how do you manage when you have to play an organ where the entire sound body is far from the console?
I mean: how do you survive the acoustic delay between what your fingers do and what your ears hear?... In my case, it seems to me (perhaps I am exaggerating), we are at about 0.5" of delay.
in slow or andante pieces I can bear it. In rapid passages - if they are scales of eighths, sixteenths, or ornaments - I can still manage... But if I have to play an entire piece, say: allegro vivace, quite brisk, all in eighth-note figurations.... it is extremely difficult
I dare not imagine then if I had to play together with others!...
is there a remedy for this?
Leaving aside interventions on the organ, are there "interventions" that the organist can perform on themselves????
O
Organista94
Member
Reply 2 by Organista94
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194
Lots of practice, in excessive cases headphones are used.
How is the organ configured? How many keyboards does it have? How are the pipes positioned in the church?
I am asking you this because if a different spatialization of the pipes were dedicated to each keyboard, you could use, for example, the keyboard with the lowest latency. As suggested, when latency is not humanly manageable, one makes use of "instrumentation"...
Furthermore, I find it interesting to write pieces for organ by exploiting the possibility of spatializing sounds....in this case, the choice of keyboard would be dictated by the composer's prescriptions
the pipes are well "in quota": at the top just below the apsidal basin.
If I understood your question about spatialization correctly... I would say no: the pipes do not have different locations: they are all grouped together.
