Gaumont Compton

4 Manual 14 Rank - John Compton theatre organ

This organ is located in the United Kingdom but does not exist as the specification we have presented! The organ owners were very keen for us to sample this instrument but to take it back to as near as possible to the specification it was when it was factory fresh and in its original theatre location.

On digging deeper we were saddened, but not surprised, that the organ owners were doing this mainly out of fear of being attacked and abused for allowing this wonderful instrument to be digitally sampled, and made available to our platform for the purposes of fundraising for the organ!!

We have decided that ALL proceeds from the sales of this sample set will go to support this organ and the open minded forward thinking people who own it!

The base software must be installed and configured on your computer before installing this organ plug in.



Dual display mode with optional music library display (Mouse over to zoom)





Single display mode (Mouse over to zoom)



Suggested minimum computer specification

Windows 10 x64
i5 4th Generation Processor (or AMD equivalent)
16Gb RAM
128Gb Hard Drive (Ideally a solid state disk SSD)
Dedicated sound card (eg SoundBlasterZ) or USB external sound card recommended


About this organ

The sad demise of the theatre organ in the UK

Originally, the theatre organ was created to accompany silent films and proved to be a more practical option than a full orchestra. Initially these instruments were marketed as 'unit orchestras' and were fitted with an array of sound effects, additional percussion instruments, (known as toys or traps), which allowed the organists able to provide a musically descriptive soundscape to enhance the film being shown. This accompaniment required considerable skill on the part of the organist!

It was a relatively short period before the movies started to incorporate sound, and the organ was relegated to a more supporting entertainment role. Over the next few decades some theatres allowed the instruments to fall into disrepair, stopped using them or removed them altogether, and as the popularity of going to the theatre dramatically declined with the arrival of television in individual homes, many theatres themselves were no longer viable and were demolished or became bingo halls. Many fine instruments were lost during this period.

Between the mid 1960s through to the early 1980s, some theatre organs were preserved and protected and were regularly played for packed audiences of organ enthusiasts at organ clubs, societies and open days up and down the UK by some brilliant organists such as Reginald Dixon, Nigel Ogden, Phil Kelsall, John Mann, Ron Curtis, Doreen Chadwick, Frank Gordon, Ian Hamilton and William Davies. The organ became a star attraction, not a supporting act!

However, despite various restoration projects, in recent years the theatre organ has once again seen a sharp decline in interest from audiences and a failure to attract new audiences. The theatre organ is now seen by many as an increasingly irrelevant relic, even within the organist community, and this is a huge shame as these are truly incredible, clever and versatile instruments!

We have come up against some of the reasons for this decline fairly constantly when trying to produce this organ for your enjoyment. It would appear that there is a hard core of new generation organists (most of whom play entirely by ear) who want to keep these organs exclusive to themselves. These organists only want to play music from a very narrow period of history, often cloning the style of famous organists from the past and appear to have very fixed ideas of what can and should be played on these instruments! This fails to demonstrate just how versatile these incredible instruments are and how they could attract new audiences with more relevant, up to date and inclusive material. It seems that when an organ is taken over by one of these groups or societies then it is lost to the rest of the organ community and only enjoyed by an rapidly shrinking, aging group of people, some of whom appear not to be there for the music, but rather the committees, the politics or the determination to prevent any form of progress or change or 'preserving nostalgia'! Some would rather see the organ funds go under, than receive support from projects like this, because it means more people would be able to play 'their' organ, which is extremely counterintuitive at best! Sadly this is pretty indicative of the kind of people who now control many of these instruments! They refuse a rich source of funding for reasons we and other organists simply cannot fathom whilst at the same time desperately appealing for funding elsewhere!

'Gatekeeping' these incredible instruments is a very short term strategy and only serves to hasten their ultimate demise. Without opening these instruments up to new audiences and introducing new repetoires, they have a very uncertain future indeed. The most distressing element of what we have discovered is this new generation of organists do not appear to want to encourage any new young organists to take up this increasingly niche genre, and this goes very much against the whole ethos of what Great Organ are trying to achieve, ie, making the organ more accessible to young people and allowing them to develop their skills and gain confidence in a safe and secure environment. It is clear some organists are in genuine fear of anybody new coming along, especially if they can play!

The UK theatre organ social media groups are also notoriously toxic and unsafe places to be, and this has also significantly contributed to the decline in audiences, alienation of new audiences, and young people taking an interest in the genre. A virtual theatre organ does at least provide a means of people enjoying these instrument without having to deal with the 'baggage' that is normally difficult to avoid with the real thing!

At the current trajectory, apart from a few notable examples, the theatre organ will almost certainly die out in a generation, so we would like to try encourage more young people to take up and enjoy these wonderful instruments, in the hope that it isn't too late and some of this decline can be reversed! As such, the organ owners have agreed that we are able to provide this virtual instrument for free to any qualifying young organists, in the hope that they will be able to hone their skills privately and build their confidence to a point where they are able to perform publicly for the enjoyment of others.

The owners of this organ have allowed this organ to be enjoyed by a wider audience, despite the risks of hostility from others in doing so! We ask that you respect their forward thinking and wish to remain anonymous, and just enjoy this fabulous instrument! We fully expect this article will enrage a few people in these groups and societies, but that is not our intention. We would rather the objectors expend their energies accepting the facts, stop protesting denial and doing something to try and slow or reverse this decline! It would indeed be a great shame if we were the last generation who were able to enjoy and experience these instruments as they were, not broken up, put in storage or shipped abroad, as seems to be happening on a fairly regular basis.


AJJ London, 2021



The digital samples

Pipe organs were designed to sound their best in the acoustic space for which they were built.

We have taken great care so that the samples and acoustic model for this organ reproduce the instrument as faithfully as possible.

This organ was sampled from a single point in front of each chamber by a single stereo pair of high quality professional microphones. We recorded this slightly away from the organ chamber to allow correct pipe speech and to avoid any excessive mechanical noise. Unlike many other digital sample sets, where organs can often be overcorrected, we have endevoured to leave this organ exactly as recorded and kept any processing of the samples to an absolute minimum. This is to preserve the tonal character of this organ as accurately as possible.

Apart from the pedal division, this organ was entirely sampled using our new RoboSampler.

24 Bit Stereo and 5.1 surround sound (Studio Quality). Ranks recorded safely during the COVID lockdown in 2020 and 2021

Tuning 440Hz



The team at Great Organ would like to sincerely thank the organ owners for their warm welcome, hostpitality and enthusiasm for our endeavours whilst we were on their premises.

All of the proceeds from this sample set will be returned to the organ owners to help them support the considerable maintenance and running costs of this very special special instrument.



Gaumont Compton - Specification


Stop Name
BOMBARDE - CONTRA TUBA 16'
BOMBARDE - TROMBONE 16'
BOMBARDE - TUBA 8'
BOMBARDE - ORCHESTRAL TRUMPET 8'
BOMBARDE - CLARION 4'
BOMBARDE - OCTAVE TRUMPET 4'
BOMBARDE - CHIMES
BOMBARDE - VIBRAPHONE 4'

Stop Name
SOLO - CONTRA TUBA 16'
SOLO - TIBIA 16'
SOLO - FRENCH HORN 16'
SOLO - CONTRA VIOLE 16'
SOLO - CELESTE 16'
SOLO - TUBA 8'
SOLO - ORCHESTRAL TRUMPET 8'
SOLO - DIAPHONIC DIAPASON 8'
SOLO - TIBIA CLAUSA 8'
SOLO - CONCERT FLUTE 8'
SOLO - SALICIONAL 8'
SOLO - VIOLON CELLO 8'
SOLO - FLUTE 8'
SOLO - VIOLIN 8'
SOLO - VIOLIN CELESTE 8'
SOLO - VOX HUMANA 8'
SOLO - CLARINET 8'
SOLO - FRENCH HORN 8'
SOLO - ORCHESTRAL OBOE 8'
SOLO - CLARION 4'
SOLO - TIBIA 4'
SOLO - CONCERT FLUTE 4'
SOLO - VIOLA 4'
SOLO - VIOLIN 4'
SOLO - VIOLIN CELESTE 4'
SOLO - OCARINA 2'
SOLO - PICCOLO 2'
SOLO - ECHO CORNET II'
SOLO - CYMBALE III'
SOLO - VIBRAPHONE 4'
SOLO - XYLOPHONE 2'
SOLO - GLOCKEN- SPIEL 2'
SOLO - CHIMES

Stop Name
ACCOMP - BOURDON 16'
ACCOMP - CONTRA VIOLE 16'
ACCOMP - SALICIONAL 16'
ACCOMP - VOX HUMANA 16'
ACCOMP - TUBA 8'
ACCOMP - DIAPHONIC DIAPASON 8'
ACCOMP - TIBIA CLAUSA 8'
ACCOMP - CONCERT FLUTE 8'
ACCOMP - VIOLON CELLO 8'
ACCOMP - FLUTE 8'
ACCOMP - VIOLIN 8'
ACCOMP - VIOLIN CELESTE 8'
ACCOMP - SALICIONAL 8'
ACCOMP - VOX HUMANA 8'
ACCOMP - CLARINET 8'
ACCOMP - FRENCH HORN 8'
ACCOMP - ORCHESTRAL OBOE 8'
ACCOMP - TIBIA 4'
ACCOMP - DIAPASON 4'
ACCOMP - VIOLA 4'
ACCOMP - FLUTE 4'
ACCOMP - VIOLIN 4'
ACCOMP - VIOLIN CELESTE 4'
ACCOMP - SALICET 4'
ACCOMP - VOX HUMANA 4'
ACCOMP - FLUTE TWELFTH 2 ²∕₃'
ACCOMP - SALICET TWELFTH 2 ²∕₃'
ACCOMP - FLAUTINO 2'
ACCOMP - SALICET FIFTEENTH 2'
ACCOMP - ECHO CORNET II'
ACCOMP - CHRYSOGLOTT 4'
ACCOMP - VIBRAPHONE
ACCOMP - SNARE DRUM
ACCOMP - TOM TOM
ACCOMP - CASTANETS
ACCOMP - TAMBOURINE
ACCOMP - SLEIGH BELLS
ACCOMP - BLOCK
ACCOMP - BLOCK (REIT)
Stop Name
GREAT - CONTRA TUBA 16'
GREAT - DIAPASON 16'
GREAT - CONTRA TIBIA 16'
GREAT - CELLO 16'
GREAT - CONTRA VIOLE 16'
GREAT - VOX HUMANA 16'
GREAT - TUBA 8'
GREAT - DIAPHONIC DIAPASON 8'
GREAT - TIBIA CLAUSA 8'
GREAT - CONCERT FLUTE 8'
GREAT - SALICIONAL 8'
GREAT - VIOLON CELLO 8'
GREAT - FLUTE 8'
GREAT - VIOLIN 8'
GREAT - VIOLIN CELESTE 8'
GREAT - VOX HUMANA 8'
GREAT - CLARINET 8'
GREAT - FRENCH HORN 8'
GREAT - ORCHESTRAL OBOE 8'
GREAT - CLARION 4'
GREAT - OCTAVE 4'
GREAT - TIBIA 4'
GREAT - SALICET 4'
GREAT - CELLO 4'
GREAT - FLUTE 4'
GREAT - VIOLIN 4'
GREAT - VIOLIN CELESTE 4'
GREAT - TIBIA TWELFTH 2 ²∕₃'
GREAT - FLUTE TWELFTH 2 ²∕₃'
GREAT - OCARINA 2'
GREAT - FLAUTINO 2'
GREAT - FIFTEENTH 2'
GREAT - TIERCE 1 ³∕₅'
GREAT - CHRYSOGLOTT 4'
GREAT - VIBRAPHONE 4'
GREAT - GLOCKEN- SPIEL 4'
Stop Name
PEDAL - ACOUSTIC BASS 32'
PEDAL - TUBA 16'
PEDAL - DIAPHONIC BASS 16'
PEDAL - TIBIA BASS 16'
PEDAL - BOURDON 16'
PEDAL - FRENCH HORN 16'
PEDAL - TUBA 16'
PEDAL - DIAPASON 8'
PEDAL - TIBIA 8'
PEDAL - FLUTE 8'
PEDAL - CELLO 8'
PEDAL - VIOLIN 8'
PEDAL - VIOLIN CELESTE 8'
PEDAL - TUBA 4'
PEDAL - TIBIA 4'
PEDAL - BASS DRUM TAP P
PEDAL - BASS DRUM TAP F
PEDAL - CYMBAL ROLL
PEDAL - SNARE DRUM
PEDAL - CRASH CYMBAL
PEDAL - TRIANGLE
PEDAL - CHIMES 2ND TOUCH
PEDAL - TRAPS 2ND TOUCH
PEDAL - GREAT TO PEDAL 8'
PEDAL - ACCOMP. TO PEDAL 8'
PEDAL - SOLO TO PEDAL 8'
Stop Name
ACCOMP OCTAVE
SOLO TO ACCOMP 8'
GREAT SUBOCTAVE
GREAT OCTAVE
GREAT UNISON OFF
SOLO TO GREAT 16'
SOLO TO GREAT 8'
BOMBARDE TO GREAT 16'
BOMBARDE TO GREAT 8'
SOLO SOLO SUBOCTAVE
SOLO SOLO OCTAVE
SOLO UNISON OFF



Gaumont Compton - Audio samples


Audio samples coming soon !!


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Gaumont Compton
£125.00
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Donations and payments

This company is run and operated by volunteers, who take no salary or drawings of any kind. Donations and small charges for some sample sets, allow us to continue to maintain this software, provide equipment and helps cover the costs of new sample set production. Sample sets can be quite expensive to produce in terms of time, money and patience, however we keep these costs to a minimum so that as much as possible from proceeds is available to be donated to the recipient organ fund.

Naturally, we also ensure a large proportion of the proceeds from sample sets, goes back to support that organ. In some cases this is 100% of the proceeds.

All surplus proceeds will be split equally between all organ funds we are currently supporting, on an annual basis
This is a NOT FOR PROFIT company.

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This project is largely driven by user requests and feedback so your views are really important to us.

If you find something not working or you don't like, please come and talk to us first, as the chances are we can probably do something about your issue quickly.

Almost every issue encountered by users so far has had a resolution, so please don't be shy. We are only as good as the feedback we get!!

As this software is under a constant release cycle of regular updates, you may be surprised at how quickly we are able to incorporate all feedback received.


For issues with the software, licensing, or feature requests :-

support@digitalVPO.com