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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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LATEST ARTICLE - Trendline Synthesis - a new music synthesis technique
When simulating musical instruments it is often necessary to adjust the tone colour or timbre of existing sound samples, or to produce entirely new ones. Conventionally, this requires the creation of new harmonic spectra to represent the new tone colour, and the modified samples are then generated using additive synthesis. However, creating the desired spectra is time consuming and laborious especially when they comprise many harmonics, and it also requires a lot of skill and experience. So some means is desirable to reduce the labour involved, and the technique of Trendline Synthesis described in this article offers this advantage. It enables a wide range of prototype spectra to be created instantaneously by specifying no more than four parameters for each one, regardless of how many harmonics they might contain. Thus manual intervention is minimal, making the design cycle for a new synthetic sample set much faster, cheaper and more flexible than creating it from recordings of existing instruments or constructing a set of new spectra harmonic by harmonic. Audio recordings are included, showing that Trendline Synthesis can produce convincing aural examples of the four classes of pipe organ tone colour - diapasons (or principals), strings, flutes and reeds. These advantages ensue from the simple means by which a spectral envelope is approximated by a set of trendlines, and for organ pipe spectra it has been found that only two lines are necessary. Because only two parameters are required to define a straight line, it follows that no more than four are needed to define both trendlines in any spectrum and thus the spectrum itself. A novel computer design tool is described which facilitates the process.
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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