On 19 Jul 2010 at 0:20, John Howell wrote: > At 11:15 PM -0400 7/18/10, David W. Fenton wrote: > > > >I can't quite understand the product space here. It seems that nobody > >really makes anything at a professional level of quality in both > >keyboard and sound output. > > Perhaps around 10 years ago, Opera Roanoke did Monteverdi's > "L'Orfeo." (A very good production, in my opinion, conducted by Jan > Harrington from Indiana.) > > On the other side of the orchestra they had an electronic organ that > had what I thought were EXCELLENT samples, and a choice of at least a > few historic sounding stops (and possibly even temperaments).
But this is not what we need. We need something with *one* very good- sounding sample that will blend with viols. That's a pretty subtle requirement, because of the nature of the harmonic series of viols. > It may > have been a Roland, although I'm not at all sure, and I have no idea > if it's still for sale and what the price is, but I believe it was > owned by Opera Roanoke, and you might try to contact them for > information. I can't remember whether that organ also had harpsichord > stops. The Roland C-230 is what was first brought up, but it's vast overkill (36 stops) and pretty expensive. > We also had a harpsichord on each end of the orchestra, which was > nice. The one on our end was a Zuckerman, but that was OK because we > had the lutes, harp and theorbo! I played bass gamba on that gig, and > doubled on soprano and garklein recorders. (Those Furies were REALLY > furious, but that's what the conductor wanted!) Well, if you're happy with Zuckerman kits, then, well, um, a Hammond organ doesn't seem far behind as tolerable. I guess my Oberlin education has really spoiled me, in that I can't abide the crappy instruments that are so common everywhere. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
