X hits on this document





56 / 73

Option ree - Adding Other Sound Studio Equipment (to be completed as above:)

  • (Maximal olume)

  • ( ruest to the Original arget oices)

  • (Closest to Being in a eatre or Church Setting)

  • (Maximal Polyphony)

  • (Maximal Engineering).

Option Four - Performance Alternatives in Choosing Voices I have learned from experience that being familiar with one kind of real organ, in my case eatre Organs, does not necessarily make a person an expert in mixing voices and setting registrations on other kinds of instruments, in my case Classical Organs. So I have resorted to asking people what combinations of settings to use in dierent performance situations—typical church and religious service occasions, Bach concerts, etc.—and have been gratied by the supportive responses I have received.

I found out that for people like me who are unfamiliar with classic church organ registrations, but who want to get the best possible sound from a classic jOrgan disposition, Paul Stratman has a very comprehensive resource at


  • e jOrgan community can probably identify similar resources for other kinds of jOrgan dispositions.

Troubleshooting Sound Equipment Popping noises—if you are experiencing loud, annoying popping static sound from your speakers, there are a couple of possiblities to consider. First, you may be using jOrgan’s Fluidsynth Sound Element, which could require resetting its software operating parameters (see Appendix D). e other possibility is hardware—maybe your combination power-and-sound connector into the speaker amplier is loose or improperly seated.

Troubleshooting Sound Balance One voice out of balance with the others—if you are trying out a new jOrgan disposition and you discover that one voice is disproportionately louder than all the other voices there is a straight forward, beginner-level x, described in Chapter 12.

Working With Reverberation Eects Fluidsynth Reverb Settings—Paul Stratman has conducted tests with Fluidsynth to discover the right combinations of settings to re-create realistic reverberation eects depending on your chosen type of room. ese are his recommendations: Small Room with Hard Walls Room: 40 Dampening: 50 Width: 40 Level: 40

Revised 3/24/2010


Revised 3/24/2010

Document info
Document views488
Page views495
Page last viewedSat Jan 21 09:26:46 UTC 2017