The Salisbury Cathedral

Salisbury Cathedral 1877 Father Willis Organ Salisbury Willis Volume 2 Wet

Salisbury Willis Volume 2 Wet

Table of Contents Salisbury Cathedral Overview ...... 4 The Father Willis Organ ...... 5 Volume 2 Specification ...... 8 Installing the Organ ...... 12 Loading the Organ ...... 12 The Virtual Console ...... 14 Divisions ...... 14 Dual Displays ...... 15 Portrait display mode ...... 16 Pistons ...... 17 Piston Functions ...... 17 Trumpet on Choir Piston ...... 17 Couplers Piston ...... 18 Foot Pistons ...... 18 General Foot Pistons ...... 18 Great & Pedal Combinations Coupled ...... 18 Couplers ...... 20 Coupling Schemes ...... 20 Indicator Panel ...... 22 Expression ...... 22 Keyboards ...... 22 Original Sampled Tremulants (OST)TM ...... 24 Multiple Release Samples ...... 25 Memory Requirements ...... 27 Finally ...... 27 Credits ...... 27

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Salisbury Cathedral Overview

Salisbury Cathedral is one of Great Britain's most remarkable and historic monuments dating from the medieval era. Unlike most large cathedrals from this period which took generations to complete and featured architectural styles from several periods, Salisbury Cathedral was built in a startling 38 years dating from 1220-1258 and maintains the same medieval architecture throughout the building, a rare feature not generally found in buildings of this magnitude. Salisbury features the tallest spire in England at 123 meters high

Salisbury Cathedral also features the tallest spire in England (completed in 1330) reaching 404 feet and is just minutes away from the historic site of Stonehenge, perhaps Great Britain's most famous and baffling monument. There is much speculation to this day as to what Stonehenge was actually used for. Theories range from holding religious ceremonies, a sun/moon dial for keeping track of seasons or a theater for entertainment purposes. The famous Stonehenge stone circle is just minutes from Salisbury

The cathedral also contains the world's oldest working clock built in or before 1386. It was originally located in a separate bell tower just north of the cathedral. The clock tolls every hour. Salisbury Cathedral also houses Britain's 'Bill of Rights', the Magna Carta. Nearly 500,000 people visit the cathedral each year in addition to the thousands that attend weekly services.

The cathedral houses the oldest working clock made in or before 1386

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The Father Willis Organ

Salisbury Cathedral is also home to one of Britain's greatest and most well known pipe organs which was built in 1877 by Father Henry Willis (1821-1901). The instrument consists of 61 ranks and 65 stops over 4 manuals and pedal with two main cases on the north and south sides of the quire and an additional case for the 32' pedal pipes in the north transept.

In an edition of The Musical Times from the year 1898 a supplement titled A Portrait of Henry Willis discussed the origins for Henry Willis' nickname 'Father' Willis. Similarities were drawn upon Henry Willis and Father Bernard Smith, a 17th century organ builder for the King. The article from the publication was written as follows:

" Two hundred years ago there lived in this country a great organ builder whose instruments were the glory of their maker. Two of his nephews were associated with him in his business. Partly to distinguish him from his younger relatives, but more especially as a mark of high appreciation of his great abilities and artistic worth, he was canonised (sic), so to speak, with the title "Father". His name is familiar enough in the history of organ building - Father Smith. Henry Willis is also assisted by a younger generation, having two sons - Vincent and Henry - working with him, in whom he has great confidence and hopes. It is natural, therefore, that he, the greatest organ builder of the Victorian Era, will be called Father Willis."

The Willis building firm also had several inventions and patents which helped pave the road into modern organ building as we know it today. Some of these include:

Thumb pistons - Patented 1851 Barker pneumatic lever key action - Pioneering use 1851 Pneumatic stop action - Patented 1851

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Radiating and concave pedal board - Invented 1855 Angled stop-jambs - Credited with the invention 1855 Simple tubular pneumatic key action - 1867 Tubular pneumatic key action to divided organ - 1872 'Servo-pneumatic' or 'floating' pneumatic lever key action - Patented 1884 Electro-pneumatic key action - Pioneering use 1885 Fully pneumatic key action with pneumatic coupling - Patented 1889 Fully adjustable thumb pistons - Patented 1882

Father Willis' system of scaling did not rely on regular halving ratios and therefore it was possible to manufacture and voice flue ranks with a smooth 'power curve' throughout the compass. Many firms have attempted to copy these scales by careful measurement, but have failed. These are secrets which are very much guarded by the firm and only its closest advisers are allowed access to them.

High-pressure reed voicing, in particular some 16" wind pressure Tuba ranks have been a specialty all their own throughout the history of the Willis company.

The organ has been hailed by many as the finest Willis organ ever built. A statement from then Oxford Music Professor, Sir Frederick Ouseley written to the Salisbury organist (in 1877) John Richardson read: "I honestly believe that you have the finest church organ in the world - certainly the best in England, and I heartily congratulate you on the same." Later, Father Willis himself said to Sir Walter Alcock, organist at Salisbury from 1917-1947, that he believed the organ was his best work to date.

Very few changes have been made since it was originally built and nearly all pipework is original and still cone tuned. Some minor changes to the instrument included the following:

1934 - Willis firm added a modern action along with a detached console. Solo division was enclosed.

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1969 - Willis firm renovated the organ (cleaning, re-leathering etc.)

1978 - Harrison & Harrison renewed the console mechanisms and electrical system.

1993 - Complete overhaul, releathering actions and reservoirs.

2006 - Console restored by Harrison & Harrison with new Keyboards and Piston System.

The organ is well maintained and tuned on a monthly basis. It is actively used for daily services and is in constant demand for recordings by organists from around the world. The Father Willis organ at Salisbury Cathedral is no doubt one of the finest examples of organ building in England from any period in history. For more information on Salisbury Cathedral and the Father Willis organ please visit http://www.salisburycathedral.org.uk.

Special thanks to Salisbury Cathedral, David Halls and in particular Daniel Cook, former Salisbury Cathedral Assistant Director of Music and Organist for making this project possible. For CD recordings of the Willis organ we recommend Daniel Cook's recently released CD "The Organ Music of Sir Walter Alcock" released by Priory Records product # PRCD 1008 http://www.priory.org.uk. For further recordings by Daniel Cook please visit his website at http://www.danielcookorganist.com/recordings.html

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Volume 2 Specification Willis 1877, 1934, 1969, Harrison and Harrison 1976, 2006

Great Organ

1. Double Open Diapason 16 2. Open Diapason No 1 8 3. Open Diapason No 2 8 4. Stopped Diapason 8 5. Claribel Flute 8 (24 from No 4) 6. Principal No 1 4 7. Principal No 2 4 8. Twelfth 2 2/3 9. Fifteenth 2 10. Mixture 15,17,19,22 IV 11. Trumpet 8 12. Clarion 4 I Swell to Great 16’ II Swell to Great III Swell to Great 4’ IV Choir to Great 16’ V Choir to Great VI Choir to Great 4’ VII Solo to Great 16’ VIII Solo to Great IX Solo to Great 4’

Swell Organ (enclosed)

13. Contra Gamba 16 14. Open Diapason 8 15. Viola da Gamba 8 16. Vox Angelica 8 17. Lieblich Gedackt 8 18. Octave 4 19. Flûte Harmonique 4 20. Super Octave 2 21. Mixture 17,19,22 III 22. Hautboy 8 23. Vox Humana 8 24. Contra Fagotto 16 25. Trompette 8 (1876 Cornopean) 26. Clarion 4 X Tremolo

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XI Octave XII Sub Octave XIII Unison Off XIV Solo to Swell

Choir Organ (unenclosed) 27. Lieblich Gedackt 16 28. Lieblich Gedackt 8 29. Salicional 8 30. Gemshorn 4 31. Lieblich Gedackt 4 32. Flageolet 2

XVI Octave XVII Sub Octave XVIII Unison Off XIX Swell to Choir 16’ XX Swell to Choir XXI Swell to Choir 4’ XXII Solo to Choir XXIII Solo to Choir 4’ XXIV Great Reeds on Choir

Solo Organ (enclosed)

33. Violoncello 8 34. Flûte Harmonique 8 35. Flûte Harmonique 4 36. Clarinet 8 (1876 Corno-di-Bassetto) 37. Orchestral Oboe 8 38. Tuba 8 XXV Tremolo (1934) XXVI Solo Octave XXVII Solo Sub Octave XXVIII Solo Unison Off XXIX Great to Solo

Pedal Organ

39. Double Open Diapason 32 40. Open Bass 16 41. Open Diapason No 1 (From 32ft) 16 42. Open Diapason No 2 16 43. Violone 16

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44. Bourdon 16 45. Lieblich Gedackt (From CH) 16 46. Octave 8 47. Flute 8 48. Ophicleide 16 49. Clarion 8 XXX Solo to Pedal XXXI Solo to Pedal 4’ XXXII Swell to Pedal XXXIII Swell to Pedal 4’ XXXIV Great to Pedal XXXV Great to Pedal 4 XXXVI Choir to Pedal XXXVII Choir to Pedal 4’

Combination Couplers Great and Pedal Combinations Coupled Generals on Swell foot pistons

Accessories

Eight general pistons Two general cancel pistons Eight foot pistons and cancel to the Pedal Organ Eight pistons and cancel to the Choir Organ Eight pistons and cancel to the Great Organ Eight pistons and cancel to the Swell Organ Eight foot pistons duplicating Swell pistons Eight pistons and cancel to the Solo Organ One piston for the Couplers

Reversible Pistons: II,V,VIII,XIV,XX,XXII,XXIX,XXX,XXXII,XXXIV,XXXVI Reversible Piston: Great Trumpet 8’ on Choir and Great Trumpet 8’ on Solo* Reversible foot Pistons: Great to Pedal, 32’ flue

Balanced expression pedals to Swell and Solo Organs

The manual compass is 61 notes; the pedal 30 notes The actions are electro-pneumatic The couplers and combinations are on a solid-state system The pitch is c=528

* (not original)

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Installing the Organ First ensure that volume 1 of the Salisbury Willis is already installed on your computer, volumes 2 and 3 require the files from volume 1 in order to load. On the DVD-ROMs you will find the files needed to install this sample library to your computer. You will need to treat the organ definition file and sample files found on each DVD-ROM as separate installations. To install this sample library open Hauptwerk then click File | Install organ or temperament....

Navigate to your DVD-ROM drive then find the folders named 'files | installation files'. Find the files located here and use the Hauptwerk installer to install each of these files separately.

Note that the sample files will take much longer to install due to the large file sizes. Due to this please allow your computer to run uninterrupted as it may take up to 10 minutes or more to complete each sample file installation. Loading the Organ Once all of the files have been installed you are now ready to load the organ into Hauptwerk. Due to the sample sets encryption you must have your Hauptwerk USB key updated with a license for this sample set in order for the organ to load. If you have not received a license update please submit a license update request by visiting www.hauptwerk.com/licenseupdates.

To load the organ open Hauptwerk and choose Organ|Load organ from the drop down menu. Click on the file named Salisbury-Willis-Volume-2-Wet then click OK. The Rank Audio Output Routing screen will now appear allowing you to choose the options for loading the samples.

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All sample files are 24 bit 48kHz however they may be loaded in 16 bit 48kHz to save memory. Hauptwerk defaults all settings to 16 bit with multiple loops and lossless compression. The sample files contain multiple loops allowing for more movement of the pipes sound, some samples contain up to 6 or more loops and are up to 10 seconds in length with another 3-5 seconds for releases. Multiple loops may be disabled from the Rank audio output settings screen individually for each rank (for optimum sound quality we recommend not disabling multiple releases, only multiple loops). You may also wish to combine compressed samples (lossless audio quality) with uncompressed samples to fit the organ into a desired amount of memory.

Once you have chosen the desired settings for all ranks click OK and the organ will begin to load. Note that the first time you load the organ it will take slightly longer due to the files being saved into a special format which enables subsequent loads to become much faster. Please make sure that you have at least 25 GB of free hard drive space for the saved files. After the organ has finished loading you will see the console display appear and you are ready to begin performing on this virtual instrument. Please consult the Hauptwerk User Guide for more information on setting up stop controls and mapping your MIDI keyboards to the appropriate organ controls of this organ using MIDI Learn.

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The Virtual Console

Volume II Console Display - Full View Divisions Volumes I, II and III feature a Full View display offering all virtual controls on a single display page. Each division is marked with white labels above each group of columns. The order of divisions from left to right is (left side) Swell, Pedal, Solo, (right side) Choir, and Great.

The Choir division does not have any actual stops in Volume I, however all of the Choir couplers have been added to allow greater flexibility when using more manuals. Including the complete coupling scheme also allows users to learn the entire organ's coupling from the initial volume rather than learning new settings for subsequent volumes. Due to this, a user can have a fourth keyboard to act as the Choir and by coupling the other divisions to it the existing stops in Volume 1 are able to be played through the Choir manual.

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Volume 2 adds 6 new stops for the Choir division. In addition to the stops the coupling remains similar to volume 1.

Dual Displays Left and right displays are available for volumes 2 and 3. These are viewable by clicking on the Left Jamb and Right Jamb tabs at the top of the virtual console display. Using the Hauptwerk Advanced Edition a separate display may be assigned to two or more monitors if required. To open a second display page first ensure that you are not in full screen mode, then go to the Hauptwerk View menu and choose 'Console window 2'. To designate this new display to a second monitor simply click the top window bar of the display page and drag it to your desired monitor.

Volume II Console Display - Left Jamb View

Volume II Console Display - Right Jamb View

The left jamb includes all eight Generals (duplicating those on the right jamb and full view display )the Swell, Pedal and Solo division stops as well divisionals for the corresponding divisions. The foot lever pistons mirror the Swell divisionals.

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The right jamb includes all eight Generals (duplicating those on the left jamb and full view display) the Choir and Great division stops as well divisionals for the corresponding divisions. The foot lever pistons are the Pedal divisionals.

See the 'Piston Functions' section below for details on each piston.

Portrait display mode It is also possible to arrange your monitor in portrait orientation (90° monitor rotation) to access the alternate portrait display stop jambs and experience the original stop jamb layout from the instrument. To do so first have a 2nd and/or 3rd console display open and in focus, you cannot use the primary console display which contains the status bar at the bottom of the window since this prevents reducing the horizontal window size. Click and drag the screen by the lower right window corner to the left and down until the display changes orientation. You will then be able to view the vertical stop jambs for left and right displays.

The portrait displays were created at a size of 1080x1920 pixels which offers life size stop knobs when used on a large widescreen monitor with a 16:9 ratio in portrait mode. Hauptwerk will scale the display to fit your screen with Console Zoom turned on.

Left Jamb Portrait View Right Jamb Portrait View

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Pistons A variety of pistons are included to allow greater flexibility while registering for live performance. Those pistons marked with a zero (0) are divisional cancel pistons and will cancel selected stops for that division only. Reversible pistons will toggle the state of the relative stop or coupler.

Please review the listing below to learn about the function of each piston. Each listing begins from the left to the right.

Note that pistons and foot levers are not included on the portrait displays, only stops and couplers.

Piston Functions

General Cancel and Generals 1-8

Solo Cancel and Solo Divisionals 1-8 Great to Solo, Solo to Pedal reversibles

Swell Cancel and Swell Divisionals 1-8 Solo to Swell, Swell to Pedal reversibles.

Great Cancel and Great Divisionals 1-8 Solo to Great, Choir to Great, Swell to Great, Great to Pedal reversibles. Ranged Coupler, Trumpet on Choir pistons

Choir Cancel and Choir Divisionals 1-8 Load (Set), Solo to Choir, Swell to Choir, Choir to Pedal, General Cancel

Trumpet on Choir Piston The Trumpet on Choir piston has a special function which always allows the Great Trumpet to transfer to the Choir. This piston utilizes the Great Reeds on Choir coupler and the Great Trumpet 8 stop. If both of these stops are already activated then it will cancel them, if neither of these are activated it will activate them. If only one or the other is activated it will activate the required stop to transfer the Trumpet to the Choir. This piston will also cancel the Great 16 and 4 reeds if they are drawn (Trombone 16 and Clarion 4 not available in volume 1, Trombone 16 not

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available in volume 2 ). After some initial experimentation you should become familiar with its workings.

Couplers Piston The Coupler piston serves as a General for all of the couplers including the Great Reeds on Solo and Great Reeds on Choir couplers. You may use it as an all couplers on or off, or simply have a single preset of your choice to trigger any coupler preset you prefer. To assign couplers simply use the normal Set piston then select the couplers you want and activate the Couplers piston to store that preset into memory.

Foot Pistons

A variety of foot couplers and pistons are also available. Note that foot pistons are not included on the portrait displays.

Toggles the Pedal Contra Posaune 32 stop Toggles the Great to Pedal coupler Activates Hauptwerk stepper sequencer frame advance

Toggles the Pedal Diapason 32 stop Cancels all pedal stops

Duplicates Swell divisionals 1-8 or Generals 1-8 if General Pedal divisionals 1-8 Foot Pistons stop is activated

General Foot Pistons

When activated the GENERAL FOOT PISTONS stop will allow the Swell divisional foot pistons to instead activate the General pistons. This stop is not integrated into the combination system and will remain neutral for all Generals and Divisionals. The state it is left in will also be remembered the next time the organ is loaded in Hauptwerk.

Great & Pedal Combinations Coupled

When activated the GT & PED COMBS COUPLED stop will allow the Pedal foot pistons to instead activate the Pedal divisionals as well as the Great divisionals. This stop is not integrated into the combination system and

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will remain neutral for all Generals and divisionals. The state it is left in will also be remembered the next time the organ is loaded in Hauptwerk.

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Couplers A full range of couplers are available enabling a huge variety of registration possibilities. Couplers were implemented as rocker tabs for the Full View display in Volume I. In order to save screen space the rocker tabs offer an ideal option and a logical/accessible layout. The original organ couplers are draw knobs under each division's stops requiring a larger vertical orientation.

Pedal Great Choir

Swell Solo The arrangement in groupings are in order from left to right as follows: Pedal couplers, Great couplers, Choir couplers, Swell couplers, and Solo couplers.

Intra-manual couplers can be assigned to divisional pistons for each division, however inter-manual couplers are not attached to the divisional pistons and remain neutral. All couplers can be assigned to any of the General pistons however.

The Willis coupling scheme is a very intricate one with many divisions coupling through to other divisions depending on the couplers chosen. While there are no set rules we will offer some general explanations on the coupling mechanics. After experimenting with the many options you should become familiar with the coupling.

Coupling Schemes There are several unique coupling schemes on the Willis. The following list provides some insight into how the coupling schemes function. Standard coupling is not listed here since those should be self explanatory. The coupling scheme is perhaps the most complicated aspect of learning the mechanics of the Willis organ, so be sure to go over each example to understand the relationships between them.

Swell to Great -> Great to Pedal, allows Swell to couple through the Great to the Pedal (8' only). Solo to Great -> Great to Pedal, allows Solo to couple through the Great to the Pedal (8' only). Choir to Great -> Great to Pedal, allows Choir to couple through the Great to the Pedal (8' only). Solo to Choir -> Choir to Pedal, allows Solo to couple through the Choir to the Pedal (8' only).

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Swell to Choir -> Choir to Pedal, allows Swell to couple through the Choir to the Pedal (8' only). Swell to Great (8' or 4') -> Great to Solo -> Solo to Pedal allows Swell to couple through the Pedal via the Solo to Pedal coupler. Solo Octave -> Solo to Swell -> Swell to Pedal, allows the Solo to couple through the Swell to the Pedal (8' only). Solo Sub/Octave/Unison Off -> Solo to Swell, allows the Solo to sound at either 16', 4', or Unison (8') Off on the Swell. Default Solo to Swell is 8' pitch. Great to Solo allows all Great stops to sound on the Solo including Great Reeds. Swell to Great -> Great to Solo -> Solo to Pedal, allows the Swell to couple to the Pedal. Choir to Great -> Great to Solo -> Solo to Pedal, allows the Choir to couple to the Pedal. Swell to Great (16', 8', 4') -> Great to Solo, allows Swell to sound at 16', 8', and 4' on the Solo. Choir to Great (16', 8', 4') -> Great to Solo, allows Choir to sound at 16', 8', and 4' on the Solo. Great Reeds on Choir transfers all drawn Great Reeds to sound from the Choir and not on the Great. (Can be used in conjunction with Great Reeds on Solo). Great Reeds on Solo transfers all drawn Great Reeds to sound from the Solo and not on the Great. (Can be used in conjunction with Great Reeds on Choir). Great Reeds on Choir -> Choir to Pedal (8' only), allows Great Reeds to sound on Pedal. Great to Solo -> Solo to Pedal, allows Great to couple to Pedal (8' only).

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Indicator Panel

Expression The indicator panel displays expression and keyboard activity in real-time. The Solo and Swell expression stages are shown by red LED segments. The more fully open the shades are the more red LEDs will appear. As you close the shades the indicators will show less LEDs.

The expression settings are remembered between loading the organ allowing you to maintain the last position of your physical expression pedals.

Keyboards

To help assist with setting up proper keyboard configuration you can use the keyboard indicator LEDs to verify which keyboard you have your MIDI manual assigned to. Since there are no virtual keyboards displayed this will ensure a proper mapping for all keyboards.

To assign your physical keyboards to the virtual keyboards go to Organ settings | Keyboards, highlight the virtual keyboard on the left then click the 'Auto-detect settings' button on the right and follow the steps to use MIDI learn for assigning your keyboards.

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PD=Pedal CH=Choir GT=Great SW=Swell SO=Solo

When a MIDI signal is received from your MIDI keyboard or sequencer program, the appropriate virtual keyboard LED will illuminate on the indicator panel showing that it is working and connected properly. If no MIDI signal is received or if it is not configured to one of the virtual keyboards please check your MIDI input settings to verify they are correct.

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Original Sampled Tremulants (OST)TM This instrument features Original Sampled Tremulants (OST) for many of the virtual ranks. OST means taking recordings of the original pipes while the tremulant is engaged. This method allows a much more realistic simulation than synthetically applying tremulant effects through LFO waveforms.

The OST method of recordings were done for all ranks on the Solo division, all reed ranks from the Swell and Choir and lastly the Swell Vox Angelica (a string celeste rank). Using real recorded tremulant ranks does take more memory, however we feel the benefits are well worth it.

Tremulants may be activated in real-time while holding notes down. It is important to note that the tremulant samples are separate samples and will begin with a new attack when the tremulant stop is engaged. This may result in an audible note attack when turning the tremulant on while holding down a note.

The images below demonstrate the difference between a typical 'straight' sample and the same sample recorded with the tremulant engaged.

Normal untremmed sample Same note with tremulant on

The following ranks in Volume II feature the OST method of recording:

Swell Solo Vox Angelica 8 Violoncello 8 Vox Humana 8 Flûte Harmonique 8 Hautboy 8 Flûte Harmonique 4 Contra Fagotto 16 Clarinet 8 Trompette 8 Orchestral Oboe 8 Clarion 4

Non-OST samples rely on Hauptwerk's tremulant model.

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Multiple Release Samples

This virtual instrument features multiple release samples for every pipe. Some have 2 releases while the majority have 3. The main releases are from a fully sounding pipe which fills the church with sound. Thus it is a longer and fuller reverb containing all the harmonics of the pipe and can last up to 5 seconds. The second set of releases were recorded from short staccato attacks and have little harmonic build up and a shorter reverb length. Generally these can be from 2-3 seconds. A third portato (medium) attack fills the gap between the short and long release samples. These range up to about 3-4 seconds depending on the rank. The length of the MIDI note played determines which release sample will be used.

Additional tremulant release samples are also included for ranks with OST recordings for a total of four release samples on these ranks.

The following examples of a pipe waveform show the varying aspects for each release sample

Full length attack/sustain and decay after a pipe has fully sounded

Medium length decay after pipe has been played portato

Short length decay after pipe has been played staccato

Utilizing multiple releases with the included organ definition file settings gives absolutely realistic acoustical results. If computer memory for the extra release samples is insufficient there is an option to disable multiple releases in the Rank audio output settings page before loading the organ. Please note that by disabling the extra release samples every attack long or short will always play back the full length reverb sample

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which reduces the realism. We recommend trying to save memory by using lossless compression, lower bit rates, single loops, and even disabling ranks from loading before disabling the multiple releases.

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Memory Requirements The following list shows the minimum and maximum memory requirements for loading the entire instrument which will allow you to see how the organ may fit into your computer specifications. Note that you may disable ranks of samples from loading to even further reduce RAM use.

24 bit, uncompressed, multiple loops 19 GB 24 bit, lossless compression, multiple loops 11.5 GB 20 bit, lossless compression, multiple loops 10 GB Default-16 bit, lossless compression, multiple loops 6 GB 16 bit, lossless compression, single loops 4.5 GB

Note that Hauptwerk supports loading samples in 14 bit which will reduce memory requirements even further. However please note that this will cause degradation of audio quality. We recommend at least loading in 16 bit for better results. Loading in mono reduces stereo memory requirements by half. The samples were recorded in stereo and intended to be heard in stereo for the best representation of the organ.

** Memory amounts may vary slightly on different systems. These are only general guidelines. Finally We hope you enjoy performing on this historic virtual instrument! Great care has been taken to assure that this virtual instrument is of top quality and problem free. However if you should find that something does not work as intended please contact us at [email protected] to let us know about your concern. We will do our best to fix the issue and get you back to playing on your new virtual instrument as soon as possible. Thank you for your support and please check our website periodically for updates to this and other virtual instruments that we offer. Credits We would like to give special thanks to the following people for their help in one way or another with the creation of this virtual instrument:

The staff of Salisbury Cathedral

David Halls, Director of Music, Salisbury Cathedral, England

Daniel Cook, Former organist and Assistant Director of Music, Salisbury Cathedral, England and currently Organist and Master of the Choristers and Artistic Director of the St Davids Cathedral Festival for logistics, organ information and website demos.

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Father Henry Willis (1821-1901)

Recordings done on location in Salisbury Cathedral, Salisbury, England June 8-13 2009

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