Tech Support

I was asked to extend my repitching experiment by comparing the 96kHz performance against 48kHz performance in Hauptwerk 7. I did the same as yesterday: loading pure sine wave of 2kHz into a Hauptwerk "pipe". Holding the pipe sounding while rising the pitch of the pipe gradually to +50 cents, then resetting to 0, then lowering the pitch gradually to -50 cents, then resetting again to 0. I was using the Hauptwerk native pipe voicing for this, dragging the pitch slider up and down with a mouse. Continue reading →

Many years ago, I created an article on the Hauptwerk 4 aliasing. It is still diplayed on my web. Many users are asking whether the audio engine improvements of the recent Hauptwerk versions are worth the upgrade. This article gives the answer. Continue reading →

Jan Loosman reported special speaker setup for 8-channel surround sample sets, which proved convincing and realistic sounding. His report, including the photos of his setup below. Thank you, Jan!

We all know this phenomenon from playing a real pipe organ. Every organ in the world is always a little bit out of tune, perfectly tuned organ does not exist. And in spite of that, when played, the organ does not sound terrible. One reason is pipe coupling phenomenon. Continue reading →

The convolution engine in Hauptwerk can provide nice enhancement to older wet/surround sample sets, especially when the recorded tremulants are missing. The Hauptwerk tremulant model sounds a hundred percent more convincing when IR reverb is applied to the artificial tremulant. Continue reading →

Frankly, the mixer introduced first in Hauptwerk 5 (similar in Hauptwerk 6) is probably the most tortuous piece of software I have ever met. It is very powerful, but it can hardly be understood by a human being. It took me about 2 months to understand its functionalities. Hauptwerk user manual was of some help, but even reading it 3 times over, I still could not understand the fundamental concept of the mixer, and therefore I could not really master it. A simple advice helped me to finally get the insight. Continue reading →

All Sonus Paradisi sample sets are Hauptwerk 5 (and 6) ready!

Unencrypted sample sets are ready for Hauptwerk 5 or 6 natively. No update or upgrade is necessary. The sample sets run smoothly in the new Hauptwerk after the upgrade from Hauptwerk 4.

Encrypted sample sets must be reinstalled. All the sample sets were updated with the Hauptwerk 5 versions. These are good also for Hauptwerk 6. Continue reading →

A question from a user e-mail:
Must a computer have an internet connection active when Hauptwerk 5 loads sample sets encrypted by an iLok? Continue reading →

6-channel surround sample sets sometimes raise many questions. Some users are concerned about RAM consumption (yes, 6-channel surround uses about 3x more RAM than a conventional stereo sample set). Some are concerned about the "best" listening scenario while using the 6-channels, some express hesitations about the acoustical principles of the 6-channel surround, fearing that blending too many channels together will harm the resulting sound. Well, how to use the 6-channel surround sample sets? Continue reading →

The Pedal matrix is a new feature of the Sonus Paradisi ODFs. It provides the user with a convenient way of dynamically assigning the physical MIDI continuous controllers (such as balanced swell pedal or a roller crescendo) to the virtual organ controls. Continue reading →