4 manuals plus pedal, 59 stops, built in 1971, rebuilt in 2011/2012
This sample set has been developed as part of a project "Singen Orgel 4.0" executed by the protestant parish in Nagold (Germany). The development of the sample set has been funded by the project, and therefore we can make it available to the community for a very low price. We are selling this on behalf of the church parish and most of the proceeds are flowing back directly to the church.
The aim of this project is to bundle and further develop the many possibilities in relation to the pipe organ that appear to be feasible due to the latest developments in digitalisation. In symposia and discussions of the "Nagold Organ Academy" with theologians, ethicists, philosophers, parishioners, church musicians and others, it will then be discussed what it means for church and parish when machines play in church services, people become replaceable and it has to be weighed up whether the use of digital possibilities is justified or the singing and the sound of the organ will at some point become completely silent, also because nobody dares or is able to sing a song anymore.In this way, according to the plan, organ builders, pastors and musicians can try out for themselves what digital innovations there are, along with their advantages and disadvantages - and then discuss more thoroughly whether and how these developments affect organ building, religious togetherness and possibly new forms of worship, and what consequences and decisions this will entail.Young organ builders and students of church music will be introduced to visions for their future professional field. The organ builder's view shall be directed from the purely technical and artistic (also) to the perspective of how the organ can be optimized with regard to singing. Digitalisation shall help to secure and promote singing and the future of the organ. Within the framework of this project, the sample set of the Nagold city church organ presented here was also created, which is now being marketed on behalf of the parish and thus made available to a wider community of users. The Nagold city church was built in 1874 in neo-Gothic style. It was built as an exemplary church of the Eisenach movement following the 16 principles of the Eisenach Regulativ. This Regulativ was the result of long efforts to create a uniform building standard for the Protestant churches, in which almost all German church districts took part. The 16 principles essentially cover the areas of "church construction according to liturgical need", "dignity and beauty of church construction" and "influence of the churches on church construction". In accordance with these principles, the church was built with a cross-shaped layout in neo-Gothic style. Already at that time galleries were built on the west, north and south sides. In order to create space for 2000 people, the galleries were even two-storeyed. A richly decorated interior rounded off the neo-Gothic appearance.
In 1874, the organ building company Weigle from Echterdingen built the first organ for the then new church. This organ in the German Romantic style had 32 stops on two manuals and was positioned in the traditional manner on the rear gallery. Already at the beginning of the 20th century this organ was considered out of date and a modernization was planned, but for various reasons this did not happen. It was not until the comprehensive renovation of the church that the opportunity arose to build a new organ that would meet the newer requirements and sound expectations. This new organ was also built by the Weigle company in 1971. Due to the new conception of the church, the location of the organ was changed and it now found its place on the northern gallery of the transept. The new organ now had 46 stops on three manuals, with 22 stops being taken over from the previous instrument. In contrast to the romantic predecessor organ, which gained its sound mainly through mixtures of basic voices, more emphasis was now placed on aliquots and mixtures in order to achieve a sound that would suit the taste of the time. This organ was best suited for early baroque and contemporary music in the interpretation prevailing at that time, romantic organ music was not much loved then and was played very little. Two years earlier, a smaller choir organ with eight stops was built in the choir room, also by the Weigle company. This was designed from the beginning so that it could be played as the 4th manual (quasi remote organ) from the new organ.
In 2007 it was decided that a thorough cleaning and revision of both organs was necessary. This revision was carried out in 2011/2012 by the organ builders Michael Mauch and Tilman Trefz, whereby a whole series of technical and sound improvements were introduced. On the technical side, the new digital setter system and MIDI capability of the console should be mentioned above all. In addition, the Hauptwerk and pedal of the main organ can now also be played from the choir organ. On the tonal side, the main focus was on extending the stylistic possibilities of the organ, also with regard to the music of the French Romantic period. In the Hauptwerk and pedal there are new string stops, and in the Schwellwerk the Viola from the original organ of 1874 can be heard again, together with three old flute stops and the undulating Vox coelestis. The ensemble of choir and main organ now has a total of 59 stops.
Pedal C-f' (ext. to g')
Prinzipalbass 16'Subbass 16'Quintbass 10 2/3'Oktavbass 8'Gemsbass 8' Violon 8'Tenor 4' Choralbass 3f. 2' Basszink 4f. 5 1/3'Bombarde 32'Posaune 16'Trompete 8' Singend Kornett 2' I-P, II-P, III-P, IV-P, III-P 4'
Rückpositiv (I) C-f''' (ext. to c'''')
Gedackt 8'Hohlflöte 4' Sesquialtera 2f.Prinzipal 2'Quintflöte 1 1/3'Scharff 4f.Krummhorn 8'TremulantII-I, III-I, IV-I
Hauptwerk (II) C-f''' (ext. to c'''')
Bourdon 16'Praestant 8'Rohrgedeckt 8' Gambe 8' Großquinte 5 1/3'Oktave 4'Holzflöte 4'Quinte 2 2/3'Superoktave 2'Mixtur 6f. 2'Hörnle 2f. 2'+1 3/5'Fagott 16' Trompete 8'I-II, III-II, IV-II, III-II 16', III-II 4'
Schwellwerk (III) C-f''' (ext. to c'''')
Quintatön 16'Prinzipal 8'Flöte d'amor 8'Lieblich Gedeckt 8'Viola 8'Vox coelestis 8'Oktave 4'Traversflöte 4'Nasat 2 2/3'Schweizerpfeife 2'Terz 1 3/5'Sifflöte 1'Mixtur 5f. 1 1/3'Dulzian 16'Oboe 8'Trompete 8'Schalmei 4'TremulantNachtigall, ZimbelsternIV-III, III-III 16', I-III
Chororgel (IV) C-f''' (ext. to c'''')
Spitzflöte 8'Holzgedeckt 8' Prinzipal 4'Gedecktflöte 4'Schwiegel 2'Quinte 1 1/3'Mixtur 3-4f. 1 1/3'Untersatz 16'Fagott 8'
The organ was recorded in 2019 with high-quality microphones in four-channel technology. One pair of microphones was positioned at the height of the organ facade and at a short distance from the organ. These microphones provide a high proportion of direct sound, but also have a significant reverberation component, making the organ sound very clear. In the sample set these channels are marked "Direkt". The second pair was placed at a typical listener position and delivers a much stronger reverb, the organ's response sounds a little less precise. In the sample set these channels are marked "Raum".To achieve an optimal result, at least three release layers (staccato, portato and long sustained notes) have been recorded for each pipe. The blower noise as well as key action and stop control noises have been recorded as well. The recordings were made in 24bit/96kHz without any filtering. The samples have been processed with our self-developed processing tools, with special mention of our special noise removal process. This is optimized for the characteristics of pipe tones and enables a previously unknown quality of noise removal without affecting the sound characteristics. The sample set faithfully reproduces the organ with its playing aids in Hauptwerk. The keyboard range has been extended to c'''' in the manuals and g' in the pedal. Special Features of the Sampleset
The sample set has some special features, which are explained in the section below:Tremulant:The sampleset uses special tremulant samples, i.e. every pipe in the Swell organ and Rückpositiv is also sampled with tremulant. This method provides the best possible natural tremulant sound for organs with a lot of reverb. But it also has disadvantages: For one thing, the oscillations of the individual pipes are not synchronous, each pipe oscillates independently. The speed or depth of the tremulant cannot be controlled afterwards. On the other hand, it is not possible to switch while a note is sounding. Here there are two options that can be switched using the Tremulant Retrigger switch on the Controls page: If the Tremulant Retrigger switch is off, switching the tremulant on or off will only affect notes that are played afterwards. If it is on, however, notes that are already sounding are briefly interrupted and then played again, so that the tremulant takes effect immediately. Depending on the response of the respective stop, this is of course more or less audible. The sampled tremulant sounds best with solo voices. Alternatively, a modelled tremulant is also available. For this purpose, the recorded tremulant samples were analyzed and corresponding envelopes for the tremulant function present in Hauptwerk were calculated for each individual note. The modeled tremulant does not sound as natural as the sampled one, especially with high reverb, but the oscillations of simultaneously sounding tones are synchronous, and switching on and off while holding a note works correctly.Surround:This set contains " Direkt" and "Raum" samples. Ideally, these should be reproduced through separate pairs of speakers to get the best effect. With the sliders on the controls page you can adjust the parts separately. In this sample set, these sliders are separate for the main organ (Hauptwerk, Schwellwerk and pedal), the Positiv and the choir organ. This takes into account the fact that the three divisions are positioned differently in the room and therefore the conditions for each division are different depending on the listening position in the room. Noises:The blower, action and stop action sounds can be switched on and off with the corresponding switches on the Controls page. These switches are on when the sample set is first loaded, but the last setting is saved when unloading the organ. The volume of these noises corresponds to the original conditions and can be adjusted via the voicing options in the Hauptwerk software.Tuning:In the Hauptwerk setting "Original Tuning" the organ sounds in its own unique tuning, which is minimally unequal. In this tuning, as well as when using the tempered tunings available in Hauptwerk (e.g. equal tempered) the organ is tuned very precisely to this tuning. This exact tuning can sound a little sterile, which is why Hauptwerk includes a function for random detuning when loading.This Hauptwerk built in random detuning cannot be used for this set, because it is not possible to ensure that front and rear samples are detuned synchronously. (This is a limitation of Hauptwerk and affects all sample sets recorded in multi-channel technology). The result is usually not very pleasing. Therefore the corresponding parameters in the sample set are set to 0, so that Hauptwerk's "random detuning" setting has no effect. Instead, the sample set contains its own pseudo-random detuning. The degree of detuning can be set with the slider on the Controls page, the values are randomly determined for each pipe, but are unchangeably defined in the definition file.Crescendo wheel:According to the BDO (Bund deutscher Orgelbauer) console standard, a crescendo is achieved by turning the wheel towards the player, for decrescendo it is turned away from the player. On the organ in Nagold, the direction of the wheel is inverted, so for the crescendo the wheel is turned away from the player. For this reason, the direction of the wheel is adjustable, it can be changed with the corresponding switch on the controls page.
The virtual console consists of different screen pages that have been optimized for touch screen operation. All screen pages are created in a very high native resolution of about 17MP, so that the maximum resolution of the monitor can be fully used even with very high resolution monitors. The following screen pages are available: Console This page is not intended to operate the sample set, but to give the organist an impression of the real console. Here a photo of the console with moving stops has been added. Due to the small size the lettering is however not readable. This screen page is also ideal for MIDI-assignment of the manuals as well as expressions pedals and crescendo wheel.
Stops page This screen contains all controls except the manuals and the pedal. Care has been taken to ensure that the page is easy to read. This screen page is ideal for operating the sample set with a touch screen. The arrangement of the registers corresponds to the original.
ControlsThis page is used to make various settings. These are the balance between the recording channels and the control of the different sounds.
This sample set requires a powerful Windows-PC or Apple Mac-OS computer with 64-bit operating system and the Hauptwerk™ software (Advanced version, 4.2 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):
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.
The licence conditions for our sample sets conditions can be found here.
The sample set is protected using Hauptwerks basic protection scheme, a separate licence for the iLok system is not required. Instead you can download a fully functional trial version from our server and use it for testing as long as you wish. Following a purchase you will receive a link to download a small file (organ definition) that removes the restriction of the trial version (periodic muting).
You can some pieces recorded with this sampleset on the Contrebombarde website.
Here is a link to a playlist featuring this organ.
You can download a fully functional trial version. In this version the sound is muted periodically when more than seven stops are drawn at the same time.
Please refer to our downloads page to download the trial version.