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Live recorded improvisations by Frιdιric Deschamps

Wet Direct version (extended)

 Flute 4'  •  wav  •  mp3  Flutes 8'  •  wav  •  mp3
 Small Plenum  •  wav  •  mp3  Jeu de Tierce  •  wav  •  mp3
 Dialog 8',4',2'  •  wav  •  mp3 Flutes 8' + 4'  •  wav  •  mp3
 Mixtures  •  wav  •  mp3  

 

Surround version (extended) - front and reach channels mixed together

 Mixtures II  •  wav  •  mp3 Small plenum  •  wav  •  mp3
 8'+4'  •  wav  •  mp3  Mixtures  •  wav  •  mp3
Flute 4'  •  wav  •  mp3  8' solo  •  wav  •  mp3

 

Dry version (extended)

 8' + 4' + 2'  •  wav  •  mp3  Flutes 8' + 4'  •  wav  •  mp3
 Small Plenum  •  wav  •  mp3  Full Organ  •  wav  •  mp3

 

Audio samples - MIDI performance

The MIDI files were kindly supplied by James Pressler. Hence, the very same virtual performance could be recorded several times, each time using different version of the sample set. The result may be compared to hear the differences in the sample sets. The multi-channel surround version was encoded using the Dolby Digital (R) format - the file extension .ac3 - and therefore may be only reproduced on the equipment capable of decoding the Dolby Digital (R) signal and interpreting 5.1 audio signal. If you listen to the recordings on a 2 channel stereo system, you will hear the sound, but the surround effect will be gone and strange artifacts may be introduced.

In addition to the plain surround version of the sample set, there is also a dry version of the recording which was distributed to multiple channels in a surround way. This experimental recording was made to try to simulate the position of the organist sitting at the console. Therefore, the Great Organ and the Pedal are located at the back of the organist (rear channels) and the Positiv is located in front of the organist. In addition, multiple convolution reverb was used to emulate the reverberation of the space: 16 different IRs' were used simultaneously, different for each division of the sample set and different for the front and rear channels. VST plug-in Reverberate from LiquidSonics was used as the convolver. This brought the possibility of dynamically interpolating several true-stereo IR pairs, creating more variable reverb than it would be possible using a static IRs.

Jan Křtitel Vaňhal (1739-1813) : Fuga no. 1

Direct Diffuse Surround (5.1) Dry Dry+convolution reverb (5.1)
mp3 mp3 ac3 mp3 ac3
wav wav wav (multi-channel) wav wav (multi-channel)

Jan Křtitel Vaňhal : Fuga no. 4

Direct Diffuse Surround (5.1) Dry Dry+convolution reverb (5.1)
mp3 mp3 ac3 mp3 ac3
wav wav wav (multi-channel) wav wav (multi-channel)

Jan Křtitel Vaňhal : Fuga no. 8

Direct Diffuse Surround (5.1) Dry Dry+convolution reverb (5.1)
mp3 mp3 ac3 mp3 ac3
wav wav wav (multi-channel) wav wav (multi-channel)

Jan Křtitel Vaňhal : Fuga no. 10

Direct Diffuse Surround (5.1) Dry (5.1) Dry+convolution reverb (5.1)
mp3 mp3 ac3 ac3 ac3
wav wav wav (multi-channel) wav (multi-channel) wav (multi-channel)