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Ruby 3/44 Config 6 Currently '5.2' as work-in-progress 20% complete This Config is planned to include all of the features of Config 5 with the following changes and/or additions: Change Open and Horn Diapason samples (done) Reterrace all ranks (20% complete) Reset all tremulants (20% complete) including tremulant randomisation settings (done). 'Solidify' audio ground further (75% complete) Add a 4 further channels to create two extra 4 channel groups for Main and Solo Tibia, Tuba Horn, and Brass Trumpet. Add 2nd Style D Trumpet (one with ensemble trem for Main, and the other with GW set solo trem for solo on an either/or basis) Win Lotto.
Ruby 3/44 Config 5
Simon also asked that I tune the Tibias, Voxes and Sax, with the trems ON note by note. Although I already had (for all previous configs) the Tibias flattened slightly (an average of 3 - 5%) to offset the going-sharp of the Tibia trems, Simon's suggestion made an incredible difference. This, when combined with the 4 channel audio groups, removes or ameliorates the intervals which can cause the offending 'ee-waw' from Voxes and the Sax. Naturally, once completed, this then made these ranks unusable in an off-trem context. That, in turn caused me to make changes to the ODF so that I had identical off trem ranks for the ranks which had been tuned on-trem. There are no limits when one is dealing with a virtual pipe organ! I had installed two groups of four Behringer B20131A Truths for Owen Jones' VTPO Tibias, Voxes and Sax, as I preferred the sound musically to all other options with those speakers. Just why I preferred it would never have occurred to me. I have always been so focused on adjacent 3rds and 5ths as being the harbinger of electronic and acoustic mixing nasties! Thank you Simon! I was so impressed with the impact of the 4 channel groupings on these, and other ranks impacted (I had allocated 4 ranks per 4 channel group), that the number of 4 channel groups has now been extended to a total of six in Config 5. Very often the outcome is greater than the sum of their parts. Which was the reality for the Voxes. Two of which (Main and Solo) spoke through two 2 channel groups, split in the middle. Other ranks display a new level of transparency which is not achieved by using 2 channel groups, or even using two 2 channel groups as was the situation with the Voxes. Interestingly, all Tibias remain in two channel groupings, for now. The 3-way loudspeakers used imbue a quality that the 2-way Behringers can't deliver. However, my ears tell me that four 3-ways would be heaven! Config 6? The Hauptwerk Organ Definition File (ODF) is Neil Jensen's standard 3/35 ODF expanded to accommodate Ruby's 44 rank specification with the std set of HW tremulants increased from 20, to 25 and other tremulant changes to suit such changes. ALL Hauptwerk filters are turned OFF.*see below
Further Information In Config #3 which used four Echo Audiofire 12 audio devices I mixed 'dry' and 'moist' samples to overcome what I perceived to be a lack of fullness in the critical mid range of some ranks. For Config 4 RME (Dec 2011), the much more authentic and stable mid range of the RME gear has made this approach completely unnecessary. Now the only use of Paramount 'moist' samples are in the deepest bass notes of the Diaphonic Diapason and English Post Horn. During the time (Oct - Dec 2011) that I have been working with Simon Gledhill on improving the musicality of Ruby, I have been to hell and back. Initially two of my Echo Audiofire 12 audio devices sort of failed, which then made me question my choice of hardware. Then, my MacPRO suffered bad RAM, which did not fail completely for some weeks. This manifested itself in all sorts of haphazard nonsense. If Ruby, my VTPO, was pipes, then what happened was tantamount to the blower self destructing, the chests exploding and someone uninvited completely revoicing the pipework! And, then, like Humpty Dumpty it would all be put back together only to fall apart once more! Awful. However, all throughout these mysterious happenings, Simon maintained his interest. Thankfully, early on after the Echo issues I decided to try some RME audio devices (HDSPe-MADI/M-32DA) as replacements for the Echos, and the musical outcome was a revelation. The 32 bit processing of the RME draws out information from the 24 bit samples which was stunning. Another step closer to the real thing. But even here I had some issues to resolve, mostly triggered by the bad RAM, drivers, and the Echo's lack of a galvanically isolated word clock input. Eventually, all of the issues were resolved, and the new audio device configuration settled in. As important as the RME gear is, the major musical element in the Config 4 RME outcome are the critical changes in audio layout and configuration based on feedback from Simon. I am indebted to Simon for his generosity in time, patience, and goodwill. No amount of high quality gear would have made for such a positive change on its own. Indeed, the current musical outcome represents what is possible from a VTPO community which assists and develops itself. My continuing thanks to Jim Gallops and Don Springer for their invaluable assistance to me this year.
My Definition of Sampling Proximities "dry" - microphone(s) very close to the pipe "moist" - microphone(s) just outside the pipe chambers "wet" - microphone(s) in the body of the hall, church, theatre, or room
*for discussions on Hauptwerk filters please consider these topics: http://forum.hauptwerk.com/viewtopic.php?f=4&t=9106 http://launch.groups.yahoo.com/group/VTPO/message/18773 http://launch.groups.yahoo.com/group/VTPO/message/18769 And, from the ATOS Theatre Organ Workshop Notes (available from the ATOS Marketplace for $90) http://www.atos.org/marketplace Please read Chamber Design 1 and Chamber Design 2 in conjunction with the Hauptwerk Forum topic above specifically points 3. and 4.
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This site was last updated 03-Apr-2012
