Oloron-Sainte-Marie 虛擬管風琴 取樣自 1870 年由 Aristide Cavaillé-Coll 建造的三鍵盤（含一組聯動鍵盤）24 音栓管風琴，分為 Récit expressif（8 音栓，帶柔和顫音與全封閉音箱）、Grand-Orgue（12 音栓，帶少見的 16 英尺 Plein-Jeu Harmonique 及 16/8/4 英尺簧管） 與 Pédale（4 音栓，含 Bombarde 16 與 Trompette 8） 三個部門。樂器結構保留傳統法國布局，並配有 Barker 機構，提供獨特的次八度耦合功能。這台風琴兼具多樣音色，可演奏 17 世紀法國古典、巴洛克（如巴赫）以及浪漫派與交響派作曲家的作品（如 Franck、Vierne、Widor）。
此音色庫以 48kHz/24bit 高音質錄製，提供 6 聲道（3×立體聲） 環繞音效，包含直接音、環境音與後置聲道，並採用逐音階取樣的顫音模型，兼容 Hauptwerk v4.2+ 與 GrandOrgue。樣本完整呈現樂器的音色平衡與動態層次，非常適合用於浪漫派、交響風格的演奏與錄音製作，也能重現法國經典管風琴的華麗與力量感。
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Piotr Grabowski Oloron-Sainte-Marie Hauptwerk-ARCADiA
Team ARCADiA | Hauptwerk | 20.34 GB
下載連結：https://www.52timbre.com/1648.html
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The great organ of Sainte-Marie cathedral in Oloron-Sainte-Marie (France) was built in 1870 by the famous organ builder Aristide Cavaillé-Coll. The original organ dates back to the 17th century. It was most likely built by a member of the Clicquot dynasty. However, during the French revolution of 1789 the organ was emptied of its pipes. Undoubtedly, the pipes were melted down to make ammunition. In 1870, Aristide Cavaillé-Coll built a new organ in the existing place. At the same time, he painted it brown. In 1982 Danion-Gonzalez organbuilding company removed the brown paint to let appear magnificent blue original paint. He also cleaned the instrument.
Today the organ is in the same condition as in 1870 when Cavaillé-Coll finished building it.
The instruments has 3 manuals, from which two are speaking ones (have stops assigned to them) and one is a coupling one. The couplers are controlled by pedals above the pedal keyboard. This feature, supplied by a Barker machine, is relatively unique in Cavaillé-Coll history and gives more coupling possibilities, especially suboctave coupler for the first keyboard. There are 24 stops distributed into three divisions, which are structured in the French traditional organ construction.
Récit expressif – It’s an 8 stops model that we find in may A.C.C pipe organs at that time. Reeds and Octavin 2 stops are activated by the foot pedal. It has a sweet and slow tremulant, and all stops are enclosed. Shades of the swell box are mounted on three sides of the case. It has a chromatic wind-chest. The swell box is situated behind the central part at the altitude of the Grand-Orgue section.
Grand-Orgue – This 12 stop disposition is pretty standard for A.C.C organs, but their low-pitched Plein-Jeu Harmonique based on 16 feet is uncommon as well as 16, 8 and 4 feet reeds in a small-medium instrument like this. It is situated in the main case, split into C and C# sides. This section starts at an altitude of prospect pipes (the lower part of the organ case contains the Barker machine and bellows).
Pédale – It consists of 4 stops. Bombarde 16 and Trompette 8 are pretty loud in reality. It is supposed that the leather part of the shallots was removed or just worn out over time, what resulted in louder sound, so the volume of these stops was slightly reduced in the sample set to recover the original sound balance. This section is split into C and C# sides on the opposite sites of the enclosure box.
It is worth noticing that the positive case is empty, dating back to the antique organ. It was too small for A.C.C pipes.
This organ is very eclectic. It is possible to play the 17th French classical pieces, or J.S. Bach works. It is also perfect for playing French romantic and symphonic composers, such as César Franck, Louis Vierne or Charles-Marie Widor.
In France, this organ has extraordinary fame, and it is a precious testimony of Aristide Cavaillé-Coll organ building.
Technical details:
Sample rate 48 kHz
Bit resolution 24 bit
Channel count 6 (3 × Stereo)
Tremulant model sampled chromatically
Compatible software Hauptwerk v. 4.2 or higher GrandOrgue
