[jOrgan-user] Nadur Gozo Basilica Organ

[Dr Mark Bugeja MD]

Although work still has to be done on other versions of this organ, I am
happy to announce the release of the jOrgan version.

Much work has been done and more has yet to be done by me and by Graham
Goode to whom I remain greatly indebted. Special thanks must go to Paul
Stratman (USA) and John Reimer (Australia) for their sterling work in
producing this jOrgan version which is made up of 6 samples per octave.

To obtain the download link, you are kindly requested to do so by submitting
an order for the free set through the website dedicated to this instrument:
http://maltesepipeorgans4.webs.com.

The virtual organ enjoys the full functionality of the instrument as
probably was intended by the original organ builder but that the current
real instrument sadly lacks. Notes or even entire ranks that do not play on
the real organ were reconstructed from the original pipe organ sound
recorded. Full restoration of the actual organ was not possible because of
insurmountable hurdles that digital technology allowed us to overcome in the
virtual world.

Have fun!

Mark



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[John Reimer]

Mark,

Let me congratulate you and Graham and Paul for an outstanding VPO. I am so
pleased I was able to contribute by enlarging the soundfont to 6 samples per
octave. I knew when I was doing that work that the samples were very good.
But they sound even better now that it is all together. It will be very
interesting to hear what you make of it as an extended version. Its
one-manual limitation will not recommend itself to some of us, although in
that, it is typical of Italian and Spanish organs. The split keyboard makes
up for it to some extent.

Today my wife was going out for some time, and I had a play with the volume
ramped up way beyond what I would normally use. I felt that it really was as
loud as one would hear when playing the real thing. In the process it was
necessary to wind down the level of the reverberation, for which I use the
Freeverb3 Hibiki VST plug-in. I was absolutely delighted with the sound,
because as a player of mostly tracker instruments, that is the level of
sound I am used to. And that Italian pipework has a sparkle which I think is
lacking in the English sound. To me the overall sound was a total
vindication of recording the pipe sound up close. Normally I think I would
choose a more remote sound for playing, and then I turn the reverb back up,
and reduce the total volume. Dry samples give us that choice.

John Reimer



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[Dr Mark Bugeja MD]

Hi John,

We are still sorting out the releases on the original version. We already
have an idea of what form the extended version will be taking and I was
already working on it. Work had to stop abruptly when we realised that the
IR response I had recorded for moulding the releases was not reflecting
(excuse the pun) the natural acoustics of the Basilica probably because I
had the mics inadvertently facing the back of the church (facing the organ
pipes) rather than the interior of the edifice.

Since, I got someone to record the IR again to capture it more faithfully
and all the releases will be based on the new profile. So a lot of work has
to be re-done and only after this can progress be made on the extended set.

Regards,
Mark



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