The Hauptwerk Virtual Pipe Organ Project
OPUS I - My First Hauptwerk Virtual Pipe Organ
(This site is hosted on the Raspberry Pi - a web server for 25.00 - and consuming only 5 watt!)
PLEASE NOTE: in 2021 the web address of this site changes to: (NB.: no "www")
The old site-address ( will cease to exist during 2021!

  How it all started - OPUS I - the first organ  
Opus I: Stage 1 - The PC Opus I: Stage 2 - Organ Parts Opus I: Stage 3 - The Pedalboard
Opus I: Stage 4 - The Console Opus I: Organ Completed Opus I: List of Current Organs
  OPUS II - a New Hauptwerk Project  
  High Quality Organ Bench  

In May/June 2007 I happened to come across some music software that I hadn't heard about before. It was the MyOrgan software, and it introduced me to something that I had been considering for many many years - since I was a teenager in fact - that of creating an affordable pipe organ system at home. I downloaded the MyOrgan software and installed it. I tried it with my Evolution 49-note MIDI keyboard. I admit I was a little disappointed but I could at least see the possibilities.

My disappointments with MyOrgan were:

First, there was too much latency. I had noticed that latency had increased anyway when I changed my operating system to Windows Vista Business (x32) from Windows XP Professional (x32). The workstation concerned had a Gigabyte Titan 800fsb motherboard carrying a Pentium IV 2.4GHz with 3Gbyte RAM. 
The audio was via a Creative Soundblaster Live! PCI card running kxAudio drivers (as Creative Labs never had the decency to release Vista drivers for that card). I also had a set of 5.1 surround sound Cambridge Soundworks speakers with a subwoofer, so the PC could do justice to most music;

the sound was subject to regular jumps or clicks on long chords, probably owing to poor loop construction or management.

Anyway during my fiddling about with the MyOrgan software I came to discover that several others had produced organ software of various types: JOrgan (which I never installed) and Miditzer were the main ones. And then I found Hauptwerk from Crumhorn Labs.
I downloaded and installed Hauptwerk - this can be done without charge for evaluation purposes but a triangle sounds regularly unless you have a licence dongle in a USB port - and connected up my MIDI keyboard. The software includes a full set of samples for the organ of St. Anne's parish church in Moseley near Birmingham, and I was simply astounded at what I heard! In fact the MIDI channel that I had set for my keyboard was playing the pedal organ! Not only was the sound the most realistic impersonation of a pipe organ that I had ever heard, it was also completely free of detectable latency even on Windows Vista. After a bit of investigation I soon worked out how to map the MIDI keyboard to one of the virtual organ keyboards and I was away!

My book, entitled "All about Hauptwerk" is outlined in this YouTube Video. The book can help anyone investigating Hauptwerk to understand how it works and howto set up the software. Designs for pedalboard and console are included.

My new book:
"All about Hauptwerk"
is available now from:

All about your Computer
Buy from Lulu and email us for  a free PDF of this book ...
A full explanation of how to setup and use Hauptwerk: keyboards/ pedalboard/  expression pedals/ and controller accessories.
There are designs for a pedalboard and console
Multi-channel audio setup, convolution reverb setup, tuning and temperament are also covered.

Soon I began to eye up my two manual plus 13-note pedal Technics SXEA-1 electronic organ, which had MIDI-IN and MIDI-OUT sockets in the back that I had never used in the twelve years since I bought the organ. So I ordered a MIDI-USB adapter for 20.00, waited a day for it to arrive, and connected my Technics organ to the PC USB port via the MIDI-USB adapter.
Straight away, Windows Vista detected the TaHorng Musical Instrument MIDI-USB Device in the adapter and installed the driver with no problem. And then, playing two manuals and the pedalboard of the Technics organ produced sounds from the selected stops! Then I noticed that one of the keyboards was playing the pedal organ and that the pedalboard was playing the great organ. I went back to configuration dialogues of the Hauptwerk software, and remapped the MIDI channels used by the Technics organ to the desired divisions of the virtual organ. Software for viewing MIDI activity (MIDI-OX software) helped me to identify what was happening when I played the Technics organ keys and pedals, so that I could direct to MIDI data correctly. After a day or two of further investigation with MIDI-OX, I was able to work out how to direct the data derived from changes of position of the expression pedal of the Technics organ to the swell and crescendo pedal of the virtual organ, and to enable the Technics' programme control buttons to select combination pistons and stops on the virtual organ.

All this rapidly led to the purchase of the Hauptwerk Licence and the download and purchase of several sample sets from some UK and some European organs. Fairly soon I started to become aware of the constraints of using my Technics organ for classical playing. The two keyboard manuals were only 44-note each, although they were offset by an octave. But there were still only two, and I wanted at least three! I also wanted a full compass of 61-notes! The Technics' pedalboard was also limited - it had only 13-notes, and could only play one note at a time - no pedal organ polyphony! Also my PC was restricting full use of the Hauptwerk software as it could not cope with the recording facility built into the software, and furthermore, many of the organ sample sets were simply too large for its memory capacity.

And so, the desire to build a proper Hauptwerk Virtual Pipe Organ started to develop!


Stage One: Build the PC

Because I now had a playable organ system, I decided that first of all I had to build a better PC. And so I selected an ASUS P5N-SLI motherboard. This is an inexpensive board but it supports Intel Core 2 Quad processors, and up to 8Gbyte of RAM. I also selected it because it has 2 x EIDE ATA disc interfaces (as well as 4 x SATA) which meant that I could use hard discs and DVDRW drives from my existing IDE stock without having to purchase SATA drives. I bought a 2.4GHz Intel Core 2 Quad processor, and 3 x 2Gbyte DDR2 memory strips, along with an nVidia 8400 512Mbyte PCIe x 16 graphics card, and Windows Vista Ultimate 64-bit.

I soon had the PC built and working, but I very soon realised that it wouldn't be long before a significant upgrade would be required!.
Windows Vista Ultimate x64 is very fast and very pretty on the hardware selected - and so it should be! The motherboard drivers and the nVidia graphics card are all fully compliant with 64 bit architecture, although I did update everything from the ASUS and nVidia websites.
The only problem, still ongoing is with my Creative Zen Vision M player, which, although declared by Creative Labs and by Microsoft as being Windows Vista 64-bit compatible, is not recognised by the operating system, in that it will not connect owing to a failure to load a driver. Creative Labs don't seem to appreciate the problem, so far.

Having built the new PC I then installed the Hauptwerk Virtual Organ application, which recognised the 64-bit operating system. I proceeded to connect the TaHorng Musical Instrument MIDI-USB Device to a USB port of the PC and to the Technics organ. I was delighted when the adapter was recognised, and the driver was installed without difficulty. And of course my pleasure continued when I was able to load the largest of my organ sample sets and obtain at least twice the polyphony that was obtainable with 32-bit Vista.
In fact, all this work turned out to be purely experimental, because when I started work on my "proper" console, I decided to build another PC of somewhat higher specification. This was mainly brought about by the need for a rather special case for the PC in the organ, as a standard tower proved difficult to accommodate. Therefore I settled on a "cube" case, which is similar to a shuttle case in design but a little larger. I also selected a different motherboard, so that I could upgrade to 16 gigabyte of RAM if necessary, which has been done (although now I have 32Gbyte RAM).
Over two years, I moved from Windows Vista Ultimate x64 to Windows 7 Ultimate x64, from 8Gbyte RAM to 32Gbyte, and from 1 320Gbyte IDE fixed disc, through 500Gbyte SATA, to the present arrangement of two 2 Terabyte SATAII discs in a RAID 1 array.

The PC has evolved as the requirements of each organ has been more demanding. The current specifications are:

PC Control:
Organ Control:
EV "cube" case, uATX
ASUS P8H67M-Pro (supports 32GByte of DDR3 RAM)
Intel Core i5 2550K
4 x 8Gbyte DDR3 = 32Gbyte RAM
2 x 1 Tbyte SATA discs in RAID 1 array
M-Audio Delta 1010LT 8-channel audio card
Windows 7 Ultimate x64
19" LCD touch screen
Wireless keyboard & mouse
Behringer FCB1010 MIDI foot controller;
19" touchscreen and 2 x Novation Launchpad

PC front

PC side (transparent)
Stage Two: Source some Organ Parts

My next task was to find the parts to construct an organ that would meet the specification of a typical classical pipe organ. I decided that I would need:

- three 61-note manual keyboards
- a pedalboard with at least 27-notes, and preferably 32-notes. It would also preferably be of a similar design to what is known as the "Royal College of Organists concave-radiating pedalboard". Interestingly enough, after contacting the Royal College for the specification of this design, I was told by Andrew Macintosh of the Royal College that the College does not actually define any standard, but that what is often called the "RCO standard" is simply that of an organ owned previously by the College, and he kindly sent me all of the critical the dimensions of its console and pedalboard;
- at least one pedal for continuous control of a crescendo or a swell control.

I set about searching for suitable 61-note MIDI keyboard controllers. At first I was rather put off by the price - it seemed that to equip my organ three manuals would cost me well over 1,500 if I purchased keyboards from the manufacturers of what are probably very high quality keyboards with built-in MIDI combination switches and with so-called "tracker action". I found a supplier of much more economical 61-note MIDI+USB keyboards, and decided to purchase one for evaluation. At the same time I was searching for a MIDI Merge unit that would enable me to connect 4 MIDI devices through one MIDI port, and decided to purchase a Tapco MIDI-Link 4x4 unit.

The MIDI-Link unit arrived first and I was pleased to discover that it was recognised straightaway by the Windows Vista Ultimate 64-bit operating system, and that the four MIDI inputs were displayed clearly within the Hauptwerk configuration dialogues.

Then the keyboard arrived: first of all I plugged it into the Tapco MIDI-Link and was very pleased that it seemed to work perfectly, and without detectable latency. Then I disconnected the keyboard from the MIDI-Link and plugged it into a USB port directly, as the keyboard also had a USB socket. I was then further delighted to discover that the keyboard was in fact equipped internally with a TaHorng Musical Instrument MIDI-USB device identical to the device that I had already purchased separately, and that this device was also recognised by the operating system and was available in the Hauptwerk configuration dialogues. And so I decided to purchase two more identical 61-note MIDI keyboards. When the two others arrived, I was easily able to connect them to the PC, either using the USB ports built into the keyboards, or using the MIDI outputs of the keyboards connected to three of the four MIDI inputs of the Tapco 4x4 MIDI-Link. This meant that I would be able to have considerable flexibility in the organ design, leaving me plenty of options for connecting a pedalboard controller, a MIDI expression pedal for continuous control, and possibly other MIDI switches for stop control or combination piston controls as my design developed.
Here are the three keyboards and the Tapco 4x4 MIDI-link:
the 61-note MIDI keyboards
The three 61-note MIDI-USB keyboard manuals
The Tapco 4x4 MIDI-Link unit is shown placed on the upper keyboard
Here is how everything will fit together:
My Hauptwerk Schematic

I did actually find two issues with these keyboards: first that they were inclined to suffer "ciphers", that is notes which stick on owing to failure of a MIDI-note-off message. My distributor contacted the Taiwanese manufacturer and they reported that they had replacement PCBs which would resolve the issue. In due course, three PCBs, now labelled as manufactured by Citizen, arrived and I connected them up. Unfortunately, there was still some evidence of ciphers, though a little less frequently. The new boards however did not perform their software reset properly, and I am awaiting further modification. This issue can be worked-around in the meantime.

The second issue was more one to do with the Windows Class driver for Audio/Music devices: namely that three identical devices are given the same name - The Hauptwerk software was content to distinguish each keyboard device by its USB Enumeration ID - until the software was shutdown and restarted, when it promptly forgot the previously held enumeration IDs and claimed that all three devices were using the same name. We could work around this by switching the keyboards on in a defined order and assigning each a unique MIDI Channel. But then, Martin Dyde,  most co-operative author of Hauptwerk promptly issued version 3.21 which relieved us of this necessity by storing and re-using the first enumeration IDs, provided that the keyboards remained in the same USB sockets.

For organ control
To supplement the touch screen, I also purchased a Behringer FB1010 MIDI foot controller unit. This has two MIDI routable expression pedals, one of which is used for swell pedal and the other for the crescendo pedal of the organ. There are also 10 MIDI programmable foot switches which are used for combination pistons.

There is also a Novation Launchpad which has 64 or 80 MIDI switches.
Behringer FCB1010
Here is a complete description of how to configure an FCB1010
with Hauptwerk

For the delivery of the audio
The PC is equipped with an M-Audio Delta 1010LT 8-channel soundcard. Initially, I decided to use only two channel (stereo) at present as I had only the basic edition licence for Hauptwerk version 3. I therefore purchased two M-Audio BX85a speakers and a KEF 125 sub-woofer.  The BX85a speakers are bi-amplified studio monitors delivering 85 watt RMS each, and the KEF 125 sub-woofer delivers 125 watt RMS of audio power.
After obtaining the licence for the Advanced Edition of Hauptwerk, I subsequently purchased four more speakers: these are two Samsung Resolv A6, which are bi-amplified 100 watt each, and which I use for many 8' 4' and mixture ranks, and two Pulse 50 watt speakers for mainly 2' ranks, giving me seven speakers altogether.

Stage Three: The Organ Pedalboard

So far so good - but I would not begin building the console until I had decided what to do about the pedalboard, as I would need to see how things would fit together before committing myself to any final dimensions and design.
At first I considered constructing a pedalboard myself and even located a source of suitable wood in a local do-it-yourself store. I had the dimensions from the drawings kindly supplied by Andrew Macintosh of the RCO. But I decided that that would be an option of last resort.

My Pedalboard Source
I decided to contact a supplier of assorted organ components near the south coast. He had an RCO organ pedalboard for sale at 70.00, but it was not in very good condition and would need some repair and attention. I hesitated at driving down speculatively and then paying 70.00 for something that might not be what I had hoped for. I bided my time, regularly checking the Hauptwerk forums for items for sale.

Then one evening when I was rummaging about in eBay, I discovered a concave-radiating 30-note pedalboard for a starting price of 4.99, or buy-it-now price of 30.00 - and no bids! There were photographs, and a description - although it was Victorian (some 100 years old at least) it seemed to be in reasonable condition. So I decided to bid 5.00 rather than buy it at 30.00, and to watch what happened to it. There were no more bids so after the due period it was mine for 5.00 - a bargain really, even though I accept that probably hundreds of similar pedalboards have ended their lives on bonfires in recent years.

I drove the 130 miles from my home one Sunday afternoon, and squeezed the large wooden contraption into the back of my wife's car, and returned safely with it! What a weight it was, getting it back out of the car.
No doubt though it will do the job, and here it is - before being cleaned up and re-stained, but it is fully serviceable:
The RCO-style concave-radiating pedalboard all for a fiver and a 240 mile round trip!!
Preparing the pedalboard for use
Cleaning up the old pedalboard proved to be a dirty job, but a sanding machine and loads of sugar soap solution are slowly revealing the original wood.
The pedalboard is now completely cleaned re-stained and varnished. Parts of it look as good as new, although some of the pedal key-top woods are a little worn with a few generations of organists' feet!
It certainly looks good now it is cleaned up.

All the parts of the pedalboard cleaned and ready for re-staining
The pedalboard restored, stained and ready for MIDIfying
I found that several different systems of linking the toe-ends of the pedals to the tracker mechanisms had been used over the years, and as a result the toe-ends of all of the pedals were quite damaged. Therefore I repaired them all by cutting off 2-3" from the end, and glueing new wood in replacement.
This was necessary because each toe-end will have to take a long screw to support the small magnet that will act on each reedswitch when the pedal is depressed.
At the same time new leather anti-rattle strips were fitted.
And so, the pedalboard frame has now been re-stained, and the pedals re-varnished, and the whole thing re-assembled.

The Pedalboard MIDI system

I selected is the MIDI Gadgets Boutique MPC32xr card. This is a highly professionally made circuit board manufactured in Bulgaria. Like many of these devices it is rather more expensive than you'd expect, but it works well and is very well designed and made. It has a 34-pin connector for connecting up to 32 pedal switches, and a 10-pin connector that can be used for up to 8 other switches. It provides a MIDI-out DIN socket and a 9-12V ac/dc power input socket. An 8-way DIP switch allows for octave transposition, MIDI channel number, and open/closed pedalboard key switch detection. There are several methods available for switching the pedal notes on and off. I decided that I would save time and effort by purchasing a pre-configured manufactured 32-switch loom from MIDI Gadget Boutique rather than construct my own. This system is a neatly made array of reed switches connected in a loom in heat-shrink sleeve with a 34-pin IDC connector. which are closed when a magnet comes into close proximity to the nearby reed switch. MIDI Gadget Boutique supply 32 tiny but powerful magnets - one is fitted to the moving extremity of each pedal key to operate the reed switch when the pedal key is depressed with the foot.

The MIDI Gadgets Boutique circuit board and 32 reed switch wiring loom to be used to MIDIfy the pedalbaord

Screws are fixed into the toe ends of each pedal key, and tiny magnets are glued on. The reed switches can be seen protruding slightly from holes drilled into the pedalboard base

Stage Four: The Organ Console

I am now ready to build the new console. I decided to construct a frame which could fit snugly around the pedalboard, but which could be disengaged so as to allow it to be transferred to the my office which is on the first floor of our house. Although the pedalboard and the console are substantial and quite heavy, dismantling them, along with enabling the keyboard manual block to be dismounted, will make the transfer easier.

Console Dimensions
For those that are interested in building their own console from scratch, as I have done, there are really only very few dimensions that are truly critical. And they are critical because not only do you not want to go to a strange organ having become used to your own (incorrectly dimensioned) console, only to find that the pedals are in the wrong position, but nor do you wish to invite an organist to play your console only to be told that you have incorrectly positioned this or that. So, remember these key facts about organ console dimensions:

- offset, vertically, each successive manual keyboard in your stack, so that it is 2.5" above the one below it;

- offset, horizontally, each successive manual keyboard in your stack, so that it is 4" behind the one below it;

- always ensure that D3 on each keyboard manual is directly above the D2 key on the pedalboard.
  This is regardless of the number of keys on the manual or the pedalboard;

- position the lower manual keyboard 30 inches above the upper surface of the D2 key of the pedalboard;

- make your organ bench seat-top 21.5 inches higher than the D2 key of the pedalboard;

- position your swell pedal centred between the E2 and F2 keys of the pedalboard;

- position your crescendo pedal to the right of the swell pedal, and your choir swell pedal on its left, if you have more than
  one pedal.

The absolute minimum width of the console is determined by the toe end width of your pedalboard: for a 30-note board this will be approximately 45-47 inches. This is wider than the 61-note keyboard, and although does not leave room for wide side jambs, it is possible to construct a fully functional console of that width.
My console is just over 46 inches wide (this is the front width of the pedalboard frame), 46 inches high at its highest point, and 28 inches front to back. The frame is made mainly of 22mm x 38mm spruce. The width was set by the space which I had to accommodate the organ in my studio/office.

Console Construction
Console frame - side elevation
The console frame from the side
Console frame - front elevation
The console frame from the front
Console and pedalboard - front elevation
Console frame and pedalboard from the front
Console and Pedalbaord - side elevation
Console frame and pedalboard from the side
Controller niche
The controller niche

Manuals in situ

Close-up of the keyboard beds

Console and bench

Side view of console

Close up of console, music stand & manuals

Stained and ready for PC & MIDI installation

Slightly closer ...

I can't wait to start playing ...

Inside the back L to R: PC, three manual keyboard PCBs, pedalboard PCB, 4x4 MIDI device

Space has been allowed for in the upper section of the console, under the keyboard manuals, to house the PC and five PCBs. Three PCBs are required one for each keyboard manual, and one for the pedal organ, and one for MIDI stops and combinations, although the latter will not be added until much later in the project. A niche has been provided in the lower section of the front of the console body, immediately above the toe end of the pedalboard, to house the FCB1010 MIDI foot controller unit.

More details of the
console design details

The process of enclosing the console in plywood board is complete. The MIDI foot controller, which provides crescendo (on the right) and swell (on its left) pedals. There are also ten programmable foot switches which will allow selection of the stops and combinations of the pedal division.
A three-level keyboard bed stack has been constructed the three keyboard manuals have been mounted in it. The design details are available in the link.
A music stand and space for the near field monitor speakers has been provided behind the keyboard stack.
After providing a little finishing touch by applying some decorative moulding, the entire console was stained with a dark walnut stain.

A substantial organ bench with music store, has been constructed. This was also stained in dark walnut. The design details are available on the right.
(Please note this is NOT the separately available High Quality Organ Bench.)

The Finished Organ

The organ is at last complete! And playable! The PC and three PCBs with their controller boards,  for each of the three keyboard manuals are now in place and the MIDIfied pedalboard is connected to the MIDI Gadgets Boutique PCB. This is in turn connected to the Tapco 4x4 MIDI device controller, along with the Behringer FCB1010 foot controller board. There is rather little by way of internals in an organ of this design, and so it has all fitted together very well.

The organ is now fully playable! One of the pedal reed switches, the Bb2, was found to be broken, but was soon replaced, and there was one conductor in one of the 16-way ribbon cables connecting the upper manual that was faulty. These were be trivial problems to correct. With the KEF subwoofer the organ is just about capable of playing a 32' pedal rank.

The Behringer FCB1010, once configured, proves to be exceptionally useful, because for most organs, the provision of the equivalent of  ten general foot operated combination  pistons is a truly useful resource. I know that many people use their touchscreens almost exclusively for pulling stops and other functions. But the FCB1010's foot switches are so convenient for combination selection that all one needs to do by touchscreen, for the most part, is to make adjustments on a stop-by-stop basis. In addition, of course, the two expression pedals which it provides, supply both a swell and a crescendo pedal, which is also truly useful.

For those who are interested, this is how to set up the FCB1010:
Begin by tapping foot switch 1, to select the first bank of presets when you start your organ PC and bring up the Hauptwerk software.
Then, in Hauptwerk,  make the following adjustments to General Settings -> Utils & Pistons:
 - under General Combinations 1 - 10 select the MIDI Event Numbers 1 - 10 respectively.
Then under General Settings -> Continuous Controls, make the following adjustments:
 - under Crescendos General, select Controller Number 007 (Main Volume). This is Pedal A on the FCB 101;
 - under Swells General, select Controller Number 027 (User Defined). This is Pedal B on the FCB 101.
When you configure an individual organ under Organ Settings, use General Combinations 1 to 10 and set the first ten general combinations of the organ. Ensure that you select Crescendos General for the crescendo pedal and Swells General for the swell pedal(s).

Above: Isabelle inspects the console

Above: Staining the console

Tommy decides its OK

A view of the entire organ, showing the 19" touchscreen and organ bench.

Inside the back L to R: the PC, three manual keyboard PCBs & control boards, pedalboard PCB, 4x4 MIDI device
I may look at the possibility of providing some physical stops and combinations, acting via a second MIDI Gadgets Boutique PCB, and maybe enhancing the audio channel setup by acquiring the advanced user licence for the Hauptwerk software.
(Both developments have since been carried out.)
The 19" touchscreen provides all necessary control whilst the organ is being played.
A wireless keyboard and mouse provide control of the PC, but are hidden in a niche behind the music stand once the organ is loaded and ready for playing.
A closer view of the upper part of the organ, including the Behringer FCB1010 foot controller unit which provides swell and crescendo pedals as well as ten foot switches to act as combination pistons or stops.

Fitting the touchscreen

The finished organ

Now it's finished, can I play it, and can I get it up the stairs to my office?

There is a leaflet on the finished organ here.

In December 2013 I published a six-page article in the Organists' Review Journal. This article explains many aspects of the Hauptwerk Virtual Pipe Organ to conventional pipe organ enthusiasts who may be considering constructing their own Hauptwerk organ. The article can be read from the Organists' Review website, at . Whist the December 2013 issue is current you can click on the Latest Issue or the Current Issue link to read the article. Once the December 2013 issue is no longer the current issue you can click on the Past Issues link.

In July 2020 , after 12 years of faithful service, my Hauptwerk Console OPUS I went to a new home. When I designed & built it in 2008, it had only a touchscreen for its controls, and only a two-channel stereo output.  After 12 years it had gained two LaunchPads for control, and three more stereo sound channels. So now it is all ready for packing into a van and off it goes.Its vacated place in my music room will be occupied by my almost (98%) complete OPUS II (see the link to OPUS II at the top of the page).
Bon Voyage, OPUS I !

More Items of Interest for the Virtual Pipe Organ

Combination Set List - Palace of Arts, Budapest

I have prepared a Combination Set List for the PAB Medium Edition.
It details 29 combinations for use with this quite large instrument.
I hope to do the same for the PAB Professional Edition soon, but that is an even bigger task!
The combination list can be downloaded via the link to the right.

Download PAB Medium combination list
If you have found the information on this site useful, please
Novation LaunchPad Overlays
We have produced several A4 transparency overlays for the Novation LaunchPad, for use with Hauptwerk.
- Esztergom Collectors'
- Haverhill OIC Extended
- Hereford Volume II (46 stop)
- PAB Medium
- PAB Professional
- Salisbury Volume I
- St Anne's Moseley
My Novation LaunchPad overlays are available for download from Lulu, here:

Novation Launchpad Overlays

Support independent publishing: Buy this product on Lulu.

Currently installed organs

The following is a list of the virtual organs that I currently have installed and use or have tested on the instrument:


Country and place Town/County/State Organ builder and date Sample set provider

UK, England

Church of St. Anne in

Moseley, Birmingham

Brindley & Foster, 1907

Crumhorn Labs, now Milan Digital Audio

Old Independent Chapel Haverhill, Suffolk Joseph J Binns, 1901 Lavender Audio, David Butcher

Church of St Bartholomew

Groton, Suffolk

Henry Willis (Father), 1888

Lavender Audio, David Butcher

Church of St Lawrence in

Little Waldingfield, Suffolk

Joseph Hart ,1809

Lavender Audio, David Butcher

Hereford Cathedral in

Hereford, Herefordshire

Henry Willis (Father), 1892 Lavender Audio, David Butcher
(vol I 23, vol II 46, vol III (full) 67 stop with extensions)
Methodist Chapel in Prudhoe, Northumberland  ?Nelson & Company, Durham Mark Beverly

Salisbury Cathedral in

Salisbury, Wiltshire

Henry Willis (Father), 1877

Milan Digital Audio (volumes 1, 2, & 3)


Church of St Augustine

Neutral Bay, NSW

Hill Norman & Beard, 1929

Nicholas Appleton

Church of St Stephen

Penrith, NSW

Charles Jackson, 1877

Nicholas Appleton


Church of Notre Dame


Schyven/Van-Bever 1874

Pipeloops (small edition)

Church of


Prajawidya 1995

Sygsoft (An organ comprising bamboo pipes)

Czech Republic

Home organ in


Positiv, Daniel Prib, 2007

Sonus Paradisi

Monastery at

Zlata Koruna

Abraham Starck z Lokte, 1698

Sonus Paradisi


Cathedrale, en Forcalquier Marchand 1627,
Cavaille-Coll & Mutin, 1932
Sonus Paradisi
'Home' orgue en > Orgue Salon, 1988 Soni Musicae
L'Eglise St Madeleine en Paris Aristide Cavaille-Coll, 1846 Pipeloops

L'Eglise St Eucaire, en


Cavaille-Coll & Mutin, 1902

Milan Digital Audio


Home organ in


Dieter Ott 2003

Christian Datzko


Church of the Blessed
Virgin Mary & St Adalbert
Ezstergom Ludwig Mooster, 1856 Inspired Acoustics (collector's edition)

Palace of Arts in


Pecsi-Mulheisen, 2006

Inspired Acoustics (medium, professional,
extended and gravissimo editions)

Church of St. Imre in


Pazicky, 1778

Inspired Acoustics


Church of St. Maria d'Alieto

Izola, Adriatic

Pietro Nacchini, c1770

Sonus Paradisi

Church at St Carlo


Antegnati, c1630

Sonus Paradisi


The Magnuskerk


Radeker/Garrels/Schnitger, 1718


Church of St. Maria


HE Freytag, 1845



Cathedral of St Augusti

Palma, Majorca

D & S Caimari, 1702

Sonus Paradisi


Church in Burea Hammarbergs, 1967 Lars Palo & Graham Goode


Redford Theatre Detroit Barton 3/7 Theatre organ Graham Goode (South Africa)

First Baptist Church

Riverside, California

Schantz, 1966

Evensong Music, Jonathan Orwig

Virtual Organs comprising pipes from more than one organ or country




Bob Collins in the USA

Enigma Wet v3


composite Al Morse in the USA

South Suffolk



Lavender Audio in the UK

Paramount 310 theatre organ (free edition) composite Paramount Organ Works in the UK-USA

Paramount 320

theatre organ


Paramount Organ Works in the UK-USA
Sampled Instruments other than pipe organs
Instrument Location Features Sample set provider
Clavichord St Maxim, Provence, France 4 octave, single manual (Czech Republic)
Harpsichord Copy is in Krakov
Original is in Charlottenburg
copy of 1710 instrument by
Michael Meitke. Two manuals. (Czech Republic)
Carillon (bell peel, Beiaard )
 in Ghent (Gent)
Gent, Belgium 54 bells played by a keyboard Soni Musicae


If you are interested in any of the components used in this organ or wish to know any more constructional details,
feel free to contact me at the email address below.
I am also willing and able to build PCs for use with Hauptwerk, for users in the UK, usually from about 1,300.
I can usually supply 15", 17" and 19" CTX, and 22" WS Iiyama touchscreens to users in the UK. There is a leaflet here (see last page).
If you are interested in having a full organ console built, of similar design but by a professional woodworker, and you live in the UK and can drive to Wiltshire, feel free to contact me, as I have an arrangement with a very highly skilled woodworker who will build a console to an agreed specification. You should be warned, however, that such a console is likely to cost about 10,000.

Back to the Welcome page

High Quality Organ Bench

Visit the Real Organ page

Visit the Virtual Organ Page
Visit the My Guitars page

Visit the Fenlanderz page