Here is what I did to create the organ out of two smaller ones and one demo one:
First, I have not recreated the multiple acoustic properties of Piotr's Cavaillé-Coll organs. All three of his organs contain three complete sets of samples: front, rear, and dry. I have used only the wet samples recorded in these churches closest to the organ. Piotr calls these "front" samples, even though they were actually recorded in the rear of the churches - since the organs are all in the rear church galleries. These are wet samples with plenty of reverberation. If you really need more, I suggest you add your own - using either your own software or Hauptwerk's inherent reverberation capability.
The Grand-Orgue is essentially the one from the Orolon organ. However, I made a few changes. I added the 4’ flute from the Begard’s Récit. I created the 2 2/3’ Quint using pipes from the 4’ Prestant with a bit of additional voicing to bring it in line with the ensemble. I substituted the 2’ Doublette from the Begard instrument because I liked it a lot more. It is brighter and adds a lot to the principal chorus. I created the Plein jeu from indviidual ranks to have the same compositon as the one in St. Clotilde. As shown below, the Orolon 16’ Basson did not go to waste.
The Récit has, at its core, the division from the Orolon organ. However, I needed to add quite a few stops here to bring it in line with what is expected in a three-manual Cavaillé-Coll instrument. I have added some extra stops to allow organists to play more the French literature. These added stops include another Plein jeu made from indiviual ranks. I used a published mixture composition table from a similar stop in the Cavaillé-Coll magnum opus in San Sulpice, Paris.
For the reeds, I used the Basson 16’ (another bonus rank) I saved from the Orolone Grand-Orgue. It is much better placed in the Récit.
Most of the pipework in the Positif comes from the Begard organ and the Nancy demo organ, revoiced to be softer and bit brighter. The one exception is the 8’ Monte, which is derived from the Begard. I created the Plein jeu harmonique from six indivicual ranks. It follows the compositoon of the stop in St. Clotilde.
The Pédale is mostly a union of the pedal divisions from Orolon and Begard. It comes directly from my own LesCC organ with one additional rank; the Octave 4'. This division is much larger that the actual St. Clotilde organ - but I had created these stops already and they may prove useful.
I have disabled the wind model - for historic reasons. Also, I have not (yet) incorporated any of the tracker, keyboard, expression, or stop noises from Piotr’s samples. In my own application, I like a clean organ without noises. I may add these later if I have more time since one can always disable them when loading the organ.
Finally, I added a full complement of couplers and a large combination action. There are also the standard reversable pistons and "bass" and "melody" functions - mostly because they are so easy to create in Hauptwerk. None of these are accurate for an historic Cavaillé-Coll instrument. However, Cavaillé-Coll actually did create some of the first true adjustable combinations (the San Sulpice or-gan is the best example) and I believe if he were alive today, he would be using all of these more modern appliances. If it helps, think of my CC instrument as an historic Cavaillé-Coll organ that has been given a modern console – several of these do exist.
If you want to use this organ, be sure you have Hauptwerk v4 or higher (this organ does not require a special license) and have already installed the three required organs from Piotr's web site: |
