Excellent Dietz, I'm getting more excited.
I think the conductor position is pretty good, it should be very clear there, not buried in the mud of reflections out in the hall. It may even be close enough to create a useful chamber organ sound? I know it's definitely not a chamber organ but if I can cheat, why not?

On the registrations with multiple harmonics pulled, they don't need to be recorded together, in fact I definitely hope as many single ranks where sampled seperately as possible. But what I mean is that some people when creating a registration of say a principle and an octave will just take the octave note from the same rank as the principle. This is very poor because the scale of the octave pipes should be different that the scale of the principle.

When I see the stop list, I can go through and give you a good wish list of registrations. Only one issue though, the combinations for different registrations will on be a rough guess because without hearing the instrument I won't know if the resulting sound will be balanced for a correct voicing. You have to play with this stuff a bit and use your ear but we should be able to get it close enough to provide real flexability for VI.

Did you sample the swell box shutters? If so, on all the ranks in the swell? I don't particularly think this is as important as getting more samples of the ranks but anyway just asking. Thanks

@Another User said:

Did you sample the swell box shutters? If so, on all the ranks in the swell? I don't particularly think this is as important as getting more samples of the ranks but anyway just asking. Thanks

As far as I have got the English nomenclature right --- yes, I sampled the shutter-noises seperatly, too. As well as short and long attacks for differentiation of the reverb-trails. And so on ... [:)]

Thanks for your interest!

[:D] Sorry Dietz, I didn't mean to insult the Holy Hall [:D]
I understand what you're doing. I just normally find samples too wet and I'm always struggling to find drier samples so that I don't get one hall played into another hall. Two halls virtually convolved together makes for a muddy sound. I understand that you will have a method to shut off the tail to solve this and this may do it for me but is it possible to have two mic locations available for VI?? Pretty please? Enough said, I don't want to upset the man who is doing something very cool that I can benefit from. I promise never to mention it again [:)]

Samples of every single pipe [:O] Sweet!!
For the registrations I'd like to just give you my thoughts on combinations based on the stop list. Just suggestions though.

On the swell box I was referring to samples of the pipes taken with different amounts of the swell shutter position, the old school volume control. Again, I don't think this is very important, I can just set the level anywhere I want it.

@ericbrooking said:

[...] On the swell box I was referring to samples of the pipes taken with different amounts of the swell shutter position, the old school volume control. Again, I don't think this is very important, I can just set the level anywhere I want it.

Oh, I see ... the keyword was "swell", not "shutter". Sorry for the confusion.

After an in-depth discussion with the Konzerthaus' specialist for the Rieger-organ, Erwin Bartha, we decided to skip this in favour of more details of the attacks and the releases. Otherwise the recording time (which was already ridiculously exhaustive) would have gotten completely out of hand.

... and please allow for some time until I have the list of stops in a simple text file.

That's great Dietz. I agree completely with you on the swell, good call.
I'll keep my eyes open for the stop list. You can PM it to me. I'm sure you have far better input from Erwin Bartha on what the best registrations are but I enjoy feeling like I have some input [:D]