All that talk about dominant an mediant bla-bla... leads me to the church organ.
I'm shure they can do it.
Viscount already did it and patented physical modeling for pipe organs in 2003. I asked David Cuttill at Viscount UK about their methods, whether they modeled such things as cut-up, nicking, mouth:pipe width ratios and how much control the end user had over these parameters. I also asked for some single-rank demonstrations rather than baroque plenum demos swamped in reverb that sounded like an early-90s sampled organ.
No answers were forthcoming. I did receive a manual for the C100 module and it was clear from this that the included bank of stops could be modified for general tone, chiff etc but there was no way for the user to model a rank from scratch. Certainly no ability to produce the "perfect Diapason" the dimensions of which TC Lewis described in his paper on organ tone.
I read on another forum about a Viscount technical demonstration in Rome where the engineer "digitally" turned an open into a stopped pipe, changed the pipe scales etc and this "wow'd" the audience. Personally, I would love to know how they model ictus in reed pipes, when the precise nature of what's going on has never actually been measured/identified.
However. Colin Pykett (pykett.org.uk) makes valid points about physical modeling not being very applicable to pipe organs since, unlike a piano, organ tone is pretty much static. Even if it could be argued that a single pipe does not speak exactly the same way every time it is keyed, even on a direct electric chest, during actual playing it is impossible to discern any one pipe in any detail. Also, most of the complicated interactions within the attack phase are actually caused by 1st order building reflections and are different for every possible listener location and most digital organ manufacturers attempt to recreate this to a "meaningless level of detail."
Personally, what I would prefer to see is a model of a Bosendorfer 290 that, unlike East-West's (which plays C1 samples for note B0 with the sustain pedal down) is actually playable. I'd gladly pay good money for this as with Pianoteq, I know I'd very much be getting what I paid for.
Best//Neil
]]>:-)
]]>And to load the pigeon samples that were in the demo mp3's, if they were pigeons. (Not modeled pigeons surely. A new world would open up: models of the entire bird realm. Parakeets in our pianos. Owls on our octaves. Pianissimo parrots. D minor doves.)
How about toucans on the tonic, ducks on the dominant, and magpies on the mediant?
Canary countertenors and soprano starlings? (Coloratura starlings, of course!!!)
Messiaen, eat your heart out! (Not literally.)
%^)
]]>Yup.
Me: "CHOMP-CHOMP-CHOMP... MMMmmmm! Delicious!!!"
Seriously, tubular bells would be nice, maybe even a vibraphone!
(I _love_ vibraphones. Hint, hint. You did such a spectacular job with the bells... Er, I'll shut up now.)
:^)
]]>Each time Modartt gave something new, people ask a dozen more.
They give a hand and we try to get the whole arm...
:-)
]]>And to load the pigeon samples that were in the demo mp3's, if they were pigeons. (Not modeled pigeons surely. A new world would open up: models of the entire bird realm. Parakeets in our pianos. Owls on our octaves. Pianissimo parrots. D minor doves.)
]]>So these would need another model...
Bingo!
Here's a book which has a chapter about math of tubulars ^_^
]]>Concerning pitch, if you select "other" in the tuning section diapason menu, you can lower or rise the pitch by up to one octave. But it won't give you tubular bells, these have another spectrum due to a different shape! So these would need another model...
]]>One question - will it be possible to somehow adjust the pitch range available for the bells? I figured it wouldn't be too bad if the bells could stretch an octave deeper, to have some tubular bells too!
Really nice surprise! Can we expect windchimes and tinkle bells too?
]]>But the bells follow the piano architecture, soundboard, tuning, voicing etc. It's strange to change piano adjusts in turn to adjust a bell. Anyway a good work.
But about 5.1 and mic position, how would someone adjust a true carillon 5.1 spatial sound, if a carillon it's not a soundboard with strings?
See picture:
http://en.wikipedia.org/wiki/File:Caril...rtable.jpg
Just a curiosity. In future I'm sure Modartt will have a symphonic or something like, and will have spatial sound adjust accoding for each instrument disposition/shape/form.
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