MODARTT ORGANTEQ - User Manual
Congratulations on your purchase of Organteq - the starting point of a new generation of pipe organs, created by the MODARTT team.
Do not hesitate contacting us if you need any assistance on how to install and use the software. You are also welcome to provide feedback and suggestions - www.modartt.com/support
Table of contents
- 1. Introduction
- 2. Installing and starting Organteq
- 2.1. Installer package download
- 2.2. Installation for
- 2.3. Installation for
- 2.4. Using Organteq standalone
- 2.5. Using the VST/VST3/AU/AAX plug-in
- 2.6. Hardware requirements
- 2.7. Adapt Organteq to your hardware (standalone version)
- 2.8. Adapt Organteq to your
- 2.9. Quickly loading
MIDIfile player (standalone version)
- 2.11. Interface magnification
- 3. Parameter edition & preset
- 4. Organteq console overview
- 5. Other parameters
- 6. Edit your own organ console (advanced user)
- 7. Special acknowledgements
- 8. Intellectual property
Organteq is the first physically modelled organ reproducing the heart of the complex flue and reed pipes physics. The sound is generated in real time from scratch, reproducing the typical and variable pipe attack transients chiff as well as the 3D configuration, where pipes are located in space according to their keyboards. Even the action noises from keys, stops and couplers are modelled.
By being physically modelled, Organteq offers several advantages over sample based variants:
- It installs and loads quickly on any modern laptop.
- It hardly takes up any space at all as the file size is just 15 MB (megabytes).
- It feels like playing a real organ, with superior playability.
- It is vivid, bringing more realistic variability in attack and sustain.
Organteq offers over a thousand pipes, inspired from Cavaillé-Coll's organs, assigned to three manual keyboards with a five-octave range, and a pedal keyboard with thirty-two notes. Each keyboard can be assigned to a selection of stops with adjustable parameters.
MIDI learn feature and convenient
MIDI mapping, Organteq provides quick and easy connection with your
MIDI compatible keyboard and other devices.
The reverb module offers parameters to vary the ambience, from a pure anechoic dry sound to a giant space wet sound.
Organteq works on computers equipped with
Linux. You can use Organteq in standalone mode or as a plug-in instrument in a
Audio Units or
AAX host. Organteq runs in 64-bit mode only. We recommend visiting www.modartt.com/organteq where you will find the latest information, a detailed FAQ page and a tutorial on how to connect your hardware.
Once registered as a user on the modartt.com/user_area, you will be able to log in and download the binary archive located in the
Execute the installation program file
organteq_setup.exe. Activation is required when launching Organteq for the first time. Just follow the on-screen instructions.
ASIO drivers are necessary for obtaining a low latency. If using a soundcard that is not distributed with its own
ASIO drivers, you can download free third-party
ASIO drivers at www.asio4all.com.
If you experience pops and cracks when playing, watch the audio load and
CPU frequency in
Options ► Perf:
Red bars in the graphic indicate an overload. In that case, look at the displayed
CPU frequency. If this frequency varies or stays below the normal frequency of your
CPU, it comes from the Power Management setting of your computer which should be set to
Click on the Organteq package and follow the instructions. Activation is required when launching Organteq for the first time. Just follow the on-screen instructions.
Using Organteq standalone is very simple. Launch Organteq and specify your
MIDI devices settings in the
Options ► Devices dialogue box: you are ready to play.
Organteq can be loaded by any
Audio Units or
AAX host. You will need to specify, inside the host, your
MIDI device and the driver you are using.
Organteq can be used with any
MIDI compatible keyboard. To simulate a real organ more closer, you can use multiple
MIDI compatible keyboards and an organ pedal board.
The requirements for using Organteq successfully are:
CPU(Intel i7, i9, Xeon, AMD Ryzen or equivalent is recommended)
- 512 MB
ASIOcompatible sound card and drivers (concerns Windows users only)
- Internet connection (if activating the software using quick online method, otherwise see modartt.com/pianoteq/faq)
Windows7 (64-bit) or later,
macOS X10.7 or later,
When running in standalone version, click on the
Options button, a window containing the following sections appears:
Devices section lets you select your hardware keyboards, audio device and related driver (Audio device type), output channels, sample rate and audio buffer size.
If running Windows, you should select an
ASIO driver. If intending to play on a
MIDI compatible keyboard, you should select an audio buffer size which generates a latency of less than 8ms to simulate the response of real organ keyboards.
The audio load graph lets you check how your computer performs. If you encounter performance issues, you will need to lower the sample rate.
Click on the left part of the
MIDI mapping button to open the
MIDI mapping window. From there you can either set a
MIDI Action mapping (internal actions triggered by a
MIDI events) or set a
MIDI Keyboard mapping (routing between
MIDI channels and virtual keyboards).
Clicking on the upper right button opens a menu where you can:
- select an other
MIDI mappingconfiguration (both
Set as defaultone
MIDI mappingto a
preset(it will be selected each time the
MIDI mappingit is adviced to set it
as default, so it is selected every time Organteq launches.
MIDI Action mapping is made of several
Action mapping items. Each
item assign a
MIDI event (
Program Change, etc...) to an Organteq internal action, with
MIDI channel filtering and bounds resctrictions options.
MIDIcontroler by clicking on the element while holding the OS specific modifier key (
ctrl + click,
⌘ + click). See the MIDI Learn section.
Organteq comes with four virtual keyboards: Pédale, Positif, Grand Orgue and Récit. A
Keyboard mapping item allows one to route a
MIDI channel to a given virtual keyboard with input range and transposition options.
Example 1: a basic
Keyboard mapping is made of four
Keyboard mapping items, one per virtual keyboard, routing the 1 to 4
MIDI channels as follow:
Example 2: a "keyboard split" for pianist
If you have only one hardware keyboard and you still want to use several virtual keyboards, here is an example of a "keyboard split" setup:
MIDIkeyboards, make sure that each of them emits on different
MIDI Keyboard mappingup.
The easiest way to set your
MIDI setup is to use the
ctrl + click(
⌘ + click(
macOS) on the on-screen UI item:
MIDI learnmode is triggered
- touch any controller you want to link with
MIDImessages for switching on and off. For these specific actions it is asked during the
MIDI learnto switch the associated controller on, then to switch it off.
- be sure that each keyboard emits on different
- right-click on the on-screen keyboard:
MIDI learnmode is triggered
- press any key on the
MIDIkeyboard you want to link with
All conflicts will be removed: all other
Keyboard mapping item involving the on-screen keyboard, or the
MIDI channel, will be removed.
You can load
MIDI files with the standalone version) quickly by dragging each file at a time, from the file manager, email client or web browser, onto the Organteq interface.
The Organteq standalone version is equipped with a
MIDI player that lets you play and record
MIDI files. You can load several
MIDI files via
File ► Load MIDI file and even create your own
MIDI Playlist via
File ► Manage MIDI Playlist.
MIDI stream recorded by Organteq standalone is recorded as a 6-track
MIDI file. Track #0 contains the original input. Tracks #1 to #4 contain the notes played on the 4 keyboards from bottom to top (1=Pédale, ..., 4=Récit). Each track from 1 to 4 is recorded on the
MIDI channels 1 to 4, respectively. Track #5 contains all other real-time events (stops switches, couplers switches, tremulants swithces, expression pedal, crescendo pedal, tutti, ...) as
SysEx messages, including clicks events on the GUI.
MIDI file recorded through Organteq is recognizable by its 6 tracks structure (right-click on the white part of the
When loaded back in Organteq standalone, such a
MIDI file is played by overriding the current
MIDI mapping and uses an internal built-in
MIDIfile recorded with Organteq must be read with the preset/setting (
fxpfile) with whom it has been recorded, otherwise the real-time events, such as stop switch events, might activate the wrong stop!
You can adjust the playback speed by clicking on
x1 ("times 1"). A menu will appear where you can choose another value or enter any value between 0.1 and 10. Alternatively, click on
x1 and drag the mouse to get the value you want.
Click on the
record button to start recording your performance live.
MIDI file by opening the
File menu. There you can also export your recording to a WAV, FLAC or MP3 audio file.
At any time, you can retrieve your recent performances via
File ► Recently played on the keyboard. Particularly useful when after a brilliant performance you think “too bad I didn’t record this”! Well, Organteq did it for you: just load the latest
Recently played on the keyboard and save/export it to a regular
MIDI/AUDIO file. It’s as simple as that!
For less recent performances, a
MIDI Archiver is available, access the settings at the bottom of the
Recently played on the keyboard menu.
In the standalone version, for exploring your
MIDI file step by step, forwards or backwards, use the computer keyboard right or left arrows to play single notes or chords. Using right click in the
MIDI player, you can remove events placed before or after the current position.
The Organteq interface is resizable, making it comfortable to work with any display size. Click on
Options ► General and select the size in the
Interface magnification menu, or simply use the handy keyboard shortcuts
The physical model contains a great number of parameters, but only a small proportion of them are available through the user interface. A preset gathers all the parameters that are user-editable.
You can change any parameter by moving the corresponding slider with the mouse.
Moving the mouse cursor perpendicularly to the slider will make the slider move slowly.
Each time you modify parameters in Organteq, a few computations are needed to update the physical model. It might take a few seconds.
In Organteq you can modify and create your own presets, save them and share them with other users. The following commands are located at the top of the interface.
savebuttons allow you to edit and save your new preset.
freezecheckbox allows you to select the parameters that you want to keep unchanged when changing preset. This is a very convenient feature for “transporting” settings from one preset to another.
- Using the
undo/redocommands, you can at any time undo and redo the changes you have made: up to 100 undos are possible. A right click on the button shows you the last modification.
ABbutton allows you to switch between two presets A and B, one being in the foreground while the other is in the background. The led beside them is lit as soon as A and B are different. Clicking on the
ledcopies the foreground preset into the background preset. A right click on the AB button lists the differences between A and B. A and B presets have their own undo/redo stack.
When you click on the edit button, the following presets manager appears:
It lets you manage the presets. You can edit the presets information, sort or filter them (see some part of them), rename them, etc.
Information on each preset is displayed at the bottom of the presets manager, as well as a small demo excerpt (
mini-player to the left of the
edit button). There you can edit the information related to your own presets, and record yourself your own demo excerpt (left and right clicks on the
The way presets are sorted can be chosen by clicking in the appropriate column:
Preset name or
bank is a set of presets that are located in a given folder, except the
factory bank which contains all the built-in presets.
You can select the presets that are visible in the menu through two different
filters located on the right side of managing window:
All banks. You can also click on individual banks.
A double click on a user preset name allows you to rename it. You can also open the contextual menu by clicking on the small arrows in the
The Organteq folders
The easiest way to find the Organteq folders is to click on the little folder images to the right of
All banks. The Organteq folder contains one sub-folder
Presets: this is where to store the user defined banks. Each bank is itself a folder that contains presets with fxp file format.
There are two ways of importing
- Drag and drop the file into the interface,
- Copy the file into the appropriate folder.
After you have created your new preset, you can save it by simply clicking on the save button; a popup window will ask you for a preset name and a bank name (default bank is
My Presets). Each time you click again on the save button, you will save the new values with the same preset name. You can access backup copies with a right click on the preset name (if there are some).
You can assign Organteq parameters to
MIDI controllers such as those that may be on your keyboard. Select the parameter slider that you want to assign (right click on the slider and click on
MIDI ► Assign MIDI Control) and move the knob of the
MIDI controller that you have chosen for this parameter. Organteq will automatically assign the parameter to the controller. More sophisticated possibilities are provided in the
MIDI control may be assigned except the following ones:
MIDI controls 6, 38, 96-101 which are used for
MIDI parameters; controls 120 to 127 are reserved for various reset operations ("all notes off" etc.); controls 32 to 63 are reserved for 14-bit precision controllers.
This section gives a brief overview of the main Organteq window.
A stop is the basic unit of an organ. A stop is a set of pipes with timbral consistency along the tessitura. More than 20 stops are available in Organteq.
Organteq comes with 4 keyboards, from bottom to top: Pédale, Positif, Grand Orgue and Récit. A set of ten stops is attached to each keyboard. All the stops of a keyboard are usually put in a box called division. The keyboard divisions are set at different location, offering different sound planes for each keyboard.
MIDIchannel to a keyboard by right-clicking on the keyboard. Then press a key on the hardware keyboard. The channel of your hardware keyboard is then automatically attached to the virtual keyboard.
When playing on a keyboard, a stop has to be activated to be heard. This is done with the stop switch, or stop drawknob, on the side of the keyboard:
MIDIcontroller to each stop drawknob by clicking on the stop drawknob while holding the OS specific modifier key (
ctrl + click,
⌘ + click).
Couplers allow one to add the registration of a keyboard to another keyboard. When Pos. / Péd. is activated, the sound of the Positif is added to the Pédale. Organteq offers 6 settable couplers, with octave transposition options. Open the couplers settings window to custom your own couplers.
MIDI Keyboard mappingas simple as possible.
The stop drawknobs, couplers pedals and tremulant switches manipulation can be fastidious and break the live performance workflow. Organteq comes with a hundred combination banks. Each bank offers 10 settable combinations. A combination allows to trigger a pre-recorded state of stop drawknobs, coupler pedals and tremulant switches.
The easiest way to set a combination is to perform a "snapshot": set the stop drawknobs, couplers and tremulants as desired, right-click on the combination button, and click on snaphost (or use the shortcut
shift + click
on the combination button). This records the current live state under the current bank and combination.
When playing, just click the combination button to quickly revert to the pre-recorded state.
Stepper, Previous/Next and Previous Bank/Next Bank are used to navigate through combinations and combination banks. Thus you can prepare your own sequence of combinations that suit your project, and easily navigate through it. Note that changing a combination bank won't trigger any combination: you need to further trigger a combination of that bank with the direct switch or with the combination stepper.
A combination basically turns all switches On or Off. A third action is available: let the switch untouch. This allows you to modify only a subset of switches. Open the advanced Combination settings window. There you can set stops drawknobs and other items to "Unset", "Set" or "None". Here is an example where the combination will affect all the keyboards but the Récit:
Pipes are enclosed in keyboard divisions. The expression pedal allows to open the wooden blinds of the divisions, yielding a much louder and richer sound.
Assign all stops of a keyboard to the expression pedal by right-clicking on it.
Stops can be individually add to or remove from the expression pedal from the Stop edit window.
The crescendo pedal gradually activates stops in addition to the manual registration.
The crescendo pedal is divided in 12 steps. For each step, a stop can be On or Off. Set the stop individually from the Stop edit window.
The tremulant is a mechanical device that modulates the upstream air flow that feeds the pipes. When the tremulant is activated, the sound production is modulated according to the tremulant settings. Note that this is not as post-effect: the modulation generated by the tremulant is used as an input of the physical model, and is fully processed by the model itself yielding a modulation of the pitch, the intensity and the harmonic content.
Organteq comes with four tremulants, one per keyboard division. The tremulant settings window allows you to set the rate, the depth and the shape of each tremulant.
Two additional buttons are available. Tutti activates all stops of all keyboards. General Cancel resets all stops, couplers and tremulants.
Several parameters are available under the
Settings panel (click on the
The standard diapason (A above middle C) frequency1 is 440 Hz, but you can change it to other values by clicking in the
The temperament defines the way the scale is tuned. In the
Temperament menu, you can choose from the following temperaments:
Equal: the standard tuning
Zarlino(circa 1558): sometimes called the “physicians scale”, based on harmonic thirds (ratio 5/4) and fifths (ratio 3/2)
Pythagore(VIth A.C.): based on harmonic (pure) fifths except for one (the so-called “diabolus in musica”). Can you hear which one it is?
Werckmeister III(XVIIth) and
Valloti: unequal temperaments used in baroque music
Flat: octaves ratio is strictly 2.
Detune entry in the
Temperament menus gives you access to a panel where you can detune the whole organ, note per note. A pipe per pipe tuning is also available.
Two parameters can be adjusted to modify the stereo image:
Stereo width. This parameter allows you to narrow or broaden the stereo image of the instrument.
C/C# separation. Within each division, the pipes are located according to their pitch: C whole tone scale on the left, C# whole tone scale on the right. This parameter gradually sends the C and C# sides of each division to the right and left channels, respectively.
Two output configuations are available:
2 Channels: the sound of all the four divisions is mixed to the main stereo output,
8 Channels: each division has its own stereo output. Each channels pair can be routed as you want. In standalone mode you have to make sure that your audio device has enough enabled channels. When used as plug-in, make sure your host is set to receive eight channels.
A convolution reverberation unit simulates acoustic surroundings ranging from Studio up to very long reverbs like Cathedral or Taj Mahal. It includes other types of reverbs such as Plate, Spring, Speakers, Broceliande... You can even load your own reverb impulses via
Load WAV impulse in the
The reverberation is controlled by the following parameters:
Mix: the relative level in dB between reverberant sound and direct sound
Duration: the length of the reverberant sound
Room size: from 5 to 50m
Pre-delay: the time between the direct sound and the reverberant sound
Tone: a tilt equalizer that only affects the reflected sound, darker to the left, brighter to the right
Tail / Early reflections: the relative level in dB between early reflections and reverberation tail.
Organteq's console is fully editable. You can modify the stop attached to each keyboard, the couplers actions, the combinations, the expression and crescendo pedal. The following sections focus on the stop edition.
Each keyboard offers ten slots into which you can attach a given stop.
MIDI Action mappingmaps to a slot and not to the stop it contains.
Open the corresponding slot
stop edit window by right-clicking on the
empty slot or on the
In this window, you can attach a stop to a specific slot. To select a slot, use the upper left buttons or right-click on the main interface on the drawknobs (or empty slot). You can also attach a
MIDI event to the drawnknob. For each stop, several parameters are adjustable such as the note-per-note volume or how the crescendo pedal affects the stop.
Stops are categorized into two main families, depending on the exciter, i.e. how the acoustic vibration is produced:
- flue stop: the acoustic vibration is created by the interaction of an air jet with the pipe labium
- reed stop: the acoustic vibration is creating by the beating reed
In both families, the acoustic vibration is filtered by the pipe resonances. A wide variety of exciter shapes and pipe shapes yields a wide variety of timbres.
Flue stops are mainly made of cylindrical resonator:
- flute or wide diamater: these pipes produce a soft sound with a pronounced fundamental and less harmonics
- principal or medium diameter: the sound is balanced
- string or narrow diameter: these pipes tend to reproduce the sound of bowed string instrument, with a much richer timbre
- bourdon or closed-end pipe: half the length of open-end pipes, they produce a soft sound with a strong odd timbre (odd harmonics)
There is no such a clear classification for reed stops since the variabitity of pipe shapes is more important. Lets mention some important pipe shape:
- trumpet or conical: strong and powerfull sound reminding the trumpet
- clarinet or cylindrical: softer sound reminding the instrument of the same name
- voix humaine: reed stop with a very short pipe length, not matching its nominal frequency
In addition to the timbral variation offered by the pipe shape, the stops are also available at different pitches. It is the custom in the organ world to refer to a stop pitch using the height of the lowest C of the stop, which is approximatively 8 feet (noted 8'). Even bourdon whose length is halved is refered as a 8' stop since it sounds as a 8' open-end pipe. A stop sounding an octave lower is twice longer: 16'. A stop sounding an octave above is twice shorter: 4'. And so on.
Other pitches than octaves are available. These stops are called mutations and sound at higher pitch at specific musical interval. Here is a the most common heights including mutations:
|16'||= 8' x 2||lower octave|
|8'||= 8' / 1||unison (reference pitch)|
|5' 1/3||= 8' / 1.5||fifth|
|4'||= 8' / 2||octave|
|2' 2/3||= 8' / 3||twelfth (octave + fifth)|
|2'||= 8' / 4||double octave|
|1' 3/5||= 8' / 5||seventeenth (double octave + third)|
|1'||= 8' / 8||triple octave (sometimes seen as a mutation)|
All the stops mentionned so far are single rank stops: there are as many pipes as the number of keys, one pipe per key. Mixture stops combine several flue ranks: one key activates several pipes at different heights. These pipes cannot sound separatly.
The ranks of Mixture stops might also have breaks along the tessitura. A break is a change in the pipe height that occures between two keys. The following table shows the actual height of an octave rank (4') with a break at B2/C3:
|C1 - B1||C2 - B2||C3 - B3||C4 - B4||C5 - B5|
|8' rank (reference)||8'||4'||2'||1'||1/2'|
|4' rank with one break||4'||2'||2' (break)||1'||1/2'|
|Musical interval||octave||octave||unison (break)||unison||unison|
|Stop name||Short name||Type||Subtype||Height||Comment|
|Principal 16'||P16||Flue||Principal - Flue stop with a medium diameter||16'||The typical organ stop. This 16’ version offers strong bass.|
|Bourdon 16'||Bn16||Flue||Bourdon - Closed-open end flue stop||16'||Similar to the Bourdon 8’. This 16’ version offers a very soft bass used to fill the lower part of the sound in order to achieve more depth.|
|Quintaton 16'||Q16||Flue||Chimney - Closed-open end flue stop with an open chimney||16'||Closed pipe ending with an open chimney. Same characteristics as the Bourdon but with a strong 3rd harmonic (twelfth = octave + fifth). This 16’ version offers a very soft bass.|
|Gambe 8'||G8||Flue||String - Flue stop with a narrow diameter||8'||It is inspired from bowed-string instruments, with a brilliant sound and chiff attack. It constitutes the so-called Jeux de Fond, together with Bourdon 8’, Principal 8’ and Flute 8’. They are the basis for other registrations.|
|Voix Celeste 8'||VxC||Flue||String - Flue stop with a narrow diameter||8'||Very similar to the Gambe 8’, but craftily detuned. Pulled together with a well-tuned Gambe 8’, it produces a very floating beating sound.|
|Principal 8'||P8||Flue||Principal - Flue stop with a medium diameter||8'||The typical organ stop. It constitutes the so-called Jeux de Fond, together with Bourdon 8’, Gambe 8’ and Flute 8’. They are the basis for other registrations.|
|Flute 8'||F8||Flue||Flute - Flue stop with a wide diameter||8'||Its soft sound with a strong fundamental is inspired from flute-like woodwind instruments. It constitutes the so-called Jeux de Fond, together with Bourdon 8’, Principal 8’ and Gambe 8’. They are the basis for other registrations.|
|Flute Traversiere 8'||FT8||Flue||Flute - Flue stop with a wide diameter||8'||Its soft sound with a strong fundamental and lighter upper harmonics is inspired from the transverse flute.|
|Bourdon 8'||B8||Flue||Bourdon - Closed-open end flue stop||8'||The Bourdon 8' offers the typical timbre of soft sound and strong odd harmonics. It is a closed version of the flute. The stop is referred to as a 8’, although its length is half that of a flute of the same pitch.|
|Prestant 4'||P4||Flue||Principal - Flue stop with a medium diameter||4'||The typical organ stop. This 4’ version makes the registration richer.|
|Flute 4'||F4||Flue||Flute - Flue stop with a wide diameter||4'||Its soft sound with a strong fundamental and lighter upper harmonics is inspired from flute-like woodwind instruments. This is an octave version of the Flute 8’.|
|Quinte 2'2/3||Q 2 2/3||Flue||Flute - Flue stop with a wide diameter||2' 2/3||Mutation of the Flute 8’: sounds at a twelfth (octave + fifth). A mutation is a stop sounding at a musical interval which is not the octave.|
|Nasard 2'2/3||N 2 2/3||Flue||Bourdon - Closed-open end flue stop||2' 2/3||Mutation of the Bourdon 8’: sounds at a twelfth (octave + fifth). It is common to pull it together with Bourdon 8’. A mutation is a stop sounding at a musical interval which is not the octave.|
|Doublette 2'||D2||Flue||Principal - Flue stop with a medium diameter||2'||A double octave version of the Principal 8’.|
|Piccolo 1'||P1||Flue||Principal - Flue stop with a medium diameter||1'||A triple-octave version of the Principal 8’. This one is sometimes considered as a mutation because of its very high pitch. Try to use it with a holed registration: B8 + P1!|
|Stop name||Short name||Type||Subtype||Height||Comment|
|Cornet||CV||Flue||Mixture - Several flue ranks||-||It aims to replace the reed stops that are less powerful in the upper register. Usually defined above C3, this one has been extended to lower octaves with a less brilliant Mixture. This Mixture is made of five flue ranks.|
|Plein Jeu III||III||Flue||Mixture - Several flue ranks with breaks||-||It is one of the main signatures of the organ. It is meant to be used with other flue stops, for instance P8 + P4 + III. This Mixture is made of three flue ranks with breaks (i.e. change in the pitch), combining octaves and fifths.|
|Plein Jeu V||V||Flue||Mixture - Several flue ranks with breaks||-||It is one of the main signatures of the organ. It is meant to be used with other flue stops, for instance P8 + P4 + V. This Mixture is made of five flue ranks with breaks (i.e. change in the pitch), combining octaves and fifths.|
|Stop name||Short name||Type||Subtype||Height||Comment|
|Bombarde 16'||B16||Reed||Reed stop with a conical resonator||16'||This 16’ reed stop offers rich and strong bass. Assign it to the Pédale to add depth to your foot bass line.|
|Trompette 8'||T8||Reed||Reed stop with a conical resonator||8'||Inspired by the brilliant and powerful sound of the trumpet. Often used for solo voices.|
|Clarinette 8'||C8||Reed||Reed stop with a cylindrical resonator||8'||Inspired by the sound of the clarinet. Alternative solo stop to Trompette.|
|Musette 8'||M8||Reed||Reed stop with a converging conical resonator||8'||It offers a much softer sound than other reed stops.|
|Regale 8'||R8||Reed||Reed stop with a very short cylindrical resonator||8'||This ancestral stop offers a medieval sound that suits old pieces, as well as more recent compositions.|
|Voix Humaine 8'||VxH||Reed||Reed stops with a very short and half closed cylindrical resonator||8'||Also called Vox Humana. The combination of the high pipe resonances (short length) with the low-tuned reed makes this stop the closest to human voice.|
|Clairon 4'||C4||Reed||Reed stops with a conical resonator||4'||This 4’ version of the Trompette is usually used for octave solo voice.|
We are grateful to Toulouse les Orgues and Bernard Thourel for their valuable contributions.
MODARTT is a company that develops and provides software, hardware and consulting services for artistic and technological applications.
- Organteq is a trademark of MODARTT S.A.S., 9, avenue de l’Europe, 31520 Ramonville Saint Agne, France.
- Cubase, ASIO, and VST are trademark of Steinberg Media Technologies GmbH
- The Audio Units logo is a trademark of Apple Computer, Inc.
- FFTPACK v4. Copyright (c) 2004 the University Corporation for Atmospheric Research ("UCAR"). All rights reserved. Developed by NCAR's Computational and Information Systems Laboratory, UCAR, www.cisl.ucar.edu.
- Redistribution and use of the Software in source and binary forms, with or without modification, is permitted provided that the following conditions are met:
- Neither the names of NCAR's Computational and Information Systems Laboratory, the University Corporation for Atmospheric Research, nor the names of its sponsors or contributors may be used to endorse or promote products derived from this Software without specific prior written permission.
- Redistributions of source code must retain the above copyright notices, this list of conditions, and the disclaimer below.
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- THIS SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE SOFTWARE.
- WEBP. Copyright (c) 2010, Google Inc. All rights reserved.
- Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:
- Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
- Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
- Neither the name of Google nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.
- THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
- LIBJPEG. This software is based in part on the work of the Independent JPEG Group.
- LAME 32bits version 3.99.5
- Copyright (c) 1999-2011 by The LAME Project
- Copyright (c) 1999, 2000, 2001 by Mark Taylor
- Copyright (c) 1998 by Michael Cheng
- Copyright (c) 1995, 1996, 1997 by Michael Hipp: mpglib
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