Will Organteq 1.* become Saint-Sernin Cavaillé-Coll organ 100%ready ?

Excellent research and insight!  And I agree that Organteq already has a wonderful tone and stoplist already.  I also hope your daughter's internship goes well!

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.

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