A User’s Guide to Garritan Classic Pipe Organs Including the ARIATM Player Copyright © 2012 by MakeMusic, Inc.. All rights reserved. This guide written by: Gary Garritan Produced by: Programming: ARIA Engine Development: Document Editing: Art Direction and Graphics: Project Management: Additional Samples: Consulting: Gary Garritan Chad Beckwith, Tom Hopkins Plogue Art et Technologie, Inc.
A User’s Guide to Garritan Classic Pipe Organs Including the ARIATM Player “To my eyes and ears the organ will ever be the king of all instruments” —Mozart
Table of Contents Welcome to Garritan Classic Pipe Organs Garritan Classic Pipe Organs at a Glance End User License Agreement What the Classic Pipe Organs Package Includes “Stop & Reed” T� h is Manual Further Documentation and Resources Specifications & Computer System Requirements Updating to the Latest Version Goals and Future Plans Regarding Sound cards, Audio, and MIDI Regarding Speakers, Amplification, and Headphones Regarding 64-bit Computing 6 7 9 11 11 12 13 14 14 15 16 16 INSTALLATION & ACTIVATIO
PLAYING GARRITAN CLASSIC PIPE ORGANS Basic Controls Loading Stops Controlling Stops Mixing Stops Virtual Manual Swell Pedal Chiff Noise Tremulant Control Pedal Bass Fundamental Crescendo Pedal Utility Sine Oscillator Stop Blower Noise Timbre (EQ) Controls Precision EQ Controls Release Decay Technology Reverberation Ambience Reverb Convolution Sampled Reverb Stereo Stage Controls Scala files for Historic Tunings Quick MIDI Controller Reference Guide 71 72 73 75 76 77 77 77 78 78 79 79 80 80 81 81 82 83 85 8
Welcome to Garritan Classic Pipe Organs Make a Joyful Noise! It is quite an experience to hear a large pipe organ in a concert hall or a cathedral. From the softest whisper of a flute rank to the ground-shaking rumble of a 32-foot-long pedal pipe, one cannot help but be moved in awe by the grandeur of a glorious Pipe Organ. The pipe organ is often referred to as “The King of Instruments,” and rightly so.
Garritan Classic Pipe Organs At a Glance Thank you for choosing Garritan Classic Pipe Organs. The following summary presents some of the outstanding features of the Garritan Classic Pipe Organs: • Historic Pipe Organs Spanning Various Eras - Garritan Classic Pipe Organs is the only library of its kind to offer a choice of multiple historic pipe organ spanning over four hundred years. Baroque, Classical, Renaissance, Romantic, and two Modern pipe organs are represented in this collection.
• Historically Informed – Garritan Classic Pipe Organs serves as an archive for rare and extraordinary pipe organs of various periods. It also allows you to play in the various temperaments of earlier eras. You can hear not only the type of organ stops that Bach or Mozart may have played, but also, for even greater authenticity, the temperaments (Equal, Mean Tone, Werckmeister II ... and many others) they may have played. This library can also aid in historical organ study and research.
End User License Agreement Please read the terms of the following software licensing agreement before using this software. By installing and loading these products on your computer you acknowledge that you have read this license agreement, understand the agreement, and agree to its terms and conditions. If you do not agree to these terms and conditions, do not install or use the sounds contained herein. This is the complete agreement between you and MakeMusic, Inc.
“It roars louder than the lion of the desert, and it can draw out a thread of sound as fine as the locust spins at hot noon on his still tree-top. It imitates all instruments; it cheats the listener with the sound of singing choirs; it strives for a little purer note than can be strained from human throats, and emulates the host of heaven with its unearthly “voice of angels.” Within its breast all the passions of humanity seem to reign in turn.
What the Classic Pipe Organs Package Includes This Classic Pipe Organs library includes the following: • • • The “Garritan ARIA Player” installer file that contains the ARIA Player software and the ARIA User’s Manual in PDF form. * The “Garritan Classic Pipe Organs” installer file that contains the Garritan Classic Pipe Organs sound library and Garritan Classic Pipe Organs User’s Guide in PDF form.
You can refer to this manual whenever you wish. It is provided in digital form as an Adobe Acrobat document file (also known as a PDF) that can be viewed on a computer monitor or printed. If you do not have the Adobe Acrobat Reader, it is available free from www.adobe.com. A digital manual is eco-friendly and can be easily updated. If you need to have a paper copy, you can print this document or order one at www.lulu.com. A printed copy can be a handy reference.
Specifications & Computer System Requirements The following table lists the computer and hardware requirements for using Garritan Classic Pipe Organs. You can use Garritan Classic Pipe Organs on most modern personal computers that meet the specifications listed below. These specifications provide the minimum standards. For optimal functioning, we recommend you have a powerful enough computer with a fast CPU (Core 2 Duo or more recommended), a fast hard drive, and a sufficient amount of RAM.
If you are using Garritan Classic Pipe Organs within a host music program (such as a notation program, DAW, and/or sequencing program), there may be additional resource requirements. Please also observe the system requirements of your host application, if applicable. The demands of various other processing software (including the sequencer, audio and effects processors, other plug-ins, and so on) can affect functionality.
Regarding Sound Cards, Audio & MIDI Interfaces The quality of the audio interface will have a significant effect on the quality of the sound you will hear from Garritan Classic Pipe Organs. It will also have a substantial effect on performance (both latency and polyphony). Therefore, a good sound card is one of the most important components in optimizing the sound and performance of Garritan Classic Pipe Organs.
Regarding Speakers, Amplification, and Headphones The quality of the audio amplifier and speakers is extremely important; there is little point in expending a great deal on a high-end computer system and audio interface but using inferior personal computer speakers. Good quality speakers are important for faithfully reproducing the sound of a pipe organ. The pipe organ has the widest dynamic range of any musical instrument.
INSTALLATION and Activation
Quick Reference Installation Below is just a quick reference for installing Garritan Classic Pipe Organs. For a complete reference and guide to installing the ARIA Player, please refer to the separate ARIA User’s Guide included with Garritan Classic Pipe Organs. Installing Garritan Classic Pipe Organs is a three-part process: 3 Steps for Installing Garritan Classic Pipe Organs: • Step 1. ARIA Installation • Step 2. Sound Library Installation • Step 3.
At this point, you can sit back and let the installer do the work. If you have the download version, you can delete the extraction folder once Garritan Classic Pipe Organs is successfully installed. Before doing so, however, we suggest you make a backup copy of the installation zip file and put it in a safe place. If anything happens to your computer, you can reinstall Garritan Classic Pipe Organs from the discs or the backup file.
Quick Reference Activation Garritan Classic Pipe Organs features an innovative Drag and Drop authorization system. Upon launching Classic Pipe Organs for the first time you will be asked to activate it. Clicking yes will launch your browser and bring you to the www.garritan.com website. Here are the steps to activate Garritan Classic Pipe Organs. • • • • Create an account on www.garritan.com if you have not already done so, and log in to your account.
Alternative: Drag and Drop from your Browser Another method would be to drag and drop the personalized keycard PNG image from your browser (when logged into your account) onto the ARIA Player. Dragging and dropping your keycard may not work with all browsers and you should first try the previous method. Another Alternative: Import the Keycard You can also use the import option of an instrument selection slot and select the keycard PNG image. You will see the successful authorization after import.
User’s Guide to Garritan Classic Pipe Organs
ARIA PLAYER BASICS
Getting Around the ARIA Player Interface 1. The active instrument light shows you which instrument’s stop parameters you are changing. Click this area on another instrument stop to change the focus of the controls. 2. The instrument display features a drop-down menu for loading that appears when the field is clicked. 3. MIDI channel assignment is quick and clear. 4. Tuning controls help you to control fine tuning. 5.
9. Keyswitch window typically displays the active keyswitch. There are no keyswitches present in Garritan Classic Pipe Organs 10. Graphical faders give you a quick idea of a stop’s presence in the mix. The faders respond to CC#7 commands. 11. Window Selection allows you to select between the Info, Controls, Mixer, Effects, and the Settings windows. 12. Ensemble Presets allow you to quickly load stop groups and combinations.
Using the ARIA Player Once installed and activated, you can load Garritan Classic Pipe Organs into the ARIA Player. There are several ways to use Garritan Classic Pipe Organs with the ARIA Player: you can play it “live” as a standalone application, as a plug-in within a sequencer, or with a supported notation program. Using ARIA as a Standalone If you have installed the standalone version of the ARIA Player, you can find it in your Applications folder or Program menu.
find the VST in the Garritan/ARIA Player/VST directory. The VST plug-in ends in a .dll extension. In your host’s VST plug-in configuration menu, ensure that the specified installation directory is included in the list of VST directories. You may need to re-scan the folders to have ARIA Player VST appear in the list of software instruments. From there, just load the ARIA Player and go! You will find the VST listed as ARIA Player VST.dll, which contains a single stereo output, and ARIA Player Multi VST.
User’s Guide to Garritan Classic Pipe Organs
ABOUT Pipe Organs
A Brief Overview of the Parts of the Pipe Organ Pipe organs have long been considered one of the most impressive and complex musical instruments. Each organ is a unique instrument and no two organs sound exactly alike. They usually are individually handcrafted instruments made by expert organ craftsmen and, unlike most instruments, are not standardized and mass produced. Pipe organs are custom-ordered and are designed uniquely for each customer’s needs and for a unique space.
Pipes Pipe organs are known for their pipes, of course. Each pipe is usually hand-made, with its own design, size, and thickness. The number of pipes can vary greatly and can produce a vast variety of tonal colors. Small pipe organs may have only one or two dozen pipes with a single keyboard, but a large pipe organ can have over ten thousand pipes with six or seven keyboards. Some pipes are small and some are large, and the length of each pipe determines its pitch.
Organ pipes are often divided into flue pipes and reed pipes. Flue pipes are most common and produce sound by moving air through a fipple, like a whistle or recorder. A flue pipe has a toe, mouth, upper lip, lower lip, and body. As air flows across the mouth of a pipe, it hits the lip, which causes the column of air inside the pipe to vibrate and produce sound. Common flue pipe names are Flutes, Principals, and Strings.
Action An action is a system of moving parts associated with the pipe organ. The key action admits air to a pipe. The stop action will control which ranks are engaged. See the section below for a more detailed description of the stops. The key action connecting the keys and the wind chests on some organs is known as a tracker action. When an organist presses a key on the manual, the corresponding tracker allows wind to enter into the pipe.
Stop size identifications are usually standardized. An 8’ (pronounced eight-foot) stop identification refers to the length of the lowest-sounding pipe in that rank, which is eight feet. A stop that sounds an octave higher is at 4’ pitch, and an octave lower is at 16’ pitch. A stop identified as 2’ pitch is two octaves higher and a 32’ pitch sounds two octaves lower. Some stops do not produce a unison or an octave, but produce an intermediate pitch such as a 21/3 (which plays a fifth higher).
Many organs incorporate “couplers” that allow the stops of one division to be played from the manual of another division. They even resemble stops, but instead of pulling one stop, they pull several stops together. With coupling, the organist can access many stops of the organ and combine divisions to create various tonal effects. Some organs have a device to add an octave above (super-octave) or an octave below (sub-octave) what the fingers are playing.
Some common names are: • Great, Swell, Choir, Solo, Orchestral, Echo, Antiphonal (America/UK) • Hauptwerk, Schwellwerk, Rückpositiv, Oberwerk, Brustwerk (Germany) • Grand Choeur, Grand Orgue, Récit, Positif, Bombarde (France) A manual’s range can vary depending on when and where the organ was built. Early organs may have a limited range of a few octaves, whereas modern organs may have manuals that rival the range of a piano.
organ’s continuous supply of air allows it to sustain notes indefinitely for as long as the corresponding keys in the manual are depressed. The volume of the sound produced by a pipe depends on the pressure of the air flowing to the pipe. Prior to electricity, a person was needed just to operate the bellows. In the nineteenth century, bellows began to be operated by steam or gasoline engines and then electric motors.
User’s Guide to Garritan Classic Pipe Organs
Classifications of Stops There are numerous different stop names. Stop names are usually indicative of the tone of the pipes they control. Some are present in many pipe organs, and others are indicative of a certain period or place or seldom encountered. You may notice that some of the organ stop names resemble orchestral instruments: Flutes, Strings, Clarinet, Trumpet, etc. These musical instrument names are meant to suggest orchestral sounds rather than imitate them.
Principals: The Principal sound is a hallmark sound unique to the pipe organ. It is a sound that one recognizes in the context of traditional church music. Principals are generally metal flue pipes. They are more narrowly scaled than flute stops and produce a brighter sound. Some common names for principals are Principal, Montre, Prestant, and Octave. They do not generally adopt the names of orchestral instruments as they do not attempt to mimic any particular orchestral instrument.
Reeds: Reed pipes possess a strong, distinctive sound. Although designed to imitate the sound of brass and reed instruments, they generally lack the reedy or brassy sound of their orchestral counterparts. Some of the softer organ reeds do vaguely resemble orchestral instruments.
User’s Guide to Garritan Classic Pipe Organs
A Brief History of the Pipe Organ The pipe organ is one of the oldest keyboard instruments and its sound has been perfected through the centuries. Long before digital keyboards, samplers, and synthesizers, pipe organs were the most technologically innovative and versatile instruments. For over half a millennium, they have stood at the height of mankind’s musical achievements. The pipe organ stood out in a number of ways.
Pipe Organ building has undergone vast transformation over the centuries. While many musical instruments have standard methods of design and building, organ making is quite different. The art of organ making developed differently in various countries and each country had differing schools of organ building. For centuries the organ remained the most technologically advanced musical instrument.
Despite the advances, the organ was still relatively simple and rough compared to the later renaissance and baroque instruments. There was no swell control and the organ sounded either very soft or loud. During this period, the Reformation led to the destruction of monasteries and diminished the number of organs in many institutions as mere relics of the Roman church. Renaissance: 1400-1600 The Renaissance era encompasses Western music history from 1400 to the beginning of the 1600s.
and trumpet are most common), and several string stops (most commonly the gamba). Baroque organs generally had superior intonation as the main objectives were clarity and the individual character of the stops rather than blending. The Baroque period is often thought of the organ’s “Golden Age” and the organ made great advancements during that period. The music of Johann Sebastian Bach (1685-1750) typifies this period. J.S.
in a much fuller sound. It also became easier to manage a host of stops. Organs during this period moved from the primary domain of the church to concert halls. The organ during this period has been characterized as more lush and opulent than in previous periods. Composers such as SaintSaëns and Mahler used the organ in their orchestral works. The Romantic organ was more aimed at simulating the orchestra.
many thousands of pipes, with each new mammoth pipe organ trying to outdo its predecessors. The 1920s was a golden age for pipe organs and there were reputedly sixty-three organ-building companies in the United States alone. This all changed with the stock market crash of 1929 and the Great Depression. Many organ-building companies went bankrupt and folded and large organ projects were abandoned. Silent movies were no longer accompanied with organ as “talkies” incorporated soundtracks.
“It is crucial to a major symphony orchestra and a major concert hall to have at its disposal an organ of world-class quality” - Henry Fogel, President, Chicago Symphony. Post-Modern and Sampling Technology: The world has changed and today’s personal computers have multiplied in processing power and capabilities, bringing whole new technologies to music production.
User’s Guide to Garritan Classic Pipe Organs
Acoustical Space Considerations “Resonance is the priceless ingredient which gives the organ and its music character and splendour” - E Power Biggs It has often been stated that the most important stop in any pipe organ is the room into which it speaks. A typical pipe organ is often a permanent architectural fixture because it is actually built on the building’s walls themselves. The rich reverberation of a large space greatly enhances the organ’s sound.
Scales and Temperaments Garritan Classic Pipe Organs enables you to play in tunings that were common during the time periods of the legendary organists and composers. Organs were built according to the temperament of the time. The tracker organs that the Silbermann family built in the eighteenth century used the old unequal temperaments. Pipes also had different pitches and were tuned sharper or flatter according to the temperament.
Garritan Classic Pipe Organs makes it easy to play in the tunings commonly used in a particular time period. The ability to play in the tuning in which a work was originally written can more accurately reflect the intentions of composers, can offer new insight into a piece, and can inspire new creativity. Temperaments gave the great composers options for expression, and having temperament choices can be just as useful today in your own playing and creativity.
3) One-Sixth Comma Meantone - Near the end of the seventeenth century it was becoming common for tuners to change Pietro Aaron’s quarter-comma meantone by making the detuned meantone fifth flat by only 1/6 comma or 1/5 comma rather than Aaron’s 1/4. These tuners favored relatively pure thirds, though no longer perfect, while gaining increased purity in the fifths over 1/4 comma meantone.
representative of early period tuning practice. 8) Kirnberger III - Johann Philipp Kirnberger, a tuning student of Bach at one time, developed a temperament in 1779 similar to Werckmeister III, but improving its flaws. This tuning is sometimes known as Prinz or Neidhardt temperament. 9) Young I - Thomas Young described his Temperament No. 1 in 1799, a refined well temperament following the same base principles as Werckmeister III.
13) Carlos Optimal Circular - Wendy Carlos created this temperament, a mathematically optimal version of a well temperament. It smoothly and even-handedly trades consonance for dissonance among the key centers. C major is the most consonant, F# major is the most dissonant, and Eb and A are nearly the same as equal temperament. This tuning could be used for any music for which you would wish to use well temperament. Used with permission from Wendy Carlos. Sources: Arthur H.
The GLORIOUS INSTRUMENTS in GARRITAN CLASSIC PIPE ORGANS
User’s Guide to Garritan Classic Pipe Organs
Renaissance Pipe Organ Built: Circa 1583 Organ Builder: Unknown Location: Church of the Holy Trinity, Smečno, Czech Republic This organ is one of the oldest playable instruments in Central Europe and the oldest preserved organ in the Czech Republic. This organ is located in the Church of the Holy Trinity in Smečno, Czech Republic, situated about 50km north of Prague. The original instrument was built in1583 and the organ builder remains unknown.
Renaissance Pipe Organ Stop List RENAISSANCE ORGAN: 60 Stop Name: Description: Ren Blockwerk Combination of Octava Principalis 4’, Quinta 3’, Super Octava 2’, and Mixtura stops. This stop suggest the sound of the older Gothic blockwerks organs. Ren Stopped Flutes 8’ 4’ Combination of Copula Major 8’ and Copula Minor 4’. Ren Quintadena 8’ 4’ Combination of Salicional 8’ and Quintadena 4’ (second windchest). Ren Renaissance 8’ 4’ Combination of Copula Major 8’, Quintadena 4, and Cimbel stops.
Baroque Pipe Organ Built: Circa 1730s Organ Builder: Vaclav Starck, Loket Organ-building School Location: Deanery Church of the Assumption of the Virgin Mary, Most, Czech Republic This instrument is a small Early Baroque Pipe Organ located on the right side of the altar at the Deanery Church of the Assumption of the Virgin Mary, in Most, Czech Republic (Kostel Nanebevzetí Panny Marie).
BAROQUE Pipe Organ Stop List BAROQUE ORGAN: 62 Stop Name: Description: Baroque Flauto Octava 4’ 2’ Flauta 4’ and Octava 2’. A combination of diapason pipes with a relatively pure sound mixed with a stop at a pitch one octave higher. Baroque Principal 4’ Principal 4’ stop. Principal is often synonymous with Open Diapason and is considered to be one of the basic voices of the organ. Baroque Copula Maj 8’ Copula 8’.
Classical (Late Baroque) Pipe Organ Built: Circa 1748 Organ Builder: Ignacius Pleyer Location: Deanery Church of the Assumption of the Virgin Mary, Most, Czech Republic This pipe organ from the late Baroque period is located on the rear center of the Deanery Church of the Assumption of the Virgin Mary, in Most, Czech Republic (Kostel Nanebevzetí Panny Marie). The Late Baroque organ is considered representative of the sound of the organ during Bach’s time.
Classical (Late Baroque) Pipe Organ Stop List CLASSICAL ORGAN: 64 Stop Name: Description: Classical Forte 8’ 4’ 2’ Combination of ranks producing a forte sound. Diapason with 8’, 4’, & 2’ pipes. Classical Strings 8’ 4’ Strings stops represent some of the narrowest pipes. Although suggestive of their orchestral counterparts, they do not resemble stringed instruments. Gamba 8’ and Fugura 4’. Classical Flute 8’ Flute 8’. The flute stop has a soft, clear sound.
Romantic Pipe Organ Built: Circa Late 1800s Organ Builder: Emanuel Šimon Petr. Location: St. Bartolomeo Church, Rakovník, Czech Republic (Bohemia) The St. Bartolomeo pipe organ is located in Rakovník, Czech Republic (Bohemia) and is from the Romantic period. It was built in the late 1800s by organ maker Emanuel Šimon Petr, a well-known organ maker in Bohemia during the nineteenth century.
Romantic Pipe Organ Stop List ROMANTIC ORGAN: 66 Stop Name: Description: Rom Harm Flute 1 8’ Harmonic Flute 1 - 8’ stop. A flute stop with pipes twice the length and overblown to produce harmonics. Rom Harm Flute 2 8’ Harmonic Flute 2 - 8’ stop. Another harmonic flute stop of the Romantic organ. Rom Clarinet 8’ A reed stop voiced to imitate a clarinet. Rom Fortissimo 8’ Combination of 8’ reed and diapason ranks producing a fortissimo sound. Rom Gamba 8’ Gamba 8’ stop.
Modern Pipe Organ 1 (European Reform) Built: 1958 Organ Builder: Rieger-Kloss Location: Built in Germany and transported to St. Joseph’s Oratory, Montreal, Canada This majestic organ is now in the St. Joseph’s Oratory in Montreal. It was designed and built in Germany by the celebrated organ builder Rudolf von Beckerath of Hamburg in 1958, and then subsequently transported to Montreal. This “reform” pipe organ is one of the largest mechanical-action organs in the world.
MODERN ORGAN 1: 68 Stop Name: Description: Mod1 Bar Plenum plus Reed Full reed stops, or plenum with reeds, using a large number of the Modern 1 organ’s baroque-sounding reed stops resulting in a full, rich sound. Mod1 Baroque Plenum Plenum without reeds, or full stops, using a large number of the Baroque-sounding stops to produce a full, rich, loud sound. In early organ development, all stops took part in the global sound, or the “Plenum.
Modern Pipe Organ 2 (American) Built: 1966 Organ Builder: Schantz Organ Company Location: Riverside First Baptist Church, Riverside, California This modern American pipe organ was built in 1966 by the Schantz Organ Company of Orrville, Ohio. It is housed at the First Baptist Church of Riverside, California. This pipe organ has three manuals and numerous stops. MODERN Pipe Organ 2 Stop List MODERN ORGAN 2: Stop Name: Description: Mod2 Great Clarion 4’ Clarion 4’.
MODERN ORGAN 2: 70 Stop Name: Description: Mod2 Swell Trompette 8’ Trompette 8 (or Trumpet). A common reed stop that is versatile and can be used as a solo stop or in chorus with principals, mixtures, and/or with other reeds. Mod2 Great Cornet IV Cornet IV. A wide-scaled compound stop of four voices with mutations. It was originally intended to imitate a Renaissance Cornett. Mod2 Great Flute Harm Flûte Harmonique.
PLAYING GARRITAN CLASSIC PIPE ORGANS
Playing Garritan Classic Pipe Organs Basic Controls: With Garritan Classic Pipe Organs it is possible to start making music within moments after installing the library. Some of the concepts/controls presented here are different than those found on a typical pipe organ and may be unfamiliar at first. This may be more challenging for the professional organist accustomed to the more familiar stops, but the system in Garritan Classic Pipe Organs is fairly easy to master and offers some additional capabilities.
There are also specific ARIA Ensemble Files that emulate the behavior of the crescendo pedal by cumulatively adding organ stops to your mix when performing. Loading Stops There are two basic ways to load stops, manually or with the use of Ensemble templates. Load Instrument: Clicking the instrument slot in the ARIA Player brings up a dialog box from which you can load the stops of your choosing.
You can load up to sixteen stops for each instance of the ARIA Player (Slot 1 - 16). For more slots call up additional instances of ARIA in your sequencer or notation program. The number of instances is limited only by the power and resources of your computer and host program. MIDI Channel Assignment: Each stop can be given the same (or a different) MIDI channel.
Controlling Stops On/Off Stops In a real pipe organ, stops are either “on” or “off.” In Garritan Classic Pipe Organs, stops can be turned on or off with solo and mute buttons. Mute and Solo buttons will open or close the stops at will. Optional Volume Control Slider You also have more functionality than just an on/off stop. Below the Solo/Mute buttons are the volume control sliders where you can adjust the relative volume level of each stop.
Feel free to set the sliders to the volume that best suits your needs. Note: The slider will turn the Stop off (minus infinity) or adjust the relative volume level to your liking. Note: When a stop is engaged by solo or mute buttons while a key is being held, the full attack of the sample is played as if it were initially keyed. With slider control you can “fade in” stops.
Virtual Manual The bottom of the window features a virtual onscreen keyboard that indicates the range of notes that can be played for the selected standard or pedal stop. When a channel with an instrument assigned to it is selected, a section of the keyboard will be highlighted. Keys that are being played will be shown in real time. INSTRUMENT CONTROLS: Swell Pedal / Swell Box Effect (CC#02 and/or CC#11) There are two types of volume control.
Tremulant Control (Mod Wheel & CC#17): Garritan Classic Pipe Organs allows you to add beautiful tremulant quality to the voices. Tremulant is a very common effect in pipe organs through which the wind supply to the pipes of one or more divisions is varied and modulated. This causes the pitch to drop or rise slightly as pressure is reduced or increased, thus producing a vibrato effect. A large organ may have several tremulants affecting different ranks (sets) of pipes.
Crescendo Pedal (Advanced Feature): The Classic Pipe Organ Crescendo instruments emulate the crescendo pedal commonly found on medium sized and larger pipe organs. The Crescendo pedal incrementally activates stops as it is pressed forward and removes stops as it is depressed backwards. Traditionally the addition of stops are in order from the quietest to the loudest. This is a quick way for the organist to achieve a desired sound or advance to a full tutti organ sound.
Blower Noise Layer (CC#13) The Blower Noise (Blr Ns) controller is distinct from the chiff sound. It controls the sound of the air column from the blower through the pipes. This can be used to create a “breathy” sound for the softer stops or a more powerful tutti sound. There are blower noise patches for each of the pipe organs. The blower noise is added to a separate channel as it is a global control and not integrated into the individual stops. They are to be loaded as any other stop patch.
Precision EQ Controls The Precision EQ controls offer even more control over the contour and frequency spectrum of the organs. The controls are almost identical to Global EQ mid control with the addition of Q bandwidth over the EQ’s filter. This allows for more precise frequency range control over the EQ’s filter. • • • Gain (CC#25) - Turn this control to cut or boost the selected EQ frequencies up to -12dB/+12dB range. Freq (CC#20) - This control selects the EQ filter frequency, between 100 and 8000Hz.
Reverberation Reverberation describes the phenomenon that occurs whenever a sound is made in an ambient space. Whenever a sound is produced in an enclosed space it radiates in all directions. When these radiated sounds hit a surface such as a wall or ceiling, they are either reflected or absorbed. The first reflected sounds are usually stronger and become more and more diffused as the sound bounces around the room.
AMBIENCE REVERB Ambience is a great-sounding algorhythmic reverb that rivals the quality of the best commercial reverbs. Just as various libraries represent “virtual instruments” designed to simulate musical instruments, Ambience allows you to simulate the reverberation of a cathedral, concert hall, and many other spaces. Ambience is turned ON by default and to deactivate it you must click the ON/OFF button in the Effects window in the ARIA Player interface.
• • • • • • • 84 PREDELAY - This controls the amount of time between the direct sound and the first of the reverb reflections. It is predelay that defines our perception of the size of the room. WIDTH - This controls the stereo spread from mono (0%) all the way to a wide stereo (100%). It is recommended that the width be set close to 100%. QUALITY - This knob allows you to trade off reverb quality for CPU usage. High quality equates to high CPU usage.
CONVOLUTION SAMPLED REVERB ARIA now includes an ultra-optimized convolution engine for high-quality sampled reverb and offers zero-latency processing with low CPU overhead. Just as the sounds of this library contain sampled musical instruments, convolution reverb is a process of sampling a physical space. Convolution involves the “sampling” of real acoustic spaces, such as concert hall or cathedral, that one wouldn’t normally have an opportunity to record in.
The Garritan Classic Pipe Organ library also includes an impressive collection of 12 impulse responses to choose from. There are the glorious sounds of cathedral and churches as well as well-known symphonic concert halls and other stunning acoustic spaces. • • • • • • • • • • Chapel - Sampled reverb from a famous chapel in Cambridge Massachussets, USA. Film Score Space - Sampled reverb from a well-known film scoring space in the Seattle area that has been used for many popular movies.
STEREO STAGE CONTROLS When Stereo Stage is turned off, ranks can be panned from left to right in the usual way, positioning the ranks of pipes left to right by relative left/right volume intensity only. When Stereo Stage is turned on, it adds calculations that simulate the arrival times from the position of the instrumental sound source to a pair of virtual stereo microphones plus the first reflections from side walls, rear walls, and ceiling.
The Scala file import feature enables the use of thousands of other tunings that can be found on the internet. The Scala Center box allows you to select the tonic base note (or center) of your scale.
Quick MIDI Controller Reference Guide for Garritan Classic Pipe Organs Manual Stop Controls Swell CC# Description 02 and/or 11 Activates the organ stop shutter system. Emulates the opening and closing of stop shutters on pipe organs. Technical details: adjusts relative amplitude while also increasing high frequency content via EQ. Chiff 12 Natural sounding chiff and pipe air noise. Technical details: Organ blow noise samples vary between stops. Each stop has its own unique amplitude envelopes.
Pedal Stop Controls Swell CC# Description 02 and/or11 Activates the organ stop shutter system. Emulates the opening and closing of stop shutters on pipe organs. Technical details: adjusts relative amplitude while also increasing high frequency content via EQ. Bass Fundamental 20 Bass pedal tones, especially for the 32’ pipes. Can adjust how loud the fundamental is. Technical details: Very powerful for good speaker systems. Users should be cautioned to use gently. Subwoofer needed.
ENSEMBLE PRESETS as REGISTRATIONS
Ensemble Presets as Registrations—Load Stops Easily The Classic Pipe Organs installation includes a folder/ directory called “Ensembles” that contains a collection of useful, pre-configured registrations for your convenience. Various stop groupings are listed in the table below. Loading an Ensemble can give you a quick “head start” to loading a registration. Each file loads a selection of stops along with pan, level, and other settings.
List of Presets These presets are the complete organs in Omni MIDI routing. ARIA Instruments Slots are set to OMNI, so all of the stops can be triggered from the same keyboard/MIDI Channel. Useful for achieving a quick full Organ sound with a single keyboard setup. Combination Ensemble Name: Stops Included: Note: All Registration Preets have Wet and Dry versions.
List of Presets These presets are the complete organs in Omni MIDI routing. ARIA Instruments Slots are set to OMNI, so all of the stops can be triggered from the same keyboard/MIDI Channel. Useful for achieving a quick full Organ sound with a single keyboard setup. Combination Ensemble Name: Stops Included: Note: All Registration Preets have Wet and Dry versions.
List of Presets These presets are the complete organs in Omni MIDI routing. ARIA Instruments Slots are set to OMNI, so all of the stops can be triggered from the same keyboard/MIDI Channel. Useful for achieving a quick full Organ sound with a single keyboard setup. Combination Ensemble Name: Stops Included: Note: All Registration Preets have Wet and Dry versions.
Loading Ensemble Preset/Registration Files In standalone mode there are two ways to load Ensemble Preset/Registration files: • • Load from the File menu (File/Load) Drag and Drop When ARIA is used as a plug-in from within a host program the Drag and Drop method can be used to load ensemble files. This can be done as follows: With the ARIA player interface displayed, open the “Ensembles” folder/directory to display the numbered collection of ensemble files.
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User’s Guide to Garritan Classic Pipe Organs
DIRECTORY OF STOPS & COMBINATIONS in GARRITAN CLASSIC PIPE ORGANS
GARRITAN CLASSIC PIPE ORGANS STOP LIST Renaissance Pipe Organ Stop List RENAISSANCE ORGAN: Stop Name: Description: Ren Blockwerk Combination of Octava Principalis 4’, Quinta 3’, Super Octava 2’, and Mixtura stops. This stop suggest the sound of the older Gothic blockwerks organs. Ren Stopped Flutes 8’ 4’ Combination of Copula Maior 8 and Copula Minor 4. Ren Quintadena 8’ 4’ Combination of Salicional 8 and Quintadena 4 (second windchest).
BAROQUE ORGAN: Stop Name: Description: Baroque Forte Comb Combination of stops of the Baroque organ producing a forte sound. Diapason oriented. Baroque Plenum Full organ, using a large number of the organ’s stops to produce a full, rich sound. Baroque Ripieno Comb Ripieno is Italian for “filled up” and comprises various stops containing mutations with breaks. Baroque Blower Noise Blower Noise from the Baroque Organ.
Romantic Pipe Organ Stop List ROMANTIC ORGAN: 102 Stop Name: Description: Rom Harm Flute 1 8’ Harmonic Flute 1 - 8’ stop A flute stop with pipes twice the length and overblown to product harmonics. Rom Harm Flute 2 8’ Harmonic Flute 2 - 8’ stop Another harmonic flute stop of the Romantic organ. Rom Clarinet 8’ A reed stop voiced to imitate a clarinet. Rom Fortissimo 8’ Combination of 8’ reed and diapason ranks producing a fortissimo sound. Rom Gamba 8’ Gamba 8’ stop.
Modern Pipe Organ 1 Stop List MODERN ORGAN 1: Stop Name: Description: Mod1 Nasat 2 2-3’ Nasat 2 2/3’. A mutation stop of 2-2/3’ with a flute tone that reinforces a harmonic of the fundamental pitch. Mod1 Koppelflöte 4’ Koppelflöte (Positiv) 4’. A short conical metal flute with a bright tone. Mod1 Flutes 8’ 4’ 1’ Combination Flutes (8’, 4’, 1’). The flute stop has a soft clear sound. Flute pipes have broad scales and high mouths and are broader than diapason pipes. Mod1 Crumhorn 8’ Crumhorn 8’.
MODERN ORGAN 1: 104 Stop Name: Description: Mod1 Symphonic Plenum Combination stop, using a large number of the of various flutes and reeds stops to produce a full, rich, and powerful sound. The “Plenum” is the sound produced by the organ with a large number or all its stops. Mod1 Dulzian 16’ Dulzian 16’ (Positiv). A soft-toned reed stop intended to resemble the sound of an old double-reed instrument that was similar to the bassoon. Mod1 Pedal Rauschpfeife IV Pedal – Rauschpfeife IV.
MODERN Pipe Organ II Stop List MODERN ORGAN 2: Stop Name: Description: Mod2 Great Clarion 4’ Clarion 4’. A chorus reed stop of 4’ pitch. Mod2 Great Octave 4’ Octave 4’. An Open Diapason of 4’ pitch. An important stop on the organ. It is usually the first stop to be tuned and other stops are then tuned to it. Mod2 Great Quintadena 4’ A stopped flute of 4’ pitch made of metal, Mod2 Great Spitzflote 4’ Spitzflöte 4’. This stop has the tone of the Diapason with a strong fundamental and a sharper chiff.
MODERN ORGAN 2: 106 Stop Name: Description: Mod2 Swell Contre Tromp 16’ Contre Trompette 16’. A Trumpet stop pitched an octave lower than normal. Mod2 Pedal Choral Bass 4’ Choralbass 4’. The Choralbass is voiced for playing the melody in chorale works, hence its name. Mod2 Pedal Mix IV Pedal Mixture IV. A pedal mixture composed of four various pedal stops. Mod2 Pedal Nachthorn 8’ Nachthorn 8’. A stopped flute of very wide proportions with a soft tone. Mod2 Pedal Octave 8’ Octave 8’.
ADDENDUM
The Garritan Community Learn, Share Music, and Stay up to date I invite you to join the Garritan Community. Owning Garritan Classic Pipe Organs gives you much more than a product. One of the most valuable benefits is membership in the Garritan community of musicians. The Garritan Forum is where Garritan users from around the world come to discuss everything related to soundware and music.
Getting Help The first place to look for a solution to any problem you may be experiencing is in this manual. The next best place is the separate ARIA Player manual. Please read these manuals before contacting support. Next, check the readme files (if any) that contain important information and all last-minute changes that were not available when creating this guide. Whenever you encounter problems, you should also check if you have installed the latest updates.
Acknowledgements Producing Garritan Classic Pipe Organs would not have been possible without the combined help, talent, and support of many extraordinary people. I am grateful to those who have contributed and would like to thank them all. Thanks to Petr Pololanik, who organized the recording of these great organs located in the Czech Republic, and so many thanks to our consultant Prof.
I am indebted to Jim Williams for editing the manual, offering so many suggestions, and providing corrections and clarifications. A big thank you to Erin Vork and Toby Sherriff for his help in proofreading this manual, and many thanks to David Sosnowski for hours of consulting on all things organ and organic. I wish to thank our beta team who provided valuable input: Prof.
Downloadable Libraries and Other Garritan Sounds! Get More Sounds Instantly and Easily! Download sounds quickly and easily to expand your musical palette. Simply go to the “Settings” tab in the ARIA Player and click on the “Get More Sounds” button. You’ll be taken to the Garritan Download Shop, where you will be able to download additional sounds and libraries.
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