OPUS
260
From € 8.995,-
The Opus 260 always sets the right tone
The Opus 260 features a style-variable disposition of 36 stops. The samples for these stops, which are divided into four organ styles, all come from recordings of famous pipe organs of churches in Kampen, Amsterdam, Raalte, Paris and Dresden. Playing an Opus 260, changing between these styles is done in the blink of an eye. Whether you play Bach, Mozart, or Guilmant: the Opus 260 is all you need.
Highlights
Overview
- System OranjeCore+™
- Manuals 2
- Voices 36
- Solo-stops 2
- Couplers 3
Console
- Dimensions
- Height (excluding music desk) 116 cm
- Height (including music desk) 140 cm
- Width 131 cm
- Depth (excluding pedal board) 60 cm
Audio
- Audio system 4.1
- Audio control DEA2.0™
- Reverb System
- Reverb System Convolution reverb, 12 unique reverbs •
- Output amplifiers
Functions
- Controllable functions
- 0 (Recall / Cancel) •
- MB (Manual Bass) •
- Menu (Johannus Menu) •
- RO (Reeds Off) •
Great
- Bourdon 16'
- Principal 8'
- Stopped Flute 8'
- Quintaton | Harmonic Flute (S) 8' | 8'
- Harmonic Flute 4'
- Open Flute 4'
- Twelfth | Gamba (S) 2 2/3' | 8'
- Fifteenth 2'
- Flute 2'
- Cornet | Tertiaan (H)
- Mixture
- Trumpet 16'
- Trumpet 8'
- Cromorne 8'
- Tremulant
- Swell - Great
Swell
- Principal 8'
- Flute | Rohr Flute (B-H) 8' | 8'
- Viola di Gamba 8'
- Vox Celeste 8'
- Octave 4'
- Flute 4'
- Flute Twelfth 2 2/3'
- Wald Flute | Fifteenth (B) 2' | 2'
- Larigot | Sifflute (B-H) 1 1/3' | 1'
- Sesquialtera
- Mixture | Carillon (H)
- Fagotto 16'
- Trumpet | Oboe (S-B) 8' | 8'
- Vox Humana 8'
- Tremulant
Pedal
- Principal | Flute (S) 16' | 16'
- Subbass 16'
- Octavebass 8'
- Gedackt 8'
- Choralbass | Flute (S) 4' | 4'
- Mixture | Quintbass (S-H)
- Contra Trumpet 16'
- Trumpet | Clarion (S) 8' | 4'
- Great - Pedal
- Swell - Pedal
Pipe organ sounds fill living room
The Opus features a powerful 4.1 audio system. As a result, all stops are played flawlessly and convincingly. Whether it is the specific character of a Principal or a full plenum, the audio system with subwoofer ensures a realistic pipe organ sound which effortlessly fills the room.
Full disposition filled with pipe organ voices
The stops that come to life in the Opus are all recorded from authentic pipe organs. For each sample style, a specific pipe organ has been recorded and sampled. For instance, the romantic style exclusively features stops from the Vater-Müller organ of the Oude Kerk in Amsterdam where samples of Adema (Raalte) and Cavaillé-Coll (Paris) are used for the symphonic style. The historic style breathes the Hinsz organ of the Bovenkerk in Kampen and the baroque style only uses samples of the Silbermann organ from the Katholische Hofkirche in Dresden. These authentic samples, combined with the realistic wind model and true-to-life convolution reverb, complete the pipe organ experience.
Hours of playing pleasure with the style-variable disposition
The Opus features four sample styles: romantic, symphonic, baroque and historic. To best showcase each voice and each style, a disposition was chosen in which stops are specifically linked to a particular historic pipe organ. Some tab stops therefore have two stop names. For instance, in the ‘historic’ style, not only can the Terzian (Hinsz organ, Kampen) be played, but also a Cornet can be played in the romantic, baroque and symphonic styles using the same tab stop. The Baroque style also features a full principal chorus on the Swell, and the Harmonic Flute and Gamba 8’ are, of course, included in the symphonic style. This way, the Opus ensures that the unique sound palettes of the different styles can be performed in the best possible way.
Solo voices as an extra dimension
As well as the sampled pipe organ stops, the Opus features two high-quality and true-to-life solo stops. Whether it is the warm sound of the pan flute or the powerful sound of the trumpet, the solo stops add an extra dimension to organ playing. The solo stops are accessed via thumb pistons under the keyboard.
Lifelike convolution reverberation
The Opus has an extremely advanced convolution reverb, developed by Global Organ Group engineers; an ingenious technology that results in the organ using up to as many as 48,000 delay lines per second. The more delay lines, the more detailed the sound reproduction. Our extremely precise reverb recordings in world-famous churches provide a wealth of information. The Opus showcases all this information down to the very smallest detail. When pressing a key, each individual tone is enriched with the selected reverb. The organ has a total of twelve recorded acoustics from twelve different churches, varying in length.
The organist chooses where to sit in the church
Thanks to the ambience option in the menu, The organist can now choose the position in the church. If the organist wants to hear the direct sound of the organ with the reverb in the background, he chooses the 'console' setting. Within seconds, however, he can also change his position to the front, centre or the back of the church.
Once an Opus, always an Opus
The Opus has been the face of Johannus for many years. Ever since the 1970s, the Opus has excited organists around the world with its splendid sound. For the first time since then, the Opus' design has really changed, as it has become compact and sleek. The wooden console is available in six colours, making it a perfect fit for any interior. The Opus, therefore, remains a wonderful organ for any organist. Once an Opus, always an Opus.
A closer look at the Opus series
Want to know more about the Opus 260?
Download the brochure or contact your nearest dealer.