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Steinmeyer St. Magnus Marktoberdorf 195.00EUR

PLEASE NOTE: This sample set is no longer available for HW4.2!

The organ in St. Magnus in Marktoberdorf (Germany) is looking back on an interesting history. It has been built by the reputed firm Steinmeyer in 1962 for the cathedral St. Lorenz in Nuremberg, where it replaced the previous "Laurentiusorgel", which had been built in 1937 and was destroyed in the war. The organs in St. Lorenz with a total of 162 stops distributed on the Main-Organ, Laurentius-Organ, and Stephans-Organ are the second largest organ installation in Ger­many following Passau cathedral.

When it was built in 1962 the new Laurentius-Organ however was considered not strong enough for its intended function and the huge cathedral space, which resulted in several modifications throughout the years. When the complete organ installation in St. Lorenz was renovated starting in 2004, the Laurentius-Organ from 1962 was abandoned and replaced by a new organ from the Klais company. The main organ, also built by Steinmeyer, was restored and kept to a large extent. The Laurentius-Organ as well as the monumental historic main console were rescued from destruction by the Culture and Organ Center of Dr. Sixtus Lampl in Valley, Germany. The organ was sold to Marktoberdorf in 2008, where since then it is filling the St. Magnus church with its beautiful sound.

The instrument comprises 31 stops on two manuals and pedal, and could be played from its own console (still in operation at St. Magnus) as well as from the large main console. This main console is now on display in the Zollinger Hall at the organ museum in Valley as a living monument. The special feature of this exhibit is that it is now possible to play one of the original organs from this historic console by using Hauptwerk and this sample set. (click here for more info)

The sound of this organ is colourful and typical for the second half of the past century. A rich palette of foundations creates warmth, while aliquotes and mixtures are providing a radiating crown to the sound. The organ features a very responsive electrical action as well as electrically controlled stops.

The console gives evidence of various alterations and is typical for its time. In St. Magnus it is located on a moveable platform on the balcony and connected to the organ via a single wiring harness. The organ is built along the eastern wall of the cross-shaped church and its sound can travel freely into the room. The church has a splendid acoustics with a reverberation time of 3-4 seconds, and the organ can be heard very clearly everywhere in the building.

For more information please download the PDF booklet for this sampleset.

Please also have a look at the Sample Set Spotlight done by David Lamb on the Contrebombarde website!


Hauptwerk (I) C-c''''

Harfenprinzipal 16' 
Prinzipal 8'
Rohrflöte 8' 
Salicional 8'
Octave 4'
Quinte 2 2/3'
Octave 2'
Cornett 5f
Mixtur 4f
Tremulant (nur Cornett)

Positif (II) C-c''''

Koppelflöte 8'
Quintadena 8'
Prestant 4'
Rohrflöte 4'
Nazard 2 2/3'
Flageolett 2'
Terz 1 3/5'
Zimbel 2f
Dulcian 16'
Bärpfeife 8'
Schalmey 8'

Pedal C-g'

Subbass 16' 
Harfenprinzipal 16' (aus I)                                
Zartbass 16' 
Prinzipalbass 8' 
Salizetbass 8' 
Prinzipal 4' 
Piffaro 2f 
Terz 3 1/5'
Carillon 4f
Posaune 16'
Bombarde 8'

Couplers etc.

octave II/P
                   expression for Positif






The organ was recorded in 2015 with high end microphones in four-channels. Each pipe was recorded separately with three release layers (staccato, portato, and long notes). The pipes of the Positif have also been recorded with the tremulant turned on. The blower sound was recorded as well, stop and keyboard action noises are only provided for the front channels, since they are almost inaudible at some distance of the pipework.

The direct channels have been recorded close to the organ to get a rather dry sound, which is highly suitable for an installation in a room with a good acoustic. The ambient channels were recorded from a position near the center of the nave, from where people would normally here the organ.

The recordings have been done in 24bit/96kHz without any analogue filtering. All sample processing steps were performed with our in house developed sample processing tools. Our custom denoising algorithm is optimized for the charac­teristics of pipe organ samples resulting in a previously unknown quality of the denoising without effecting the pipe speech characteristics.

The sample set provides a virtual copy of the instrument with all its original registration aids for the Hauptwerk software. The only exception are the two free combinations available on the real organ, these have been ommitted since Hauptwerk is providing a much more flexible combination system. The only extension with respect to the real organ is an expression pedal for the Positif.

The Hauptwerk tremulant is only effecting the Cornett stop, just as on the real organ.

The user interface of the virtual pipe organ consists of various screen pages which are optimized for touchscreen use. The screen pages have been designed with a very high resolution (4972x2772) so that displays with extremely high resolution can be used with maximal quality.

Special Features

The virtual organ provides several special features, which will be explained in this section:

The crescendo can be programmed freely by the user, a special screen page is provided for this in the user interface. This page shows the stops as they are engaged at the various crescendo steps. The programming can be changed by clicking on the indicator fields.

Buttons to control the blower, keyboards, stops, and tremulant noises are located on this page as well. The settings of these buttons are memorized, so they will be kept when reloading the sample set. The blower noise sample also contains the starting up and stopping phase of the wind supply, so it does take a while after turning it on until the stable background sound is reached.

Also worth mentioning are the tremulant options. The tremulant for the Positif stops is available both as sampled and as modelled tremulant (using Hauptwerk's tremulant waveform modelling technique). The sampled tremulant does sound much more natural and realistic, however, the modulation is not synchronized. It also requires extra memory to store the samples. The modelled tremulant on the other hand is synchronized across all pipes, but the sound is not as perfect as the sampled one. The change will become active the next time the tremulant gets switched on. In addition the user can select the retrigger mode for the sample tremulant. When set to "retrigger" the sampled tremulant will also effect currently sounding notes by retriggering them. This will however cause the attack phase of the pipe to sound again.


Up to Hauptwerk verion 4.x a dongle licence update is required to install and use the full version of this sample set. After your purchase you will receive a mail describing the licencing process.

Starting from Hauptwerk version V the full version can be used directly after downloading it without a licence activation.


Licence Inform.

PLEASE NOTE: This sample set is no longer available for HW4.2!

This sample set requires a powerful Windows-PC or Apple Mac-OS computer with 64-bit operating system and the Hauptwerk™ software (Advanced version, 5.0 or higher). For best results a powerful CPU (e.g. a modern quadcore CPU) and sufficient main memory (RAM) are essential. The memory requirements in MB for the sample set are specified in the table below for the most important sample loading options (loading with compression):    

  all channels front only
16 bit 5.2 GB 2.8
24 bit 10.0 GB 5.2

The compression used by Hauptwerk when loading samples is lossfree, i.e. loading samples compressed does not result in any loss of quality. It results however in an increase in CPU load of about 15% during playing. The best quality is obtained when loading the samples in 24-bit resolution, loading in 16-bit will cause a small but noticeable loss of quality. Since these options can be selected for each stop separately it is possible to individually adjust the options to match the available RAM.

Approximately 15 GB of free space is needed on the harddisc to install the sample set.



Licence Agreement

The licence conditions for our sample sets conditions can be found here.



On this page we collected a number of pieces played on this sample set by various organists to demonstrate the sound and versatility of this instrument. These recordings are available in several formats: "Direct"-channels (dry) only, "Ambient"-channels (wet) only, and all channels mixed set to 50% direct and 100% ambient. All of these are available compressed (mp3) and uncompressed (wave-format) for best possible sound.

We would like to thank the performers for their permission to post these works here on our site.

To start with here are some works played by Bastian Fuchs, a young and gifted musician, who is currently assistant to the cathedral organists in Passau and Regensburg:

Composer Title  mp3 front wav front mp3 mix  wav mix   mp3 rear wav rear
J. H. Rogers Scherzo (from Sonata in e) X X X X X X
J. S. Bach Präludium G-Dur BWV 541 X X X X X X
Bastian Fuchs Improvisation X X X X X X


Here is a nice improvisation by Korbinian Maier, showing the variety in sound of this organ:

Composer Title  mp3 front wav front mp3 mix  wav mix   mp3 rear wav rear
K. Maier Scherzo Romantico (Improvisation) X X X X X X


Some very nice performances by Anton Doornhein:

Composer Title  mp3 front wav front mp3 mix  wav mix   mp3 rear wav rear
J. G. Walther Concerto del Signr Tomaso Albinoni - Allegro X X X X X X
J. G. Walther Concerto del Signr Tomaso Albinoni - Adagio X X X X X X
J. G. Walther Concerto del Signr Tomaso Albinoni - Allegro X X X X X X
R. Schumann Canon in H-moll (b-minor) X X X X X X

 And some wonderful improvisations played by the internationally known concert organist Eric Dalest

Composer Title  mp3 front wav front mp3 mix  wav mix   mp3 rear wav rear
E. Dalest Improvisation 1 X X X X X X
E. Dalest Improvisation 2 X X X X X X
E. Dalest Improvisation 3 X X X X X X
E. Dalest Improvisation 4 X X X X X X
E. Dalest Improvisation 5 X X X X X X
E. Dalest Improvisation 6 X X X X X X

In addition Carson Cooman has played a number of more recent pieces which fit this organ dating from 1962 perfectly. Since the use of such recent pieces would need to be licenced from GEMA, I would only be able to post them here at a considerable cost. Hence I am posting a link here to Carsons Website, where he is posting these pieces himself. Many thanks for this support!

Trial Version

You can download a fully functional trial version. In this version the sound is muted periodically when more than three stops are drawn at the same time.

Please refer to our downloads page to download the trial version.

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