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For over sixteen years the most stable and extensive resource on the Internet for pipe and electronic organs
The hub of this site is the Complete Articles page which gives you instant access to many detailed articles dealing with numerous technical aspects of both pipe and electronic organs. Use the Google search box below to quickly identify areas of interest. While browsing, why not also listen to over 4 Ĺ hours of music played on the three manual organ below and the Prog Organ virtual pipe organ here?
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This article discusses a patent on the physical modelling synthesis of organ flue pipe sounds assigned to Viscount International SpA. It is confined solely to the patent specification rather than speculating on technical aspects of Viscount products, which might differ. The modelling concept described in the patent departs from that usually discussed in the literature in that there is no coupling or feedback between the sound generating and resonating elements of the simulated pipe. Moreover, the generator model described in the patent does not correspond to the type of nonlinear oscillator normally assumed when modelling flue pipes and similar wind instruments. Instead it models the acoustic excitation signal applied to the resonator rather than modelling the oscillator itself for reasons which are described in the patent. On the other hand, the resonator is modelled according to generally accepted physical modelling principles relating to waveguide synthesis of flue pipes, and this makes the system unique to Viscount as far as digital organs are concerned. The model is rich in terms of the number of parameters which can be adjusted to achieve the sound desired. Virtually everything which can be adjusted seems to be software-adjustable, leading to a potentially wide range of voicing options. The article is offered to expand some technical aspects of an innovative and novel approach to digital music synthesis, and to make them more accessible to a wider and less specialist audience than that targeted by the patent itself.
The picture above is of a test rig used for experiments on pipe organ valves, such as those described in the articles entitled Calculating Pallet Size, Touch Relief in Mechanical Actions and Response Speed of Electric Actions. These can also be accessed from the Complete Articles page where summaries are also available.
This electronic organ is a dual purpose instrument containing both "straight" and "theatre" voices, designed and made by the author. It is tuned to the author's Dorset Temperament with the addition of some impure octaves as described in Keyboard Temperaments with Impure Octaves. A full specification is available for download here (PDF file, 117 kB).
The things they say:
These recordings span some years and they were made in various rooms and auditoria. The older tracks were made using analogue equipment and some were recorded acoustically using microphones, hence the occasional noises due to piston thuds and page turns, etc. Other tracks were captured electrically. All are of real players performing in real time - no synthetic MIDI 'performances' here. I have not got round yet to normalising the volume settings of all the tracks so they are compatible with each other, therefore you might wish to adjust the volume between tracks depending on which ones you select. Do not be alarmed if some tracks appear to start with an excessive noise level - this simply means they were recorded at a higher level than others. Just turn the volume down to suit. In any case, it is a wise precaution to always begin playing each track at a low level to protect your audio equipment and your ears from unexpectedly high signal levels when the music begins. Although the instrument has 13 ranks of theatre organ voices in addition to its 'straight' sounds (see specification), copyright considerations preclude the inclusion of much theatre-style music here. Playing time 1 hour 35 mins approx.
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