Paul Fey - Fanfare for a Farewell - Viscount Ouverture (based on physical modelling)

In this video, I perform Paul Fey’s "Fanfare for a Farewell" to showcase the expressive and acoustic advantages of a physically modelled digital organ, as opposed to sample-based virtual organs such as Hauptwerk or Sweelinq.

The organ featured here uses a real-time physical modelling audio engine that simulates the underlying physics of pipe speech and wind behavior, rather than relying on pre-recorded pipe samples triggered by key events.

Key technical distinctions:

🎧 Cohesive Sound Under Full Registration:
When all stops are drawn, physical modelling preserves clarity and ensemble coherence. In contrast, sample-based systems often introduce phase issues, polyphony limitations, or inconsistent voicing, especially in dense textures.
🔊 Wind Model Simulation:
The modelling engine reacts to performance gestures, like fast repeated chords or crescendos, with realistic fluctuations in wind pressure and pipe interaction. This mimics real windchest behavior, which sample libraries cannot emulate convincingly.
🎹 True Pipe Interaction:
Unlike samples, which are static recordings, every note here is dynamically generated, allowing for subtle variances in attack, release, and harmonic development, creating a more "alive" sound.
🛠️ Latency & Responsiveness:
Physical modelling provides near-zero latency and removes the overhead associated with streaming large sample sets from RAM. This allows for a more immediate and expressive playing experience.
This demonstration is part of an ongoing discussion at OrganForum.com, where musicians and developers are exploring the future of digital organ sound design. Your insights are welcome. Join us in the debate!

🎵 Piece: Fanfare for a Farewell – Paul Fey
💬 Join the discussion: https://organforum.com/forums/forum/e...

#OrganMusic #DigitalOrgan #PhysicalModelling