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Aragonese Procession Organ Installation Notes This adapter is available from Clavitudo 0.5 on. The installation of this instrument in Clavitudo takes place as explained in the User Guide. For this, the file orgue_processo_440_MeanTone27.rar from the page https://atmos.cat/samplesets/orgue_processo/ is needed.

The sample set of this small historic organ, a collection piece of the Museu de la Música de Barcelona, see catalog of the museum, was created by a team around Pere Casulleras, see https://www.atmos.cat/perl?num=1444774635, and we are happy that we can via a Clavitudo adapter make its sounds accessible to more organists.

The instrument ist quite special. According to measurements, it creates in a distance of 1 meter a sound pressure of up to 96.5 dB, and near the instrument even 110 dB, which is in the range of a jackhammer and beyond. In addition, the sound is quite bright, to say the least. Both is understandable when one considers that the organ was not thought for closed rooms but for processions in the open air.

The arrangement of the stops in a left (E) and a right (D) section was adopted by the Console view of the app. In Clavitudo 0.5, the presentations authentic and abstract differ only by the background image. Furthermore there are the following specifics:

• The organ has a short octave.
• Xivarri (noise): These are not stops in the usual sense, but a sound that is independent from the pressed key. In Napo we realised this by an invisible second manual with just two keys to which Xivarri E and Xivarri D are assigned, and an internal logic within the Clavitudo adapter of the instruments which, when a key of the real manual is pressed, additionally presses the correct one of the two keys of this pseudo manual. This additional manual is normally not shown in the keyboards view, but it can still be switched visible in the configuration of the screen keyboards.
• The Tutti stops are recordings of the organ with all stops drawn. Because of the effects of the wind supply, and maybe also mutual influencing of the pipes and better melding of the sound in the recording room, the recording of the Tutti sound is clearly different, namely less shrill, than when samples of all individual stops are played together. Again, a logic in the adapter makes sure that other stops are dropped when a Tutti stop is drawn and vice versa.
• At the real organ, the stops 4 peus are always on. We refrained from modelling this.