The instruments façade is a tangible expression of this synthesis. Designed by the architect Simon Platt, it hopefully accomplishes its goal of being a decorative element which blends in perfectly with the Hall. Many elements inspired by historical Iberian organs live harmoniously in this synthesis:

The traditional en chamade trumpets which are such
distinguishing feature of the Iberian organ.

• Ornamented façade pipes, probably a Flemish or German contribution to the Catalan-Balearic Organ during the Renaissance and Baroque, and still in use by the great organ builder Jordi Bosch and his Andalusian School.
• The central part of the case is raised. The Cadereta (Rückpositiv) is very common in the organ of the Balearic Islands-Catalonia and Valencia. In this case it is split in two.
• Upside down pipework, such as found in Mexico City and Perpignan.
• Shade design covers the upper pipework. This is very common in the Castillian Organ Tradition.

The organ façade represents the 5 divisions within the organ  (Werkprinzip).  Each division has its assigned function; so, its sound differs from the rest of the divisions in the instrument. In fact, we could talk about five different organs.

Technical details also reflect the Iberian Organ building Tradition:

• There are 3 divided stops on the Trompetería Manual.
• There are numerous reed stops.
• There is a double Flautado, a very common feature in Majorca.
• The presence of the third in the harmonics of the Tercilla on the Expresivo division.
• Coupling is divided between bass and treble from the third to the second manual; this facilitates the performance of early Iberian organ music.

After various acoustical experiments in an empty hall and with a full to capacity audience, we were able to effectively measure its capabilities; each of the almost 5,000 pipes was then individually adjusted to fit the conditions of the room.

We start from the assumption that the organ is constantly evolving. One example of this statement are the numerous innovations used in this instrument.  Some of them are based on our own research - the wind supply system, the tracker couplings or the quadruple pallets on the Expresivo manual, etc.

Others are found in the works of earlier organ builders such as a system for adjusting the rollerboard pin using self-adjusting springs. We got the idea for this from an invention by Jordi Bosch which he used in the Palacio Real.