Re: [jOrgan-user] play release part of sample with jOrgan

[<jbe...@fa...>]

Jan said: "I am very amazed(I do not know if this is the right word) about 
jOrgan users. They do not like the reality of release samples (just cutoff a 
release 8 ft  36 note at 1000hz  and reduce attenuation) , but they love the 
nasty reality of leaking organ pipes which organ builders really do not like 
and should be repaired!"

It is not that jOrgan users "do not like the reality of release samples." 
However, the effect of the release sample is, practically, lost in the flow 
of music being played at most normal tempos.  It might be noticeable if no 
artificial reverb, at all, were being used and/or the samples, themselves, 
contained the reverberation of the ambience in which the organ was recorded. 
Given this fact, the parameter settings which effectuate a release effect by 
"release maker" in Polyphone are more than adequate to achieve an acceptable 
result.

I have stated before that, in my personal opinion, "CD Quality" sound is 
that of sound,  heard by a listener in the audience or congregation, not 
that of the player in an orchestra or at a piano or organ.
Key noise, pallet noise, stop change noise, or windchest aspiration or 
blower noise, while a reality at certain locations close to the console, are 
not tonal sounds of an instrument and add nothing to the actual music, 
however much "realism" they might add to the mechanics of performance.    Of 
all of these, the one that might give some realism to the sound of the music 
is the blower noise (background" or wind aspiration, white or pink noise, 
and, even this is extraneous to proper sound quality from the audiophile's 
perspective.

Jan, your description of release sample ("just cutoff a release 8 ft 36 note 
at 1000Hz and reduce attenuation") needs some explanation.    Is this what 
you think jOrgan users do with release samples, or is this what Polyphone 
does,  or is this what you believe should be done regarding release samples?

Since an 8 ft. stop at note 36 is a frequency of about 64 Hz, a cutoff 
frequency (if that is what you mean) of 1000 Hz will effectuate a detectable 
difference in tonal quality ( as compared with no frequency cutoff)  and 
attenuation.    This is one of the weaknesses of MIDI, effectuated 
electronically.  That is, the unexpected interdependence of, seemingly, 
unrelated parameters, such that, if one is changed, it affects the quality 
of another, needing to be changed, in turn,  to compensate.  It creates a 
"nuisance factor"  of "correlated tuning."

Some of the parameters in Polyphone have a rather dramatic effect and 
attenuation is one of them.  I tried using a 6dB attenuation setting, per 
octave, in the instrument pool of my soundfonts, since they are synthesized 
sounds and, using one sample per octave, were uniform.  However, the very 
noticeable change in volume from the B note of one octave to the C note of 
the next higher octave was objectionable.  So, I changed my system and, in 
the Samples pool, I decrease ("Change Volume"), per octave,  by 10%, 
starting with 70% for MIDI notes 12 and 24 (C=16 Hz and C=32 Hz) up to the 
wave files of MIDI note numbers 108 (C=4186 Hz) and #120 (C=8372 Hz), which 
are set to 5%.  The transition from one octave to another is much gentler 
and the change in volume is hardly noticeable.  This gives
an, overall, blend to the sound.   But their individuality is perceptible 
(with headphones, particularly).

I have, often, thought that I would love to be able to have a professional, 
organ voicer take my soundfonts and tune or "voice" them with the parameters 
of Polyphone, just as he would the actual pipes of an organ.   I am not sure 
that that could be done, but I would love to hear the end result!

John Beach