Melodious Spanish Organ Sounds

The two Spanish organs presented in this sample set are part of the collection of Francis Chapelet in Montpon-Ménestérol. Both organs are placed in the Auditorium, which Chapelet has built in the garden near his house. The first organ (pictured above) comes from the former Monastery of Mondoñedo in Galicia. The organ was built in the 17th century by an anonymous organ builder. It was restored in 1977 by Pierre Chéron. All registers of the keyboard are divided into bass and treble, the division is between c1 and c # 1. The pedal is permanently linked to the lowest octave of the keyboard. The instrument has a short octave, which is made chromatic in the sample set. The Hauptwerk software can be played as a short octave.

The second instrument was made in 1736 and was rescued by Francis Chapelet from the ruins of the church in Castilia. Chapelet bought the organ just in time, a week later the vault of the church collapsed. Gerhard Grenzing restored and enlarged the organ in 1978 to make a wider repertoire possible. The organ has two manuals and a pedal with 30 keys. The organs are tuned in Werckmeister III.

Since both instruments share the same room, it was attractive to merge them into one sample set. The sounds merge perfectly. The Spanish organs are distinguished from the Northern European organs by singing sounds that are voiced more on transparency than on strength. Especially the typical Spanish reeds can color the plenum sound beautifully. The Castilian organ can be played with the two lower manuals and the third manual is connected to the Galician organ. Since the Galician organ does not have its own pedal registers, the lowest octave is linked to a pedal stock keyboard. In order to switch the pedal between organs for a double chorus performance, a pedal clutch was added to the Galician organ. When it is desired to play only the Castilian instrument, the pedal coupling of the Galician organ must be off, so that no stops of the Galician organ can be heard in the pedal.

Nederlands
   Duits 
Manuael
Quintadena          16' 
Principael              8’
Roerpijp                8’
Quintadena           8'
Octav                   4’
Spitspijp               4’
Quint                   3’
Super Octav          2'
Woudfloit             2'
Sexquialter        2 st
Mixtuur           4-6 st  
Trompet               8’  
Vox humana b - d  8’

Tremulant
Borstpositiff
Gedackt              8’
Fluit                   4’
Octav                 2’
Seifloit            1 ½’
Scherp        ½’ 3 st
Dulciaen             8’
Tremulant
Pedael
Bardon              16'
Octav                 8'
Gedackt              8'
Octav                 4'
Basuyn              16'
Trompet              8'
Cornet                4'
Tremulant pedael
Impuls-Response  =  Convolution reverb

Anloo 2 is a DRY+IR sample set, meaning that it consists of two parts that belong together:
1. The sound of the organ itself, represented by recordings,
2. The acoustical properties of the church, represented by its impulse- response(s),
referred to as IRs. Anloo 2 comes with two IRs:

PROSPECTUM-Magnuskerk_Anloo1 (IR1) original, more direct
PROSPECTUM-Magnuskerk_Anloo2 (IR2) enlarged, indirect

The purpose of IR2 is to allow for a little bit more spaciousness while maintaining the characteristic Magnus Church sound.
If you want to use IR2, we recommend that you use it in combination with IR1.
Consider IR1 as the main reverb and use IR2 as secondary reverb.

Castilia organ
Positiv

Violon                    8’
Tapadillo                4’
Flautin                   2’
Nasardo            1 1/3’
Cimbala              2 st
Viejas                   8’

Great
Flautado                8’
Octava                  4’
Docena            2 2/3’
Quincena               2’
Nasardo           1 3/5’
Lleno                 3 st
Trompeta              8’
Clarin             4’ -  8’


Pedal
Contras               16’
Contras                 8’
Octava                  4’
Corno                    2’
Tremblant


Galicia organ

Flautado                   8’
Octava                     4’
Docena               2 2/3’
Quincena                  2’
Decinova             1 1/3’
Lleno                    3 st
Trompeta/Cornet       8’
Bajoncilli/Clarin      4’-8’
Dulziana                   8’

bas
- discant deling

Spanish organ sounds

The special sounds of the Spanish organs are a welcome addition to the sound structures of the well-known Dutch, German and French organs. The Spanish sounds are more related to those of the Italian organs. A Principal - Flautado - is narrowly scaled, the pipe walls are thin and have a high percentage of tin. So is a bright sound created with a transparent bass. The Flutes, however, have a wide scale and are often made of wood. The Mixtuur - Llena - gives the plenum sound a silvery shining. The Tapadillo is a stopped flute. A Nasardo can have both a Quint and a Terts position.

The names of the registers have the same order as in Italian organs. The number of white keys is counted from the base note on eight feet. A Quint is 12 keys higher (Docena 2 2/3), a two feet is 15 keys higher (Quincena 2 ') and Quint 1 1/3' is 19 keys higher (Decinova 1 1/3 '). The Contras are wooden pedal registers 16 feet and 8 feet. The sound of a Violon 8 ' lies here between a Principal and a Viola.

The names of the reeds are remarkable. Viejas means old person, but the sound is a Regal. Definitely not a cracking voice, but a pleasantly singing voice. A Clarin has a trumpet sound, just like the Bajoncillo. The word real has many meanings, in the Galicia organ it is the horizontal trumpet. The Dulziana is similar to a Dulcian, a broad singing reed with low volume.

The samples can be used in both HW4 and HW5. The limited space of the museum ensures perfect DRY samples, which convey the pipe character well to the living room. Recordings on the other side of the room have some reverberation, but HW5 makes convolution reverb possible. Here you can choose a room with a reverberation that corresponds to the original reverberation of the churches for which these organs were built. The audible sound beauty is unique and adds something special to the existing sample sets.

                             The price of the Sample Set is low, just 82,28 Euro      Sonus Paradisi

v
Radeker & Garrels organ in Anloo (Nld)

The organ in the Magnus church in Anloo was built in 1719 by Radeker & Garrels, organ builders of Arp Schnitger. The pipes have a high lead content; have broad mouths, upper labium standing forward and thick languids.
The Principael 8' has a vocal character with many consonant nuances in the articulation. This vocal quality of principal sound originates from the Renaissance and was an important part of organ sound in the 17th century. Harold Vogel regularly visits the church in Anloo with his students to show them this special style.

The reeds have a remarkable basic character with very wide throats and reeds, the Trumpet 8' and the Vox Humana 8' are still completely in their original condition. The Dulciaen 8' of the Breastwork is reconstructed in the same style. The sound of the Dulciaen is melodic.

With a shiny Trumpet and a sparkling Vox Humana in the manual and a colorful trumpet in the pedal, the organ is well equipped with reeds. The pipes speak immediately with an audible articulation and build up to a full tone. They are characteristic features of lively sounds that are the hallmark of a good organ.

Radeker & Garrels Organ 1719 Anloo

It is not often that a long-standing sample set is re-released. For Prospectum, however, there was a very special reason for this. The technique Hauptwerk uses to store the sounds in the samples has quite limitations and compromises. After years of research, Prospectum has developed a considerably better system and called it: high quality VPOLab © system.

The special thing is that this system works internally with a 64 bit resolution, where high-quality algorithms are used for complex processing of the sounds for a Hauptwerk organ. The results largely exceed the possibilities of Hauptwerk's existing technology. It is striking that immediately after installation the sounds can be heard in their full glory with a volume that suits the living room. For each sample set, an adjustment is first required.

With the old set I played regularly. The Anloo organ is a beautiful organ and a good example of the vocal beauty of baroque organs. However, I had to voice the samples very finely to hear the same sounds that I know from playing in the Magnus Church in Anloo.

Usually a sample set contains the sounds with the volume of the church. In order to display these in the living room, that volume must be greatly reduced. Due to this reduction, all proportions shift and a radical adjustment is needed to restore the church sounds to their original proportions.

I listened with amazement to the sounds of the new set, which without any adjustment, perfectly reproduces the sounds in the church with the volume of the living room.
A comparison with the old set makes it clear that the VPOLab© system is an innovative improvement of great significance for the sounds of Hauptwerk organs.                                                see: Prospectum