While it's hard for my untrained ear to compare the degree of sonic similarity between this organ and the default Organteq instrument, the Cornet mixture, demonstrated around 13:15 sounds, to me anyway, very much like the inspiration for the Cornet V in Organteq.

Shortly after acquiring the Organteq 1.02 version, I had to leave for Toulouse to move my student daughter's apartment, now on an internship in another city. As this move unfortunately took place after the end of the "Toulouse les orgues" 2019 festival, I only had to settle for last Sunday's mass to discover and listen to the magnificent Cavalle-Coll organs of the Saint-Sernin basilica , organs which apparently Organteq was partly inspired by.
Not having been able to bring these organs back in my luggage, or enlarge my house accordingly, I tried to watch stop by stop what was still missing in Organteq so that I could completely reproduce all the stops of this magnificent instrument.
(I should point out that the stops already existing in Organteq are - in my opinion - already satisfactory)
https://orguesfrance.com/Images/ToulouseStSernin3.JPG
A list of Saint-Sernin organ stops is available on the website: https://www.musiqueorguequebec.ca/orgue...usess.html
By trying to make a comparison with the existing stops of Organteq (except for errors, not being specialist on this subject - the rectification being welcome) I arrive at the following observation:

Bruno

Hi Bruno

Vous trouverez dans le FXP Corner,  des presets que j'ai construits à partir de la liste des jeux de certains orgues historiques (Cliquot, Riepp, Cavaillé-Coll, Dom Bedos de Celles...) Le résultat est plus que satisfaisant (cf mes 3 albums consacrés à Organteq.sur ma page Jamendo (ex: https://www.jamendo.com/album/190087/organissimo-vol-1- enregistrés avec le preset de l'orgue Cavaillé-Coll de St François de Sales à Lyon)"-Coll)
.
J'ai essayé, pour bâtir ces presets, d'utiliser au mieux les jeux fournis avec Organteq pour être le plus proche de la composition sonore réelle des instrumentsmais j'ai dû faire des impasses sur les jeux manquants ou parce qu'il n'y avait pas assez de tirants de jeux pour tout mettre.

Effectivement il manque pas mal de jeux dans Organteq:

- Flûtes octaviantes de 4' et 2'
- Un Larigot 1⅓
- Une Tierce 1' 3⁄5
- Une Quarte (elle se trouve une quarte au-dessus du nasard, d'où son nom. Elle porte parfois le nom de « flageolet »)
- Un Bourdon de 32'
- Des trompettes en chamade

Si l'on  disposait d'un panel de jeux plus large, il deviendrait possible de créer des Presets encore plus réalistes

La flûte harmonique est une création de Cavaillé-Coll. Certains organistes comme le regretté P. Pincemaille sont allés jusqu'à dire qu'il s'agit du plus beau jeu créé par A. Cavaillé-Coll. on le trouve parfois sous la dénomination de Flûte traversière.
Pour construire une Flûte harmonique de 8 pieds, on utilise donc des tuyaux construits sur la base d'un 16 pieds. La hauteur de 8 pieds correspond à la hauteur entendue et non à la hauteur réelle des tuyaux.

Jacques

https://www.rme-audio.de/babyface-pro-fs.html

A good audio interface won't filter the signal unnecessarily, leaving your speakers to do the work as they're supposed to.

There's no question that the stoplist is incomplete when comparing Organteq 1 and this lovely Cavelle-Coll in Toulouse, but I would like more information from Modartt (or experts in organ design and voicing with better ears than mine) about how nuanced Organteq really is--or can be or will be--when it comes to differences between similarly designed stops from different traditions of voicing.

For example, the Montre (French), the Diapason (English/American), the Open Diapason (English/American), the Principal (American), the Prinzipal (German), the Small Open Diapason (English), the Main Principal (American), the Octave (American/English), and the Oktave (German) are distinct variations of the same basic stop design implemented slightly differently from builder to builder and from organ to organ--with differences in shape, size, voicing, materials, wind pressure, and balance between other stops.  It's extremely typical here in the US, for organs to have multiples of the same stop built differently (Aoelian-Skinner organs can have at least 5 diapason stops--often on the same division--which have different sounds and properties).  In the case of Organteq, a Montre should typically be mellower and softer than most (English, American, and German) Principals, Prinzipals, and Diapasons with the spelling indicating the tradition the stop voicing comes from, but I don't know how carefully we can read those subtleties into the current Organteq stoplist.

It's also very important to note that this particular Toulouse organ contains stops and pipework from the Daublaine-Ducroquet/Daublaine-Callinet organ in 1845 (I don't know if still has any original 1647 pipes), which also leads to the complexity of many pipe organ stoplists, because builders will keep older pipeworks.  This can frequently result in multiple stops of similar design but different tone being part of the same organ over a period of decades.  A new stop might be added and made from a different alloy that the new builder favors, while a few damaged pipes are replaced in a near-duplicate stop using the older building materials and techniques to keep the original organ tone as "whole" as possible.  In much the same way no two pianos of the same make and model sound and feel truly alike, that problem for organs is exponentially larger!

I've found a few sources that go into more depth on this with better information and clearer examples and explanations, in case others want to explore deeper into this particularly esoteric subject.

Comparison of types of Diapasons: https://organforum.com/forums/forum/pip...cipal-stop
Another comparison with audio samples: http://www.organstops.org/o/OpenDiapason.html
Organ stop dictionary: http://www.organstops.org/
Table of organ stops by language: https://www.die-orgelseite.de/registertabelle_e.htm
Excellent bibliography--though mostly out-of-print and extremely rare: http://www.organstops.org/_apps/Bibliog...#Williams1

There are several styles of subwoofer/loudspeaker which make infrasound practical (though their price-tag is anything but that!), like rotary woofers or transmission line cabinets.  However--particularly with the likelihood that nearly any computer would have intermediate hardware that would filter frequencies below 20hz (or even below 50hz)--I'm most interested in the inclusion of 32' for their resultant overtones which are definitely audible.  It's contestable how much of the fundamentals of a 32' (and certainly 48' and 64') would be heard or wanted in a home computer or home recording setting, but the overtones of 32' are certainly present in recordings and performances, which in my opinion totally justifies their inclusion.  Also, I see a viable market for Organteq in public/concert settings and church settings, which are environments where more exotic low-frequency/high-spl subwoofers and technology are usually in place for the electric organ consoles that are already there in many cases.

I can also vouch that in nearly any concert and church setting--though especially concerts--32' pipes are used constantly.  The Aeolian-Skinner organ near my home had to be retrofitted with an additional blower to compensate for "organ sag" during classical and contemporary organ concerts where soloists opened too many 32' pipes at once during big finales.  I've also seen/heard 32' used regularly in church settings for congregational accompaniment if the venue is large enough.

It would also be cool to be able to easily swap reed stops into "En chamade."  The functionality is already there in Organteq because we can control per-stop volume, but it would be really nice to have it as a toggle switch in the individual stop settings.

** PEDALE: Stop list completeness:
Principal-basse 32' : Stop MISSING
Contrebasse 16' : Stop Missing
Soubasse 16': ok (Bourdon 16' ?)
Flute 8': ok
Violoncelle 8': Stop Missing
Octave 4': ok ?  (Flute 4' ?)
Bombarde 32': Stop MISSING
Bombarde 16': ok
Trompette 8': ok
Clairon 4': ok

** POSITIF: Stop list completeness:
Montre 8': ok (Principal)
Cor de nuit 8': Stop Missing
Salicional 8' : Stop Missing
Unda Maris 8': Stop Missing (Undulating Salicional)
Prestant 4' : ok
Flûte DOUCE 4': ok ? (flûte 4' ?) <> flûte octaviante ? ..
Carillon I-III: Stop Missing
Trompette 8': ok
Basson-Hautbois 8: Stop Missing  (<> Clarinette 8' ?)
Clairon 4':ok

** RECIT: Stop list completeness:
Quintaton 16': ok
Diapason 8: ok ? (principal 8?)
Flûte harmonique 8' : ok (Flûte traversière)
Viole de gambe 8': ok ? (gambe 8?)
Voix céleste 8': ok
Flûte octaviante 8' : ok ? (Flûte 8' ?)
Octavin 2': ok ? (Doublette 2' ?)
Cornet V: ok (Cornet CV)
Bombarde 16': ok
Trompette harmonique 8': Stop Missing ?
Clarinette 8' ok
Basson-Hautbois 8: Stop Missing  (<> Clarinette 8' ?)
Voix humaine 8': ok
Clairon harmonique 4': Stop Missing ?
-
For the stops used for the sub-bass with the pedals, I tried to check on several recordings of the Organs of Saint-Sernin if notes below the C of 32hz were really used (with a very selective digital filtering below 28hz ).
eg: with Michael Murray (Complete Masterworks for Organ by Cesar Franck.)  https://www.youtube.com/watch?v=COBgiU2SptY
and Mathieu Jolivet (Nuit de l'Orgue - Festival international Toulouse les Orgues 2015) https://www.youtube.com/watch?v=Rm0WIk6UKQA
The answer seems affirmative, despite the presence of bias with the resonance frequencies specific to the building of the basilica, or the support rods of the microphones? (eg: at 7hz & 11hz)
NB: The reproduction of the lowest notes is not a problem with good headphones (Kennerton thror for me), but is more "complicated" on the speaker - even with several subs of 30 cm in diameter with dedicated amplifiers - The most "suitable" solution ( except maybe for the neighbors) would seem to be a 46cm sub in a 0.7 x 0.7 x 2.2m box with an event tuned to 17.88hz. eg: Peerless speaker FSL-1830R09, theoretically with such box: 89db / 1w @ 1m (20hz), still 81db / 1w @ 1m (16hz), 92db / 1w @ 1m from 42hz (according to QS Speakers free calculator software) .. theoretical calculation to be checked in real situations. ... (such a speaker costs 2/3 the price of organteq but it is necessary to add the wood of the box, an amp from 200 to 600 w and an equalizer)

Bruno