Option Two - Adding Soundcards
Why would you want to add soundcards to your jOrgan computer? Each soundcard adds another computer to your conguration—it really does. at’s because each soundcard contains its own CPU module and memory. Let’s say you are running Microsoft Windows on a Core 2 Duo computer. at’s two CPU’s running your computer. If you add two more soundcards, each with its own computer, you now have, in eect, four computers generating and manipulating sound for you, with the following kinds of impact:
Maximal olume—each soundcard can drive three or more speakers, hence more sound
ruest to the Original arget oices—fewer conicts due to sharing the workload over more computers
means less interference with the sound quality
Closest to Being in a eatre or Church Setting—running two soundcards with three separate sound
channels each means more spatial variety in your auditorium, however big or small it might be, and however unique its architectural characteristics. Remember the sounds you are producing are competing in your head with a real pipe organ, with many widely separated sound chambers, in each of which the individual pipes were inches apart. at’s a lot of variety in sound sources. Even if your particular jOrgan disposition is more like a jazz combo, a jazz combo on a stage has instruments that are several feet apart. It’s all about separating the spaces where sounds originate.
Maximal Polyphony—more computers means more notes playable at the same time.
Maximal Engineering—with more computers there’s more that can be going on at one time, meaning the
potential for greater intricacy of whatever sort might benet from your musical creativity.
Example - How To Set Up A jOrgan Installation With Soundcards
e following is a beginners-level walkthrough, to show how you might set up one particular Creative
SoundBlaster installation with two soundcards. e jOrgan disposition chosen for illustration in this example is Kent Allman’s Symphonic IV 4-manual theatre organ.
A side note: I had wanted to install SoundBlaster soundcards in order to exploit the richness of the many voices in Allmans’ theatre organ disposition. is meant I would be switching from the Fluidsynth dispositions that I had been playing. I was worried at rst that I would not be able to play the Fluidsynth dispositions after I switched to Creative SoundBlaster. Fortunately there was no problem. When the soundcards are not being used in Creative mode they default to acting like the PC s’ built in sound system. It was not necessary to move the speaker plugs or make any other physical changes in the PC equipment.