Oakland, Aeolian-Skinner (HW5)




!Alleen voor Hauptwerk 5 - For Hauptwerk 5 only!

Aeolian-Skinner, opus 1301

Deze sampleset is normaalgesproken alleen via een download-link verkrijgbaar. Voor een meerprijs kunt u hem op een USB-stick verkrijgen.

This sample set is normally only available via a download link. You can get it on a USB-stick for an additional charge.

The Aeolian-Skinner pipe organ, opus 1301 was manufactured in 1956-1957, when the company tonal director was Joseph S. Whiteford who was the successor of the deceased G. Donald Harrison. The organ is still rooted in the Harrison's "American Classic" style, although Opus 1301 bears witness to the tonal philosophy of Harrison's later interests, when he experimented with modern versions of old German solo reeds (Krummhorn, Fagott, Rohr-Schalmei) and moved somewhat towards the (neo-)baroque design (principal choruses crowned with mixtures on all manuals, unenclosed pipework). Joseph S. Whiteford's tonal principles were similar to the late Harrison visions, perhaps putting even more emphasis on the baroque organbuilding principles (unnicked flues with expressive articulation, lower wind pressures, intense reeds).

The Opus 1301 is a rather universal instrument, upon which many schools of organ compositions will sound clear and plausible. Aeolian-Skinner organs are famous for the delicate and even voicing, decisive speech, and good blending of choruses, allowing clarity in polyphonic textures as well as graceful (even sublime) solo melodic lines.

It was built for St. John's Presbyterian Church in Berkeley, later sold and moved to the First Covenant Church, Oakland, California. After the transfer, the organ was reassembled and overhault by Schoenstein & Co. organbuilders in 1983. On that occasion, adjustments were made to the tonal layout, some stops were revoiced, several stops were cleverly added, emphasizing the traditional "Werkprinzip" and individuality of each division in the design.

The organ is split into two chambers at the front of the room, there are no visible pipes. The stop and key action is electric. It has 3 manuals (Choir, Great, Swell) and a pedal. Alltogether 45 speaking stops. The pedal has 13 souding stops of which 6 are borrowings from manuals. Swell has 12 sounding stops, enclosed. Great offers 8 sounding stops. Choir has 12 sounding stops, enclosed. Numerous straight, octave and sub-octave couplers available. Many stops of the Choir and Swell divisions have inner extensions (the upper 6th octave) for the use of the super-octave couplers.

Swell and Choir divisions have tremulants, all stops were recorded twice, with the tremulant enganged and disengaged. Thus, authentic tremmed ranks are available in the Hauptwerk model of the instrument. Crescendo pedal available.

Special thanks to the staff of the First Covenant Church, who were maximally helpful and enthusiastically welcoming the Sonus Paradisi team for recording their instrument.


The samples are offered in 48kHz/24bit resolution. The multiple releases have three levels: short, mid and long. Hauptwerk v4.2 and higher supported. The sample set is encrypted, which means that it can be used with Hauptwerk Basic or Hauptwerk Advanced versions exclusively. Hauptwerk Advanced version is strongly recommended, the Basic version is not suitable to run the Surround variant of the sample set (memory limitations, audio channels limitations). There is no use of the sample set possible in any other software.

Reverb time

The reverb time is ca. 2 seconds.

Keyboards, pedalboard

The original compass of the keyboards is 61 keys (full 5 octaves). Many stops of Choir and Swell divisions have inner extensions (top 6th octave, up to g4) for the use of the super-octave couplers. The original compass of the pedal division is 32 keys.


All ranks of the Choir and Swell divisions were recorded with and without tremulants for the most convincing tremulant behavior. However, loading the authentic tremmed ranks consumes large amount of RAM. It is possible to select to use the artificial tremulant instead to save RAM (the switch is located on the mixer tab).


RAM consumption: 6-channel surround
16-bit, other settings default:    15.3 GB
20-bit, other settings default:    24.8 GB (recommended)
24-bit, other settings default:    28.2 GB

RAM consumption: 2-channel wet
16-bit, other settings default:   5.8 GB
20-bit, other settings default:   9.1 GB
24-bit, other settings default:  10.2 GB

Screen resolution 1280x1024 px or more.
Polyphony of 6000 voices recommended for the full suround (3000 pipes minimum).
Polyphony of 1800 simultaneous pipes recommended for use of the wet sample set.

Extra informatie
1. Manual C–c4 2. Manual C–c4 3. Manual C–c4 Pedal C–g1
Spitzflöte 8' Gemshorn* 16'      Singend Gedackt   8' Untersatz 32'
Spitzflöte Coelestis     8' Prinzipal 8' Viola Pomposa 8' Prinzipal 16'
Koppel flöte 8' Bordun 8' Viola Coelestis 8'   Gemshorn 16'
Pommer 4' Oktav 4' Rohrflöte 4' Subbass* 16'
Rohrnasat* 2 2/3'     Zauberflöte* 4' Geigenprinzipal 4' Gedacktbass 16'
Klein Prinzipal* 2' Praestant 2' Nachthorn 2' Oktav 8'
Blockflöte 2' Mixtur IV Spitzquint 1 1/3'      Gedackt 8'
Terz 1 3/5' Bombard* 8' Scharf III Choralbass 4'
Zimbel* III Fagot 16' Gedackt 4'
Krummhorn 8' Great 4' Trompete 8' Posaune 16'
Bombard** 8' Great Unison Off    Vox humana 8' Fagot 16'
Rohrschalmei 4' Klarine* 4' Trompete 8'
Rohrschalmei 4'
Choir 4' Swell 16'
Choir Unison Off Swell 4'
Swell Unison Off  
Tremulant Tremulant

Stops denoted by an asterix * were added by Schoenstein in 1983.

*The Choir Bombard is originally shared with the Great. For the sample set, another Choir Bombard is available. This stand-alone Choir Bombard can be activated via a dedicated switch on the Mixer tab of the sample set. Its purpose is soloistic performance, it should never be used as a part of tutti (full organ).


  • Gt/Ped 8', Gt/Ped 4', Sw/Ped 8', Sw/Ped 4', Ch/Ped 8', Ch/Ped 4';
  • Sw/Gt 16', Sw/Gt 8', Sw/Gt 4', Ch/Gt 16', Ch/Gt 8', Ch/Gt 4';
  • Sw/Ch 16', Sw/Ch 8', Sw/Ch 4'.


  • Zimbelstern;
  • Full organ switch (Tutti), crescendo pedal, swell pedals for swell and choir divisions;
  • Divisional and general combinations.
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