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Master Series

Master Series stops are based on close sampled recordings from various different organs by different builders. All stops are recorded and edited according to our carefully developed formulas which means that stops from different instruments and builders can be selected to create instruments to virtually any specification desired. Obviously, there are limits to this and it is obvious that one should not try to incorporate stops from Silbermann with say those of Hope Jones, so one should perhaps add that the various groups of stops are chosen from similar instruments from the same tonal schools and periods.

Why should we wish to do this ?

Some organs, even those made by the same builder to the same scales, have examples of stops that are better than others. A particular stop or chorus of stops from church "X" may be finer than that from  church "Y" for any number of reasons.

Some organs have stops where certain areas of the stop are excellent but other areas may not be so good. This can be as a result of a number of factors including bad positioning, damaged pipes through years of tuning or pipes that have ceased to speak at their best as a result of age and so on. In other cases, ambient problems such as a nearby blower or excessive action noise can render an otherwise excellent source unusable.

Some organs have very fine examples of individual stops but mundane examples of others. In some cases various combinations may sound delightful but the overall effect of the instrument as a whole may not be so successful.

Some organs are lacking in certain desirable stops either because of their original design at the time they were built or as a result of lack of funds or space.

Our techniques allow us to be able to "re-model" stops and create new ones from existing ranks. This extends to creating stops of a different pitch from the original so that say a 4' Flute could become a 2, 2/3' Nazard for example. To a limited extent this can be done by pitch shifting since dry samples do not contain an acoustic component as such but in most cases this is not successful and the pipe samples are re-pitched within the context of the stop so that for example bottom G on a 4' Flute becomes Bottom C of a Nazard and so on.

It is of course possible to be very lucky and merely introduce an extra, modified or replacement stop into a scheme with little more than a rough adjustment of overall balance and have it all work.  Likewise, it is possible to tack on a new bass octave of one stop and it may blend in with the existing remainder of another stop with little adjustment. However, it is more likely that considerable time and effort will be required to achieve the right results in both cases.

Master Series stops are supplied in a format that is very similar to real pipe organ stops in order to allow for as much flexibility as possible. All of the basic preparation has already been done but unlike sample stops prepared for a specific instrument, the stops have not been "sanitised"  or specifically tailored to work within a given specification. They are therefore capable of having considerable and extreme adjustments applied to them.

 

We create our Mixtures out of single ranks as opposed to samples of all of the ranks sounding together. Using this technique allows ourselves or end users to define the composition of the mixture as well as where they break back. It also makes it easier to balance the various ranks of a mixture against themselves.

 

Not only are our Master Series samples suitable for creating bespoke instruments, the flexible nature of the stop samples themselves makes them ideal for combining with real pipes in a hybrid installation to produce cohesive results which blend seamlessly with the originals.

 

This is not an "out of the box" solution and requires considerable knowledge of pipe organ voicing, regulation and understanding of how stops should blend and inter-react with each other within a given specification. It also requires a good understanding of the history of pipe organs and their various different schools of tonal design and development. Above all it requires much time and effort to achieve the desired results.

 

Please contact us directly to discuss how we may be able to help you.

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Last modified: 27-08-2016