That's wonderful. I'd have loved to see more of the pipework (esp at the beginning) but a lovely sound - just right! I like the split screen, which seems right for music with so many layers.

Very nice indeed. Agree with seeing more pipework but in IMHO, and it's all subjective of course, less split screen is better than more…used sparingly for emphasis. Don't edit the audio at all but just add more variety to the visuals. I don't know pipe organs and was curious to see the top keyboard playing as he played the bottom or the foot pedals…and why's that? More shots of the church? You've got ten minutes. Great stuff

@DrDave There was a series done a while ago (can't remember the organist) but with lots of weird camera angles - almost comic-book style. While it was often very strange there were some great shots of the internal workings (trackers etc). You might not want to go that far! But the architecture of the organ could give rise to some great visual parallels to the different layers going on in the fugue, in particular, which I know you've done to some extent, but with more camera angles. It's something I've been meaning to try myself in a music video. Anything with counterpoint (like this) lends itself very well to this idea - visually parallelling the structure in the music as it develops. The split screen could be nice with a bit of black in between the different images - again, almost like a negative version of what you get in comic books, where they have white space between the images.

Listened again - lovely sound (I know I said that before!) but it's rare in organ recordings to get a perspective which has a nice balance of direct and reverb so you hear the detail but can enjoy the glorious way the instrument interacts with the building.

Well, we actually shot some footage without the stands but then we wanted the one clip where he pulls the stops out, you can actually see that from the back. Most people who play this piece have an extra person to do this so it sort of adds to the virtuosic element. The mics are in a surround sound pattern that I designed. There are two cardioids in a modified NOS and and a subbcardioid (MKH 80) in the middle of the NOS, and two omnis on the sides, so you have one mic for each of the five channels. All the mics go below 20Hz so we were able to get the bass pipes--but also the traffic rumble. I was listening to it yesterday with the Denon subwoofer and it is cool to feel the bass solo coming through the floor. Trying to figure a way to stream the surround mix. So rather than mixing the surround, each mic is attached to a speaker. A little math and some trial and error gets a spot that works for both stereo and surround. You can also use a bass split, where the omnis are responsible for the bass, just like a speaker crossover, but the bass was focused enough so I didn't go that way. If it is balanced, it is a really clean sound to have one mic per speaker. Then the listener can adjust the volume to the room any way they want without a remix. I rarely use XY for classical, the ORTF, AB and NOS just seem to blend better with spot mics, and it isn't always practical to use surrounds in an AB, unless you want to use a branching Decca tree or a Faulkner array.

PS This is interesting (but obviously just about Pairs, not spaced arrays) as a visualisation of stereo imagery:

http://www.sengpielaudio.com/Visualization-NOS-E.htm