Welcome to the newcomer… the Cantorum Duo!
I had already been evaluating the purchase of a liturgical keyboard for some time, for services in churches without an organ.
Well, I have to be honest, after a couple of weeks of use, I was very impressed.
Ok, it's not Physis, and it's not even Hauptwerk (although on Okey's test it was put on a par with Hauptwerk, no, it's not true), but what it can do, it does very well indeed.
I knew the Vivace technology, and this "toy" sounds much better.
First, the samples: they are moderately long samples. I measured loops of around 1 second for the larger samples (compared to Vivace samples, only a few dozen cycles). And here's the news: I think Viscount did a really good job with how he handled the number and length of samples.
In the Vivace line there was a certain systematicity (same length of the samples, one sample per octave), while in the new Artem technology the samples vary in length and quantity.
Therefore, on some stops I found 1 second long samples and even up to 3 samples per octave, above all in the section of the keyboard most sensitive to the timbral variations of the stops. On some less problematic stops (such as some mutations, Nazard, Terz, etc.) I found fewer and shorter samples, without this being a limit. So they managed the available memory in a really smart way.
Each sample is perfectly cycled, especially in the evolution of the wind noise (which was completely missing in the Vivace), and adapts perfectly to the loops of different stops, without any artifacts being perceived. It's really all very pleasant to listen to. I think the samples have a higher resolution than the Vivace, you immediately perceive a higher definition.

Now, it must also be said that there are limitations.
The various styles are fixed and it is not possible to choose different voices for each stop (while it was possible with Vivace).
I think it depends on the new samples management; each stop has a different number of samples (and different lengths) so I think it would be very difficult to fit a stop with a different memory size.
Furthermore, I have the impression that all the stops of a certain style have been optimized perfectly to integrate with each other (to avoid looping errors and distortions). So they probably wanted to keep a static arrangement to get the best possible quality from the amalgam of the various samples.

The various stops are very interesting, although some elements seem magnified to attract the ear at first listening (some chiffs seem exaggerated, even the wind noise in some stos).
Other elements, especially the Release, just felt wrong and unrealistic.
Naturally, as perhaps some of you know, the Artem line also allows voicing within certain limits, by accessing a secret menu.
The adjustable parameters are: a certain flexibility in the volume of the various keyboard sections for stop, the length of the release, the detuning of the release, the choice of different profiles for the Voix Celeste stop (actually each stop can become "celeste" with this function) .
Neither the initial attack (chiff) nor the wind noise can be modified.
This makes me think that wind and chiff are part of the sample, while the release is artificially obtained with some software gimmick.
However, many stops were simply unrealistic in the release setting, and a more accurate setting of this parameter allowed me to get a very good realism of each stop.
Note that in some cases, I have noticed that the release originally set for one stop automatically diminished in effect when another stop was added. A sort of simplified modeling to perhaps obtain a certain realism in the combination of several stops.
And then, the usual two bipolar electrolytic capacitors in the tweeter crossover... I immediately replaced them with two 5% MKP capacitor, and I can feel the difference.
I also replaced the keyboard springs, now a little lighter and more comfortable.

In short, this little toy is really cute, and with my voicing customizations it now sounds really good; not like my two Physis, but certainly much higher than my expectations!

@Regal acht, yes, I treated practically each stop differently, also because (together with the Footage Shifting parameter which lengthens the release portion), it acts differently for each stop. So for example the Regal 8 (Oboe tab) of the Barock style was originally too short in the release portion and the detune release was not very present. It just sounded unreal. So are some Mixtures.
Other stops of the two Baroque/Barock styles (such as Octave 4 and 2), had an excessive release, perhaps to simulate an ancient organ, but the effect was excessive and unnatural. Each stop of each style has been carefully evaluated, both individually and with other stops, to obtain the best result.
I also suspect that Viscount deliberately "forced" the result to obtain a deliberately "characteristic" sound, albeit further from reality.
Also a few words about Artem voicing: it's not really meant to be used by end users, and there are some things you need to know before you start voicing, and the first is that you need to manually mark all the original parameters, because when you save a new voicing, the previous settings are permanently lost. If you want to go back to the original conditions, you need to manually re-enter the previously handwritten parameters.
Naturally, I will provide more precise information to those who have the Cantorum Duo and would like to try my voicing.

@SaintSernin The Prestige series was really great technology, and I find it hard to compare.
Probably the Artem samples have a higher definition (intended as sample rate and bit) and benefit from more modern hardware (modern DACs etc.), but the Prestige series offers many more voicing parameters, and even if the hardware is older, uses components that have very good specs still today. I think it's really hard to compare.

Tomorrow, if I have some time, I'll do some photo of the inside!

I have included some photos of the interior.
The internal layout is organized very well.
There is an internal wooden divider in the centre, which virtually divides the sound generation section (right) from the power supply and amplification section (left).
It's all very tidy, and curiously the power supplies (there are two, one to feed the motherboard, and one for the amplifier) ​​are enclosed inside two metal cages. The Americans who have been fanatical about the usefulness of the cage for years (even when it wasn't really indispensable) will therefore be happy.

The keyboards are the always excellent Viscount keyboards, on which I replaced the springs with lighter ones.
They are excellently built, and rest on an aluminum structure that offers great stability.
The amplifier board, unusually small (like all D class amplifiers) is visible on the left, recognizable by the two large MKP capacitors on both sides (which replace the two original electrolytics).
The loudspeaker are of good quality, and fill a chapel satisfactorily.

Zitat von Regal acht im Beitrag #6

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Since those settings are done in the "secret" menu, does that mean you have to enter the new values every time at startup?

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Unfortunately I didn't do any before/after recordings.

The Cantorum I only use with internal speakers; in fact it is a plug and play portable organ, and I use it as such. The internal speakers serve a small/medium church well with no problems. It can certainly be improved a lot with external amplification, but honestly I really don't want to load extra speakers into the car...
Sure, the internal speakers hardly reproduce 16' stops well, but what they do, they do well.

The volume control is totally digital (and the reverb too).

Physis service menu can be accessed by pressing simultaneously (with the organ already on) the last 4 buttons down, up, enter, exit.
In reality, the functions of the Physis menu are quite limited, you can calibrate the expressive pedals, and choose different minimum volume configurations for the expressive pedals.

For the keyboard, there are also heavier springs...
Those normally inserted in Viscount keyboards are 120 g, but there are also 150 g.
Instead, I chose them from 100 gr.
But be careful, the weights I have listed refer to the force applied without the tracker pad, so you need to calculate an additional 15/20 gr. to get the total!