
* one-mouse-click presets for all common surround types
* real-time microphone directivity control for all channels independently
* real-time microphone rotation control in 3D
* adjustable input channel ordering
* master gain control
* standard mode for simple and easy parameter control
* expert mode for the full range of parameter control

== Performance ==
Since the plugin's graphic interface implements embedded image caching both the performance and the requirements of INSP:DEC Surround Customizer are minimum, resulting in no measurable CPU load during its operation.

== How the INSP:DEC Surround Customizer works together with Hauptwerk ==
[[File:kispest_setup_web.png|thumb|right|300px|Using INSP:DEC Surround Customizer with Hauptwerk using the Kispest Pipe Organ]]Pipe organ samples with vector-based audio data, such as the [[Kispest Pipe Organ]] or the [[Matyas Pipe Organ]] are equipped with different loader files (Organ Definition Files) of which one of them is encoded to support the real-time acoustic control feature. The samples for the real-time acoustic control feature are made so that once they are loaded they produce three or four different 'vector' channels of audio which are fed into the customizer plugin's input to obtain the adjustable audio outputs. Using the plug-in interface or automation-based parameters the audio configuration can be controlled independent of Hauptwerk. The plugin itself can produce up to 8 channels of audio from its three or four input channels per instance. By using many instances of the plugin parallel more than 8 channels of output can also be obtained.

The INSP:DEC Surround Customizer VST plugin can work together with the Hauptwerk* version 3. For Windows users Hauptwerk* is available as a VSTi plugin which together with the INSP:DEC Surround Customizer VST can be hosted by an audio software of your choice (such as Cakewalk Sonar for example). Alternatively Mac users can use a different dedicated system for the customization feature.

== Inspired Acoustics products supporting the Adjustable Surround feature ==

* [[Kispest Pipe Organ]] (from Nov. 2009)
* [[Matyas Pipe Organ]] (from Dec. 2009)

INSP:DEC Surround Customizer

2009-11-20T04:35:44Z

Jcfelice88keys: /* How the Surround Customizer works together with Hauptwerk */

[[File:inspdec_1.jpg|thumb|right|300px|INSP:DEC Surround Customizer in standard stereo]]The INSP:DEC Surround Customizer is an acoustic output plug-in that decodes a selection of vector-based audio signals into stereo or surround channels. First introduced with the [[Kispest Pipe Organ]] under the feature name '''Adjustable Surround''' and it is shipping as part of virtual pipe organ products of [[Inspired Acoustics]]. The feature is novel and unique, not only in the Hauptwerk-world, but also in the virtual instrument sampling industry as well.

Supported plug-in formats, platforms and operating systems
* VST version 2.4, 32-bit, Windows (from version 1.0)
* VST version 2.4, 64-bit, Windows (from version 1.0)

The most current version is
* version 1.0 (November 2009)

[[File:inspdec_2.jpg|thumb|right|300px|INSP:DEC Surround Customizer in 5.1 surround]]The INSP:DEC Surround Customizer is a separate and independent software of [[Hauptwerk]] specially designed to support real-time acoustic control. It works together with audio hosts as a plug-in and takes either 3-channel or 4-channel vector-based audio as an input and produces a spatially adjustable output from mono to 8-channel surround in real-time. The first product that is supplied with the INSP:DEC Surround Customizer is the [[Kispest Pipe Organ]] with the [[Matyas Pipe Organ]] following.

== Key features ==
* output from mono (1.0) to 8-channel surround (7.1)
* one-mouse-click presets for all common surround types
* real-time microphone directivity control for all channels independently
* real-time microphone rotation control in 3D
* adjustable input channel ordering
* master gain control
* standard mode for simple and easy parameter control
* expert mode for the full range of parameter control

== Performance ==
Since the plugin's graphic interface implements embedded image caching both the performance and the requirements of INSP:DEC Surround Customizer are minimum, resulting in no measurable CPU load during its operation.

== How the Surround Customizer works together with Hauptwerk ==
[[File:kispest_setup_web.png|thumb|right|300px|Using INSP:DEC Surround Customizer with Hauptwerk using the Kispest Pipe Organ]]Pipe organ samples with vector-based audio data, such as the [[Kispest Pipe Organ]] or the [[Matyas Pipe Organ]] are equipped with different loader files (Organ Definition Files) of which one of them is encoded to support the real-time acoustic control feature. The samples for the real-time acoustic control feature are made so that once they are loaded they produce three or four different 'vector' channels of audio which are fed into the customizer plugin's input to obtain the adjustable audio outputs. Using the plugin interface or automation-based parameters the audio configuration can be controlled independent of Hauptwerk. The plugin itself can produce up to 8 channels of audio from its three or four input channels per instance. By using many instances of the plugin parallel more than 8 channels of output can also be obtained.

The INSP:DEC Surround Customizer VST plugin can work together with the Hauptwerk* version 3. For Windows users Hauptwerk* is available as a VSTi plugin which together with the INSP:DEC Surround Customizer VST can be hosted by an audio software of your choice (such as Cakewalk Sonar for example). Alternatively Mac users can use a different dedicated system for the customization feature.

== Inspired Acoustics products supporting the Adjustable Surround feature ==

* [[Kispest Pipe Organ]] (from Nov. 2009)
* [[Matyas Pipe Organ]] (from Dec. 2009)