Garritan Classic Pipe Organs Manual

A Users Guide to
GARRITAN
CLASSIC PIPE ORGANS
Including the ARIA
TM
Player
Copyright 2012 by MakeMusic, Inc.. All rights reserved.
This guide written by: Gary Garritan

Garritan Classic Pipe Organs is a trademark of MakeMusic, Inc. Use of the Garritan Classic Pipe Organs library
and the contents herein are subject to the terms and conditions of the license agreement distributed with the library.
You should carefully read the license agreement before using this product. Te sounds presented in Garritan Classic
Pipe Organs are protected by copyright and may not be distributed, whether modied or unmodied. ARIA is a
trademark of MakeMusic, Inc. and Plogue Art et Technologie Inc., Finale is a trademark of MakeMusic, Endless-
Wave is a trademark of Conexant, Inc., and any other trademarks of third-party programs are trademarks of their
respective owners. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for
any purpose, without prior written permission by MakeMusic, Inc.. Te information contained herein may change
without notice and does not represent a commitment on the part of MakeMusic, Inc.
Garritan Classic Pipe Organs
MakeMusic, Inc.
Eden Prairie, MN 55344-3848
e-mail: garritan@makemusic.com
Visit us on the World Wide Web at: www.garritan.com
Produced by: Gary Garritan
Programming: Chad Beckwith, Tom Hopkins
ARIA Engine Development: Plogue Art et Technologie, Inc.
Document Editing: Jim Williams, Erin Vork
Art Direction and Graphics: James Mireau, Bonnie Anderson
Project Management: Max Deland, Chris Anderson
Additional Samples: Jonathan Orwig
Consulting: Petr Pololanik
A Users Guide to
GARRITAN CLASSIC PIPE
ORGANS
Including the ARIA
TM
Player
To my eyes and ears the organ will ever be
the king of all instruments
Mozart
4 Users Guide to Garritan Classic Pipe Organs
Table of Contents
Welcome to Garritan Classic Pipe Organs 6
Garritan Classic Pipe Organs at a Glance 7
End User License Agreement 9
What the Classic Pipe Organs Package Includes 11
Stop & Reed Tis Manual 11
Further Documentation and Resources 12
Specications & Computer System Requirements 13
Updating to the Latest Version 14
Goals and Future Plans 14
Regarding Sound cards, Audio, and MIDI 15
Regarding Speakers, Amplication, and Headphones 16
Regarding 64-bit Computing 16
INSTALLATION & ACTIVATION 17
Quick Reference Installation 18
Quick Reference Activation 20
ARIA PLAYER BASICS 23
Getting Around the ARIA Player Interface 24
Using ARIA as a Standalone 26
Using ARIA as a VST, AU, or RTAS Plug-in 26
ABOUT PIPE ORGANS 29
A Brief Overview of the Parts of the Pipe Organ 30
Classications of Stops 39
A Brief History of the Pipe Organ 43
Acoustical Space Considerations 51
Scales and Temperaments 52
THE GLORIOUS INSTRUMENTS IN GARRITAN CLASSIC PIPE ORGANS 57
Renaissance Pipe Organ 59
Baroque Pipe Organ 61
Classical (Late Baroque) Pipe Organ 63
Romantic Pipe Organ 65
Modern Pipe Organ 1 (European Reform) 67
Modern Pipe Organ II (American) 69
PLAYING GARRITAN CLASSIC PIPE ORGANS 71
Basic Controls 72
Loading Stops 73
Controlling Stops 75
Mixing Stops 76
Virtual Manual 77
Swell Pedal 77
Chi Noise 77
Tremulant Control 78
Pedal Bass Fundamental 78
Crescendo Pedal 79
Utility Sine Oscillator Stop 79
Blower Noise 80
Timbre (EQ) Controls 80
Precision EQ Controls 81
Release Decay Technology 81
Reverberation 82
Ambience Reverb 83
Convolution Sampled Reverb 85
Stereo Stage Controls 87
Scala les for Historic Tunings 87
Quick MIDI Controller Reference Guide 88
ENSEMBLE PRESETS as REGISTRATIONS 91
Ensemble Presets/Registrations Load Stops Easily 92
List of Presets 96
Loading Ensemble Preset/Registration Files 98
DIRECTORY OF ORGAN STOPS & COMBINATIONS 99
Renaissance Pipe Organ 100
Baroque Pipe Organ 101
Classical (Late Baroque) Pipe Organ 101
Romantic Pipe Organ 102
Modern Pipe Organ 1 (European Reform) 103
Modern Pipe Organ II (American) 105
ADDENDUM 107
Te Garritan Community 108
Getting Help 109
Acknowledgements 110
Downloadable Libraries and Other Garritan Sounds 112
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 ute 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. Te pipe organ is often referred to as
Te King of Instruments, and rightly so. Its dynamic range and vast array of tonal colors elevate
this instrument above all others and inspire awe and wonder in listeners.
Te organ is one of the oldest instruments and has evolved into a musical and technological marvel.
Resonating through the centuries, the pipe organ has projected its power and majesty to audiences
around the world. Te organ harkens important life occasions - weddings, convocations, funerals,
worship, and holidays. It lifts the spirit and transports the listeners emotions to a glorious experi-
ence.
If you think about it, we all owe a debt of gratitude to the pipe organ. For centuries, the pipe organ
stood as a monument of human technological achievement. Its sheer size and complexity inspired
and challenged organ makers to continually push the envelope of existing music technology. Our
MIDI and digital keyboards, from which we trigger our sampled and modeled sounds, had their
origins in the organ. And now with this library, we have come full circle back to the organ.
As a child I would marvel at the sounds of the pipe organ almost every Sunday, and the instrument
has captured my imagination ever since. Tis library grew out of a personal pipe dream (pardon the
pun) to pack the full power of a massive pipe organ into a library that is aordable and portable. Un-
like other musical instruments that can typically be carried by a musician, pipe organs are stationary
and cannot move with the musician.
With this library we are also oering not just one pipe organ, but various pipe organs spanning nearly
400 years of organ-making. My goals were to archive the sound of these historical organs for future
generations and to bring the splendor of the mighty pipe organ into the hands of any musician.
Te majestic sound of the pipe organ is now accessible and can be reproduced on your personal
computer or laptop and brought into your studio, rehearsal room, place of worship, or home. Te
breathtaking power and majesty of the organ, with its various glorious colors and opulent timbres, are
yours to enjoy. It is our hope that Garritan Classic Pipe Organs will create greater awareness for the
pipe organ and will inspire you to make great music, give you artistic joy, and propel you and your
music to lofty heights.
Yours in music,
Garritan Classic Pipe Organs At a Glance
Tank you for choosing Garritan Classic Pipe Organs. Te 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 li-
brary of its kind to oer 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. You can play music from the early music repertoire, Bach, lush romantic
music, or post-modern music.
75 Stops with Stop Mixing Tere are seventy-ve dierent stops/combinations in this col-
lection. Stops from dierent organs can be mixed freely, allowing you to build your organ
sound the way you want. Control the mix level, panning, and routing of the stops to custom-
ize the relative levels and positions of the various ranks, which you cannot do with a real pipe
organ. With this approach you can combine, rearrange, and blend stops from dierent organs
in unique ways. Ensemble les provide an easy way to load preset combinations of stops that
are ready to use, save your favorite stops, or create your own personal pipe organ.
Easy to Play and Control Create majestic organ music quickly and easily. Just load your
stops and play. Standardized controls allow you to become familiar with the library quickly and
master the stops easily. Volume, swell, tremulant, chi, pipe air noise, and pedal fundamental
level are all controllable with standard MIDI controllers. MIDI channel routing and custom-
ization allow organ stops to be triggered on discrete, coupled, or combined MIDI channels.
Users can also choose and adjust the organs acoustic environments.
Sample Player with Disc Streaming Included Te entire Pipe Organ collection is integrated
into the ARIA Player and works as a software musical instrument. Tere is no need to purchase
a separate sampler. Garritan Classic Pipe Organ also features the Conexant Endless Wave
technology for hard disc streaming with quick loading of multiple stops and ranks.

Historically Informed Garritan Classic Pipe Organs serves as an archive for rare and extraor-
dinary 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. Tis library can also aid in historical organ study
and research.
Universal Format You can play great-sounding organ music as a standalone application, as a
plug-in with your sequencer, or directly from the score of major notation programs. Garritan
Classic Pipe Organs supports all popular formats (VST, RTAS, and OSX AudioUnits) on both
Mac and PC. You can pull out all the stops and load multiple organ stops on a single desktop
or laptop computer.
Release Decay Technology Te stops in Garritan Classic Pipe Organs use specialized Release
Decay Technology that was developed specically for this library. Te release triggers supply
the characteristic pressure drop of the actual end of each organ note (not simulated).
Suited for Every Musician Tis collection brings the power and majesty of the pipe organ
into your studio, place of worship, rehearsal room, or home - at a fraction of the cost - and takes
up far less room. Composers can use this collection for inspiration to capture creative ideas
and sketch organ arrangements quickly. Hobbyists can use it for adding organ sounds to their
tracks. Beginners, organ enthusiasts, and music students can use it to learn, study, and practice
organ music at home. Te organs in this collection can also be used to supplement Garritan
Personal Orchestra and other libraries.


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, under-
stand 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. Tis is the complete agreement between you and MakeMu-
sic, Inc. that supersedes any other representations or prior agreements, whether oral or in writing.
An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY
THE SOUNDS DO NOT BELONG TO YOU. Te implications are described below. Te sounds, samples,
and programming in Garritan Classic Pipe Organs remain the sole property of Garritan and are licensed (not
sold) to you. Tere will be no refunds once installed and registered.
What You May Do: You may use these sounds in recordings, music productions, public performances, and for
other reasonable musical purposes within musical compositions. You may use these sounds in your own musi-
cal compositions as much as you like without any need to pay MakeMusic, Inc. or obtain further permission.
If you do use these sounds, we ask that you include the following credits in any written materials or credits
accompanying your music that utilizes material from Garritan Classic Pipe Organs (CD booklet, lm credits,
etc.): Instrument samples used in this recording are from Garritan Classic Pipe Organsor a similar credit where
practicable. You are allowed a maximum of four (4) installations per purchase.
What You May Not Do: Te enclosed sounds may not be re-used in any commercial sample library or com-
petitive product. You are absolutely forbidden to duplicate, copy, distribute, transfer, upload, download, trade,
or loan this software or any of the contents in any way to anyone. You may not redistribute this product in
whole or in part through an archive, collection, through the Internet, or a binaries group, newsgroup, or any
type of removable media, or through a network. You may not resell the product without written permission
and payment of an additional fee. Te sounds and samples contained within this software may not be edited,
modied, digitally altered, re-synthesized, or manipulated without direct written consent from MakeMusic,
Inc.
Disclaimers and Conditions: A right to use Garritan Classic Pipe Organs is granted to the original end-user
only, and this license is not transferable unless there is written consent from MakeMusic, Inc. and payment of
an additional fee. Te sounds of Garritan Classic Pipe Organs will only work with the bundled Garritan ARIA
Player and will not work with any other sampler. Licensor will not be responsible if the content of this product
does not t the particular purpose of the Licensee. Please make sure before installing this item that it meets
your needs, as there are no refunds. Information contained herein is subject to change without notice and does
not represent a commitment on the part of MakeMusic, Inc. Te sounds are licensed as is without warranties
of any kind. Neither MakeMusic, Inc, nor any agent or distributor, can be held responsible for any direct or
indirect or consequential loss arising from the use of this product in whatever form. Te ARIA Player is covered
by the installers End User License Agreement and is incorporated by reference. Te terms of this license shall be
construed in accordance with the laws of the United States of America and the State of Washington. Te user
agrees to read the manual before seeking technical support and to make sure his or her system meets or exceeds
the recommended requirements. Garritan Classic Pipe Organs may not be returned for any reason other than
manufacturing defects. Again, there will be no refunds once installed and registered.
It roars louder than the lion of the desert, and it can draw out a thread of
sound as ne 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. It moans with
the dull ache of grief, and cries with the sudden thrill of pain; it sighs, it
shouts, it exults, it wails, it pleads, it trembles, it shudders, it threatens, it
storms, it rages, it is soothed, it slumbers.
- Oliver Wendell Holmes
What the Classic Pipe Organs Package Includes
Tis Classic Pipe Organs library includes the following:
Te Garritan ARIA Player installer le that contains the ARIA Player software and the ARIA
Users Manual in PDF form. *
Te Garritan Classic Pipe Organs installer le that contains the Garritan Classic Pipe Organs
sound library and Garritan Classic Pipe Organs Users Guide in PDF form.
If you have not received an Activation Keycard by e-mail, a unique serial number is provided
so that you can register the product and receive a keycard. Dont lose thisstore it in a safe
place! You may have received this serial number through a reseller if you ordered a download
version through them.

* Note: Please make sure to get the latest ARIA Player update. Periodic updates are always
being made. Log onto your account at www.garritan.com to get the very latest.

Before you begin the installation, make sure you have read the End User License Agreement in the
preceding pages. By installing the software you are indicating you agree to the terms of the license.
Stop & Reed Tis Manual
Te goal of this manual is to help you learn how to use the various instruments contained in Garritan
Classic Pipe Organs and use the controls to play the instruments. Although many dislike reading
manuals, if you wish to get the most out of this new library it is essential to read this manual. Doing
so will help you understand how to use this software library. Te operation of many of the essential
features is not obvious and we realize many are not music technologists.
Te ARIA Player has a separate manual that can be found in the same directory as this le. Please
refer to the separate ARIA Player Users Guide to nd out how to register, activate, and use ARIA.
Te ARIA Users Guide is an important part of the documentation.
Well do our best to make it easy for you to use this manual and to provide information about the
various pipe organs, stops, and modes of control. And, of course, by no means can playing pipe organ
music or specic techniques be taught from this or any other manual. Individual study and research
will enhance your ability to use this library.

You can refer to this manual whenever you wish. It is provided in digital form as an Adobe Acrobat
document le (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.
Te easiest way to obtain the information you seek is to use the Bookmarks pane along the left side
of this PDF document. By opening the Bookmarks pane, you can go to the various topics from the
section names. With a PDF document, you can also zoom in to make the page larger to see more
details or zoom out to see multiple pages at once.
Further Documentation and Resources
For the latest information, including additional documentation and updates, visit our support pages
at www.garritan.com/support. Tere you can nd updated information provided after the manual
was written, corrections or additions to this manual, FAQ pages with answers to common questions,
suggestions from the users of Garritan software, and news about upcoming Garritan releases. Please
also refer to the separate ARIA Player manual that contains important information about using the
ARIA Player. You can also visit the Garritan Forums for up-to-date information at: www.garritan.
com/forum.html. Please send any reports of errors in this manual or suggestions for improvement to
garritan@makemusic.com.
Specications & Computer System Requirements
Te 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 specications listed below. Tese specications 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 sucient amount of RAM. Please also observe the sys-
tem requirements of your host application, notation program, or sequencing program, if applicable.
See the Garritan forum or website if you are looking for recommendations or more information.
Computer System Requirements
Computer Operating System Hardware
Windows
PC
Microsoft Windows 7
Microsoft Windows XP
(SP2 or SP3 recommended)
Microsoft Windows Vista
Core 2 Duo CPU or better recommended
1 GB Minimum, 2 GB RAM recommended to play complex stop
combinations. Tere is a direct correlation between the number of
stops that can be loaded and the amount of available RAM.
3 GB of free hard drive space
Hard drive speed of at least 7200 RPM preferred
Internet connection for download version, DVD-ROM drive required
for boxed version installation
Monitor with 1,024x768 resolution or better
A sound card compatible with ASIO 2
A MIDI interface may be required if you are using a MIDI keyboard.
Many keyboards now use USB.
A volume pedal and ability to assign controllers within your keyboard,
music program or sequencer.
High-quality speakers and amplier, or high-quality headphones. A
subwoofer is recommended for the pedal stops.
Internet connection for downloads, updates, and online registration.
Mac Mac OS X 10.5 minimum Mac Intel CPU or better, Mac OS X10.5 minimum
2 GB RAM recommended to play complex stop combinations. Tere
is a direct correlation between the number of stops that can be loaded
and the amount of available RAM.
3 GB of free hard drive space
Hard drive speed of at least 7200 RPM preferred
Internet connection for download version, DVD-ROM drive
required for boxed version installation
Monitor with 1,024x768 resolution or better
A sound card compatible with Core Audio
A MIDI interface may be required if you are using a MIDI keyboard.
Many keyboards now use USB.
A volume pedal and ability to assign controllers within your keyboard,
music program, or sequencer.
High-quality speakers and amplier, or high-quality headphones. A
subwoofer is recommended for the pedal stops.
Internet connection for downloads, updates, and online registration.

If you are using Garritan Classic Pipe Organs within a host music program (such as a notation pro-
gram, DAW, and/or sequencing program), there may be additional resource requirements. Please also
observe the system requirements of your host application, if applicable. Te demands of various other
processing software (including the sequencer, audio and eects processors, other plug-ins, and so on)
can aect functionality.
Updating to Latest Version
Be sure to check the Garritan website for any possible updates that have occurred since the time
your software was manufactured. Software is frequently updated and a more recent version may be
available. After the library has been installed, it needs to be activated. You are given a 30-day grace
period for each library before activation is required, but it is recommended that you activate as soon
as possible.
Goals and Future Plans
Te Garritan Classic Pipe Organ was developed to introduce musicians to the world of pipe organs
and to make pipe organs accessible to anyone, just as Personal Orchestra made a symphony orchestra
available to everyone.
Tis library is a rst step and there is more that could be done. If this rst release is well received and
there is a demand for more, we will add more organs, stops, and combinations in the future. Future
versions may also include designing a dedicated graphical user interface with virtual stops as well as
convolution and other features. If you have suggestions for future features or improvements, please
let us know.
Regarding Sound Cards, Audio & MIDI Interfaces
Te quality of the audio interface will have a signicant eect on the quality of the sound you will
hear from Garritan Classic Pipe Organs. It will also have a substantial eect on performance (both
latency and polyphony). Terefore, a good sound card is one of the most important components in
optimizing the sound and performance of Garritan Classic Pipe Organs.
In theory, any audio or sound interface that the manufacturer supports for your operating system and
computer, and that has good drivers, should work. However, you are unlikely to get the best sonic re-
sults from a sound card designed for computer games or system sounds. Most computers come with a
consumer-grade sound card, and we recommend that you get a good quality sound interface beyond
the one built into your computer. Older SoundBlaster sound cards (that do not support multiple
sample rates) and gamer-oriented or home system sound cards may be problematic. It is not possible
for us to test all built-in or third-party sound cards, and some interfaces do have problems on some
platforms, so please see the specications page on the Garritan website if you are considering buying
a new sound card to run Garritan Classic Pipe Organs.
A low-latency audio interface with ASIO 2.0 or WDM/WaveRT drivers (Windows) or Core Audio
drivers (Mac) is required for Classic Pipe Organs to work as a standalone program. Tese drivers are
normally installed with the audio interface, or the most recent versions can be acquired from the
manufacturers website. Contact the manufacturer of your interface for more information.
Any MIDI interface the manufacturer supports for your system should also work with Garritan Clas-
sic Pipe Organs. Tere are a few dedicated organ MIDI controller setups on the market that may be
worthwhile exploring.
Please note:
When Garritan Classic Pipe Organs is running as a plug-in, it uses the audio driver selected by the
hosts setup. If the host (typically your sequencer or notation program) is set up properly and works
well, then the ARIA Player plug-in should pass through the same audio and MIDI setup. For this
information, please refer to your sequencers, notation programs, or hosts manual.
Regarding Speakers, Amplication, and Headphones
Te quality of the audio amplier and speakers is extremely important; there is little point in ex-
pending 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. Te pipe
organ has the widest dynamic range of any musical instrument. Some of the low notes of the pedal
board may be below the range of consumer-grade speakers so a good subwoofer is recommended.
Regarding 64-bit Computing
Garritan Classic Pipe Organs with the ARIA Player is 64-bit compatible and takes full advantage
of the new 64-bit operating systems, processors, and hardware that are now available. Te Garritan
ARIA Player is also fully 32-bit compatible. At the time of this writing, 64-bit computing is gaining
popularity, but 64-bit hosts, audio, and MIDI drivers have not fully penetrated the entire market. To
be true 64-bit the entire audio path must be 64-bit, including sampler, host, operating system, audio,
and MIDI hardware. As hosts, operating systems, and hardware become 64-bit enabled, Garritan
Classic Pipe Organs will work with those 64-bit platforms. Please also consult the Garritan website
for further information and updated recommendations.

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 Users 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. Activation
Installing the ARIA Player and the sound library are now two separate processes. ARIA rst is in-
stalled, then the Classic Pipe Organs sound library.
PC Setup: To begin, extract the contents of the zip le you downloaded to a folder of your choos-
ing, then click on the .exe application icon and follow the on-screen prompts. If you have the
DVD version just double-click the .exe le.
Mac Setup: To begin, open up the mpkg installer from the installation zip le and follow the on-
screen prompts. If you have the DVD version, double-click on the installer icon.
You will be given the option to install several components:
Standalone will load the Garritan ARIA Player as its own software program. You can play instruments,
record basic MIDI, and render audio les.
VST Plug-in will let you load Garritan ARIA Player as a VST plug-in to use with sequencers such as
Cubase, Sonar, and Reaper, as well as notation programs such as Finale.
AU Plug-in (Mac only) will let you load Garritan ARIA Player as an Audio Units plug-in within hosts
such as Logic and Digital Performer.
RTAS Plug-in will let you use Garritan ARIA Player in Pro Tools M-Powered, LE, and HD.
Once you have selected your plug-in installation options, you can specify which parts of the library
you want installed. We recommend you install the entire library.

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 le 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 le.
IMPORTANT!
Please do not cancel setup after installation begins, otherwise a partial, broken installation may result.
Quick Reference Activation
Garritan Classic Pipe Organs features an innovative Drag and Drop authorization system. Upon
launching Classic Pipe Organs for the rst 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. (Note: If you have purchased Garritan Classic Pipe Organs directly through Garritan
you already have an account and received a keycard.)
A unique serial number is provided by your reseller (if you did not buy direct), so that you can
register the product and retrieve your activation keycard PNG image. Follow the on-screen
instructions to enter your serial number and proceed to download your keycard.
Save the keycard PNG to your desktop and launch the ARIA Player in standalone mode.
With ARIA Players screen open, literally click and drag the keycard PNG icon from the desk-
top onto the ARIA Player screen. You will see the successful authorization!

Drag and Drop Keycard PNG icon from the Desktop onto the Garritan Classic Pipe Organs
ARIA Player

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 rst 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 im-
age. You will see the successful authorization after import.
Note: You can transfer your keycard PNG image le to a ash drive if your music computer does
not have internet access. It will also be e-mailed to you.
IMPORTANT!
Te keycard has your personal information. Dont lose thiswe recommend saving your personalized
keycard to a safe place for future installations.
For more information about installation and activation, please refer to the ARIA Users Manual.
ARIA PLAYER
BASICS
Getting Around the ARIA Player Interface
Te active instrument light shows you which instruments stop parameters you are changing.
Click this area on another instrument stop to change the focus of the controls.
Te instrument display features a drop-down menu for loading that appears when the eld
is clicked.
MIDI channel assignment is quick and clear.
Tuning controls help you to control ne tuning.
Stereo output assignment allows you to route stops to as many as 16 unique stereo output
channels when ARIA runs as a plug-in.
Per-instrument sends let you apply the perfect amount of reverb to each instrument or stop.
Mute and Solo buttons allow you to silence or solo the individual channels so you hear only
certain parts in a mix.
A keyboard shows the range of notes that can be played on that stop (indicated by the white
notes), keyswitches in pink, and the selected keyswitch in beige.
1.
2.
3.
4.
5.
6.
7.
8.
9. Keyswitch window typically displays the active keyswitch. Tere are no keyswitches present in
10. Graphical faders give you a quick idea of a stops presence in the mix. Te faders respond to
CC#7 commands.
11. Window Selection allows you to select between the Info, Controls, Mixer, Eects, and the
Settings windows.
12. Ensemble Presets allow you to quickly load stop groups and combinations. Please refer to the
section on Ensemble Presets later in this manual for a list of presets.
For more information about the features of the ARIA Player, please refer to the separate ARIA
Users Manual.
Using the ARIA Player
Once installed and activated, you can load Garritan Classic Pipe Organs into the ARIA Player. Tere
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 nd it in your Applications
folder or Program menu. ARIA will attempt to determine the best audio playback conguration to
use on your machine. You can access ARIAs playback system from the Tools > Preferences menu.
To use a MIDI keyboard with Garritan Classic Pipe Organs, make sure to have the device drivers in-
stalled and the unit turned on before starting the ARIA Player Standalone. Your MIDI control device
should appear in the MIDI Input Devices menu of the Preferences dialog.
Te Ensemble Manager allows you to use precongured or user-created templates, such as a small
baroque organ or a large concert pipe organ. Using existing templates or creating your own can save
a lot of setup time. You can also load instruments yourself and use the File>Save command. Te
File>Save As Default command will automatically load all settings and instruments that are currently
present each time you start the program.
Te Standalone program also features a MIDI and audio recording system located on the bottom of
the screen. With these controls you can load existing MIDI les for the ARIA Player to play back as
well as record yourself playing live.
Using ARIA as a VST, AU, or RTAS Plug-in
Depending on your system and the options you selected at installation, you may have one or more
of these plug-in formats available.
Conguring VST
At installation you will be prompted for the vstplugins folder directory. Te installer will at-
tempt to locate an existing vstplugins folder, or you can specify your own. You can always
nd the VST in the Garritan/ARIA Player/VST directory. Te VST plug-in ends in a .dll
extension. In your hosts VST plug-in conguration menu, ensure that the specied installa-
tion 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 nd the VST listed as ARIA Player
VST.dll, which contains a single stereo output, and ARIA Player Multi VST.dll, which allows
you to assign up to 16 stereo outputs.
Important Notes for PC Users:
To use the ARIA Player with more than one VST application, you need to manually copy the ARIA
Player VST_x86.dll, installed into the chosen folder during installation of the library, to the appropri-
ate VST-compatible host applications VST folder. Please refer to your particular applications users
guide and the Garritan support site for more information.
Regarding 64-bit hosts: Some hosts have one common VST folder for both x64 and 32-bit plug-ins;
please only use the version of the plug-in that is native to your host, e.g. for the x64-bit version of So-
nar, use the ARIA Player VST_x64.dll. Mac OSX has standard folders for both VST and Audio Units
plug-ins and does not require this extra step.
Conguring AU (Audio UnitsMac Only)
Te ARIA Player will install into the default Mac OSX AU plug-ins folder, after which it will
be readily available to your applications.
Conguring RTAS (Pro Tools systems only)
Te ARIA Player will automatically install the RTAS plug-in to its proper location to work
with Pro Tools.
For more information about using the ARIA Player, please refer to the ARIA Users Manual.
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. Tey usually are individu-
ally 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
customers needs and for a unique space.
Tere seems to be an aura of mystery in the making of these instruments. Like the celebrated violin-
makers, organ makers have guarded their building secrets and entrusted them only to apprentices
and successors.
An organ-builder is both architect and acoustician and must build the organ with an eye and ear
focused on the space. Tere could be hundreds or thousands of pipes that must integrate into the
space, both visually and acoustically.
Te pipe organ is a keyboard musical instrument that produces sound by directing air through vari-
ous resonant pipes selected by notes on a keyboard (or manual). Te organ has a continuous steady
sound as long as the keys are pressed, unlike a piano, where the sound starts to decay right after you
strike the key.
A pipe organ consists of various parts: pipes that produce the sounds, a wind system to provide a sup-
ply of air, stop controls, and manuals (keyboards). An action connects the pipes and the manual(s).
Te stops allow the organist to control which ranks of pipes will sound. Te organist operates the
manuals and the stops from the console. Te popular phrase pull out all the stops has its origin
with the pipe organ. To pull out all the stops means to use all the pipes on the organ. When you
play combinations of a vast array of pipes, with two hands playing on multiple manuals and two feet
playing the pedalboard, the resulting sound is magnicent.

Pipes
Pipe organs are known for their pipes, of course. Each pipe is usually hand-made, with its own de-
sign, size, and thickness. Te 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. Tese dif-
ferent pipe sizes make for enormous dynamic range from barely-audible tiny pipes to gargantuan
32-foot pipes blown at high pressure, producing an enormous sound capable of shaking an audience
to its very bones.
Each pipe corresponds to one pitch. Tis diers from orchestral instruments that can change pitches
through the use of keys or valves that alter the airow through the instrument. Since each pipe cor-
responds to each note on a keyboard, many pipes are necessary to play the entire range of the key-
board.
A pipes timbre is the result of many factors, including the material it is made of, its thickness, its
shape, its scaling and diameter, whether it is a ue pipe or a reed pipe, whether it is stopped or open,
and other factors. Some pipes are made of wood and some of metal (usually a combination of tin and
lead). Each pipe plays at only one pitch, determined by its length. Te larger the pipe is, the lower the
pitch. A pipe can be open or stopped. Open pipes
have an opening at the top and stopped pipes are
closed at the top. Te pipes volume depends on
the pressure of the air owing to the pipe.
Many pipes are named with their size (16, 8, 4,
etc.) referring to length of the pipe. In the case
of open ue pipes, this refers to the length of the
resonant part of the largest pipe. An 8 rank means
eight feet long. A 4 pipe would sound an octave
above an 8 pipe, a 2 pipe an octave above the 4,
and so on.
Organ pipes are often divided into ue pipes and reed pipes. Flue pipes are most common and pro-
duce sound by moving air through a pple, like a whistle or recorder. A ue pipe has a toe, mouth,
upper lip, lower lip, and body. As air ows 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 ue pipe names are Flutes,
Principals, and Strings. Although they are not meant to reproduce the sounds of orchestral strings or
utes, they do suggest them.
Diapasons are ue pipes and represent the basic organ
stop. You can mix dierent lengths of diapasons, for ex-
ample 8 and 4, to give a fuller, characteristic pipe organ
sound. Several diapasons played together are known as
a diapason chorus a very common sound of the pipe
organ.
Flue pipes can be open or stopped. A stopped ue is covered with a cap that drops its sound an oc-
tave. Tus, a stopped ue playing in the 8 pitch range is actually only 4 in length. Since there are
fewer overtones, the sound is usually softer than an open ue pipe.
Reed pipes produce sound by moving air across a reed, much like a clarinet. Te reed pipe has a reed
(or metal tongue) nestled against a shallot with a small wedge connected to a block. Tis apparatus
ts inside a boot of the reed pipe. When air enters the bottom of the pipe, it causes the reed to vibrate.
Common reed names are Posaune, Bombard, Clarinet, English Horn, Bassoon, Fagott, and Oboe.
Ensemble reeds are reed pipes designed to be combined with diapason ue pipes. Solo reeds are de-
signed to be played on their own in a solo context.
Organs rarely have only one set of pipes and pipes are grouped in sets based on the types of pipes.
Pipes are arranged by ranks. A rank is a complete set of pipes, one pipe for each note on the key-
board or pedalboard, with the same timbre or sound characteristic. One rank often equals one stop.
Divisions are ranks of pipes organized into groups. Each division is usually played from its own
designated manual or pedalboard.
Action
An action is a system of moving parts associated with the pipe organ. Te key action admits air to a
pipe. Te stop action will control which ranks are engaged. See the section below for a more detailed
description of the stops.
Te 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.
With a stop action, each stop control is physically connected to a rank of pipes. When the organist
engages a stop control, this allows air to ow into the selected rank. Tis type of control is typically
a stop knob. An organist pulls the stop towards himself or herself to select the rank. You may have
heard the expression pulling out all the stops, which is just what an organist can do. Te stop action
can be activated by mechanical, pneumatic, or electric means.
Stops
Stops allow the organist to control which ranks or pipes are
selected at any given time. For a particular pipe to produce
sound, the stop controlling the pipes rank must be engaged
and the note on the keyboard corresponding to its pitch must be pressed.
Stop controls are usually drawknobs that engage the stops when pulled out from the console. Pulling
the stop knob activates louvered shutters located underneath the pipes to either allow or block (stop)
air from entering the desired pipes.
A stop often controls one particular rank of pipes, although some organs allow the control of a mix-
ture of ranks. Stop controls give the organist many possible rank combinations and timbre choices,
all from the same organ. Te selection of stops is called the registration.
Stops are identied by a label on the stop knob that indicates the stops length and timbre name. Stop
names are not standardized and two otherwise identical stops on dierent organs could have dier-
ent names. Te names often depend on the country or region in which the organ was built and the
preferences of the organ maker.
Stop size identications are usually standardized. An 8 (pronounced eight-foot) stop identication
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 identied 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 2-
1/3 (which plays a fth higher). Tese stops are called mutation stops (or aliquots). Tey are not
designed to be used on their own, but as colors to combine with unison and octave stops.
Toe stops, situated above the pedalboard, are stops that the organist engages with his or her feet to
change stops while playing a piece.
Combination Stops - Mixtures, Couplers, & Pistons
Most organs have a way to store and recall a combination of stops. Tis is particularly helpful when
you have a sizable repertoire requiring many dierent settings.
Large organs have a large number of stops, and using individual stops one at a time is time-consum-
ing. Tere are varying means of selecting stops. One common method is manually selecting combi-
nations of stops in order to produce a required sound. A mixture has more than one rank of pipes
sounding when you strike a note. A mixture may include unison and non-unison stops to give an
edge to the sound and provide rich and complex harmonic content. Some mixtures and combina-
tions are capable of producing an undulating beating sound.
Te number of ranks in a mixture is identied by a Roman numeral on the stop knob. For example,
a stop labelled Mixture IV would be a mixture of four pipes for every note. Terefore, one stop
would allow four dierent pipes to sound for every key pressed.
Many organs incorporate couplers that allow the stops of one division to be played from the manual
of another division. Tey 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 eects. Some organs have a device to add an octave above (super-octave) or an
octave below (sub-octave) what the ngers are playing. Tese couplers allow for greater timbral color
and variety.
Some organs have a combination action that allows organ stops to
be combined in numerous arrangements. Buttons called pistons
are pressed by the player to switch instantaneously from one com-
bination of stops, or registration, to another. Pistons are usually lo-
cated between manuals (thumb pistons) or above the pedalboard
(toe pistons).
Console
Te pipe organ is played from the console, a unit that has everything that the organist needs to con-
trol the organ - the keyboard(s) or manual(s), stops, pistons, couplers, and other controls.
Some consoles are non-movable and built to conform to a case or particular space, but many are
detached and movable. Some large churches may have multiple consoles that allow the organ to be
performed from dierent locations.
Manuals
While the piano has only one keyboard, the organ can
have many. Two to ve manuals are common. Multiple
keyboards allow the player to switch quickly to dierent
sounds. Te collection of ranks controlled by a particular
manual is known as a division.
Te names for a division vary based on geographic loca-
tion. Tere is typically a common order in the keyboard
divisions. For example, in English organs, the main manual (usually middle keyboard) is known as
the Great, the upper manual is known as the Swell, and the Choir is situated below the Great. If there
is a fourth manual, it is placed above the Swell.
Some common names are:
Great, Swell, Choir, Solo, Orchestral, Echo, Antiphonal (America/UK)
Hauptwerk, Schwellwerk, Rckpositiv, Oberwerk, Brustwerk (Germany)
Grand Choeur, Grand Orgue, Rcit, Positif, Bombarde (France)
A manuals 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. Most modern manuals usually have 61 notes, two and a half octaves less than a piano. A
a pipe organ is often identied with a numerical indicator depicting the number of keyboards and
ranks it possesses. An organ described as a 3/50 instrument, for example, has 3 keyboards controlling
50 ranks of pipes.
Pedalboard
It is fascinating to watch an organists feet dance over the
pedalboard. Most pipe organs also include a pedal keyboard
(pedalboard) played by the organists feet, triggering its own
pipes that usually produce low-pitched bass sounds. Te range
of the pedalboard also depends on time period and location
of the building, but most modern pedalboards usually have a
range of two and a half octaves, or 32 notes.
Case
Te various components of a pipe organ - pipes, action, and wind system - are housed in a case. Te
case is usually designed to integrate with the buildings architecture and also serves to aid in blending
and projecting the sound of the pipes. Te facade, often ornate and decorated, is the visible portion of
the case that prominently displays the pipes. Some modern organs are housed in one or more rooms
called organ chambers.
Wind system
Te wind system produces, stores, and delivers air or wind to the pipes. A motor blows air into a
reservoir. From the reservoir, the air moves into the wind chest, a box with rows of holes on the top
to which the pipes connect (one pipe to a hole). When a key is pressed on a manual, a valve is pulled
down inside the wind chest, allowing air to ow freely to the notes corresponding pipes. A pipe

organs continuous supply of air allows it to sustain notes indenitely for as long as the corresponding
keys in the manual are depressed.
Te volume of the sound produced by a pipe depends on the pressure of the air owing 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. Te manually-operated
bellows organs produced very low pressures, whereas organs with motor-powered blowers provide
much higher pressures and an endless supply of wind. Most organs today, both new and restored
historic organs, use electric blowers and regulators. A regulator maintains a constant air pressure in a
windchest until the action directs air to ow into the pipes.
Pedals
Te volume and dynamics of the pipe organ have no relationship to how hard the keys on the manual
are pressed. Te volume will be the same whether the organist depresses the keys gently or aggres-
sively. Te pipe organs tone will also remain constant in volume, pitch, and timbre until the the
organist lifts his or her nger from the key. It is the pedals that give the organist dynamic control
over the volume of the instrument. On medium and large pipe organs, there are often two pedals
- the expression pedal and the crescendo pedal- one controlling air volume and the other bringing all
stops into play.
Te expression pedal is a pedal that gives the organist dynamic control over the amount of wind, and
thus the volume, of the instrument. Tis pedal opens and closes shutters to regulate volume of air
into pipes. When more air enters, it allows more sound to be heard. Some of the larger pipe organs
have multiple expression pedals that allow the volumes of various divisions to be individually con-
trolled. Te expression pedal is sometimes referred to as the swell pedal.
Te crescendo pedal progressively adds or subtracts stops to increase volume and timbre in a step-
wise fashion. Engaging the crescendo pedal incrementally adds all the stops of the organ, beginning
with the quieter stops and ending with the most powerful. Tis creates the eect of a crescendo (or
diminuendo when the stops are disengaged). Te crescendo pedal is usually located to the right of
any expression pedal.
Classications of Stops
Tere are numerous dierent 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. Tese musical instrument names are meant to suggest orchestral sounds rath-
er than imitate them. Below are some of the most common organ stops.
Flutes:
Flute stops attempt to imitate or suggest the sound of the ute family of woodwind instruments in
an orchestra. Flutes usually have a soft, clear sound with some overtones, similar to their orchestral
counterpart.
Flutes have the widest diameter pipes in proportion to their length. Flute pipes can be made of wood
or metal, and can be open, stopped, or tapered. Stopped utes possess a hollow characteristic. Some
common examples of utes are:
Flute (or Flte)
Traverse Flute (or Transverse Flute)
Piccolo
Stopped Diapason (or Stopped Flute)
Bourdon
Gedeckt (or Gedackt)
Cor de Nuit (or Night Horn)
Flautino
Rohrte and Spitzte
Octavin
Nazard
Tierce
Flte Harmonique (or Harmonic Flute)
Sub Bass (or Subbass or Sousbasse)


Principals:
Te 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 ue pipes. Tey are more narrowly scaled than ute stops and produce
a brighter sound. Some common names for principals are Principal, Montre, Prestant, and Octave.
Tey do not generally adopt the names of orchestral instruments as they do not attempt to mimic
any particular orchestral instrument. Some common examples are:
Principal (also Diapason, Open Diapason, Prestant, or Montre)
Octave
Super Octave (also Doublette or Fifteenth)
Mixture (also Fourniture, Cymbale, or Sharp)
Strings:
String stops represent some of the narrowest pipes and produce a thinner sound with a harder at-
tack. Although they are designed to suggest their orchestral counterparts, in no way do they remotely
resemble actual stringed instrument sounds. Te string pipes do, however, produce a pleasing and
warm sound. In the Romantic Period, it was customary to include historic stringed instrument names
such as Viole de Gambe, Violone, and Quintadon. Te celeste stop is included as a string stop and
tuned slightly sharper than the other pipes. Some common examples of Strings are:
String
Viola
Gamba (or Viola da Gamba)
Cleste and Voix Cleste (slightly detuned)
Violina
Dulciana (very narrow pipe)
Quintaton (stopped)
Cello or Violoncelle

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. Some common examples of
Reeds are:
Trumpet (or trompette en chamade or fanfare trumpet)
Trombone
Tuba
Oboe (or Hautbois)
Fagotto (or Bassoon)
Crumhorn (or Krummhorn)
Vox Humana (or Voix Humaine, Musette, Regale)
Bombarde
Ophicleide
Posaune
Clarinet (or Chalumeau, or Schalmei)
Hybrid Stops:
Hybrid stops contain one rank of pipes that allows the organist to create new sound colors by com-
bining the tones of two other classications of stops. Common examples include Principal + Flute,
Principal + String, or String + Flute.

A Brief History of the Pipe Organ
Te 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 mankinds musical achievements.
Te pipe organ stood out in a number of ways. Good pipe organs can have as much dynamic range
and tonal color as a symphony orchestra, but an orchestra could require up to a hundred musicians
whereas the pipe organ only requires one player.
During centuries past, music was not instantly accessible and mobile. Concerts were a rare privilege
and people usually had to travel to the music. All music was heard in the space in which it was cre-
ated and the stationary pipe organ was ideal for that as it was crafted for its particular space.
As with many musical instruments, the exact invention date of the organ is uncertain, but records
show a form of the organ (hydraulos) dating back to the 3rd century BC in Alexandria. Early organs
were known to exist in Roman times and were used in ampitheatres and circuses, but knowledge of
the organ was lost with the fall of the Roman Empire. In the sixth and seventh centuries, organs re-
appeared using smiths bellows. In 757, the King of the Franks received an organ from the Emperor
Constantine, which some historians believe was the introduction of the organ in Europe.
Te Pipe Organ was very important in the development of western music and was once the center of
musical life. Organs began to be used in western European churches in the eighth century, and by the
10th century were used in church rituals. In the 11th century, details on organ construction and the
scaling of pipes were being written by Benedictine monks.
During the Middle Ages, small portable organs (Portatives) came into use and were used as continuo
instruments to accompany singing and chanting. In these early organs, human-controlled bellows
supplied air through the instrument, allowing a note to be played continuously. Tese organs played
a single melodic line only. At about the rst Millennium AD, churches began adopting the organ as
a standard instrument of worship. Organs became an important xture in churches and cathedrals.
Te church was an important part of a town or village and as towns grew and ourished, the organ
proliferated throughout Europe. As cathedrals became larger, the organ grew in size and complexity.
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 dierent. Te art
of organ making developed dierently in various countries and each country had diering schools of
organ building.
For centuries the organ remained the most technologically advanced musical instrument. It has
evolved from a one-stop instrument with a small number of pipes to a gargantuan instrument con-
taining many manuals and thousands of pipes. Today, sampling technology owes some of its key
concepts to the king of instruments. Te ideas that a keyboard instrument could be used to emulate
other instruments, and could change its sounds in real time, have their roots in the pipe organ. Tese
capabilities have been expanded and perfected with todays technology.
Below are some of the main periods of organ development. Please note that this section is intended
as a very brief history and by no means gives justice to the rich history of the pipe organ.
Gothic: 1100-1500
Te Gothic Period lasted from about 1100 A.D. to 1500 A.D. Te earliest organ music manuscript
known to exist is the Robertsbridge Codex of 1360. A Gothic organ usually accompanied a choir or
provided background to the chanting clergy. It was not used as a solo instrument as it is today.
Te traditional pipe organ came into being during the Gothic period. Organs from this period are
almost obsolete today. Te Halberstadt Blockwerk organ, built in 1361, is still in use to this day. Te
Gothic organ was the rst instrument known to have a chromatic key layout across its manuals and
pedalboard.
Probably the most signicant evolution of the organ during this period was the development of
stops that allowed the organist to play on only some of the ranks of the Blockwerk. Prior Medieval
organs were based on the Blockwerk principle (an undivided group of pipes all under one control)
and did not have individual stops. Tis breakthrough led to combinations of dierent sounds with
dierent divisions of pipes. Tis development led to mixtures and served as the forerunner of mod-
ern stop actions, and also resulted in the distinctive sound of the traditional pipe organ that is char-
acteristic from this period until the present.
Despite the advances, the organ was still relatively simple and rough compared to the later renais-
sance and baroque instruments. Tere 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 num-
ber of organs in many institutions as mere relics of the Roman church.
Renaissance: 1400-1600
Te Renaissance era encompasses Western music history from 1400 to the beginning of the 1600s.
Tis period in time marked the rebirth of humanism and the revival of cultural achievements for their
own sake in all forms of art, including music. Te word Renaissance itself is dened as a rebirth or
a reconstruction.
Organs and keyboards, still mostly found in churches and cathedrals, were the primary keyboard
instruments used during the Renaissance. Organs still only had a few stops, and most only had one
division. Te Renaissance organs were reputedly tuned to the historical quarter-comma meantone
temperament.
Baroque Era: 1600-1750
Te Baroque era is the period of European music between the years 1600 and 1750. Baroque music
is regarded as being highly ornate and characterized by rich counterpoint and a highly decorated
melodic line. A dening characteristic of this period is the use of the basso continuo.
Te pipe organ became a masterpiece in its own right, both in terms of craftsmanship and sound.
Schools of organ building ourished, with each country or region having its own unique style and
art. Organ building became a matter of national pride. During this period, these tracker-action
instruments featured well-balanced mechanical key actions, more divisions and ranks, and indepen-
dent pedal divisions. Wind pressure in these early instruments was relatively low compared with later
organs. Other important organ innovations produced later in this period were the introduction of the
swell box (1712) and the independent pedal.
Baroque organs are usually smaller instruments with a smaller sound than their later counterparts.
During the Baroque era, the organs tonal timbres and colors became more varied. Organ builders
developed stops that attempted to imitate various instruments, such as utes, reeds (crumhorn, oboe,
and trumpet are most common), and several string stops (most commonly the gamba). Baroque or-
gans generally had superior intonation as the main objectives were clarity and the individual character
of the stops rather than blending.
Te Baroque period is often thought of the organs Golden Age and the organ made great advance-
ments during that period. Te music of Johann Sebastian Bach (1685-1750) typies this period. J.S.
Bach had an enormous impact on the organ world and wrote numerous masterpieces for the instru-
ment that are still regarded as among the best of the organ literature.
Late Baroque/Classical: 1730s-1820s
Te Classical era spans a relatively short time span between the Baroque and the Romantic periods.
Te best known composers from this period are Haydn, Mozart, and Beethoven, all of whom wrote
minor works for the organ. Mozart was employed as the court organist in the household of the Arch-
bishop of Salzburg and wrote a few works for the instrument. Although organ improvisation was in
general practice, organ music was not a main focus of the great composers of that period. Teir focus
was on symphonic and chamber music.
During this time there was a substantial change in music. Tere was a greater stress on form, balance,
and control. Sonata form (ABA form) was the dominant musical form used during that time. Tere
were few extremes neither too loud nor too soft. Tis was about to change when Beethoven intro-
duced Sturm und Drang (storm and stress), ushering in the Romantic period.
Organ development during this period, like the music in vogue at the time, was standardized and
sophisticated throughout Europe. Pipe organs had several manuals, a swellbox, and more consistency
in tone. Tere was a great deal of focus on design cases were ornately hand-crafted with gold leaf,
with carvings of angels and various creatures, and majestic guilded pipes. Organ building grew and
each region in Europe developed its own style of organ building and musical practice.
Te Romantic Era: 1815-1910
During the Romantic period, the organ became grander and more symphonic even larger, with
more stops, more variety in timbres, more divisions, and the ability to create crescendo and decre-
scendo. Pipes grew larger with the use of more 16 or larger stops and wider scale ranges, resulting
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. Te organ during this period has
been characterized as more lush and opulent than in previous periods. Composers such as Saint-
Sans and Mahler used the organ in their orchestral works.
Te Romantic organ was more aimed at simulating the orchestra. Te clarity and uniqueness of the
stops gave way to the blending character of the stops and how they worked together. Romantic organ
stops also tended to have a thicker sound.
Te Romantic era was a period of change and ushered in artistic freedom and greater creativity. Music
became more expressive during this period and the pipe organ became more symphonic, capable of
more expression as well.
Romantic organs had similar stops to their Baroque predecessor (but with a dierent intonation) plus
many more string and reed stops. Te 32 stop also came into vogue with the Romantic organ. Tey
also incorporated mechanical action, but pneumatic devices made the action lighter. Some Romantic
organs also incorporated electric action.
Organ and harpsichord music, which were popular in past eras, began to diminish in importance. A
new instrument, the piano, became the dominant keyboard instrument.
Modern: 1900-2000
During the late nineteenth century, the development of pneumatic and electric key actions made it
possible to place the console away from the pipes, which made for new possibilities in organ design.
As electric stop actions were developed, more sophisticated combination actions became possible. In
America, there was less tradition to live up to and organ building became more creative and ener-
gized.
Te pipe organ was no longer an instrument associated with religious music and proliferated outside
the church - in town halls, cinemas, theaters, department stores, auditoriums, concert halls, and other
secular venues. Some cities and municipalities justied the expense of building large pipe organs
by reasoning that it was less costly than maintaining an orchestra. After all, pipe organs were played
with orchestras and could rival the symphony in expressiveness and tonal range, and some saw it as
a source of local pride and inspiration. Te race was on to build larger and larger pipe organs with
many thousands of pipes, with each new mammoth pipe organ trying to outdo its predecessors. Te
1920s was a golden age for pipe organs and there were reputedly sixty-three organ-building compa-
nies in the United States alone.
Tis all changed with the stock market crash of 1929 and the Great Depression. Many organ-build-
ing companies went bankrupt and folded and large organ projects were abandoned. Silent movies
were no longer accompanied with organ as talkies incorporated soundtracks. Victrolas and radios
no longer required people to travel to where the music was made. Instead, the music travelled to the
people. World War II dealt another blow to organ building as manufacturing plants were repurposed
for building spare parts for the military. Over in Europe, many of the great organ pipes were melted
down for their tin and many organs were destroyed in bombings. To make matters worse, a 10%
luxury tax was imposed on organs and even the wealthy avoided these instruments. Te landscape for
pipe organs was diminishing dramatically and the pipe organ faithfully retreated back to houses of
worship. But even churches began looking to other alternatives for music.
In the mid-twentieth century, there was also a revival to build historically-inspired instruments mod-
eled after Baroque and Romantic era organs. Tese retro instruments reintroduced mechanical key
actions, lower wind pressures, and thinner pipe scales. Tis became known as the Organ reform
movement. E. Power Biggs did much to popularize the pipe organ and rekindle interest in the organ
music of pre-Romantic composers. In contrast, Virgil Fox pushed the limits of the pipe organ and
was known for his amboyant performances and interesting musical interpretations. Although this
created controversy among organists and organ builders, both approaches to the organ popularized
the instrument among audiences everywhere.
Post-modern musicians began experimenting with the pipe organ and began pushing the limits of the
instrument with avant-garde and other creative styles. In the twentieth century, many composers no
longer looked to tradition for musical guidance but created music freely and used new sounds.
Electronic organs with transistors and speakers gave pipe organs competition. Tese new instru-
ments were more portable, less costly, and more suited to popular music, therefore attracting the en-
dorsements of well-known organists. As electronic and digital organs gained wide popularity, interest
in pipe organs waned. Nevertheless, a renewed interest in pipe organs emerged later and attracted a
new generation of enthusiasts around the world.
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:
Te world has changed and todays personal computers have multiplied in processing power and ca-
pabilities, bringing whole new technologies to music production. MIDI (Musical Instrument Digital
Interface) has been incorporated in many pipe organs to provide additional sounds to broaden the
choices of tone color. Sampling technologies are now being built into some post-modern organ con-
soles. Tese hybrid systems can mix actual pipe sounds with digital sampled sounds to do more than
traditional pipe organs could.
In addition to pipe organs adopting MIDI, the latest advances in sampling technology allow you to
make digital recordings of each individual pipe, then load them into your computer and play them
back in real-time using a MIDI keyboard connected to a personal computer or laptop.
Sampling is ideally suited for reproducing the sounds of pipe organs. Each and every pipe, with
its own individuality and unique characteristics, can be recorded in high-delity audio and then
reproduced. Sampled stops can indeed sound surprisingly close to actual wind-blown organ pipes,
especially if they are high-quality recordings of each individual pipe.
It is now possible to have the grandeur of a glorious pipe organ, without the need of a cathedral or a
concert hall, and pack it into a small space. Who ever would have thought that less than a century
from its pinnacle of popularity, the sounds of a colossal pipe organ would be accessible from a desktop
computer, laptop, or modern tablet computer?
We have briey surveyed centuries of pipe organ history. Garritan Classic Pipe Organs is a sampling
of pipe organs from various periods in music history Baroque, Classical, Renaissance, Romantic,
and Modern. Perhaps this library in a small way has helped preserve the sounds of these old treasures,
even if only by taking sonic snapshots. Te pipe organ led the way in music technology and now we
have come full circle with 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 xture because it is actually built on
the buildings walls themselves. Te rich reverberation of a large space greatly enhances the organs
sound. With a pipe organ, you are also, in eect, playing the building itself. Te vibrations from each
pipe reect dierently from the buildings oors, ceiling, walls, pews, and other surfaces.
Each organ is unique not only because each is individually custom-made, but also because the build-
ing that houses it resonates with the instrument, much like the body of a violin or the curved body
of a piano. Te size, shape, and acoustic properties of the room are all important factors in an organs
design.
Organ building and architecture often go hand in hand. Specialized craftspeople known as pipe voic-
ers custom design pipes so they blend with other pipes and give the best possible sound in an organs
particular physical space.
Organs in the older European cathedrals benetted from the reverberance of their large size and their
towering stone and masonry construction. Churches and halls in North America, however, tend to
have carpeting, padded pews, and drapery that absorb sound, producing a more subdued atmosphere
compared to their old-world counterparts.
Recent developments in computer processing, sampling, and speaker technologies now allow organs
to escape their physical limitations, and also allow users to have control over the space.
Garritan Classic Pipe Organs allows you to create your own ambient space with Convolution Sam-
pled Reverb and with Ambience Reverb. A resonant space with a long reverberation time (usually
well over 3 seconds) is typical and optimal for the sound of a pipe organ in a resonant cathedral.
Scales and Temperaments
Garritan Classic Pipe Organs enables you to play in tunings that were common during the time pe-
riods of the legendary organists and composers.
Organs were built according to the temperament of the time. Te tracker organs that the Silbermann
family built in the eighteenth century used the old unequal temperaments. Pipes also had dierent
pitches and were tuned sharper or atter according to the temperament. Temperaments and tunings
usually varied from country to country and time period to time period.
In prior centuries, the octave was not divided into equal semitones, but some intervals sounded in
tune while others sounded odd or dissonant, and with untempered scales, certain keys did not modu-
late well. Composers just avoided certain intervals or keys to eliminate dissonance.
Bach was one of the most famous organists of all time. When he wrote his famous Well-Tempered
Clavier to explore all the possible key colors, Bach most likely used Mean-tone, and well tempera-
ment. Well temperament possesses a vibrant attribute missing in todays equal temperament, which
could be thought of as key color. Te key of C has harmonious intervals that might be described as
calm and innocent, while the same intervals in F# might be described as in motion and passionate.
During Bachs time, equal temperament was not used on keyboard instruments. Teoreticians were
aware of equal temperament, but there were as many critics deriding equal temperament as prais-
ing it. Nevertheless, no one was able to nally develop a workable system of equal temperament on
keyboards until near the end of the 1800s. Equal temperament made chromatic music possible and
Romantic and later composers made full use of these expanded possibilities.
If Bach wrote the Well-Tempered Clavier for a keyboard tuned to a well temperament, then we might
wish to try playing a Bach piece in well temperament. Likewise, with other composers we can move
a step further towards authenticity and try playing other compositions in the tunings used during the
composers lifetime.
With a real pipe organ, it is almost an impossible task to tune and retune every pipe to try dierent
historical tunings, but with Garritan Classic Pipe Organs it is extremely easy to call up a historic
temperament of your choosing.
Garritan Classic Pipe Organs makes it easy to play in the tunings commonly used in a particular time
period. Te ability to play in the tuning in which a work was originally written can more accurately
reect the intentions of composers, can oer 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.
A Brief History and Discussion of Temperaments
Te following tunings are included in Garritan Classic Pipe Organs
1) Equal Temperament - Equal temperament, the standard for keyboard music for almost all of
the last century, is the tuning used by technicians today almost without exception. It divides the
octave into twelve exactly equal semitones, giving it its name. It is the safest tuning to use by default
since all modern ears are accustomed to it. It sounds the same in every key, all intervals are fairly
harmonious, and all semitones are the same size, which allows for smooth chromatic melodies.
2) One-Quarter Comma Meantone - One-quarter comma meantone is also known as Pietro Aar-
ons meantone (described in his writing in 1523). Most musicians from the Renaissance used it and
its a good representative tuning for music from the sixteenth to seventeenth centuries. It features
perfectly in-tune major thirds in the key of C and keys close to C (quite unlike equal temperament)
at the cost of slightly detuned fths. One-quarter comma meantone has a regularly-spaced diatonic
scale, but a noticeably uneven chromatic scale.
Technically, the term one-quarter comma refers to the dierence between a pure in-tune major
third and a Pythagorean third. A Pythagorean third is the result of playing four perfectly pure
fths in a row (C to G to D to A to E, all with purely tuned fths). Tere is a dierence in the pitch
between the perfectly in-tune major third and the Pythagorean third, and this dierence is called
a syntonic comma. One-quarter comma meantone divides this comma, or dierence in pitch, by
four, and attens what would otherwise be its perfectly in-tune fths by this quarter comma. When
you stack four of these detuned meantone fths in a row (again using C to G to D to A to E as an
example) the resulting third is a perfectly in-tune major third.
3) One-Sixth Comma Meantone - Near the end of the seventeenth century it was becoming
common for tuners to change Pietro Aarons quarter-comma meantone by making the detuned
meantone fth at by only 1/6 comma or 1/5 comma rather than Aarons 1/4. Tese tuners favored
relatively pure thirds, though no longer perfect, while gaining increased purity in the fths over 1/4
comma meantone. Te 1/6 comma meantone was used fairly often in the eighteenth century, along
with well temperament and temperament ordinaire. Like quarter-comma meantone, 1/6 comma
meantone has a very out-of- tune wolf fth, and four out-of-tune thirds. It also has the same limita-
tion on the number of ordinarily playable keys, with the good keys centering around C.
4) One-Fifth Comma Meantone - One-fth comma meantone temperament spreads the syntonic
comma over ve fths, sounding somewhat between 1/4 and 1/6 comma meantone. It was a com-
mon meantone temperament during the 1700s, though perhaps not as often used as 1/6 or 1/4
comma meantone.
5) Rameaus Temperament Ordinaire - During the eighteenth century, tuners in France and oc-
casionally elsewhere in Europe often modied normal meantone by spreading the out-of-tuneness
of the meantone wolf fth over a number of dierent notes. Tis created a tuning that was playable
in many keys, arguably in all keys (even if dissonantly in the remote keys). It also created a sense of
key color for each key center, which had previously been missing from the regular meantones. Jean
Philippe Rameaus temperament begins as 1/4 comma meantone for the diatonic C scale, and then
distributes what would be the wolf fth across all the black keys.
6) Temperament Ordinaire II - Temperament Ordinaire II is a French 18th-century temperament
following the same principles as Rameaus Temperament Ordinaire and, like Rameaus, would also
have been used as a temperament method in the 1700s, particularly in France. It starts with a
base diatonic scale of 1/6 comma meantone rather than the 1/4 comma of Rameau. Te result is
smoother across all the keys than Rameau, but has less color contrast among the dierent keys.
7) Werckmeister III - in the early 1700s, Andreas Werckmeister was one of the rst writers to
discuss well temperament. Te systems of well temperament dier from meantone by having fths
that vary in size, being playable in any key, and possessing diering key colors. Well temperament
was known to tuners before Werckmeisters publications but came into general use around his
time, and continued to be used in successively more rened forms until the end of the nineteenth
century. Werckmeister III is probably one of the best-known well temperaments and is considered
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 aws. Tis tuning is some-
times known as Prinz or Neidhardt temperament.
9) Young I - Tomas Young described his Temperament No. 1 in 1799, a rened well tempera-
ment following the same base principles as Werckmeister III. It provides an excellent balance of
key colors, with the thirds and fths changing evenly from the most harmonious key of C to the
most dissonant key of F#. It is a good representative of the late eighteenth and nineteenth century
well temperament.
10) Broadwood Best - In 1885, Alexander John Ellis analyzed the results of tuners at the Broad-
wood Piano factory, and this tuning came from a tuner that the factory considered one of its
nest. Te tuning falls between well temperament and equal temperament and demonstrates the
transition period between well temperament and equal temperament at the end of the nineteenth
century. Although this type of temperament may have been commonplace even into the start of
the twentieth century, equal temperament (or very close approximations) rapidly displaced all other
temperaments by the early twentieth century as both an ideal and a practical tuning.
11) Pythagorean - Pythagorean tuning was the method used most commonly before the Renais-
sance, and continued in use well into the sixteenth century. It has all fths tuned pure, which results
in all thirds being quite sharp above pure, sharper than even equal temperament. It also results in
a wolf fth at Ab. It arguably provides a good intonation for melody since the sharp leading thirds
and sevenths lean into their resolution notes, but the major thirds are relatively dissonant in har-
mony.
12) Just Intonation - Just intonation uses all pure intervals to create its scale. Harmonically it has
the great advantage of a set of perfectly in-tune intervals, although this set is of limited size. Me-
lodically it has the disadvantages of a diatonic scale with two noticeably dierent whole tone sizes,
and chromatic scales with many dierently sized semitones. Just intonation is extremely restrictive
in the keys in which it can be played without wolf intervals. Although interesting, it has never been
commonly used as a keyboard tuning.
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. Tis 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. Benade, Fundamentals of Musical Acoustics (1976)
Owen Jorgensen, Tuning: Containing the Perfection of Eighteenth-Century Temperament,
Te Lost Art of Nineteenth-Century Temperament, and Te Science of Equal Temperament (1991)
Andreas Werckmeister, Musicalische Temperatur (1691), reprint edited by Rudolf Rasch
Rita Steblin, A History of Key Characteristics in the 18th and Early 19th Centuries (1983)
J. M. Barbour, Tuning and Temperament: A Historical Survey (1972)

Te GLORIOUS INSTRUMENTS in
GARRITAN CLASSIC PIPE ORGANS
RENAISSANCE PIPE ORGAN

Built: Circa 1583
Organ Builder: Unknown
Location: Church of the Holy Trinity, Smeno, Czech Republic
Tis organ is one of the oldest playable instruments in Central Eu-
rope and the oldest preserved organ in the Czech Republic. Tis
organ is located in the Church of the Holy Trinity in Smeno,
Czech Republic, situated about 50km north of Prague. Te origi-
nal instrument was built in1583 and the organ builder remains
unknown.
Te organ was rebuilt and expanded several times. According to
historic records the organ was damaged in the 1620s during war
and soon rebuilt and greatly expanded with ranks from the Re-
naissance period. . In 1775, the organ underwent another rebuild.
A small Rckpositiv was added and some stops were changed.
Photo courtesy of Frantisek Mike
Te instrument was overhauled several years ago by Dusan Doubek, a master organ restorer. Te
original form of the instrument was restored to its Renaissance state as more of the original pipes
were found inside the organ and put into use. Tis organ provides the distinctive qualities (colorful,
sometimes sharp and exotic sound) of the Renaissance organ. One if its stop, the blockwerk stop, can
approach the sound character of the older Gothic Blockwerk organs.
Tis Renaissance organ was reputedly tuned to the historical quarter-comma meantone tempera-
ment.
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. Tis 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.
Ren Diapason 8 Principal 8 stop. Te diapason represents the quintessential tone of the pipe
organ.
Ren Pleno Comb Full organ combination using a large number of the organs stops and mixtures, to
produce a full, rich and massive sound. Ranks include Principal 8, Octava Princi-
palis 4, Quinta, Super Octava 2, Mixtura, Cimbel.
Ren Ripieno Comb Combination of Principal 8, Octava Principalis 4, Quinta 3, and Super Octava
2. Ripieno is Italian for lled up.
Ren Bass Comb Bass stop combination of the lower pirched stops - Subbassus 16, Octav Bassus 8,
Super Octav 4. Pedals did not come into vogue until the baroque organs.
Ren Blower Noise Blower Noise from the Renaissance Organ.
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
Tis instrument is a small Early Baroque Pipe Organ located
on the right side of the altar at the Deanery Church of the As-
sumption of the Virgin Mary, in Most, Czech Republic (Kostel
Nanebevzet Panny Marie).
Te organ was built by the Loket organ-building school (Loket
is a small Czech historical city known for its organ builders).
Te Starck family were the most prominent organ builders and
founded the renowned Loket School.
In 1975, when the Communist government decided to aban-
don the city where the cathedral was located, the cathedral was
moved a distance of over a half-mile using 53 transport trucks
set on special rails. Tis building was mentioned in the Guin-
ness Book of World Records as the heaviest building ever moved
on wheels. Te historic cathedral building is now a museum.
BAROQUE PIPE ORGAN STOP LIST

BAROQUE ORGAN:
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. Tis 8 stop is a valuable stop in the older organs and produces a
gentle ute-like sound.
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 organs stops to produce a full, rich
sound.
Baroque Ripieno Comb Ripieno is Italian for lling up and consists of various stops containing mu-
tations with breaks.
Baroque Blower Noise Blower Noise from the Baroque Organ.
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
Tis 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 Nanebev-
zet Panny Marie).
Te Late Baroque organ is considered representative of the
sound of the organ during Bachs time. Bach is considered
the best organist and organ composer of this period and he
wrote many works for this type of organ. Bach reputedly
played this type of organ himself and the stops may have
been familiar to him. Tis organ at the Most Church is a
typical middle-sized Central-European baroque organ, suit-
able for baroque and classical music. Te stops typically used
for this period were a mix of all stops from all keyboards
(pleno).
CLASSICAL (LATE BAROQUE) PIPE ORGAN STOP LIST

CLASSICAL ORGAN:
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. Te ute stop has a soft, clear sound. Flute pipes have broad scales
and high mouths and are broader than diapason pipes.
Classical Principal 8 Principal 8. Te name Principal is synonymous with the Open Diapason
and is an essential sound in pipe organs.
Classical Quintadena 8 Quintadena 8. A stopped ute sound in which the 3rd harmonic
(twelfth) is prominent.
Classical Pleno Comb Full organ using a large number of the Classical organs stops to produce a
full, rich, loud sound.
Classical Pedal Forte Combination of pedal ranks producing a forte sound. Diapason-oriented
with 8 and16 lengths.
Classical Pedal Pleno Full pedal stops, using Subbass apertus 16, Subbass clausus 16, Octavbass
8, Flauta 8, and Posaune 16 stops.
Classical Blower Noise Blower Noise from the Classical/Late Baroque Organ.
ROMANTIC PIPE ORGAN

Built: Circa Late 1800s
Organ Builder: Emanuel imon Petr.
Location: St. Bartolomeo Church, Rakovnk, Czech Republic (Bohemia)
Te St. Bartolomeo pipe organ is located in Rakovnk,
Czech Republic (Bohemia) and is from the Romantic peri-
od. It was built in the late 1800s by organ maker Emanuel
imon Petr, a well-known organ maker in Bohemia during
the nineteenth century.
Tis pipe organ is representative of the typical organ of the
period and was used for orchestral accompaniment as well
as for church services during the Romantic era.
Te sound of a symphonic organ is most familiar to audi-
ences, as it represented the organ sound of many popular
symphonic works featuring organ.
ROMANTIC PIPE ORGAN STOP LIST

ROMANTIC ORGAN:
Rom Harm Flute 1 8 Harmonic Flute 1 - 8 stop. A ute stop with pipes twice the length and
overblown to produce harmonics.
Rom Harm Flute 2 8 Harmonic Flute 2 - 8 stop. Another harmonic ute 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. A main string stop, also called Viola da Gamba, produced
by open metal pipes of a medium scale.
Rom Forte Comb Combination of ranks producing a forte sound. Diapason-oriented.
Rom Pianissimo Comb Combination of ranks producing a pianissimo sound. Entirely utes with
only a few ranks.
Rom Strings Comb Strings stops represent some of the narrowest pipes and produce a pleas-
ing warm sound (although not resembling string sounds). Stops include
a combination of Salicional 8, Gamba 8, Cello 16, Vox Celeste 8, and
Fugara 4.
Rom Tutti Comb Full organ combination using all of the organs stops and mixtures.
Rom Blower Noise Blower Noise from the Romantic Organ.
MODERN PIPE ORGAN 1 (EUROPEAN REFORM)

Built: 1958
Organ Builder: Rieger-Kloss
Location: Built in Germany and transported to St. Josephs Oratory, Montreal, Canada
Tis majestic organ is now in the St. Josephs Oratory in Montreal. It
was designed and built in Germany by the celebrated organ builder
Rudolf von Beckerath of Hamburg in 1958, and then subsequent-
ly transported to Montreal. Tis reform pipe organ is one of the
largest mechanical-action organs in the world. It has 78 stops, 118
ranks, and 5,811 pipes activated by ve manuals and a pedal board.
It is also one of the rare instruments with a 32 pedal open diapa-
son in the facade. Tis superb instrument is considered one of the
worlds outstanding organs.
MODERN PIPE ORGAN 1 STOP LIST

MODERN ORGAN 1:
Mod1 Nasat 2 2-3 Nasat 2 2/3. A mutation stop of 2-2/3 with a ute tone that reinforces a
harmonic of the fundamental pitch.
Mod1 Koppelte 4 Koppelte (Positiv) 4. A short conical metal ute with a bright tone.
Mod1 Flutes 8 4 1 Combination Flutes (8, 4, 1). Te ute 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. Tis is one of the oldest organ stops and takes its name
from the instrument of the same name. Te sound has a mued, buzz-
ing tone.
Mod1 Gemshorn 8 Gemshorn 8 (Positif ). A stop whose pipes are conical in shape and have
a tonal characteristic of both strings and ute stops. Believed to imitate
the instrument of the same name that was made from an animals horn.
Mod1 Prinzipal 8 Prinzipal 8. Te principal tone of the pipe organ and considered to be
its most important stop.

MODERN ORGAN 1:
Mod1 Bar Plenum plus Reed Full reed stops, or plenum with reeds, using a large number of the Mod-
ern 1 organs 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 Ba-
roque-sounding stops to produce a full, rich, loud sound. In early organ
development, all stops took part in the global sound, or the Plenum.
Mod1 Brustwerk Tutti Te brustwerk manual 3 has its own set of stops. Te brustwerk pipes are
located in front of other ranks, often encased above the keyboard, in the
breast of the organ. Because it represents the stops out in front, it often
has a sharp, clean, and bright sound.
Mod1 Hauptwerk Tutti All stops on the hauptwerk manual (manual 1, Great). Hauptwerk (like
the Brustwerk) is a manual with its own set of stops. Te Hauptwerk
often has the most powerful stops and the greatest number of stops.
Mod1 Hauptwerk Mixture Stops on the hauptwerk manual without reeds.
Mod1 Scharf IV Scharf IV. A mixture of four pipes. Scharf is a name of a mixture stop
and the Roman numerals mean how many pipes sound together on every
note you play.
Mod1 Symphonic Plenum Combination stop using a large number of the of various utes and reeds
stops to produce a full, rich, and powerful sound. Te 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 Rauschpfeife IV. A compound pedal stop of four metal ranks. Te Raus-
chpfeife was also a pre-Baroque wind instrument.
Mod1 Pedal Trompette 8 4 Trompette 8 (Solo Trumpet 4). Te Trompette is usually a versatile
stop, usable either as a solo stop or in combination.
Mod1 Bar Plenum plus Reed
Pedal
Full reed pedals, or pedal plenum with reeds, using a large number of the
organs baroque reed pedal stops to produce a powerful and deep sound.
Stops include Bombarde 16/32, Basson 16, Trompette 8.
Mod1 Baroque Plenum Pedal Baroque Pedal Plenum without reeds, or full pedals, using a large number
of the organs baroque pedal stops including Montre 32/16/8, Flte 16,
Soubasse 16, and Prestant 4.
Mod1 Pedal Posaune 32 Posaune 32 (Pedal). Posaune is German for Trombone. Tis stop is a
chorus reed and is intended to sound brassy.
Mod 1 Blower Noise Blower Noise from the Modern 1 Organ.
MODERN PIPE ORGAN 2 (AMERICAN)

Built: 1966
Organ Builder: Schantz Organ Company
Location: Riverside First Baptist Church, Riverside, Cali-
fornia
Tis 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, Califor-
nia. Tis pipe organ has three manuals and numerous
stops.

MODERN ORGAN 2:
Mod2 Great Clarion 4 Clarion 4. A chorus reed stop of 4 pitch.
Mod2 Great Octave 4 An Open Diapason of 4 pitch. An important stop on the organ. It is
usually the rst stop to be tuned and other stops are then tuned to it.
Mod2 Great Quintadena 4 A stopped ute of 4 pitch made of metal.
Mod2 Great Spitzte 4 Spitzte 4. Tis stop has the tone of the Diapason with a strong
fundamental and a sharper chi.
Mod2 Swell Rohr Schalmei 4 Rohr Schalmei 4. A short-resonator reed stop producing a hollow,
nasal tone quality.
Mod2 Choir Clarinet 8 Clarinet 8. Tis is a favorite solo stop on many organs and one of the
better organ imitations of an orchestral instrument.
Mod2 Choir Gemshorn 8 Gemshorn 8. Gemshorn pipes are conical and originally intended to
imitate the Gemshorn, a pple ute with a closed end.
Mod2 Choir Vox Humana 8 Vox Humana 8. Vox Humana means human voice and is one of the
oldest organ stops. It is often used with tremulant.
Mod2 Great Principal 8 Principal 8. An Open Diapason of 8 pitch. Te name Principal is
more properly used as a synonym for the Open Diapason.
Mod2 Great Tromp En Cham 8 Trompette en Chamade 8. A Trompette (trumpet) stop with the
pipes mounted en chamade or horizontally rather than vertically,
producing a bright fanfare sound.

MODERN ORGAN 2:
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 muta-
tions. It was originally intended to imitate a Renaissance Cornett.
Mod2 Great Flute Harm Flte Harmonique. Harmonic utes are constructed from open pipes
that are twice the normal length and overblown to sound the rst
harmonic (the octave).
Mod2 Great Mixture IV Modern 2 Great Mixture IV. Tese are generic names for compound
stops containing mutations, usually with breaks.
Mod2 Swell Contre Tromp 16 Contre Trompette 16. A Trumpet stop pitched an octave lower than
normal.
Mod2 Pedal Choral Bass 4 Choralbass 4. Te 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 ute of very wide proportions with a soft
tone.
Mod2 Pedal Octave 8 Octave 8. Octave Bass is a Bass Flute stop.
Mod2 Pedal Tromp 8 Trompette 8. A Trumpet pedal stop in the Modern 2 organ.
Mod2 Pedal Bourdon 16 Bourdon 16 pedal stop. A 16 stopped wooden diapason ute. It is
possibly the single most common 16 pedal stop.
Mod2 Pedal Fagotto 16 Fagotto 16 pedal stop. An imitative reed pedal stop designed to sug-
gest the Bassoon.
Mod2 Pedal Principal 16 Principal 16 pedal stop. An Open Diapason of 16 pitch. Te name
Principal is more properly used as a synonym for the Open Diapason.
Mod2 Pedal Contre Bourd 32 Contre Bourdon 32 pedal stop. Te Bourdon stop pitched an octave
lower than the Bourdon 16.
Mod2 Pedal Contre Fagotto 32 Contre Fagotto 32. A Bassoon stop pitched an octave lower than the
Fagotto 16.
Mod2 Blower Noise Blower Noise from the Modern 2 Pipe Organ.
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 install-
ing the library. Some of the concepts/controls presented here are dierent than those found on a
typical pipe organ and may be unfamiliar at rst. Tis 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 oers some additional capabilities.
Organ stops are selected and loaded into channel slots and can be turned on or o with Solo/Mute
buttons or controlled with volume sliders. Volume/dynamics are controlled on a global level with a
volume pedal and each stop can be controlled via sliders. After stops are loaded there are various ways
of controlling them.
Te ve basic controls are On/O buttons, Swell Control, Volume, Chi Attack, and Tremulant.
In addition to these basic controls, Garritan Classic Pipe Organs features other possibilities for even
greater control over your stops, such as crescendo pedal, EQ/timbre, release triggers, scala le sup-
port, and room simulation. Tere is also a separate blower noise layer.
Tere are two types of stops programming in this library: standard stops and pedal stops. All pedal
stops have the word Pedal in their name. Standard stops will have Swell control, a chi layer that
is velocity sensitive, tremulant speed and intensity controls, and swell knobs. Pedal stops will have
swell, bass fundamental, and tremulant controls. Tere is no chi in the pedal stops.
Standard Stops basic controls: Pedal Stops basic controls: Blower Noise
Solo/Mute = Stop on/off
CC #01 = Tremulant Amount/Intensity
CC #02 and/or CC#11 = Swell control
CC#07 = Volume
Velocity = Chiff strength
CC #12 = Relative chiff level
CC #17 = Tremulant speed
Solo/Mute = Stop on/off
CC #01 = Tremulant Amount/Intensity
CC #02 and/or CC#11 = Swell control
CC #07 = Volume
CC #17 = Tremulant speed
CC #20 = Fundamental level
CC #13 = Blower Noise
Tere are also specic ARIA Ensemble Files that emulate the behavior of the crescendo pedal by cu-
mulatively adding organ stops to your mix when performing.
Loading Stops
Tere 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. Selecting Empty will remove an assigned stop from
a channel and choosing Reload will restore the default parameter settings for that stop.
Te stops will be grouped in a simple hierarchical menu by library. You can choose your stops by pipe
organ type: Baroque, Classical, Renaissance, Romantic, Modern 1, and Modern 2.
When ARIA is used as a plug-in within a host program, you can also load a stop by a drag and drop
method from Windows Explorer into an ARIA player slot.
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. Te 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
dierent) MIDI channel. Grouping stops by MIDI channel could be
useful for a multiple keyboard (perhaps with pedals) setup or for split-
ting a single keyboard by range/MIDI channel.
MIDI channel assignments can be chosen by clicking on the assign-
ment number for the slot. Tis will bring up the dropdown menu
shown on the right. Just click on the desired MIDI channel. More
than one slot can be assigned to the same MIDI channel for combina-
tions and mixtures.
Garritan Classic Pipe Organs also includes a folder/directory called
Ensembles that contains a collection of useful, pre-congured com-
binations of stops for the convenience of the user. Simply select the
precongured ensemble presets you wish to load or recall. Loading an
Ensemble can give you a head start to setting up a useful collection of
ready-to-play stops.
After you load your organ stops, you can control the sound in various
ways.
Controlling Stops
On/O Stops
In a real pipe organ, stops are either on or o. In Garritan Classic Pipe Organs, stops can be
turned on or o 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/o stop. Below the Solo/Mute buttons are the
volume control sliders where you can adjust the relative volume level of each stop. Tere are also
knobs to control panning for that rank and send knobs for reverb contribution. You dont have
this control with a real pipe organ!

Feel free to set the sliders to the volume that best suits your needs.
Note: Te slider will turn the Stop o (minus innity) 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.
Mixing Stops
Being able to mix relative levels of the stops with the sliders gives you more control than just an
on/o control as the typical stop does.
Feel free to experiment with the stops from the dierent organs and combine them. Combining
the organs will allow you to have a vast array of choices and be more creative.
Virtual Manual
Te 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 Eect (CC#02 and/or CC#11)
Tere are two types of volume control. Tere is a master volume that is controlled by CC#07 volume
control and a swell control (CC#02 and/or CC#11) that adjusts the volume of the currently selected
stop. Te actual amount of volume change from closed shutters is more modest.
Te swell control mimics the organ shutter system to open and close the stop shutters on a pipe or-
gan. In addition to adjusting the relative volume of the stops, the swell pedal also simulates changes
in high frequency content and tone color.
Note: Other Garritan libraries have usually given the volume/timbre function to the Mod Wheel
(CC#01). In the case of a pipe organ library, it makes more sense to depart from this model and
place the tremulant function on the modulation wheel, which is in line with the standard vibrato-like
function of the mod wheel in the regular world of MIDI.
Chi Noise (CC#12):
Te chi is the sound created as air rst enters a pipe, before the airow is sucient to create a steady
pitch. Organ builders can decrease the amount of chi created in each pipe by making small nicks in
the lip of the pipe, but they generally allow some chi to remain. Te chi allows for better articula-
tion, much like the initial consonant created by the tongue preceding the enunciation of the word..
Standard stops have a chi layer that is velocity sensitive. MIDI controller CC#12 controls the level
of the chi noise. Tis type of noise is sometimes heard in organ works, but a little of this goes a long
way and judicious use can add that extra realism to your performance.
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 eect in pipe organs through which the wind supply to the pipes of one or more
divisions is varied and modulated. Tis causes the pitch to drop or rise slightly as pressure is reduced
or increased, thus producing a vibrato eect. A large organ may have several tremulants aecting dif-
ferent ranks (sets) of pipes. Many tremulants are variable, allowing for the speed and depth of tremolo
to be controlled by the organist.
For most stops, the player can decide whether to add the tremulant eect of not, depending on the
work being performed or the interpretation of the player. For certain combinations where you can
hear the tremulant inherent in the sample, it cannot be attenuated and is best left switched o.
Tere are two tremulant controllers: Mod Wheel controls tremulant intensity and controller CC#17
controls tremulant speed. By default the tremulant intensity and speed are o or set to zero.
Mod Wheel Tremulant Intensity: Te Mod Wheel (CC#01), or modulation wheel, is used
to adjust the tremulant intensity. Mod Wheel controller data can also be drawn into MIDI
sequencer tracks manually.
Tremulant Speed Controller (CC#17): Tis controller will vary the speed of the tremu-
lant. Tremulant speed is controlled by adjusting CC#17 from value 0 (no tremulant) to 127
(maximum tremulant). CC#17 can also be assigned to an available slider or knob on a
hardware keyboard to give real-time control. Tis controller data can also be drawn into
MIDI sequencer tracks manually.
Pedal Bass Fundamental (CC#20):
Bass fundamentals in the pedal tones are what can make a place rumble. With Garritan Classic Pipe
Organs, you can adjust how loud the fundamental is in the bass pedal tones. Tis is especially useful
for the 32 pipes and can produce a powerful sound if used with a good speaker system.
CC#20 allows you to control the depth/intensity of the pedal bass fundamental.
Warning! Pipe down and go lightly on this control and use a good speaker system, especially
one with a good subwoofer.

Crescendo Pedal (Advanced Feature):
Te Classic Pipe Organ Crescendo instruments emulate the crescendo pedal commonly found on
medium sized and larger pipe organs. Te 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. Tis is a quick way for the organist to achieve a desired
sound or advance to a full tutti organ sound.
Tere are six Crescendo Pedal instruments within the Garritan Classic Pipe Organ collection, one
for each Organ. You can nd these within the ARIA Player bank menu at the bottom of each Organ
folder, respectively. Each Crescendo Pedal instrument may contain a dierent amount of stops, de-
pending on the size of the source organ.
To use the Crescendo Pedals simply load them from the ARIA Player bank menu as desired. Te
Crescendo Pedal Instruments load with the minimum default Crescendo Pedal settings, so they may
sound quiet by default, until the Pedal MIDI CC# is engaged. We have assigned MIDI CC#4 to
engage the Crescendo. Engaging MIDI CC#11 will add more organ stops sequentially from the
smallest stop to the largest.
Utility Sine Oscillator Stop (Advanced Feature):

Te Classic Pipe Organ Utility folder contains a basic Sine waveform patch. Tis Utility allows
you to mix together 3 sine waveform oscillators at various emulated stop lengths. Tis utility patch
is intended to be mixed with other existing stops, use volume sparingly. It can be very useful for
precise boosts on any of the pedal stops for enhanced bass response. You may also nd it useful for
embellishing higher ranked gap registrations as well. Te virtual pipe lengths available from lowest
to highest are: 32, 16, 8, 5 1/3, 4, 2 2/3, 2, 1 1/3,1 3/5, and1.

To use the Utility Sine patch simply load it from the Classic Pipe Organ bank. Ten adjust and set
your desired emulated stops on the ARIA Player Controls page. Tere is a drop down menu for each
of the three sine waveform oscillators.
Blower Noise Layer (CC#13)
Te Blower Noise (Blr Ns) controller is distinct from the chi sound. It controls the sound of the
air column from the blower through the pipes. Tis can be used to create a breathy sound for the
softer stops or a more powerful tutti sound.
Tere are blower noise patches for each of the pipe organs. Te blower noise is added to a separate
channel as it is a global control and not integrated into the individual stops. Tey are to be loaded
as any other stop patch. Adding stops together would only multiply the noise and have a cumulative
noise buildup for each stop introduced. By using a separate blower patch, the blower noise remains
consistent no matter how many stops are playing as in actual pipe organs. Te programming also
maintains the blower noise level independently of polyphony. Each organ has a blower noise patch
and each patch uses the corresponding chi sample.
Timbre (EQ) Controls
Controlling timbre/EQ can enable you to produce a clearer sound. When many stops are added and
played at once, the sound can become muddy. Judicious mixing and EQ can reduce sonic clutter
so that combinations have better clarity and transparency, creating breathing room for the voices, so
parts can be heard distinctly and clearly. In addition, the EQ controls can extend tonal range and
allow better matching of sounds across the various organs and their stops.
Te EQ section is a three-band equalizer, with each band having a separate gain knob (-24dB to
+24 dB). Te Low controls the lters gain for the bottom of the spectrum, the Mid controls the
midrange frequencies, and the High controls the top end of the frequency spectrum. You can ad-
just these by placing your cursor over the desired knob, left clicking/holding, and moving the mouse
forward or backward. Release the mouse button at the desired number.
Precision EQ Controls
Te Precision EQ controls oer even more control over the contour and frequency spectrum of the
organs. Te controls are almost identical to Global EQ mid control with the addition of Q band-
width over the EQs lter. Tis allows for more precise frequency range control over the EQs lter.
Gain (CC#25) - Turn this control to cut or boost the selected EQ frequencies up to -12dB/+12dB
range.
Freq (CC#20) - Tis control selects the EQ lter frequency, between 100 and 8000Hz.
Q (CC#27) -Te EQ bandwidth control aects the range of the eected frequencies of the EQ.
Move to the right to widen the range, or move all the way to the left to create a very narrow range.
Release Decay Technology
Te instruments in Garritan Classic Pipe Organs use specialized Release Decay Technology that was
developed specically for this library. After a key is struck and the nger comes o the key on a real
organ, one hears the characteristic pressure drop of the actual end of the note.
Te release triggers supply the characteristic pressure drop of the actual end of each organ note (not
simulated) as well as the subtle pipe chest valve release and other pipe organ characteristics. Te re-
lease trigger samples are also able to retain all of the sound of the pressure drop while removing most
of the room decay. Tis provides the exibility to create the desired decay characteristic and acousti-
cal environment for each organ.
Te acoustic environment could be anything from a small chapel to a large stone cathedral, which
results in greater realism for your mix and musical productions. We hope youll nd that this Release
Decay Technology adds a tangible three-dimensionality to the organ stops, even in more intimate
environments, that cant be achieved with articial amplitude envelopes.

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 reected or absorbed. Te rst reected
sounds are usually stronger and become more and more diused as the sound bounces around the
room. Our ears and our brain recognize these signals and let us know about the type and size of space
we are in. Of all the eects that can be applied to music, reverb is perhaps the most widely used most
likely because it emulates the sound thats heard literally everywhere around us.
Since the early cathedrals that were once a focal point for musical performance, the sound of reverber-
ation seems to impart a sense of awe and wonder. Te acoustic environment is integral to the overall
sound of a pipe organ. Te architecture and acoustics of the space are important and are meticulously
factored into the organs design. How the pipe organ resonates and projects to the listener can be vital
to the musical performance.
Todays pipe organs are often heard in a cathedral or concert hall. Te resonant space, with long
reverberation time, wraps and captivates the listener in sound.
TIP: When playing the keyboard, let go of the top notes rst, like a reverse arpeggiation, to create an
illusion of a more reverberant space. High frequencies tend to attenuate rst in a larger space.
TIP: Using a surround sound speaker array with a good subwoofer can also aid in creating a more spa-
cious sound. A subwoofer will be helpful for the bass pedal stops.
Te ARIA Player integrates two types of reverb - Convolution (sampled reverb) and Ambience
Reverb (algorhythmic reverb).

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 instru-
ments, 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
Eects window in the ARIA Player interface. It may not be necessary to use Ambience Reverb if you
have your own separate reverb or convolution program.
Note: When Ambience is turned ON, to control the amount of Ambience reverb for each stop
patch, use the Sends in the Mixer window. Te Send knob controls the amount of signal sent to the
Ambience Reverb for each corresponding channel.
Ambience has a number of performing space presets to
choose from. Tese presets have been custom-made and it
is recommended that you rst try out these presets. Presets
include Ballroom 1 & 2, Cathedral, Concert Hall 1 & 2,
Jazz Club 1 & 2, Parlor, Piano Hall 1 & 2, and Recital Hall
1 & 2. You can also edit these presets or experiment with the
various settings to customize the acoustical environment as
needed.
Tere are various knobs in the Ambience control panel that allow you to really shape your reverb. Te
most important parameters are reverb time (the time for the reverb to fade away), size (the size of the
room), and the pre-delay time. Below are descriptions of the controls in Ambience:
DECAY - Tis controls the time it takes for the reverb reections to fade away into silence.
DIFFUSION - Diusion is the reecting surfaces ability to spread the reverb out. Tis con-
trol has a subtle eect on the sound and is especially noticeable with small room sizes.
SIZE - Tis controls the size of the room. Note that long reverb time and small room size do
not mix well. For natural sounds, a large room size such as a concert hall should be accompa-
nied by a long reverb time, and vice-versa.

PREDELAY - Tis controls the amount of time between the direct sound and the rst of the
reverb reections. It is predelay that denes our perception of the size of the room.
WIDTH - Tis 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 - Tis knob allows you to trade o reverb quality for CPU usage. High quality
equates to high CPU usage. You can make fun eects if you set it very low (try it!). If there is
too much CPU demand on your machine, try turning down the quality.
VARIATION - Tis control creates a new variant of the same room.
LEVEL - Tis controls the amount of the processed reverberant sound.
EQUALIZATION OUTPUT CONTROLS - Tese controls allow you to extend or at-
tenuate the tonal range of the reverb output. In eect, performs traditional EQ on the reverb
output with a smart emphasis on the ranges that are useful. Lo Freq sets the frequency, Lo
Gain sets the gain for the EQ, Hi Freq sets the frequency, and Hi Gain sets the gain for EQ
band.
DAMPENING CONTROLS - Dampening is an algorythmic process on the reverb that
controls how the reections spread in the space. Lo Freq sets the damping low frequency, Lo
Amount sets the damping amount for the set frequency (to dampen the reections/reverb
within that range), Hi Freq sets the damping high frequency, and Hi Amount sets the damp-
ing amount for the set High Frequncy (to dampen the reections/reverb in that range).


CONVOLUTION SAMPLED REVERB
ARIA now includes an ultra-optimized convolution
engine for high-quality sampled reverb and oers
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 con-
cert hall or cathedral, that one wouldnt normally
have an opportunity to record in. It then faithfully
reproduces the natural-sounding reverberation that
have been captured from these real acoustic spaces,
down to its minutest detail and nuance. Because the
acoustical space is sampled, and not synthesized like an algorhythmic reverb, convolution is well-
known for its uncanny realism.
An impulse response is the recording of the reverberation that is produced in an acoustic space when
an impulse sound is played in that space. It represents a sonic signature of that sampled space.
For the individual organ stops, Convolution Reverb is turned OFF by default and to activate it you
must click the ON/OFF button in the Eects window in the ARIA Player interface. For the Organ
Ensembles, Convolution are ON by default and Ambience O
It may not be necessary to use Convolution Reverb when using Ambience, or vice versa, or if using
a separate reverb or convolution program. And there are some situations where you may want to use
both Ambience and convolution reverbs to exaggerate a certain space or element.
Note: When Convolution is turned ON, to control the amount of reverb for each stop patch, use
the Sends in the Mixer window. Te Send knob controls the amount of signal sent to the Convolu-
tion Reverb for each corresponding channel.
LEVEL - Tis control adjusts the level of room contribution.
PREDELAY - Tis controls adjusts the lenth of the reverbtail. or how fast the reverb dies down.

Te Garritan Classic Pipe Organ library also includes an impressive collection of 12 impulse respons-
es to choose from. Tere 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 lm scoring space in the Se-
attle area that has been used for many popular movies.
Large European Cathedral - Sampled reverb from a large cathedreal in the Czech
Republic.
Large Symphonic Concert Hall - Sampled reverb from a well-know large concert hall
located in Seattle, USA.
Medium Piano Concert Hall - Sampled reverb from one of the best piano halls lo-
cated in Upstate New York.
Modern Symphonic Concert Hall - Sampled reverb from a modern state-of-the-art
concert hall located in Vancouver, Canada.
Small Chamber Space - Sampled reverb from a small chamber recording space in
Boston, USA.
Small Orchestra Hall - Sampled reverb from a small concert hall located in Brno,
Czech Republic.
Traditional Symphonic Concert Halll - Sampled reverb from the Dvorak Hall (the
Rudolphium). a large traditional concert hall in Prague, Czech Republic.
Underground Cave - Sampled reverb from an undergound cave located in the Czech
Republic.
Note: You can use both Ambience Reverb and Convolution to shape your room sound. Both Ambience
Reverb and Convolution must be set to ON. And when using separate plug-in reverbs/convolution in
your sequencer or host program, it is important to bypass the on-board reverbs of the ARIA Player.

STEREO STAGE CONTROLS
When Stereo Stage is turned o, 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 rst reections from side walls, rear walls, and ceiling.
Tis can create a more three-dimensional image for positioning instruments on the stereo stage, both
left to right and front to back.
Tere are two Stereo Stage controls available on the Controls page of the ARIA player..
1. On/O button. Tis activates/disables Stereo Stage. Te button lights when activated. Tis switch can
also be controlled using CC#103.
2. Depth. Tis sets the position of the instrument front to back on the stereo stage. Small percentage
numbers place instruments closer to the microphones; larger percentages place instruments farther back
on the stage, with 100% being near the back wall of the stage. Te Depth parameter can also be controlled
with CC#36.
When Stereo Stage is activated, the panning knobs in the mixer section of ARIA still control the left
to right positioning.
Note: As in real life, ranks of pipes placed near the microphones will display greater separation from left
to right than instruments positioned near the back wall of the stage.
Scala Files for Historic Tunings
Te Scala import button provides a variety of other tunings that can be imported and used with Gar-
ritan Classic Pipe Organs. Tis can also be useful in playing historic pieces using a tuning appropriate
to the era. Diering temperaments can also add extra color and warmth to the sound. Pipe Organs
are rarely in perfect tune. Pipes change pitch depending on temperature and other factors, and Scala
les can also provide detuning for more authentic sounds.
Te Scala le import feature enables the use of thousands of other tunings that can be found on the
internet.
Te Scala Center box allows you to select the tonic base note (or center) of your scale.
Te following menu appears when the Import button is clicked:

Quick MIDI Controller Reference Guide for
Manual Stop
Controls
CC# Description
Swell 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.
Chi 12 Natural sounding chi and pipe air noise.
Technical details: Organ blow noise samples vary between stops.
Each stop has its own unique amplitude envelopes.
Tremulant Speed 17 Increases the speed of the current stop Tremulant (vibrato).
Technical details: Tremulant LFOs aect both volume and pitch for
a more realistic tremulant unique to the pipe organ.
Tremulant Intensity Mod Wheel
or 01
Increases the Tremulant intensity. Tremulant is o by default -
moving the Mod Wheel up will gradually increase the eect.
Technical details: Tremulant LFOs aect both volume and pitch for
a more realistic tremulant unique to the pipe organ.
Pedal Stop Controls CC# Description
Swell 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 increas-
ing 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. Us-
ers should be cautioned to use gently. Subwoofer needed.
Tremulant Speed 17 Increases the speed of the current stop Tremulant (vibrato).
Technical details: Tremulant LFOs aect both volume and
pitch for a more realistic Tremulant unique to the pipe organ.
Tremulant Intensity Mod Wheel
or 01
Increases the Tremulant intensity. Tremulant is o by default
- moving the Mod Wheel up will gradually increase the eect.
Technical details: Tremulant LFOs aect both volume and
pitch for a more realistic Tremulant unique to the pipe organ.
ENSEMBLE PRESETS
as
REGISTRATIONS
Ensemble Presets as RegistrationsLoad Stops Easily
Te Classic Pipe Organs installation includes a folder/
directory called Ensembles that contains a collection
of useful, pre-congured registrations for your conve-
nience. Various stop groupings are listed in the table
below. Loading an Ensemble can give you a quick head start to loading a registration. Each le
loads a selection of stops along with pan, level, and other settings. Te Ensembles folder can be found
in the folder where the Classic Pipe Organs library was installed. Te default location is: /Garritan/
Classic Pipe Organs/Ensembles. Tere are wet and dry versions of each preset.
List of Presets
Tese presets are the complete organs in Omni MIDI routing. ARIA Instru-
ments 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. Wet is preferred)
Baroque Chapel Baroque Flauto Octava 4 2, Baroque Principle 4, Baroque Copula Maj
8, Baroque Forte Comb, Baroque Plenum, Baroque Ripieno Comb,
Baroque Blower Noise
Baroque Church Baroque Flauto Octava 4 2, Baroque Principle 4, Baroque Copula Maj
Baroque Concert
Hall
Baroque Flauto Octava 4 2, Baroque Principle 4, Baroque Copula Maj
Baroque Large
Cathedral
Baroque Small
Chamber Space
Baroque Symphonic
Concert Hall
List of Presets
Name:
Stops Included:
Classical Chapel Classical Forte 8 4 2, Classical Strings 8 4, Classical Flute 8, Classical
Principal 8, Classical Quintadena 8, Classical Pleno Comb, Classical
Blower Noise
Classical Film Score
Space
Classical Forte 8 4 2, Classical Strings 8 4, Classical Flute 8, Classical
Blower Noise
Classical Large
Cathedral
Blower Noise
Classical Symphonic
Concert Hall
Blower Noise
Mod1 Film Score
Space
Mod1 Nasat 2 2-3, Mod1 Koppelote 4, Mod1 Flutes 8 4 1, Mod1
Crumhorn 8, Mod1 Gemshorn 8, Mod1 Prinzipal 8, MOd1 Bar Ple-
num plus Reed, Mod1 Baroque Plenum, Mod1 Brustwerk Tutti, Mod1
Hauptwerk Tutti, Mod1 Hauptwerk Mixture, Mod1 Scharf IV, Mod1
Scharf IV, Mod1 Dulzian 16 Mod1 Pedal Bar Pln Rd, Mod1 Blower
Noise
Mod1 Modern
Symphonic Hall
Mod1 Hauptwerk Mixture, Mod1 Scharf IV, Mod1 Scharf IV, Mod1
Dulzian 16 Mod1 Pedal Bar Pln Rd, Mod1 Blower Noise
Mod1 Large Cathe-
dral
Hauptwerk Tutti
Mod1 Small
Chamber Space
Mod1 Small
Orchestral Hall
Hauptwerk Tutti
Mod2 Large
Cathedral
List of Presets
Name:
Stops Included:
Mod2 Small
Orchestra Hall
Mod2 Great Clarion 4, Mod2 Great Octave 4, Mod2 Great Quin-
tadena 4, Mod2 Great Spitzote 4, Mod2 Swell Rohr Schalmei 4,
Mod2 Choir Clarinet 8, Mod2 Choir Gemshorn 8, Mod2 Choir Vox
Humana 8, Mod2 Great Principal 8, Mod2 Great Tromp En Cham 8,
Mod2 Swell Trompete 8, Mod2 Great Cornet IV, Mod2 Great Flute
Harm, Mod2 Great Mixture IV, Mod2 Pedal Principal 16, Mod2 Pedal
Bourdon 16
Mod2 Symphonic
Concert Hall
Bourdon 16
Mod2 Underground
Cave
Bourdon 16
Renaissance Film
Score Space
Ren Stopped Flutes 8 4, Ren Quintadena 8 4, Ren Renaissance 8
4, Ren Diapason 8, Ren Blockwerk, Ren Pleno Comb, Ren Ripieno
Comb, Ren Bass Comb, Ren Pleno Comb, Ren Ripieno Comb, Ren
Blower Noise
Renaissance Large
Cathedral
Blower Noise
List of Presets
Name:
Stops Included:
Renaissance
Symphonic Concert
Hall
Blower Noise
Renaissance
Traditional
Symphonic Concert
Hall
Blower Noise
Romantic Chapel Rom Harmonic Flute 1 8, Rom Harmonic Flute 2 8, Rom Clarinet 8,
Rom Fortissimo 8, Rom Gamba 8, Rom Forte Comb, Rom Pianissimo
Comb, Rom Strings Comb, Rom Tutti Comb, Rom Blower Noise
Romantic Large
Cathedral
Rom Harmonic Flute 1 8, Rom Harmonic Flute 2 8, Rom Clarinet 8,
Romantic Small
Chamber Space
Romantic Symphonic
Concert Hall
Romantic Traditional
Symphonic Concert
Hall
Loading Ensemble Preset/Registration Files
In standalone mode there are two ways to load Ensemble Preset/Registration les:
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 les. Tis can be done as follows: With the ARIA player interface displayed,
open the Ensembles folder/directory to display the numbered collection of ensemble les. Using
the mouse button, click and hold on the registration preset le you wish to load. Drag it to the ARIA
interface and release the mouse button. Te instruments and their congurations will load automati-
cally.
In Finale, you can load Ensembles by clicking on the Ensemble section of the Aria player and choos-
ing the library and ensemble you want. You can also save these ensembles within Finale.
Note:
Note that in Standalone mode you can create customized ensemble les. Just load the stops you want,
adjust their settings to your liking, and use the Save As command from the File menu to save the .aria
preset.

DIRECTORY OF STOPS & COMBINATIONS
in
GARRITAN CLASSIC PIPE ORGANS
GARRITAN CLASSIC PIPE ORGANS STOP LIST
RENAISSANCE PIPE ORGAN STOP LIST

RENAISSANCE ORGAN:
Ren Blockwerk Combination of Octava Principalis 4, Quinta 3, Super Octava 2, and Mixtura
stops. Tis 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).
Ren Renaissance 8 4 Combination of Copula Major 8, Quintadena 4, and Cimbel stops.
Ren Diapason 8 Principal 8 stop. Te diapason represents the quintessential tone of the pipe
organ.
Ren Pleno Comb Full organ combination using a large number of the organs stops and mixtures, to
produce a full, rich and massive sound. Ranks include Principal 8, Octava Princi-
palis 4, Quinta , Super Octava 2, Mixtura, Cimbel.
Ren Ripieno Comb Combination of Principal 8, Octava Principalis 4, Quinta 3, and Super Octava 2.
Ripieno is Italian for lled up.
Ren Bass Comb Bass stop combination of the lower pirched stops - Subbassus 16, Octav Bassus 8,
Super Octav 4. Pedals did not come into vogue until the baroque organs.
Ren Blower Noise Blower Noise from the Renaissance Organ.
BAROQUE PIPE ORGAN STOP LIST

BAROQUE ORGAN:
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. Tis 8 stop is a valuable stop in the older organs and produces a
gentle ute-like sound.

BAROQUE ORGAN:
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 organs stops to produce a full, rich
sound.
Baroque Ripieno Comb Ripieno is Italian for lled up and comprises various stops containing muta-
tions with breaks.
Baroque Blower Noise Blower Noise from the Baroque Organ.
CLASSICAL (LATE BAROQUE) PIPE ORGAN STOP LIST

CLASSICAL ORGAN:
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 Te ute stop has a soft clear sound. Flute pipes have broad scales and
high mouths and are broader than diapason pipes.
Classical Principal 8 Principal 8. Te name Principal is synonymous with the Open Diapason
and are an essential sound in pipe organs.
Classical Quintadena 8 Quintadena 8. A stopped ute sound in which the 3rd harmonic
(twelfth) is prominent.
Classical Pleno Comb Full organ: using a large number of the Classical organs stops produce a
full, rich, loud sound.
Classical Pedal Forte Combination of pedal ranks producing a forte sound. Diapason oriented
with 8 and16 lengths.
Classical Pedal Pleno Full pedal stops, using Subbass apertus 16, Subbass clausus 16, Octavbass
8, Flauta 8, and Posaune 16 stops.
Classical Blower Noise Blower Noise from the Classical/Late Baroque Organ.
ROMANTIC PIPE ORGAN STOP LIST

ROMANTIC ORGAN:
Rom Harm Flute 1 8 Harmonic Flute 1 - 8 stop A ute stop with pipes twice the length and
overblown to product harmonics.
Rom Harm Flute 2 8 Harmonic Flute 2 - 8 stop Another harmonic ute 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. A main string stop, also called Viola da Gamba, produced
by open metal pipes of a medium scale.
Rom Forte Comb Combination of ranks producing a forte sound. Diapason oriented.
Rom Pianissimo Comb Combination of ranks producing a pianissimo sound. Entirely utes with
only a few ranks.
Rom Strings Comb Strings stops represent some of the narrowest pipes and produce a pleas-
ing warm sound (although not resembling string sounds). Stops include
a combination of Salicional 8, Gamba 8, Cello 16, Vox Celeste 8 and
Fugara 4.
Rom Tutti Comb Full organ combination using all of the organs stops and mixtures.
Rom Blower Noise Blower Noise from the Romantic Organ.

MODERN ORGAN 1:
Mod1 Nasat 2 2-3 Nasat 2 2/3. A mutation stop of 2-2/3 with a ute tone that reinforces a
harmonic of the fundamental pitch.
Mod1 Koppelte 4 Koppelte (Positiv) 4. A short conical metal ute with a bright tone.
Mod1 Flutes 8 4 1 Combination Flutes (8, 4, 1). Te ute 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. Tis is one of the oldest organ stops and takes its name
from the instrument of the same name. Te sound has a mued, buzz-
ing tone.
Mod1 Gemshorn 8 Gemshorn 8 (Positif ). A stop whose pipes are conical in shape and
having a tonal characteristic of both strings and ute stops. Believed to
imitate the instrument of the same name that was made from an animals
horn.
Mod1 Prinzipal 8 Prinzipal 8. Te principal tone of the pipe organ and considered to be
its most important stop.
Mod1 Bar Plenum plus Reed Full reed stops, or plenum with reeds, using a large number of the Mod-
ern 1 organs 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 Ba-
roque-sounding stops to produce a full, rich, loud sound. In early organ
development, all stops took part in the global sound, or the Plenum i.e.
the sound produced by the organ with a large number or all its stops.
Mod1 Brustwerk Tutti All stops on brustwerk (manual 3) have their own set of stops. Te
brustwerk are the stops in front of other ranks, often encased above the
keyboard, in the breast of the organ. Because it represents the stops out
in front, it often has a sharp, clean and bright sound.
Mod1 Hauptwerk Tutti All stops on the hauptwerk manual (manual 1, Great), Hauptwerk (like
the Brustwerk) is a manual with its own set of stops. Te Hauptwerk
often has the most powerful stops and the greatest number of stops,
Mod1 Hauptwerk Mixture Stops on the hauptwerk manual without reeds.
Mod1 Scharf IV Scharf IV, A mixture of four pipes. Scharf is a name of a mixture stop
and the Roman numerals mean how many pipes sound together on every
note you play.

MODERN ORGAN 1:
Mod1 Symphonic Plenum Combination stop, using a large number of the of various utes and reeds
stops to produce a full, rich, and powerful sound. Te 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. A compound pedal stop of four metal ranks.
Te Rauschpfeife was also a pre-Baroque wind instrument.
Mod1 Pedal Trompette 8 4 Trompette 8 (Solo Trumpet 4). Te Trompette is usually a versatile
stop, usable either as a solo stop or in combination.
Mod1 Bar Plenum plus Reed
Pedal
Full reed pedals, or pedal plenum with reeds, using a large number of the
organs baroque reed pedal stops to produce a powerful and deep sound.
Stops include Bombarde 16/32, Basson 16, Trompette 8.
Mod1 Pedal Baroque Plenum Baroque Pedal Plenum without reeds, or full pedals, using a large number
of the organs baroque pedal stops including Montre 32/16/8, Flte 16,
Soubasse 16, and Prestant 4.
Mod1 Pedal Posaune 32 Posaune 32 (Pedal). Posaune is German for trombone. Tis stop is a
chorus reed and is intended to sound brassy.
Mod1 Blower Noise Blower Noise from the Modern 1 Organ.
MODERN PIPE ORGAN II STOP LIST

MODERN ORGAN 2:
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 rst stop to be tuned and other stops are then
tuned to it.
Mod2 Great Quintadena 4 A stopped ute of 4 pitch made of metal,
Mod2 Great Spitzote 4 Spitzte 4. Tis stop has the tone of the Diapason with a strong
fundamental and a sharper chi.
Mod2 Swell Rohr Schalmei 4 Rohr Schalmei 4. A short-resonator reed stop producing a hollow,
nasal tone quality.
Mod2 Choir Clarinet 8 Clarinet 8. Tis is a favorite solo stop on many organs and one of the
better organ imitations of an orchestral instrument.
Mod2 Choir Gemshorn 8 Gemshorn 8. Gemshorn pipes are conical and originally intended to
imitate the Gemshorn, a pple ute with a closed end.
Mod2 Choir Vox Humana 8 Vox Humana 8. Te Vox Humana means human voice and is one
of the oldest organ stops. It is often used with tremulant.
Mod2 Great Principal 8 Principal 8. An Open Diapason of 8 pitch. Te name Principal is
more properly used as a synonym for the Open Diapason.
Mod2 Great Tromp En Cham 8 Trompete en Chamade 8. A Trompette (trumpet) stop which the
pipes are mounted en chamade or horizontal rather than vertical, and
producing a bright fanfare sound.
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 muta-
tions. It was originally intended to imitate a Renaissance Cornet.
Mod2 Great Flute Harm Flute Harmonique. Harmonic utes are constructed from open pipes
which are twice the normal length. Overblowing speaks to the rst
harmonic (the octave).
Mod2 Great Mixture IV Modern 2 Great Mixture IV. Tese are generic names for compound
stops containing mutations, usually with breaks.

MODERN ORGAN 2:
Mod2 Swell Contre Tromp 16 Contre Trompette 16. A Trumpet stop pitched an octave lower than
normal.
Mod2 Pedal Choral Bass 4 Choralbass 4. Te 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 ute of very wide proportions with a soft
tone.
Mod2 Pedal Octave 8 Octave 8. Octave Bass is a Bass Flute stop.
Mod2 Pedal Tromp 8 Trompette 8. A Trumpet pedal stop in the Modern 2 organ.
Mod2 Pedal Bourdon 16 Bourdon 16 pedal stop. A 16 stopped wooden diapason ute. It is
possibly the single most common 16 pedal stop.
Mod2 Pedal Fagotto 16 Fagotto 16 pedal stop. An imitative reed pedal stop designed to sug-
gest the Bassoon.
Mod2 Pedal Principal 16 Principal 16 pedal stop. An Open Diapason of 16 pitch. Te name
Principal is more properly used as a synonym for the Open Diapason.
Mod2 Pedal Contre Bourd 32 Contre Bourdon 32 pedal stop. Te Bourdon stop pitched an octave
lower than the Bourdon 16
Mod2 Pedal Contre Fagotto 32 Contre Fagotto 32. A Bassoon stop pitched an octave lower than the
Fagotto 16.
Mod2 Blower Noise Blower Noise from the Modern 3 Organ.
ADDENDUM
Te 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 valu-
able benets is membership in the Garritan community of musicians.
Te Garritan Forum is where Garritan users from around the world come to discuss everything re-
lated to soundware and music. Its the perfect way to nd the latest news and announcements, ask
questions, and share your music made with Garritan Classic Pipe Organs. If you want to browse,
share your music, share your thoughts about the sounds, impart knowledge, listen to demos, learn,
and interact with other usersthis is the place! You can also communicate privately with other musi-
cians, respond to polls, participate in real-time chats, read how-to tutorials, and get support and help
from others. Tere is a wealth of information among the tens of thousands of posts in the forum and
a convenient search feature to nd exactly what you are looking for.
Te Garritan forum can be accessed at: http://www.garritan.com/forum. Tere is a special subsec-
tion dealing with Classic Pipe Organs on the Garritan forum.
You do not have to register to browse posts, but before you can post, you will have to sign up. Reg-
istration is fast, simple, and absolutely free, so please join our community today! In addition to the
ocial Garritan Forum, there are other independent Garritan Communities where you can nd
valuable information and interact with other users. I urge you to contribute and be a part of the Gar-
ritan Community, where you will nd an indispensable resource for musicians.
Getting Help
Te rst place to look for a solution to any problem you may be experiencing is in this manual. Te next
best place is the separate ARIA Player manual. Please read these manuals before contacting support.
Next, check the readme les (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. Te version number of your software is displayed in the
Settings tab. Updates are released regularly to x known problems and improve the software.
Selecting the Get Help button in the Settings tab in the ARIA Player will link directly to the Sup-
port site. To better assist you, we will ask you for all information about
your hardware and software environments. In your report, you should
include a description of the problem, the steps you have taken to try to remedy the problem, the specs
of your computer, and a description of your software and hardware.
If there is a severe technical issue (crash, empty UI), please go to the Generate Logs link. For Win-
dows the link is in the Start Menu, and Mac users can nd the Generate Log link in your librarys
folder. Tis link will open a window and will allow you to create a log on your desktop. Please attach
the log to an e-mail and send it to us. Tat will help us identify the issue so we can get back to you.

If you are unable to nd a solution to your problem by any of the above methods, please email us at
support@garritan.com. Te best way to get the help you need is by giving us plenty of detailed infor-
mation about the problem you are having. We do ask you to read this guide thoroughly and exhaust
the other avenues of support before contacting us.
Regarding Tird-Party Customer Service: Please do not call Garritan for technical support
regarding any third-party application. Please contact the respective companies for support.
For the Latest Te ARIA Player is dynamic software that is evolving and growing. Please check
the support area of our website at www.garritan.com for the latest up-to-date information, trouble-
shooting, FAQs, helpful hints, and tutorials. Another resource is the support forums, where you can
discuss problems directly with other users and with experts from our forums.
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.
Tanks to Petr Pololanik, who organized the recording of these great organs located in the Czech
Republic, and so many thanks to our consultant Prof. Michal Novenko (Prague Conservatoire), who
made stop and combination selections and played the various organs for the project. Mr. Novenko is
an expert on historical organs. Te original concept of recording organs according to their particular
music periods came from Jana Kubova Pololanikova (a ne organist as well). Recording and engi-
neering of the early Czech organs were done by Jan Lzicar and music director Pavel Nikl (both from
Bohemia Music, Prague). A big thank you also goes to Petra Pololanik, who took care of the produc-
tion, photography, and administration work.
I wish to give thanks to the churches that graciously welcomed us into their houses of worship, in-
cluding: Te Catholic Parish (Mr. Karel Kunzl, parson) at the Church of the Holy Trinity in Smeno,
Czech Republic; the Catholic Parish (Mr. Jaroslav Kucera, parson) at St. Bartolommeo Church,
Rakovnk, Czech Republic; the National Institute for the Heritage Preservation for the Deanery
Church of the Assumption of the Virgin Mary, Most, Czech Republic; St. Josephs Oratory, Mon-
treal, Canada; and Riverside First Baptist Church, Riverside, California, USA.
Tanks to McGill University and especially to Joel Wapnik and Frank Opalko for the recording of
the grand pipe organ at St. Josephs Oratory in Montreal, and many thanks to Jonathan Orwig for
recording the modern pipe organ at Riverside First Baptist Church, Riverside, California, USA.
Many thanks to all the organists who endured playing endless scales and long sessions.
I especially wish to thank Tom Hopkins and Chad Beckwith for the exceptional programming of this
library. Tis library would not have been possible without Tom and Chad pulling out all the stops.
Tanks also to Tom Hopkins, Jeannot Welter, Lucasz Stasinski, and Vipin Venugopalan for sample
editing and looping. Tanks to Markleford Friedman, who did some of the initial work with this
library. And many thanks to Robert Davis for his thorough testing and organ demos.
I am indebted to Jim Williams for editing the manual, oering so many suggestions, and providing
corrections and clarications. A big thank you to Erin Vork and Toby Sherri for his help in proof-
reading 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. Jim Williams, Tony Monaghan,
Dan Kury, David Sosnowski, Peter Jones, Rick Schneblin, Jim Ortner, Robert Davis, Bill DeWitt,
Jack Cannon, Robert Tewes, Peter ORegan, Kentaro Sato, Terry Dwyer, Jonathan Orwig, Petr Polo-
lanik, Jeremy Soule, Justin Philips, Phil Holst, and Randy Bowser.
Te custom-made ARIA sample engine for Garritan Classic Pipe Organs was developed by Plogue
Art et Technologie, Inc. David Viens and his team took up the task brilliantly, and brought forth the
super-charged and technologically stunning ARIA sample engine used for this project. Tanks also to
Sebastian Beaulieu and Eric Patenaude for assisting with the development of the engine, and a special
thanks to Max Deland and Chris Anderson for helping manage this project. Finally, thanks Magnus
Jonsson for providing Ambience reverb.
Many thanks and bravos to Karen van Lith, Beth Sorensen, Justin Philips, Yvonne Grover, Mark
Adler, Kyle Imbertson, Erin Vork, Scott Yoho, Chris Anderson, Carol Spenillo, Hailey Dillon, Rick
L. Hammond, Chris Fischer, Chris Young, Barry Brown, Bonnie Anderson, Karen VanDerBosch,
Phil Holst, Gary Pederson, Je Nordquist, Jon Tschiggfrie, Dave Olson, Joy Parker, Tim Fitzpatrick,
Lori Schug, Deb Peterson, and the rest of the MakeMusic team for all their help and invaluable as-
sistance.
And to Marianne, I am particularly grateful for her encouragement and support.
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. Youll be taken to the Garritan
Download Shop, where you will be able to download additional sounds and libraries.
Please be sure to check out Personal Orchestra, World Instruments, Authorized Steinway Virtual
Grand Piano, Jazz & Big Band, Concert & Marching Band, and other soundware products.
For information on all the Garritan libraries and upcoming new products, visit our website at:
www.garritan.com
Products from Garritan
Authorized Steinway Virtual Concert Grand Piano
Personal Orchestra
Jazz & Big Band
Concert & Marching Band
World Instruments
Garritan Strings (Coming Soon)
ExtrasOrchestral Eects (In Development)

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