These tracks are intended to demonstrate the current resources of this instrument and the journey to this point since the expanded analogue instrument of 2004. These are all played live.

Tracks down to I'll String Along With You below were recorded in the Noosa Banks Music Room #2 (6 x 9 x 3.3m high) .

Hauptwerk 3.11

3/35 Configuration

25 channels of HW Tone Matching 2 plus stereo pair (27 audio channels in total) utilising 32 ranks of the Connoisseur 3/35 and 3 ranks of the Masterworks 3/31

September Song.mp3 Recorded 9th September, 2008

I'm moving home in few weeks time (October 2008), and the Rodgers console is sold, so this is the final track recorded in the Noosa Banks residence. Tomorrow I commence the pull down of the instrument, and next week the Rodgers "Black Beauty" console makes its way down to Terry and Bette Lloyd on Australia's Gold Coast.

3/31 Configuration

Tone Matching 2 utilising 28 ranks of the Connoisseur 3/35 and 3 ranks of the Masterworks 3/31

Moonglow.mp3 Recorded 15th April 2008

In this track I attempt to demonstrate a few of the new additions to the Connoisseur 3/35, the Vibraphone, Vibraharp  and Diaphonic Diapason.

Don't Blame Me.mp3 Recorded 15th April 2008

Here the Tibia Pizzicato, Style D Trumpet and two new Tubas are featured.

3/35 From Here To Eternity.mp3 Recorded 12th April 2008

This was the first track to use Neil's 3/35 package as the basis of my VTPO. I have attempted to demonstrate the greater ensemble transparency from Neil's new trem settings (especially the Solo Tibia) in this package, and in addition I have tried to bring to bear in some semblance of musical continuity, the new Tuba Mirabilis (via 2nd touch), new Main Tibia, and Style D Trumpet.

3/25 Configuration

Tone Matching 2 utilising 21 ranks of the Connoisseur 3/27 and 4 ranks of the Masterworks 3/31

TM2 This Love Of Mine mp3

New, spaced omni microphone positions were deployed for the above tracks. Previous microphone positions failed ot capture (tracks below) the essence of what I hear in this music room. I believe this outcome is better (after many time consuming experiments), and certainly captures a more pipe like bass. Well it does on my stereo in 24/96, and seems to retain a good deal of that in this mp3 version although the difference between 24/96 wav and 320kbs mp3 is not subtle.

TM2 Stars Fell On Alabama.mp3

TM2 Birth of the Blues.mp3

TM2 I Want A Girl.mp3

*TM2 tracks use Hauptwerk's Tone Matching 2 algorithm (TM2). In an instrument with 2 channel audio groups such as mine, TM2 ensures that two thirds of adjacent 3rds do not play in the same audio channel. The benefit? A massive reduction on intermodulation distortion (IM). The presence of IM contributes to a more 'electronic' and less pipe like outcome.  Note: with Tone Matching 2 a VTPO requires 4 channel Hauptwerk groups to completely eliminate same channel adjacent 3rds. The configuration used here has 2 channel audio groups.

For more on Hauptwerk multi channel algorithms I refer you to the following Hauptwerk Forum thread, which also includes spreadsheet maps created by Leo Christopherson of the differing audio outcomes for all Hauptwerk mutli channel algorithms for audio groups ranging from 2 to 12 channels Crumhorn Labs - Makers of the Hauptwerk Virtual Pipe Organ - Forum :: View topic - EXCEL Speaker Layout Files

C C# Cyclic with Constant Octaves

Track 1 : Somethings Gotta Give.mp3

Track 2:  Embraceable You.mp3

Track 3: Blue Skies.mp3

Tracks 1 - 4 recorded using 26 channel (24 channels for Hauptwerk and 2 for Gigastudio 3) and Hauptwerk's multi channel Cyclic with Constant Octaves C C# algorithm.

With a slightly different audio configuration.

Track 4:  I'll String Along With You.mp3

Tracks 1 - 16 below were recorded in the much larger Noosa Banks Music Room #1 (10.5 x 11.0 x 3.3m high) with differing (over time) audio configurations.

Track 5: What I Did For Love.mp3

Track 6: The Gypsy.mp3

(at this point I just managed to get the 3/27 running and so I had to use all three Tibias!)

Using the Connoisseur 3/19 package

Track 7: Stars Fell On Alabama.mp3

Track 8: It Had To Be You.mp3

Early days of Hauptwerk Connoisseur experiments in setup

Track 9: Its A Grand Night For Singing.mp3

Track 10: Bye Bye Blues.mp3 (with George solo)

Gigastudio 3

Final days of the Gigastudio 3 VTPO set up in C C# audio pairs

Track 11: Who Can I Turn To.mp3

Track 12: You're Nobody.mp3

Track 13: Bye Bye Blackbird.mp3

Track 14: Love Walked In.mp3

Track 15: Bye Bye Blues.mp3

Tracks 1- 15 recorded with the following equipment: Pair of Rode NT-5 microphones with Omni capsules into a Presonus Firebox.

GS3 Mono configuration (one rank per audio channel)

Track 16: Have Yourself a Merry Christmas.mp3

Tracks recorded using cardiode capsules in the Rode NT-5 microphones. This makes the overall sound brighter, and light on in the bass. However, than permits a louder overall recording level.

Analogue

Rodgers 340 with 2 extra sets of generators and 11 channels of audio. Recorded in the 8 x 6 x 3.5m high Sunshine Beach music room) recorded in May 2004.

Track 17: Tea For Two.mp3

The Real Thing

For reference, of sorts - here the Queensland Gallery Of Modern Art Style  260SP WurliTzer was recorded on the Zoom H-4 before the instrument was opened. At this stage the Diaphonic Diapason had a habit of coming on without rhyme or reason. This WurliTzer has simply been installed in the chambers without any scaling, in situ voicing etc. This work is still planned to occur.

Track 20: QGOMA Bye Bye Blues.mp3

(One of the rare times that a useable result has come from an H4 - but a hard sound all the same. The trick with these devices is not to use any gain - the internal preamps are.............)

QGOMA Websites:

For details on the Wurlitzer: http://www.theatreorgans.com/southerncross/Queensland/ModArt.htm

The Official QGOMA website: http://qag.qld.gov.au/

All tracks are 320kbps mp3.

 Recording software used is Sound Forge 8 and 9.