Bader organ Walburgis-church Zutphen (Nld)

In addition to the particularly successful performance to capture the sounds of a Schnitger organ in a sample set, Jiri Zurek (Sonus Paradisi) has also made a fantastic performance with the sampling of the special sounds of the Bader organ. Both sets reproduce the sounds in the church extremely well in the living room.

The sound beauty of the Principals is striking, a mild chiff and a vocal character. The Principal plenum of the main work sounds distinguished, modest and broad.  On the other hand, the choir organ is much more direct; the tones begin with an articulation and have a penetrating sound. The Flutes and the Quintaden are very characteristic. The beautiful sound of the reeds is characteristic of the sound idiom from which Bader has designed his organ.

The DRY samples show the sounds well, the articulation is perfect and the somewhat rustling sounds in the church are well heard in the living room.

                                     Bader-orgel in Zutphen
Holzhey Organ  Weissenau 1787

Prospectum has created a perfect set of the Holzhey organ. The sample set brings the sounds of a large organ in a church with cathedral acoustics to the living room.

The registers show a variety of sounds from the time of the Rococo turning over in the classism. It is a unique achievement to capture the different timbres of this striking organ in samples, so that every timbre comes to its fullest right and the sounds blend well into the wide acoustics.

                                          Holzhey-orgel Weissenau

Coci-Klapmeyer organ in Altenbruch

In the St. Nikolai Church in Altenbruch is one of the oldest organs of northern Germany. In 1498, Johannes Coci built the oldest part of the organ. Matthias Mahn added the Rückpositiv in 1577 and retained the good pipes of Coci in the main work.

They are gothic sounds, the most authentic style of organ sounds. The metal of pipes that has produced the same sound for centuries has changed metallurgical, which is audible in the resonance of these pipes. It is comparable to the sounds of a Stradivarius. With the time and the use, the sound matures and gets a special resonance.

In 1730, Johann Klapmeyer expanded the organ with the use of the historical material. Jiri Zurek delivered a top performance with his samples, in which the exceptional sounds are optimally stored.

Authentic organ sounds and perfect recordings go here together

                      See also:   Coci-Klapmeyer-orgel in Altenbruch

Arp Schnitger organ 1721    Zwolle

Arp Schnitger was the best organ builder in northern Germany in the Baroque period and its organs were used in the second half of the last century as an example to rediscover the lost art of organ building. By building organs in the style of Schnitgers, the organ builders were able to get to know the old crafts.

The Schnitger organ of the St-Michaëls church in Zwolle was designed by Arp Schnitger, but was completed after his death by his sons Franz Caspar and Johann Georg Schnitger. The organ has four keyboards and is with 64 registers the largest organ of Schnitger.

There are only a few sample sets of Schnitger organs and rarely are the sounds well recorded. But this does not apply to the samples that Jiri Zurek - Sonus Paradisi created in Zwolle, the sounds of Schnitger are perfectly defined here in the stores.

The sounds of a cathedral church organ are reproduced
                                   in the living room while keeping the character

                                                      to:  Schnitger-organ in Zwolle

Hinsz organ Midwolda (Nld)

The composition of the mixture of the main work, clearly sounding in bass but dark in the treble by adding thirds on 16 foot base. It is intended to support the municipality vocals together with the Cornet. Many organists asked me for a good organ to study the accompaniment of the municipality singing after their choice of the Lohman organ (Sygsoft) in Heusden proved to be a disappointment.

My advice to study with the sounds of the Hinsz organ of Midwolda proved to be the best solution, I got enthusiastic reactions. In Groningen this organ is considered to be one of the best organs for accompaniment of the municipality vocals. The sample set gives an excellent representation of the sounds and many organists use this set as a study organ for their church services.
It is the first Hinsz organ that has been well sampled.
                                                 Hinsz-orgel Midwolda

Casavant Organ numerous Sound Richness

Swiss and French organists who also performed their concerts in America were enthusiastic about the enormous sound richness. The organ construction is less traditional than in Europe and is focused on an extensive choice of sounds with subtle differences in voicing. The sample set of this Casavant organ is very well heard.

The timbres of the Reeds are beautiful solo voices, but also merge well with the labial registers. The unique character of each reed is striking. Where these are often close to each other in European organs, the sounds of this organ make a unique difference.

The Flutes have a pleasant sound flow from a velvety bass to a clear but round sound in the treble.

The sounds of the Chimes are very special. The organist can play here as
a Bell player in the tower.

                                                    Casavant organ

Schnitger Orgel Martini Church Groningen

is the heart of the organ garden of Europe. Nowhere in the world a higher concentration of historical organs can be found.
World famous is the Schnitger Organ in the Martini Church. Organists from many countries visit this organ to hear the magnificent sounds. That they call this organ the most beautiful in the world may be arbitrary, there is no objective standard for it, it shows that the sounds are of exceptional beauty.

Jiri Zurek captured the sounds in a sample set and he said about it:
"After a year of development, the sample set of the Martini organ is ready. I want it to be the best sample set ever and that's why I've given all my skills to this sample set."

From the beginning I have been able to follow the process and now that I have heard the result, I find that a new standard for making sample sets has been created. The sample set surpasses all sets of all sample makers.                                                      Martini Organ

The best Sample sets for Hauptwerk 5

A good sample set for Hauptwerk has sounds that are completely identical to pipes. This is only possible if they are recorded at a short distance from the pipes, so that they are stored in a memory without acoustics such as DRY sample. The samples taken at a greater distance are WET samples. Here you can hear more of the acoustics, while the sound of the pipe sounds from a great distance. In this way, it transforms the organist near the organ to the listener into a far distance in the church.

In Hauptwerk 4, two loudspeakers transmit to a short distance from the organist and concentrate on his ears, the sounds from the DRY samples. A second set of speakers have the WET samples with the acoustics, but with the result that it sounds to the organist like an organ at a long distance. This does not fit with playing the organ in the church. There, the organist hears the pipe sounds from a short distance and at the same place also the reverberation in the acoustics of the church.

Hauptwerk 5 has solved this excellently by applying convolution hall (explanation here). With sounds from the DRY samples and the convolution hall of the church, the situation corresponds to the organ playing in the church. This sounds as if the Hauptwerk organ in the living room has been moved to the console in the church. The prerequisite is that the samples are of impeccable quality.

I have played the organ in many hundreds of churches in Europe and because I have an absolute hearing, I can remember every detail of the sounds. The sample sets I use are mostly from organs I actually played in their churches. With Hauptwerk 5 and convolution hall it sounds as if I am playing the organ in this church.

Historical organs always have the most interesting sounds because pipes sound more beautiful if they are older; As with violins, the time factor adds sound beauty. This is not to say that all sample sets of historical organs are better, because many beautiful organs are sampled extremely poorly. A good example of bad samples is the Hinsz organ in the Bovenkerk in Kampen. I have often played the organ in Kampen, but in the sample set I do not recognize anything of the organ in the Bovenkerk. It is not even recognized as a Hinsz organ. The only thing that is conveyed are pipe sounds that confuse far away in a hollow acoustics. Melody lines run into confusion, polyphonic play is impossible.

                                                       Below is a list of sample sets that meet high standards.

Serassi romantic Organ
                Santa Maria van Campagna in Piacenza

The organ of the church in Santa Maria of Campagna in Piacenza, Italy was built in 1825 and 1838 by Serassi under the advice of Padre Davide da Bergamo.
The organ is one of the most important organs in Italy because it was made by the most important organ builders, the Serassi brothers, and because it provided the organ with a new and more extensive range of sounds in collaboration with Padre Davide. The sounds of this organ ushered in a new era.

Until about 1800, the Italian organs were small instruments with subtle and refined sound. A low wind pressure with low cuts made the sound more overtone and singing. The collaboration between Padre Davide and Serassi created a new organ style with rich hues, the italian romanticism.

The wide variety of sounds makes this sample set particularly suitable for the living room. Organists who prefer to play improvising can find a very extensive range of sounds here.

No sample set has so many different timbres
                                                                              Serassi organ

Ibach romantic Organ St.Gertrudis Bergen op Zoom

The most beautiful romantic organs are made in the time of the High romantic, the years 1850 to 1890. In the period thereafter, the economy was at a low level and an organ builder had to try to keep the company going with cheaper material and dubious sound effects. It was the expiration time and it lasted until 1930 when the ‘Orgelbewegung’ led a period of rethinking. The lost art of the making of an organ had to be found again by studying historical organs. In the first place, it was found in the baroque organs, and later the better organs from the time of the High romantic were also involved. In addition to the organs of Walcker, romantic-symphonic works sound excellent on the organs of Richard Ibach.

After an in-depth historical-musicological research, Jan Jongepier has established that the Ibach organ of St. Gertrudis  church belongs to one of Europe's most beautiful romantic organs. A restoration to the original design of Richard Ibach was performed by Verschueren in Heythuysen. It took place in the period 2009-2011 under the advice of Jan Jongepier, Rogér van Dijk and, on behalf of the National Cultural Heritage Department, Rudi van Straaten.
The work includes the restoration of the organ cabinet, the bearings, and the historical pipe work. The wind supply was completed and new wind chests were manufactured for all works. Both keyboards and key- and register mechanics were reconstructed. The new parts were manufactured by example of other Ibach organs. A Bassoon 16' was added to the original disposition on Manual I.

Jiri Zurek of Sonus Paradisi has recorded the sounds of this organ in a sample set.
A sample to contains the sound as it sounds in the church and needs to be adapted to the living room, to reproduce the sound ratios as an organist hears it in the church. According to my simplified method (see Hauptwerk Books) I was able easily to adapt these samples per stop. This organ was surprisingly good because the sounds were stored very evenly in the samples. In a short time, the colourful tonal palette of the 42 registers sounded in good proportions. In the enormous acoustics the overwhelming sound of the full organ, but also the tender sounds of the subtle voiced soft voices. Many nuances can be heard in colors and ascending degree of loudness.
                                                        See Ibach Romantic

Smecno Renaissance-orgel from 1587

The Renaissance-Organ of the Holy Trinity Church in Smecno (30 km west of Prague) is the oldest organ preserved in good condition in the Czech Republic. It was built in 1587 by an unknown Builder. In 1775 Jan Rusch in Litomerice has added a small Baroque Choir organ during an extensive renovation work. 
Dusan Doubek carried out a renovation of the organ in the Renaissance style. The name plates showed the original names of the pipes that are mostly original. The organ sound is the original Renaissance sound.

The renovation of the organ is continued in the years 2009-2010. The Baroque Choir positive remained separate from the Renaissance organ with an own manual and own register stops. It is located opposite the main organ and the organist must choose whether he plays the Renaissance organ or the choir organ.

The exceptional construction of this Renaissance instrument

The Renaissance organ with one keyboard is built on two separate wind chests. The first contains only the main chorus and on the other one has the flutes. It is possible to mute a wind chest with valves. They can be used to distribute the register by the Italian style of Choro Primo and Choro Secondo. Thus, it is possible to switch quickly from the plenary sound to the flutes and it imitates two keyboards.
The samples of Sonus Paradisi show the original sounds of the Renaissance period beautifully. The Resonans of 450 years old pipes with their musical beauty is well displayed in the living room.
Prague Tyn church Mundt organ    mild Baroque sounds

The Tyn church in Prague has one of the best preserved seventeenth-century organs in Europe. It was built by Johann Heinrich Mundt in 1673. The sounds are in the style of the southern German organs.
The characteristics of the Southern German organ school are: an instrument with two manuals with short octaves, in which the Positive is intended as the smaller brother of the Main Organ for a dynamic and spatial contrast.

Mild Principals with an expressive chiff, even with very low wind pressure. Sparkling and clear sounds of Mixtures that often contain a tierce. Wide variety of flute registers, including the typical wooden Copulas -small Gedackten - with a light chiff. Several flutes with special characters make beautiful consort registrations possible. In the organs of the southern German school the first string Registers were applied. The organ in Prague is the best example of Czech organ construction.

The samples of Sonus Paradisi produce the sounds in the style of the southern German Baroque. The style is a welcome addition to the baroque sounds of more northern character. The pipes have measures and wind pressures that are also common for house pipe organs and the sounds are therefore particularly well displayed in the living room.