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It's now been 15 days since I took delivery on my organ, and herewith are some observations and what-not that I said I would post at this point. I am open to questions at any time from anyone regarding this organ, but this is my last specific post about it (as I'm sure a few members are probably glad about!)
As I mentioned in an earlier post, the samples are superb, though with the "Historic" and "Baroque" samples, there is a distinct, slight "Dutch accent" to the sounds - not surprising. It is just as nice for all that, of course. I could talk at length about what is wonderful with each sample group, but I think it is more valuable to most readers to know what, if anything I don't like about them. #1? This is a 42 stop instrument representing (on my particular instrument) 56 ranks. FIfty-six ranks is a medium sized cathedral organ! Yet there is not one single 4' reed anywhere on the organ. That is a head-scratcher for me - did they actually have a reason for doing it that way?
#2 The sixteen foot Great and Pedal reeds are Contra Trumpets. Excellent specimens, and voiced correctly, but to me, in the world of 16' reeds - especially pedal reeds - the Contra Trumpet is low man on the totem pole. I'd much rather have had a Posaune or Bombarde in the pedal. They work well for the purposes intended, but . . . And there is also a very nice 16' Fagotto in the swell that serves nicely as a light pedal reed for things like trios, etc.
The pedal board would be a whole post in itself. I have a list of the exact AGO specs, and in all the really important ones, this pedalboard is spot-on. But it seems to me, with no other organ to check it against anywhere near me, that the space between the top surface of any natural, and the distance from that top surface to the "body" of the flat or sharp key next to it is very small (about 3/4 of an inch). Though I practiced on keyboard every day before getting this instrument, it had been 10+ years since I had had my feet on a pedalboard. Maybe they are all like that, and I just don't remember it.
The tracker touch keyboards: It gets better. I am just about at the point now where I would, electively, take them over all others. I mentioned in my first post how they facilitated rapid passage work - oh yes, big time. The other side of that coin is that I am re-learning legato touch with these keys on a day-by-day basis, but it keeps improving.
Bottom line: Would I recommend this instrument to a friend? Yes, I would. I still feel that Johannus, in their "Opus" line, is the best of all the makers in the area of "bang for the buck", not that this instrument is inexpensive - it is not. But if you are thinking of making the plunge for your own home, it is well worth your time to try the Johannus home instruments (the Studio, Opus and Vivaldi lines). I am not connected to the Johannus company in any way except that I bough one of their organs, and I am a happy camper about it!
Tony
As I mentioned in an earlier post, the samples are superb, though with the "Historic" and "Baroque" samples, there is a distinct, slight "Dutch accent" to the sounds - not surprising. It is just as nice for all that, of course. I could talk at length about what is wonderful with each sample group, but I think it is more valuable to most readers to know what, if anything I don't like about them. #1? This is a 42 stop instrument representing (on my particular instrument) 56 ranks. FIfty-six ranks is a medium sized cathedral organ! Yet there is not one single 4' reed anywhere on the organ. That is a head-scratcher for me - did they actually have a reason for doing it that way?
#2 The sixteen foot Great and Pedal reeds are Contra Trumpets. Excellent specimens, and voiced correctly, but to me, in the world of 16' reeds - especially pedal reeds - the Contra Trumpet is low man on the totem pole. I'd much rather have had a Posaune or Bombarde in the pedal. They work well for the purposes intended, but . . . And there is also a very nice 16' Fagotto in the swell that serves nicely as a light pedal reed for things like trios, etc.
The pedal board would be a whole post in itself. I have a list of the exact AGO specs, and in all the really important ones, this pedalboard is spot-on. But it seems to me, with no other organ to check it against anywhere near me, that the space between the top surface of any natural, and the distance from that top surface to the "body" of the flat or sharp key next to it is very small (about 3/4 of an inch). Though I practiced on keyboard every day before getting this instrument, it had been 10+ years since I had had my feet on a pedalboard. Maybe they are all like that, and I just don't remember it.
The tracker touch keyboards: It gets better. I am just about at the point now where I would, electively, take them over all others. I mentioned in my first post how they facilitated rapid passage work - oh yes, big time. The other side of that coin is that I am re-learning legato touch with these keys on a day-by-day basis, but it keeps improving.
Bottom line: Would I recommend this instrument to a friend? Yes, I would. I still feel that Johannus, in their "Opus" line, is the best of all the makers in the area of "bang for the buck", not that this instrument is inexpensive - it is not. But if you are thinking of making the plunge for your own home, it is well worth your time to try the Johannus home instruments (the Studio, Opus and Vivaldi lines). I am not connected to the Johannus company in any way except that I bough one of their organs, and I am a happy camper about it!
Tony
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