Digital Organ Choice

[FelixLowe]

Have you viewed the latest and recently most elegant TVC on Ulferts? What sort of tonal design is suited to an interior design such as this: http://videos.wittysparks.com/id/3586254041? Personally, I feel that although the interior decoration is nothing close to the gothic style, the lighting resembles that. So I think the Austrian, South German Baroque with French Doublette 2' would fit it quite nicely. But how about the actual cabinet of the organ? What colour should it be? Black or white. If you see the actual TVC on TV, which is a little brighter than this, the actual colour of the wall paper and the coffee table are more greyish silver. I think the environment tends to be aesthetically minimalist in style, still preserving some of the rationalised Baroque leafy patterns.

But if the sitting room features this design such as that featured on the packaging of the Sleepy Time tea, then the Dutch classical accent would fit it better because it is more secular, straightforward, less mystic and more composed.

 

[FelixLowe]

I believe it is a D5000 Series model.
What indeed makes a difference in the sound, is the sound system installed there, the tweaks of the voices and all the further sound adjustments, and the fact that it is recorded live, and not internally.
Expect the demo songs to sound quite a lot different from that, since i believe they will have digital reverb and all the stuff like that.

When they arrive, upload some of the pieces.
P.S: I am preparing a demonstration video now that i have finished my exams.

Cheers,
Nick

But I went to youtube to hear your previously placed BWV 555 videos. But they aren't there any more. What's wrong with them? Last time, there was one with the Mixture off left on the website. Now even the other one was taken out. How come?

By the way, if you don't mind, could you try to combine the Vox Humana with the Viola di Gamba (if you have such a stop) to see if it sounds like the South German Vox Humana? This is because I am wondering whether I would like to have the North German one or the South German one. But if it can be synthesised in this way, then certainly having it in two stops can increase the assortment of tonal palette. The South German Vox Humana is sometimes needed for playing some Bach's piece for Advent, but the North German Vox Humana cannot acheive the voice needed for effect. Of course, normally the tremulant is used together. So, perhaps you could try the combination and comment on the quality.

Previously, when my Allen MDS module was working, there were both Vox Humanas A and B to choose from -- one was a thin reedy voice, and the other was reedy but with a body, that can be used alone without having to combine with another stop. But I guess the "body" of it was in fact a string of some sort.

Similarly, I believe the North German Vox Humana can combine with the Oboe with the tremulant on to produce a similar effect, but this one may sound louder than the Vox Humana combination.

You might like to try both combinations and write about your comments.

 

[FelixLowe]

This week, I have received three sample compact disks on organ music performed on various models of Content organ. I am still trying to digest the fine differences between the D4000 series and the rest -- the D5000, D6000 and the Mondri Classic series. Again, initially having audited a few samples from every compact disk, my initial conclusion is that there are little, if any, differences between the flues and flutes between all four series. However, there must be some differences in the Mixtures between the D4000 and the rest. The reeds in the D4000 also sound firmer and more substantial than the rest. The delicate reeds in the D5000 upwards must have been taken from those North German organs belonging to the Marcussen and Sons' type of organ, the delicateness of whose reeds may be best appreciated through listening to the Marcussen-and-Sons-restored Roskildt Cathedral organ in Denmark for comparable comparison.

Whereas with D4000, I would assume that their reeds are taken from some Central German organs, as much as their Mixtures. And I have written earlier that I detected some resemblance between the D4000 and the Wager organ of Germany.

One can almost say for sure that their Cymbel II found in the D5000 upward series is a replication of the Marcussen and Sons' Cymbel. But that is different from the Scharff they have for the D4000 models -- they have the Scharff Mixture III instead, I would think. But that Scharff Mixture is yet different from some of the South German Baroque pipe organs, such as the Cymbel III we often heard.

But one thing that really piqued my interest in Content while I was perusing the introduction booklet they sent me is that I discovered one unique aspect of their voicing control function: not only is it possible to adjust the volume of every key of a stop, the most exciting thing is that their compound stops like Mixture, Cornet and Sesquialtera, that have multiple ranks combined, may have their individual ranks adjusted for volume. Now, this is quite essential because there have been various opinions and contentions expressed in organ literature from the past as to which rank -- the 12th or the 17th -- should be the louder rank in a Sesqui.

Also with the Mixtures, various ranks stand out in various octaves. So this is really a way designed in the functionality of the control system to allow for fine-tuning a desired ideal instrument to meet personal taste and expectation.

 

[Mister Mirabilis]

Canadaian firms - Phoenix versus Classic

I'm new to this board, and so am hoping that I'm not rehashing anything already addressed. (There are a LOT of posts to sift through!) My church is in the market for an organ upgrade ... it's going to need to be hybrid as they've spend $32K already on refurbishing the old one - bad bits and all. (This happened before I landed the DoM job there.)

There seem to be two Canadian firms that do this kind of work, Phoenix (my first choice) and Classic (my second choice.) I've played a couple of Classics, but a long time ago, back in the late 1980s ... nothing more recent. Phoenix's tonal philosophy is more along my own lines, whereas Classic seems to do a more American thing.

Does anyone have any recent experience with either firm, either purely digital, or hybrid?

Cheers

 

[FelixLowe]

I'm new to this board, and so am hoping that I'm not rehashing anything already addressed. (There are a LOT of posts to sift through!) My church is in the market for an organ upgrade ... it's going to need to be hybrid as they've spend $32K already on refurbishing the old one - bad bits and all. (This happened before I landed the DoM job there.)

There seem to be two Canadian firms that do this kind of work, Phoenix (my first choice) and Classic (my second choice.) I've played a couple of Classics, but a long time ago, back in the late 1980s ... nothing more recent. Phoenix's tonal philosophy is more along my own lines, whereas Classic seems to do a more American thing.

Does anyone have any recent experience with either firm, either purely digital, or hybrid?

Cheers

In the Anglophone world, there has been for quite some time after WWII, I suppose, a genre called Neo-classical school. It was championed by Boston's Aeolian Skinner. But that kind is equally heard in Britain in certain places now. Most brands of digital organs sold in the Anglophone world contains some elements of that. Allen has an specific Aeolian Skinner disposition, which reflects that development -- a revival of interest in European Baroque-classical organ music after WWII. Essentially, the Neo-Classical school fuses some French elements into the Anglocised German Baroque and Classical elements in their stop dispositions, most notably the use of the Flutes Harmonique 8' and 4' and including more high-pitched mutation stops on the stop panels.

The good thing about the neo-Classical school is that although it sounds quite different from European pipe organs and forms a unique tradition, the chiff provides sufficient articulation for playing European Baroque and classical pieces. But that style is engagingly churchy, especially the string stops, such as the Salicional and their narrow-scale Diapason stop. But I have heard their Koppelflote which was quite charming when drawn together with the Chimney Flute. And they emulate the French Cornet V with amazing originality if you have a listen to the introductory disc by Donald G Harrison of Aeolian Skinner, released post-WWII. It is still available from the Organ Historical Society.

Sometimes, I randomly listen to some clips on youtube, and there are now some organs in Scotland that sound the same way as the American Neo-classical organs. So I believe that tradition has already spread beyond borders.

The Phoenix organ, from what I know, has one of its four organs in it that sounds not unlike North German Baroque to a certain extent. It is more likened to the Father Willis organ.

 

[FelixLowe]

I'm new to this board, and so am hoping that I'm not rehashing anything already addressed. (There are a LOT of posts to sift through!) My church is in the market for an organ upgrade ... it's going to need to be hybrid as they've spend $32K already on refurbishing the old one - bad bits and all. (This happened before I landed the DoM job there.)

There seem to be two Canadian firms that do this kind of work, Phoenix (my first choice) and Classic (my second choice.) I've played a couple of Classics, but a long time ago, back in the late 1980s ... nothing more recent. Phoenix's tonal philosophy is more along my own lines, whereas Classic seems to do a more American thing.

Does anyone have any recent experience with either firm, either purely digital, or hybrid?

Cheers

Classic Organ Works of nowadays can do hybrid jobs, but it is not the same as the Classic Organ of the 1980s, according to bloggers who have written about this. The Classic Organ of the 1980s was acquired by someone who does digital pipe control systems. But they also sell digital stops to augment organs.

 

[FelixLowe]

Another tradition worth thinking about is the American Classic, which is equivalent to the Aeolian Skinner tonality. Of course, at the full organ setting, the North German Baroque tradition requires a larger space to avoid jarring effects. Yet, the American Classic tradition seems to be that there is smoother voicing at full organ even when heard at a shorter distance. I guess that might have to do with its Mixtures -- part of which were of Spitz pipes constructed in conical forms. This French inclination has added to the mellow quality, and this compares to German organs' sharper and more edgy Mixtures.

You can hear this Tuba Tune performed at an Aeolian Skinner instrument: http://www.youtube.com/watch?v=ei2kPON-sRg.

 

[Clarion]

There seem to be two Canadian firms that do this kind of work, Phoenix (my first choice) and Classic (my second choice.) I've played a couple of Classics, but a long time ago, back in the late 1980s ... nothing more recent. Phoenix's tonal philosophy is more along my own lines, whereas Classic seems to do a more American thing.

Does anyone have any recent experience with either firm, either purely digital, or hybrid?

I live in the Toronto area, and am quite familiar with both companies. My previous organ was a Classic II/??; and my current organ (2008) is a Phoenix III/44. I couldn't be more pleased than with my Phoenix!!

Classic really hasn't kept up with their competitors over the last 20 years, and is now pretty much a vendor of off-the-shelf stuff like Ahlborn-Galanti (now bankrupt), Johannus and Hammond Suzuki. Phoenix is the only reasonable option in the world of custom built organs and hybrids. They do quite a lot of major pipe organ renovations and hybrid work.

I live just north of Toronto. In which part of Ontario do you hang out??

 

[FelixLowe]

As I took time again to review half of the demo disk from the Mondri Classic organs, about seven of the songs, I can't help but reconfirm my belief that as of this time around, July 2010, no one else has yet surpassed the tonal quality of Content's Mondri Classic series.

It is kind of interesting to review those songs because the relevant stops all have their own unique characteristics all seeming unaffected by distortion, if any, through the sound channelling and amplification process. This of course is due to the multi-sound channelling of Content, and more importantly the Mondri Classics have numerous speakers in them -- just under 20, I think, in one case. I think this is the important point that makes it tick.

And also, as I listen more and more, I discovered that although it sounds somewhat Romantic or more like a concert organ during performance of certain repertoire, at other times, it sounds like a classical organ when performing other works.

However, I have not been able to spot any of the organ brochure's claimed "French Romantic" disposition from most of the music on the demo disk. Even if I were to fit it into the category of classical French, there would be so excruciating pain. Romantic that it may seem to sound at times, it is not French Romantic to my ear. I would rather think it is more German Romantic if any element of Romanticism is found in the Mondri Classics demo disk. I am not sure whether the demo disk has actually made use of any of the "French Romantic" stops or whether the organ's Romantic portion of its stops is indeed not French Romantic at all.

But overall the organ acheives the concert room quality, surpassing just any digital church organ. It is the kind of organ sound you would expect from a local municipal cultural venue -- an instrument torn between a secular instrument and a church installation.

What I guess is the case is that the manufacturer has prepared a batch of stops that may be used to more suitably play French repertoire, but by no means does that mean that they are French.

 

[Ntalikeris666]

As I took time again to review half of the demo disk from the Mondri Classic organs, about seven of the songs, I can't help but reconfirm my belief that as of this time around, July 2010, no one else has yet surpassed the tonal quality of Content's Mondri Classic series.

It is kind of interesting to review those songs because the relevant stops all have their own unique characteristics all seeming unaffected by distortion, if any, through the sound channelling and amplification process. This of course is due to the multi-sound channelling of Content, and more importantly the Mondri Classics have numerous speakers in them -- just under 20, I think, in one case. I think this is the important point that makes it tick.

And also, as I listen more and more, I discovered that although it sounds somewhat Romantic or more like a concert organ during performance of certain repertoire, at other times, it sounds like a classical organ when performing other works.

However, I have not been able to spot any of the organ brochure's claimed "French Romantic" disposition from most of the music on the demo disk. Even if I were to fit it into the category of classical French, there would be so excruciating pain. Romantic that it may seem to sound at times, it is not French Romantic to my ear. I would rather think it is more German Romantic if any element of Romanticism is found in the Mondri Classics demo disk. I am not sure whether the demo disk has actually made use of any of the "French Romantic" stops or whether the organ's Romantic portion of its stops is indeed not French Romantic at all.

But overall the organ acheives the concert room quality, surpassing just any digital church organ. It is the kind of organ sound you would expect from a local municipal cultural venue -- an instrument torn between a secular instrument and a church installation.

What I guess is the case is that the manufacturer has prepared a batch of stops that may be used to more suitably play French repertoire, but by no means does that mean that they are French.

Sorry for not replying for a while I was away. First of all, the video from youtube has temporarily been disabled cause i am preparing a new version of it.

Secondly, Could you post some of the demos that are included in the CDs that Content sent you, (strange as it may sound, i have not heard them) and i am curious to see how close to the real thing they are.

Thanks,
Nick

 

[FelixLowe]

Sorry for not replying for a while I was away. First of all, the video from youtube has temporarily been disabled cause i am preparing a new version of it.

Secondly, Could you post some of the demos that are included in the CDs that Content sent you, (strange as it may sound, i have not heard them) and i am curious to see how close to the real thing they are.

Thanks,
Nick

I was tryng to attach two familiar pieces which are not available at the Cornwall site or the Sakral Orgelwelt site. But the pieces did not get through and were subsequently not attached to the server. Perhaps, I had exceeded the attachment byte quota.

So, I am sorry. We may not be able to hear some of that music just yet.

As for you, have you not got those demo discs from Content? You said you hadn't heard them, but you must have. Some of the pieces on the CDs are exactly what you found on Cornwall and Sakral Orgelwelt.

All those demo music recordings are basically of similar quality throughout. In the past you already wrote that the demos from the D5000, etc, from those sales websites did not sound like the your actual Content instrument when it is played live.

I guess the demo discs give a hint of what these organs are like. The truth is normally the inbuilt organ speakers aren't of high quality. Many manufacturers expect you to install external speakers for the Cathedral environment. In Hong Kong, I have heard some famous brands installed in different churches produce vastly different acoustical results.

There is an Allen installed at St. John's Cathedral, which sounds more satisfactorily like a pipe instrument, while at North Point Alliance Church, the Allen sounds nothing more than the lowest model of a brand with inbuilt speakers amplified many times over even if they have used external speakers for the vast size of their church. Yet it is a big instrument. The organ's sound came out, I remember, as blocks and blocks of dry chord sound, which cannot possibly sound more electronic and plastic.

For Rodgers, it is the same -- there are only two places here that I've come across, which have Rodgerses properly installed: Union Church on Kennedy Road and Christ Church on Waterloo Road. All the other Rodgers installations I have come across thus far in Hong Kong sound lousy.


Felix

 

[Ntalikeris666]

I was tryng to attach two familiar pieces which are not available at the Cornwall site or the Sakral Orgelwelt site. But the pieces did not get through and were subsequently not attached to the server. Perhaps, I had exceeded the attachment byte quota.

So, I am sorry. We may not be able to hear some of that music just yet.

As for you, have you not got those demo discs from Content? You said you hadn't heard them, but you must have. Some of the pieces on the CDs are exactly what you found on Cornwall and Sakral Orgelwelt.

All those demo music recordings are basically of similar quality throughout. In the past you already wrote that the demos from the D5000, etc, from those sales websites did not sound like the your actual Content instrument when it is played live.

I guess the demo discs give a hint of what these organs are like. The truth is normally the inbuilt organ speakers aren't of high quality. Many manufacturers expect you to install external speakers for the Cathedral environment. In Hong Kong, I have heard some famous brands installed in different churches produce vastly different acoustical results.

There is an Allen installed at St. John's Cathedral, which sounds more satisfactorily like a pipe instrument, while at North Point Alliance Church, the Allen sounds nothing more than the lowest model of a brand with inbuilt speakers amplified many times over even if they have used external speakers for the vast size of their church. Yet it is a big instrument. The organ's sound came out, I remember, as blocks and blocks of dry chord sound, which cannot possibly sound more electronic and plastic.

For Rodgers, it is the same -- there are only two places here that I've come across, which have Rodgerses properly installed: Union Church on Kennedy Road and Christ Church on Waterloo Road. All the other Rodgers installations I have come across thus far in Hong Kong sound lousy.


Felix

Well, i have heard the songs of the websites, but i dont know what else is included in the CD.

As for the recordings, since they are digital (internal) there is not any environment for the sounds to blend as they would in a multi-channel installation, so it is still kind of different from upclose.

Maybe the lower end models dont have that high quality speakers, but i cant say that the case applies to my organ.


By the way, maybe you could upload them somewere (rapishare or so)
instead of here.

Regards,
Nick

 

[FelixLowe]

Well, i have heard the songs of the websites, but i dont know what else is included in the CD.

As for the recordings, since they are digital (internal) there is not any environment for the sounds to blend as they would in a multi-channel installation, so it is still kind of different from upclose.

Maybe the lower end models dont have that high quality speakers, but i cant say that the case applies to my organ.


By the way, maybe you could upload them somewere (rapishare or so)
instead of here.

Regards,
Nick

There are a lot more songs on the three CDs than from what can we find on Cornwall and Sakral Orgelwelt. The Mondri Classics demo disc specificially says the songs were recorded at the Grote Kerk Hardewijk, the Netherlands. So I am not sure if this means live recording in the Cathedral environment. I guess it would have been when they specified it this way.

I suggest you ask them for a copy of each. Even if you aren't buying another organ from them just yet, I don't think they would refuse a past customer's request.

But this is a bit hard to believe -- before you purchased your de-lux organ, you did not ask them for demo disks for previews. I wonder how you made up your mind when you were choosing between Johannus or Content.

As a matter of fact, I also find Johannus' Sweelink quite de-lux in its voicing: good replication of Dutch style, good articulation and elegantly secular. But I think Mondri Classics' sound channelling and speaker system is so far the only design one can trust for highest listening enjoyment.

I am thinking of another site also.

Cheers
Felix

 

[Ntalikeris666]

There are a lot more songs on the three CDs than from what can we find on Cornwall and Sakral Orgelwelt. The Mondri Classics demo disc specificially says the songs were recorded at the Grote Kerk Hardewijk, the Netherlands. So I am not sure if this means live recording in the Cathedral environment. I guess it would have been when they specified it this way.

I suggest you ask them for a copy of each. Even if you aren't buying another organ from them just yet, I don't think they would refuse a past customer's request.

But this is a bit hard to believe -- before you purchased your de-lux organ, you did not ask them for demo disks for previews. I wonder how you made up your mind when you were choosing between Johannus or Content.

As a matter of fact, I also find Johannus' Sweelink quite de-lux in its voicing: good replication of Dutch style, good articulation and elegantly secular. But I think Mondri Classics' sound channelling and speaker system is so far the only design one can trust for highest listening enjoyment.

I am thinking of another site also.

Cheers
Felix

Well, yes I will ask them for the CD, i am sure they wont have a problem.

How i chose content... Well, I heard the recordings from the sites as well as some live youtube videos (The ones that Xavier Varnus plays in Budapest are convincing enough on its own in my opinion). In addition to that, i asked the opinions of several Youtube users that own such an organ, (there are quite a few here and there) and they were all positive towards Content. As for Johannus, i find their voices a little too Dutch, and some of their stops sound strange. Their samples in websites are nowere nearly as good as the ones content has although, they might not represent their actual organ. Johannus have released some models that are quite good (like the vivaldi series) and now the sumphonica, but i still find their settings and voice customization options a lot more limited and simplistic compared to the ones that Content has. Johannus has focused more on adding orchestral voices, solos , gospel sounds, and other things, which i am not at all interested in. In addition to that, i liked a lot more the Cabinet design of the organs that Content offered, and that in conjuction with the what i mentioned above as well as the fact that the value for money was great , made me visit the NL, and the content factory to see the organs from upclose, and ultimately buy one.

 

[FelixLowe]

Well, yes I will ask them for the CD, i am sure they wont have a problem.

How i chose content... Well, I heard the recordings from the sites as well as some live youtube videos (The ones that Xavier Varnus plays in Budapest are convincing enough on its own in my opinion). In addition to that, i asked the opinions of several Youtube users that own such an organ, (there are quite a few here and there) and they were all positive towards Content. As for Johannus, i find their voices a little too Dutch, and some of their stops sound strange. Their samples in websites are nowere nearly as good as the ones content has although, they might not represent their actual organ. Johannus have released some models that are quite good (like the vivaldi series) and now the sumphonica, but i still find their settings and voice customization options a lot more limited and simplistic compared to the ones that Content has. Johannus has focused more on adding orchestral voices, solos , gospel sounds, and other things, which i am not at all interested in. In addition to that, i liked a lot more the Cabinet design of the organs that Content offered, and that in conjuction with the what i mentioned above as well as the fact that the value for money was great , made me visit the NL, and the content factory to see the organs from upclose, and ultimately buy one.

About Johannus' functionality, I am not sure if their latest models can't do a lot of the things you mention Content offers. But in terms of recording and editing professional samples of organ tones, I think Content has definitely done an excellent job. And their choice of pipeworks to sample is quite a good mix, too. For example, most of the stops seem to be narrow-scale stops they sampled, if you listen to their music files they provide on their demo disc, their organs can sound really powerful at full organ with booming bass. But in no way does the booming bass distort the upperworks, their delicate reeds. This is what makes hearing their organs such enjoyment. However, I am not sure if it is the case for all their series. At least, I believe they are pretty good at keeping distortion to minimum for their Mondri Classics.

I believe there are identical characteristics of Content's D5000 and the Sweelinck. The only thing is the Oboe of Johannus sounds like the Oboe-Schalmei, which has a specific European flavour to it specific to the North German Baroque tradition.

 

[Ntalikeris666]

About Johannus' functionality, I am not sure if their latest models can't do a lot of the things you mention Content offers. But in terms of recording and editing professional samples of organ tones, I think Content has definitely done an excellent job. And their choice of pipeworks to sample is quite a good mix, too. For example, most of the stops seem to be narrow-scale stops they sampled, if you listen to their music files they provide on their demo disc, their organs can sound really powerful at full organ with booming bass. But in no way does the booming bass distort the upperworks, their delicate reeds. This is what makes hearing their organs such enjoyment. However, I am not sure if it is the case for all their series. At least, I believe they are pretty good at keeping distortion to minimum for their Mondri Classics.

I believe there are identical characteristics of Content's D5000 and the Sweelinck. The only thing is the Oboe of Johannus sounds like the Oboe-Schalmei, which has a specific European flavour to it specific to the North German Baroque tradition.

For the most part i have to agree with you.

Now, when it comes to the distortion thing, one of the most major factors that makes the Mondri Classic not have such problems, is the fact that it does not have many stops. It is almost impossible to keep a perfect tonal clarity when more than these stops are used. I am not saying that my organ suffers from such problems, but still if for example you combine many 8' pitch stops (flues) and couple all of them in one manual, it starts to sound a little distorted. Still, though even at full organ you are able to hear almost all the stops used, from soft reeds to Tubas and En-Chamade.

I am wondering, is there any demo featuring the Chamade stops? ( i am curious to see how they are presented there.)

 

[FelixLowe]

For the most part i have to agree with you.

Now, when it comes to the distortion thing, one of the most major factors that makes the Mondri Classic not have such problems, is the fact that it does not have many stops. It is almost impossible to keep a perfect tonal clarity when more than these stops are used. I am not saying that my organ suffers from such problems, but still if for example you combine many 8' pitch stops (flues) and couple all of them in one manual, it starts to sound a little distorted. Still, though even at full organ you are able to hear almost all the stops used, from soft reeds to Tubas and En-Chamade.

I am wondering, is there any demo featuring the Chamade stops? ( i am curious to see how they are presented there.)

I have to hear those discs again to spot any En Chamade. But in my latest design of a stop list, I have deleted a Chamade or Tuba in favour of a Bourdon 16' just in case I need it.

The truth is, in my opinion a Festival Trumpet can be synthesised by drawing the Trumpet 8' and the Gamba 8' together. And I believe adding the Vox Humana 8' will lead to some sort of Chamade trumpet. The Rohrflote 8' drawn could add firmness to it.

Perhaps you might like to do a few experiments on your organ and take notes of the results to see how satisfactory the above formulas are.

 

[Ntalikeris666]

I have to hear those discs again to spot any En Chamade. But in my latest design of a stop list, I have deleted a Chamade or Tuba in favour of a Bourdon 16' just in case I need it.

The truth is, in my opinion a Festival Trumpet can be synthesised by drawing the Trumpet 8' and the Gamba 8' together. And I believe adding the Vox Humana 8' will lead to some sort of Chamade trumpet. The Rohrflote 8' drawn could add firmness to it.

Perhaps you might like to do a few experiments on your organ and take notes of the results to see how satisfactory the above formulas are.

Well, i am not sure what the result of combining those stops will be, since each has a different speach time, and so on. The chamades are a little more ferocious compared to a Trumpet/Vox Humana combination.

I will try it though.

 

[FelixLowe]

Well, i am not sure what the result of combining those stops will be, since each has a different speach time, and so on. The chamades are a little more ferocious compared to a Trumpet/Vox Humana combination.

I will try it though.

I mean you may be able to replicate the fiery buzz by drawing all three: the Trumpet, the Gamba and the Vox Humana to synthesise a Chamade.

To fake a Tuba, I guess you may only need the Gamba, the Rohrflote and the Vox Humana perhaps.

 

[Ntalikeris666]

I mean you may be able to replicate the fiery buzz by drawing all three: the Trumpet, the Gamba and the Vox Humana to synthesise a Chamade.

To fake a Tuba, I guess you may only need the Gamba, the Rohrflote and the Vox Humana perhaps.

I tried the combinations you said, but the result was quite different compared to a tuba or En-Chamade stop. The Trumpet with the vox humana and the gamba might have provided a buzz similar to the one of an en chamade trumpet, but still lacked all the other characteristics that make chamade stops unique.

As for the tuba, the combination sounded more like a softer version of the vox humana, with a rounder feeling, but nowere near to a Tuba.

Though, there might be other interesting combinations with the Quintaden or string/reed combinations, which i want to experiment.