Usually I pull up a few stops and improvise to get a feel for the sound. I'm always playing on the Great keyboard with my one MIDI controller.

I've noticed that no matter what stops I select, the lower notes lack "presence" and "brilliance" compared to the higher notes. So counterpoint, for example, when the hands are more than an octave apart, sounds unbalanced.

Is this inherent to Organteq or is there something I can do to fix it?

I wish for an option to solo the reverb and route it to 4 speakers and Sub (4.1 Quadrophonic).
In my current setup I use the 8 Channel template to split 4 stereo tracks in Ableton (3+)
I am using Envelop 4 Live to feed an 4.1 quad speaker layout and position the individual divisions in the 3d room. This works fantastic ! The problem is that the reverb is shifted along with the divisions in the room (because this is fixed in organteq) rather to be placed as a send effect for all divisions to simulate one big room, cathedral…
I understand that probably a majority use Organteq in a stereo layout.

Great, swell, pedal - front speakers
Recit: rear speakers
Reverb ??? - all channels?!
Pedal - front ?

How about the reverberation settings/mix ? Ideally the reverb image you would experience from the console/organists perspective. I guess it is not equally between front and rear.
 
Organteq output.    Organ work         / SignalE4L Panner Positioning.   Sound effect in space
——————————————————————————————————————————-
Channels 1/2.        Great (main work) Front (centered / wide).               Forms the powerful foundation directly from the frontspeakers.

Channels 3/4.        Swell (Swell).        Middle to slightly back.                Can be dynamically moved to the rear via the Panner (simulates the opening/closing of the sill doors in the room).

Channels 5/6.        Recit (Choir).         Slightly in the back of the organist - narrow to medium wide
   

Channels 7/8         Pedal (bass).        Front (centered).                          Low frequencies are difficult to locate, but come best from the front for the pressure.

Question:
Organ Reverb (Hall) Rear (Wide) Is placed completely on the rear speakers. As a result, you "stand" in the middle of the nave.
Any idea how to route the reverb only to the rear speakers or at list to control the mix between front and rear ?

Did Modartt say anything about this ? The reverb is one of the key factor for the typical organ sound which always need to be in a 3d space…..I wonder how many organteq users have the possibilities to do this rather than listening in stereo setup ?

Any suggestions for the recipe?

Tks in advance

As we know, changing Organteq’s pitch makes it recalculate the pipes/model, which takes some time. This currently makes real-time pitch changes during a piece impractical. However, Organteq stores these calculations in its cache.

The workaround is shown in the video:

https://youtu.be/rDw6OlqCnZQ?si=vTktyX0TRtdFCzQW

Explanation:

Track 1 — the actual MIDI music (just one note here for testing).

Track 2 — MIDI CC with the pitch automation (again, just a random pitch change for testing).

Simply copy Track 2 before the actual music. Organteq then performs all the necessary calculations in advance and retrieves them from the cache when the music starts .

As you can hear, the pitch changes during the actual music happen without delay and (very important!) with no artifacts, regardless of how quickly the pitch changes. I tested audio rendering, and it works the same way — no delay. So after rendering, you can simply cut off the silence at the beginning and enjoy .

Another possibility would be, of course, to render the project twice, using the first pass for recalculation. But that could create unnecessary file-management chaos. You could also play the entire project once before rendering, but very fast pitch changes might not give Organteq enough time to calculate everything. With the "silent section" method, you can simply make that section slower if necessary, which is especially useful on slower computers.

So, if you need to change pitch on the fly, it is already possible in Organteq using this workaround.

And now a request to Modartt:

Since I write experimental music, I would also really like to have temperament automation. As far as I understand, changing the temperament works similarly to changing the diapason: Organteq recalculates the pipes/model and stores the result in the cache. However, I don't see any way to automate temperament through Action Mapping (at least in the plugin version of Organteq). There is an option for Diapason, but not for Temperament.

Could temperament automation be added in a future update?

P S: Ah, and one more request: it would be really great if the volume of the keys, stops and couplers noises could be controlled with separate sliders. Just like in Pianoteq where you have separate control over key clicks, pedal noise, etc.

Here is my argument. The total cost of the various components of my Organteq setup was about €4,000, while the sound system cost approximately €2,000. Of course, one also has to take into account the time and work involved in putting everything together. But that was part of the fun!

Here is a photo with the result:
https://www.icloud.com/sharedalbum/fr-f...4CCA41B594

So, for around €6,000, our church now has an organ that:

1. will never play a wrong note;
2. can provide 50 different organ presets;
3. can be upgraded easily and at relatively low cost in the future.

And when I say “upgraded,” I mean both the software and the sound system. Both can benefit from rapid technological progress.

What is happening to pipe organs in France?

French Catholic churches have some old, powerful and beautiful pipe organs. However, these instruments require regular maintenance and, in some cases, major restoration.

And this brings me to my main point: Catholic churches in France that were built before 1905 receive substantial financial support from public authorities, including municipalities and the Ministry of Culture. As is often the case, the availability of public funding has a significant impact on prices.

The very small number of organ-building companies that have survived in the business can charge very high prices. Sometimes, their estimates include structural modifications that are not strictly necessary but nevertheless increase the overall cost. I also hear about fierce competition between the major players, each trying to strengthen its position and become dominant.

A Google search shows that a complete restoration of a large pipe organ in France can cost anywhere from €200,000 to more than €1 million. And even after such a restoration, annual maintenance is still required.

Meanwhile, congregations are becoming smaller, older and poorer.

In my opinion, this situation is not sustainable.

I believe that the solution for the future - for both struggling congregations and lovers of organ music - is to build digital organs based on high-quality, continuously evolving software, connected to powerful, high-quality sound systems that can also be upgraded over time.

Best regards,
Andrei

Does anybody know how to interpret the values of the room dimension slider in the reverberation settings ?

Values range from 5 - 50 meters

Length ? Width ? Height ?

Concerning the pedalboard of my Organteq setup:
I ordered a MIDI pedalboard with 30 pedals on the website
https://www.pedamidikit.org
This is the website of an Italian workshop. I chose the PMK AGO 30 pedalboard. Beautiful and robust. The parts have been shipped from Italy in spring 2025. I assembled and varnished them in the church, in Marseille, and, I have to say, it was not quite easy! The problem was to adjust the magnetic bolts in the right position. I payed about 1200€ for the unassembled/unvarnished version (+ shipping costs), but I see that now it became a bit more expensive. Compared with Viscounts' offers, the Pedamidikit pedalboards have an important advantage: they come with a USB output, which also powers the MIDI sensors. I think that the Viscount pedalboards only have a MIDI output.  Note that all my devices (touch screen, 3 manuals, pedalboard, MIDI controller) of my Organteq setup are USB powered! Only the M4 MacMini (which is hidden in the console) needs power from the mains! Best regards, Andrei

Read no further if only comprehensive high-quality professional level Organteq rigs are of interest!
Otherwise, I hope the account makes good reading!

Having transitioned my Rock/Pop keyboard setup to VST sounds a year or two ago, including Pianoteq as my main piano, performing concerts locally accompanying a singer and with bands, I started to take turns playing for church services in our village.

I kept my Yamaha CP33 and Hammond XB-2 as the MIDI controller keyboards, which allowed me to use my accustomed Yamaha expression pedal and Hammond Organ expression pedal (with Leslie-speed switch). I use Music Sheets Pro to display charts and scores, auto-scrolling multi-page tunes and controlling Songs and Variations in Gig Performer as VST Host. An old KORG nanoKEY Studio supports live changing of sounds and functions both in Music Sheets Pro, in Gig Performer and in individual VSTs where appropriate, including a note assigned to MIDI Panic for any emergencies! A Behringer FCB1010 with the pedals trimmed off provides foot control of some parameters, in parallel with the nanoKEY Studio, if required.

I use Bome MIDI Translator to change MIDI messages from one source to the MIDI messages required by a target device, although the only use I make of Bome since Microsoft implemented the excellent MIDI 2.0 feature in Windows 11 this year is to change volume control messages from nanoKEY knobs to expression pedal messages.

Although the church has a small pipe organ by Positive built around the start of the twentieth century, this was out of service and church accompaniments were from a Yamaha Clavinova console model, using the piano sounds or one of the two Organ sounds. I hope to use the pipe organ for some showcase simple tunes after the next service visit. The Clavinova’s two organ sounds were very limiting. After thinking of all the options, for example taking my entire rock rig and PA into the church, or buying MIDI controller keyboards and somehow housing them in a wooden console, I realised that I already used old analogue keyboards as controllers. Therefore I could employ a used home organ to provide the MIDI notes and provide a suitable style of console - with enough space and a suitable configuration to house the computer UI peripherals. Pedals were not a great concern, so a 13-note pedal section is sufficient, and Organteq’s Monophonic Couplers give a good result which could be enhanced by use of pedals once I have the necessary technique (I plan a Studio Logic MP177 for practice use). This would be a good-looking console in the church.

Testing Organteq on an aging laptop I found it didn’t handle the full range of Organteq registrations and this – after some help from Modartt – led to my replacing the laptop with an up-to-date NUC15RH minicomputer which is fine, and a touch-screen monitor (and another standard monitor) are ideal for mounting within a suitable console, together with the KORG nanoKEY Studio.

I bought an old Orla GT9000 organ from the excellent ePianos store near me in the UK, who were extremely helpful enabling me to try out the solution when I arrived with all the computer gear, and got involved in this unusual use-case! I just use the MIDI outputs of the two manuals and pedals - I put a MIDI volume pedal (Crumar PU-4) on top of the inbuilt analogue volume pedal, and I fashioned a desk surface with a ledge at the bottom, spaced up from the inbuilt controls, attached by Velcro. On this surface are:

   Left - Screen 1           Gig Performer including the Organteq UI
   Middle - Screen 2               Mobile Sheets Pro
   Right -                        KORG nanoKEY Studio

The nanoKEY Studio controls the Configuration Numbers in Organteq and other parameters for 'on the fly usage during tunes. It also controls Music Sheets Pro scores, and Music Sheets in turn controls Gig Performer Rackspaces/Setlists/Variations giving immediate initial registrations (Combinations in Organteq) on advancing to the next score. It also controls other Gig Performer functions as well as expression for Swell, Great and Choir in Organteq (via the Bome MIDI Translator app).

The technique I use to allow Gig Performer to call up the initial Combination for a tune is to assign a nanoKEY note to the Combination number in Organteq and then set a Gig Performer Widget for that number to control the nanoKEY note. Thus, selecting the Next Score in Mobile Sheets sends a message to Gig Performer to select the Next Song which plays the appropriate note on the nanoKEY and that selects the pre-defined Combination in Organteq. Live changes to the initial selection can be adding whilst playing (Combination, Couplers, Tremulant) on the nanoKEY - if it is desired not to introduce other setups automated from Mobile Sheets Pro once initiated by a control.

A metronome displays in Mobile Sheets. A feature I added recently causes the press of a single MIDI footswitch to bring up the Verse Number on the Mobile Sheets Pro display – this solves a common issue for hymn accompanists, and ensures the hymn finishes at the correct point! It also gives a reminder when a different registration is desired for a particular verse.

The other hymn-accompaniment special feature I use is to tune Organteq to A=392 Hz (i.e. two semitones below 440 Hz) and to include a nanoKEY note which actuates an upwards transposition in Gig Performer of 2 semitones. This is because congregations can rarely reach the high notes of hymns in the key given in hymn books, hence the downward transposition. Indeed, some hymn books commonly give alternative scores in a key 2 semitones lower than the main page. The nanoKEY control restoring the pitch to A=440 enables playing along with recordings of the tune for practice purposes.

When a Voluntary is required, greater use is made of different sounds on each of the two manuals and variations for each section of the piece. I’m currently using the Neo-Baroque organ. The result is meeting with approval from the congregation – and for the largest services, two Yamaha DXR12 speakers are mounted in the Chancel. I monitor the playing on headphones since the keyboard location is to the side of the Nave, and the Vicar has a level control, being in the path the sound takes towards the congregation.

If a piano accompaniment or piece is called for, I move to a Yamaha Clavinova which routes through Gig Performer to the amplification (1 or 2 Yamaha DXR12s placed in the Chancel with the 'FOH' setting. The keyboard playing area is to the side of the Chancel).

Grateful thanks are due to Modartt for the excellent sound we now enjoy, with very little additional expenditure. Also special thanks from me for enabling a very enjoyable and rewarding project to be realised with excellent functionality and a wealth of artistic potential to be exploited into the future!

Images:
https://ibb.co/fGnFPBRx
https://ibb.co/HLhk9pXs

I have a question about full‑screen mode. I’m using Fedora Silverblue, and when I start the mode via the menu Windows -> Toggle fullscreen mode, I get a different result than when I use the start‑parameter --fullscreen. I’ve attached two screenshots.

     With the --fullscreen parameter, the GNOME panel remains visible. 
     When selecting the option from the menu, the panel is correctly hidden.
     

Am I doing something wrong? The panel should be hidden.   

1. Screenshot: Menu -> Fullscreen https://ibb.co/sddqN1Z9
2. Screenshot: --fullscreen https://ibb.co/5XFP9bf4

Additionally, is it possible to start directly in the Jamb View view?

Thanks a lot!

I'm looking at this pedalboard, apparently it's a bit smaller than their classical organ pedalboards and only 25 keys, but also cheaper and more portable.
I would like to keep the door open for the possibility of music outside the house and outside churches. You never know.

Regarding quality, can I expect the same as their 30-keys pedalboards?
And the keyboards, will it be enough to plug them in a powered MIDI hub and the pedalboard in a Lexicon Lambda audio interface?
https://cdn.djcity.com.au/wp-content/up...bda_lg.jpg

Sorry for the newbie questions, I just don't want to order the wrong equipment.

Thanks.

first I want to thank you for releasing this great product. I am a long time Hauptwerk user, but decided to give your software a try since I really like the concept.
I find it is already better in terms of playability, which is of course expected from physical modelling.
The labials are already sounding very nice, but I think the linguals still need work, especially in the pedal registers.

I was surprised to find that Organteq doesn't seem to replicate the velocity based attack found on tracker organs.
Are there plans to simulate this behaviour?
(for those not aware: Tracker organs keys are linked directly to the valves regulating airflow, allowing for softer and harder attack [slower and faster onset of the airstream], you can even play pipes "partially" by pressing keys only to a certain point, allowing for a "overblown" sound, though I understand this cannot be replicated on a midi-keyboard.)

Another feature suggestion:
In Pianoteq you have the very handy compression slider.
I think it would be really nice to have a similar slider, kind of "master compressor" in Organteq, to be able to reduce the large differences in loudness between sparse and full registrations.

best regards, Wolfgang Laser