Cover feature

J.H. & C.S. Odell, East Hampton, Connecticut, Opus 647
St. Ann’s Roman Catholic Church, Nyack, New York
The picturesque village of Nyack is situated on the western bank of the Hudson, less than 20 miles north of Manhattan. Home to 19th-century realist painter Edward Hopper, the village was perhaps better known for its sandstone quarry and as a locus of shipbuilding. These industries declined after 1900, though there was renewed shipbuilding activity during the world wars, with submarine chasers being built there as late as 1948. In the postwar years, the completion of the Tappan Zee Bridge contributed to significant growth in population and commerce. The village underwent a major urban revitalization project to commercialize the downtown area and to expand its economy in the 1980s; today the village center is home to many new business establishments.
I took note of this downtown revitalization when I first visited St. Ann’s Church on a warm spring day in 2006. I had been contacted by Jennifer Pascual in her capacity as chair of the organ committee for the New York Archdiocesan Music Commission. Several weeks prior, Dr. Pascual had asked that I meet with the staff of St. Ann’s, survey the organ, and make recommendations.
On entering the building, to my delight I discovered a well-appointed church sanctuary with terrazzo floors, high ceiling, and best of all, an organ located in the gallery on the central axis. Finally a room that we could work with instead of against! I quickly set about my work, dutifully examining the pipe organ.
Little is known about the life and work of Francis John Newton Tallman, a builder who, according to David A. Fox’s A Guide to North American Organbuilders, based his operations in Nyack from 1894 to 1903, during during which time the organ for St. Ann’s was built. In addition to his organ factory, Tallman also maintained a music store in Nyack village. Prior to life in Nyack, Tallman was employed by the Roosevelt firm, and when he left Nyack in 1904 he reportedly relocated to Brooklyn to work with Reuben Midmer.
The organ Tallman built for St. Ann’s was originally a two-manual instrument with mechanical action, and of his surviving instruments, St. Ann’s was purportedly among the largest. There was evidence that the original keydesk was situated en fenêtre; the panel that replaced the keydesk’s entry point into the case was without the lancet molding treatment found in the rest of the case, as well as being from an entirely different species of wood. The interior layout of the organ suggested a backfall action had been employed for the Great, with squares and trackers for the Swell. The Pedal was divided, on ventil chests.
In the 1930s, the organ’s action and winding system were removed by local service people as part of the process of introducing the organ to the benefits of electricity. Pneumatic pulldown systems were connected to the slider chests, with a similar arrangement for the Pedal, though the ventil system was retained. The organ continued this way until the 1960s, when a supply house console was installed by well-known New York organ man Louis Mohr (also a former Roosevelt employee). Thereafter some minor changes were made to the specification, but otherwise the original pipework survived intact. Apart from decay and neglect, most damage to the metal flues was from “aggressive” cone tuning. Even with the mechanical alterations, tuning access was difficult. When I inspected the organ, most of it, save for a portion of the Great, was inoperable.
As we often restore 19th-century pipework, there were few surprises. Scaling and voicing of flue pipes were very much in line with our own 19th-century practices. While restoration and remedial voicing work were certainly required, in general workmanship we saw little to improve upon. From a modern tonal standpoint, the only serious deficits were in the Swell, which lacked an Oboe and an undulating rank of any variety. Certain ranks—such as the Swell Diapason 8', Salicional 8', and Bourdon 16'—omitted bottom octaves as was often the custom with smaller instruments of this vintage. The Pedal division was spare, but the basics were in evidence, with a suitably scaled Open Wood and Bourdon.
Mechanically, things were far less clear cut. The collection of cone-valve style regulators that replaced the original winding system were arranged in a way that frustrated access to the mechanism. They were also not terribly well built. The slider chests and the pulldown systems installed were all in very bad shape. Both manual chests had runs and frozen sliders. With so many changes of questionable provenance, we felt it was best to save the case and pipes and start over.
With this as a departure point, the members of the Archdiocesan Organ Committee requested we consider some additions. The possibility of the use of digital voices was discussed, though we made clear our preference for a pipe-only design, concentrating instead on filling out a more conservative two-manual specification rather than stretching the limits for a three. Our proposal was accepted, and design work commenced in the fall of 2006.
The mechanical design of the organ is entirely new from the ground up: new conventional wind reservoirs and windchests, all of our own design and construction. We designed and built a new Swell enclosure to accommodate our additions to the division. We also constructed a new two-manual console using our popular terrace-jamb design in quarter-sawn white oak, incorporating a solid-state capture and control system with our standard complement of accessories and relief carving for the music desk.
The Great division of the organ is unchanged but for the addition of a principal-scaled Seventeenth to fill out the chorus. In the Swell, the Bourdon 16' has been made full compass with a bottom octave built and scaled in our shop to precisely match its 8' octave. The Diapason 8', which originally shared a stopped bass, now has its own bottom octave. Other additions to the Swell include an entirely new Oboe (available at 16' and 8'), a GG-compass Celeste, a new 2' Flute and Mixture III based on 2' pitch. Additions to the Pedal include extending the Great Trumpet with a new 16' octave and a fully independent Principal 8'.
Members of our staff who contributed to this project include: Edward Odell (mechanical design, console), Holly Odell (flue voicing), shop foreman John Williams (windchests, reservoirs, pipesetting, electrical), Curt Goettlich (finishing, wooden pipe fabrication, cabinet work, expression enclosure), Stewart Skates (metal pipemaking and repair), and Tristan Bowen, with assistance from Richard Hamar and William Harper. Reeds were voiced by Sam Hughes.
We are grateful to the Archdiocesan Music and Building Commission, as well as the staff of St. Ann’s Church, especially Father Robert Henry and George Bryant, for the opportunity to create something of lasting musical beauty for this parish.
—Edward Odell
J.H. & C.S. Odell

During this bicentennial year of the Archdiocese of New York, St. Ann’s Church in Nyack, New York is blessed to have a newly renovated pipe organ. I had the privilege of playing this organ prior to its renovation, as the winner of the George Bryant Scholarship, which was used towards continuing organ education. Mr. Bryant is the current director of music and organist of St. Ann’s Church, and this parish is lucky to have such a dedicated and talented musician leading its liturgical music program.
Prior to its renovation, the organ at St. Ann’s had many problems; there were many dead notes, missing pipes, and the overall tone was in need of serious remedial work. The console, installed in the 1960s, was also problematic: many pistons were non-functional and there were dead contacts everywhere. Even if the organ itself were in better condition, the console limited the ability to control it effectively.
Director of music, George Bryant, and the pastor, Fr. Robert Henry, saw the obvious need to renovate this instrument, which has served the parish for over 100 years, but had never had a comprehensive rebuild of any kind. After contacting the Archdiocesan Building Commission and Music Commission and taking the necessary steps to proceed with such an endeavor, St. Ann’s Church awarded the contract to renovate the organ to J.H. & C.S. Odell.
After making his survey, Edward Odell listened to the needs of St. Ann’s parish and submitted his proposal. Working with the pastor and organist of St. Ann’s, members of the organ committee for the New York Archdiocesan Music Commission reviewed the proposal as well as vetting proposals from other builders.
The ongoing mission of the New York Archdiocesan Organ Committee is to ensure that the pipe organs of the archdiocese are properly cared for. In our work, we use our combined knowledge and experience to advise pastoral staff who are in need of guidance with regards to their instruments. This committee consists of Meredith Baker, director of music at Holy Trinity West Point, New York; Christopher Berry, director of music at the North American College in Rome, Italy; Daniel Brondel, director of music at St. Malachy’s Church/The Actor’s Chapel, New York City; Jared Lamenzo, director of music at Old St. Patrick’s Cathedral, New York City; and Lawrence Strohm, organist at St. Phillip the Apostle, Pasadena, California, with myself as chair.
Throughout the organ renovation project for St. Ann’s Church, Edward Odell has been in touch with everyone every step of the way, giving detailed updates, sending pictures, and giving honest suggestions when unexpected discoveries came up. It has been my observation that attention to detail and highest quality outcome is of the utmost importance to everyone of the Odell organ firm. Edward and his staff are meticulous craftspeople; it is clear they bring dedication, concern and skill to their work and desire to deliver only the best results.
It should be noted that over the last 150 years, J.H. & C.S. Odell has built many of the organs housed in churches in the Archdiocese of New York, a good number of which still serve their parishes today. Their reputation as builders of fine instruments has existed for five generations, and their work today continues to support liturgical and concert music in the archdiocese. It pleases me to say St. Ann’s Church is now fortunate to be among the fraternity of churches that house the fine work of J.H. & C.S. Odell.
—Jennifer Pascual
Chair, New York Archdiocesan Organ Committee

J.H. & C.S. Odell
Opus 647
St. Ann’s Roman Catholic Church, Nyack, New York

GREAT
8' Open Diapason existing, restored, common metal from 4' C 61 pipes
8' Viola di Gamba existing, restored 61 pipes
8' Doppel Flute existing, restored, wood 61 pipes
4' Principal existing, restored, common metal 61 pipes
4' Chimney Flute existing, restored, common metal 61 pipes
22'3' Twelfth existing, restored, common metal 61 pipes
2' Fifteenth existing, restored, common metal 61 pipes
13'5' Seventeenth new, matching scale, common metal 61 pipes
8' Trumpet existing, restored and revoiced 61 pipes
Chimes new 21 tubes

SWELL Expressive—in reconfigured expression chamber
16' Bourdon new, extension 8', custom matching scale 61 pipes
8' Open Diapason existing, restored with new bottom octave 61 pipes
8' Stopped Diapason existing, restored 61 pipes
8' Salicional existing, restored with new bottom octave 61 pipes
8' Voix Céleste new, GG compass, 55% tin to 4' C 54 pipes
4' Violina existing, restored 61 pipes
4' Harmonic Flute existing, restored, harmonic at middle C 61 pipes
2' Harmonic Piccolo new, matching scale to 4', harm. at middle C, 55% tin 61 pipes
III Mixture new, 15-19-22 183 pipes
16' Bassoon new, dual taper resonators, tapered shallots 12 pipes
8' Oboe new, dual taper resonators, tapered shallots, 49 reeds 61 pipes
8' Trumpet from Great —
Tremulant

PEDAL
16' Open Wood existing, restored 32 pipes
16' Bourdon existing, restored 32 pipes
8' Octave new, zinc to 4' G, remainder 55% tin 32 pipes
8' Gedeckt new, extension Bourdon 16' 12 pipes
4' Choralbass new, extension Octave 8' 12 pipes
16' Trumpet new, matching scale to 8', tapered shallots 12 pipes
16' Bassoon from Swell —
8' Trumpet from Great —
4' Clarion from Great —

Mixture composition
1 to 25: 15-19-22
26 to 44: 12-15-19
45 to 61: 8-12-15

12 general pistons, 6 per division
12 toe studs with black porcelain heads in raised, curved, wooden bolsters
32 levels of capture memory
12-step transposer
MIDI interface, record and playback
Programmable sforzando and crescendo

Couplers and accessories
Great to Pedal 8 (reversible)
Great to Pedal 4
Swell to Pedal 8 (reversible)
Swell to Pedal 4
Great to Great 16
Great Unison Off
Great to Great 4
Swell to Great 16
Swell to Great 8 (reversible)
Swell to Great 4
Swell to Swell 16
Swell Unison Off
Swell to Swell 4

 

J.H. & C.S. Odell Opus 645

United Methodist Church of Westport and Weston,

Westport, Connecticut

From the builder

I first looked over the 1968 Angell pipe organ at the United Methodist Church of Westport and Weston in the winter of 2005, having been recommended to the church by our friend K. Bryan Kirk. What we found in Westport was an organ with many pipes that were well made, but in some cases unusually constructed and, by our standards, only roughly voiced. The flue pipes were made mostly with a high content of tin. We suspect Tim Koelewijn was the original pipemaker. Just about everything else in the organ had been made by domestic and foreign supply houses. Overall, quality varied widely. Some things were very neatly done.

Though by our standards not altogether under-scaled, the organ did suffer in just about every other way from the prevailing trends of the era when it was built. Wind pressures were low: less than two inches in the Great and three in the Swell. Looking at the original stoplist, we noted that none of the choruses in the organ were complete, though the organ did boast two Célestes and a triple-overblowing Zauberflöte. The reed complement for the organ consisted of a double-blocked French style 8’ Trompette (extended to 16’ in the Pedal) and a 4’ Rohr Shalmei.

The windchest mechanism was a problematic plunger-type solenoid system that had been giving trouble for years. The console was a veneered plywood supply house unit already years beyond its life expectancy. The open contact switching system was dispersed throughout the organ; some of its components had already failed. The wind supply for the entire Great division was provided by a single 18≤ by 24≤ reservoir whose internal volume was largely dedicated to its curtain valve.
After an initial tuning of the organ, the church’s new music director and organist, Todd Simmons, pressed me as to what could be done to make the organ better. I pointed out that the organ had mechanical and tonal issues, to be sure, but there was something to work with here, some raw material, which with proper attention could be the basis for a good pipe organ. In my wife Holly’s words, the existing pipework possessed “unrealized potential.”

Weeks later we met with the trustees to present our findings, expecting that at some point in the future funds could be raised to finance the organ project. One can imagine my surprise when Mr. Simmons called me a few weeks later to say that a single anonymous donor had stepped forward. How soon could we start? Thus we found ourselves sweating in the summer heat on a stretch of days the following July, packing and removing the pipes that would become the basis for our Opus 645.
In the design process we developed a new specification with input from K. Bryan Kirk. We instinctively sought first to meet the essential requirements of a liturgical instrument, something we believe to be utterly crucial, especially in the case of smaller pipe organs. Given the limited space for the organ, we felt a two-manual scheme with few frills would be best. We resisted a request for digital augmentation, instead focusing on a design that would be pipe only.

Certain early decisions seemed obvious. Given the dry acoustic of the church, the baseline scale of the Great chorus needed to be increased. This chorus was also completed with the addition of appropriately scaled new pipework from 22⁄3’ pitch upward. The cutup schedule of the existing Great capped flute was raised, arched, and the stop entirely revoiced. A new independent 4’ Harmonic Flute (based on the unique and very successful scale found in our historic Opus 178 at St. Charles Borromeo in Brooklyn) was constructed and voiced. Over the course of the project nearly every zinc pipe in the organ made its way through our pipe shop: frozen metal caps were freed, tuning inserts and toes replaced, seams and scrolls repaired. Being left in a raw state, many of the zinc pipes had an unsightly powdery white oxidation. We removed this, and gave all zinc basses a sealing coat of varnish to protect them.
The wind pressure of all manual divisions was raised to a more moderate four inches. Holly, then pregnant with our son Caleb, did her usual superb job of revoicing all the other existing and new flue pipework, managing to do so before reaching her final trimester. During this past winter we joked more than once: which would be given birth first, our son Caleb or the organ for Westport?

Where, before, the Great division of the organ had seven ranks, it had now eleven. To provide for this expanded division adequately, we built a new, larger reservoir. The rest of the organ’s wind system was rebuilt and reengineered as the new design required.

In dealing with the Swell division, again certain decisions seemed obvious. The 4’ Rohr Shalmei, only marginally useful, was replaced with an 8’ Oboe, expertly voiced by Sam Hughes. Proceeding as she did in the Great, Holly revoiced all of the existing Swell flues and voiced the new pipework for the Swell flute chorus, which was completed to 13⁄5’ pitch. The existing Trompette was kept, though carefully cleaned up and regulated in a cooperative effort between Sam and Holly.

In our recently expanded East Hampton shop I concentrated on the construction of the console, while our shop foreman John Williams constructed new windchests whose design was first developed for our organ at St. Ann’s in Bridgehampton. The unusually short feet of the 8’ old flute basses made for some interesting pipesetting. New offset chests were provided for everything save the original Pedal Subbass, a mammoth mahogany affair that only needed rebuilding.

The new console was based on our current terrace-jamb design with several embellishments. Improvements on the existing design include a slightly deeper cabinet with an added horizontal stile, raised panel work, additional applied moldings, hand-carved brackets, a two-piece knee panel and solid walnut music desk, the latter being picture-framed with the same quarter-sawn white oak used for the carcass and façade.

The console features an integrated solid-state capture and control system with fully programmable features, MIDI interface, and our standard complement of rear-fulcrum keyboards with basswood levers. The oblique drawknob heads are a reproduction of our 19th-century design. Respected organists who have played it have described our console at Westport as “elegant and comfortable.”
My design of the façade was in part born of necessity. Since both the manual and pedal principal stops were being rescaled, new bass pipes would be required. We naturally needed to make the most of the existing chamber space, and one of the simplest ways to do that was by moving the basses of these stops out into a façade.

Every pipe in the façade is functional. The bass notes of the Great and Pedal principals are polished aluminum, made to our specifications by Matters, Inc. of Hermosa, South Dakota. The pipes are arranged in three towers and two flats and the overall height of the case tops out at 15 feet, mounted roughly 10 feet above the sanctuary floor. The style of the casework is deliberately simple, so as to be in harmony with the appointments of the church sanctuary.

The façade performs a very important function in giving one a visual focal point. It declares the organ present, and urges one to consider it rather than wonder from where behind the grille cloth the organ might be. Its cruciform arrangement also reflects elements of sacred numerology: three towers with three pipes each for the Trinity, ten pipes located within the inner flats for the Commandments.

The sanctuary space in Westport could be described as a postwar-modernist take on the “Akron Plan,” less the adjoining Fellowship Hall. Four sets of pews radiate from the altar and pulpit up front, with organ and choir off to the left. The space over the altar is open with a ceiling height of approximately 35 feet. This intersects with a lower A-frame suspended transversely over the pews. From there the ceiling slopes downward to the rear of the pews to meet a northeasterly facing wall that is mostly glass. The floor is a simple concrete aggregate. Thankfully, carpet was absent. More simply described, it is a space with a great deal of cubic volume, but not overly reverberant.

Throughout the process we gave a great deal of thought to what levels of power would be appropriate for the various tonal resources of the organ. Our concerns about sufficient tonal egress from the chambers were put to rest when we experienced how well the organ spoke into the room. In the tonal finishing process we were pleased to discover how our scaling and voicing decisions suited the space. With a well-balanced variety of 8’ tone available, the organ easily leads congregational singing in a variety of settings.

Overall, we are very happy with what we have achieved in Westport. I would be remiss not to mention others who have contributed to this project: my wife and business partner Holly Odell was responsible for revoicing all existing pipework and voicing of new pipework. John Williams built nearly all the windchests and was responsible for all pipesetting. John and I collaborated on the wind reservoirs and organ case elements. In addition to overall mechanical design and layout, I milled, built and finished the console and casework as well as handling most other finishing duties. Working out of our pipe shop, Stewart Skates handled all pipe repairs. Luc Ladurantaye of Lac Saguay, Quebec, built the new metal pipes to our specifications. Gordon Auchincloss assisted in the wiring and final assembly of the console, and Thomas White assisted in windchest construction and wiring. John Williams, Thomas White, and myself handled the installation. Tonal finishing duties were divided between Holly and myself, with occasional assistance from Richard Hamar and Fred Heffner.

—Edward Odell



From the music director

In my third year as choir director and first year as organist of the United Methodist Church of Westport and Weston, I was introduced to Edward Odell by K. Bryan Kirk, as we were in search of someone local to assume the maintenance of our Angell pipe organ. While I was not dissatisfied with the firm maintaining our organ at that time, I knew it was only a matter of time before a major overhaul was needed, and no one had ever made a complete inspection and report on our instrument. Given the current condition of our organ, I felt comforted in knowing someone local could resuscitate it at a moment’s notice.

After a thorough tuning and evaluation of the organ, I was encouraged by Mr. Odell’s report that although there were serious electrical and tonal issues present, the pipes themselves were well made and could be repaired and voiced (apparently for the first time ever) if we had the means to fund an organ project. Having just completed a fund-raising campaign for a new grand piano, our church did not have extra money to start an organ building fund-raiser, and we felt uncomfortable asking the congregation to dig into their wallets again so soon. This was discouraging as we knew that time was close at hand; in recent years our organ had become increasingly undependable.

Not long after we began exploring these issues, it happened one Sunday morning that the entire organ pedalboard suddenly made itself unusable. Having little alternative, I decided to play that morning’s service on the piano. This coming just a few weeks after Mr. Odell’s presentation to our trustees, there was (understandably) a certain degree of panic, since we were totally unprepared financially to fund an organ project this soon. Even though our organ was one of the longest surviving Angell pipe organs in the area, we had hoped (and expected) it to last longer. It was more and more apparent that something had to be done soon. Before we even had a chance to strategize, I received a call the next day from the pastor informing me that a donor wishing to remain anonymous had left a very large check on his desk with the intention of funding the organ project.

As has been elsewhere stated, our previous instrument suffered from a lack of tonal finishing and the pipes themselves had never been voiced properly. The pipes being of relatively small scale, we were used to a thin, shallow sound that did not possess enough power to adequately fill our worship space, even when I registered full organ. At the start of the project, I had doubts as to whether any new organ would be strong enough, given the room’s difficult acoustics and the location of the organ chambers. Mr. Odell assured us that once the new organ was installed, we would be amazed at the difference.
One of the most impressive enhancements with the new organ, aside from the exquisite façade, is the quality of sound as well as the power behind it. We now have an instrument that adequately leads our congregation in singing, as well as providing full, but subtle, accompaniment for the choir anthems. I can honestly say that at every step of the way, Mr. Odell and his firm have not only met but exceeded my expectations with our new organ and have gone above and beyond the call of duty to deliver an instrument that is even better than the original proposal stated.

It is a testament to his excellent work that not only do the trained musicians in the congregation appreciate this new pipe organ, even the untrained listeners have noticed a huge improvement over the previous instrument. One member (who at one time happened to be unsupportive of the project) admits that now she could not imagine our service without a pipe organ. The church is well pleased, as am I, and we celebrate at every Sunday service this work of art courtesy of the firm of J.H. & C.S. Odell.

—Todd Simmons, organist and music director, United Methodist Church of Westport and Weston



From the consultant

When I began teaching in 1988 at a music school in Westport, Connecticut, I was naturally curious about local pipe organs. Over the years, I became more familiar with the organ at a nearby church: the United Methodist Church of Westport and Weston. The instrument was in poor mechanical condition: it exhibited a failing combination action, frequent ciphers, tuning instability and other frustrations, even though periodic maintenance was given. Being a product of its time, it was very thin in sound, had little bass response (as did the room) and few solo colors. Most importantly, there was no sense of real ensemble, even when the tutti was drawn. The instrument was also limited in its dynamic range for choral accompaniment and congregational singing, and was weak when trying to blend with other instruments. Overall, the organ did not make a strong impact.

A few years later a new organist and choir director was hired, Todd Simmons, one of my teaching colleagues from the music school. As the organ continued to deteriorate, he and the church became even more disappointed with the organ’s unreliability and marginal tonal resources. Knowing I had done other consulting work, Todd asked me to work with him and the church regarding the organ. Realizing the inherent problems, both musical and mechanical, we began an in-depth study of what could be done to either rebuild or replace the organ with something that would not only offer more tonal possibilities but also fill the room and excite the strong congregational singing potential we knew was there.

As we talked, it was apparent that virtually a new organ would be the best option, although much of the existing pipework could be retained if it were rescaled, revoiced and placed on a new, reliable chassis. The organ needed to be reliable and have a wider dynamic range, more tonal colors and a strong sense of presence in the room. It had to strongly lead and accompany congregational singing and sensitively render choral, solo and instrumental accompaniment.

From the outset, one of my pervading concerns was the church’s acoustic, which, while fine for chamber music, was a bit dry for organ and choral music and congregational singing. Having noted the difference in the acoustic when the room was more fully occupied, I knew the challenge of filling the room efficiently would be a mandate for the builder.

Our task began to take shape. Meetings were held and candidate builders were vetted. As work continued, a stop-list began to emerge, while we kept in mind budget and space limitations. One of my thoughts was to ask for a façade, as the previous organ had nothing visible but for a console in a lowered pit in the choir area. I reasoned that a façade would reinforce the impression that the church was getting something new, better and different. We agreed from the beginning that the organ should remain an all-pipe instrument.

After naming a few candidates, one firm was clearly the most interested, experienced and willing to work with us and on this organ. Having known the Odells and their fine lineage of historic instruments as well as their excellent work on new organs and various projects over many years, I was happy to welcome their presence.

The church had Edward and Holly Odell give the organ a full tuning and submit a proposal for either rebuilding or a new organ. As the Odells looked through the organ, they determined that a new console, chassis and electrical system would be required, and that it would be possible to rebuild one small windchest, but otherwise new windchests would be required throughout. By adding a façade for visual interest, some new pipework and retaining about half the existing pipework (though carefully rescaled and revoiced), the organ could take on a new character that would be far more flexible and of greater quality than its predecessor. This concept, coupled with their thorough proposal, helped to land them the contract.

As the new organ design was developed, the specification was refined. Among the ideas we discussed was the clever suggestion to borrow the Great 4’ Octave as an 8’ Second Principal stop on the Great, creating a secondary 8’ Principal for smaller combinations. The stop could also be used to fill out foundation tone when needed. As we continued to explore various tonal issues, it was noted that the old organ had no soft reed color or solo flute color. Among other things, Odell suggested adding an 8’ Oboe and building a new Harmonic Flute, patterned after historic Odell examples, but carefully adapted for the flute scales at Westport.

My early recommendations had included new 22⁄3’ and 2’ principal stops to replace the existing flute-scaled 2’ in the Great. The Odells suggested going further to install a new Mixture to create a full Principal chorus, giving the organ a sense of ensemble, a true plenum, something it never had.
Having listened to the result, I can state these stops create a truly full-sounding principal chorus, finally integrating the instrument into the room. The organ as conceived by the Odells has made a huge difference for hymn and repertoire playing and can now “ring the room” more effectively.

The Great also contains the revoiced 8’ Bourdon, now sounding more like a continuo stop, suitable in choral music or to accompany the Swell’s cornet decomposée. The Gemshorn and its Celeste were retained for flexibility in accompanying and providing more soft colors.

The Swell received “the Odell treatment,” in that all the pipework was revoiced. The flues, strings and mutations were all transformed by voicer Holly Odell, and the reeds were reworked to make a dramatic difference. The strings and 8’ Rohrflute now have more presence and can fully support the choir, as well as contribute to the ensemble. The Swell cornet decomposée is now nicely balanced, and the flutes have a more piquant character.

The new 8’ Oboe offers a nice color for softer choral accompaniment and foundation combinations, as well as providing a new solo stop. The existing 8’ Trompette, originally extended to 16’ for the Pedal, was also cleaned, revoiced and regulated into a stop that now serves a dual-purpose chorus/solo reed. The 16’ octave, now reconditioned, adds more gravitas to the Pedal and the full ensemble.
The full ensemble now fills the church worship space with a richer, warmer and well-blended tone. The softer sounds are more usable and possess a wider dynamic range, so the possibilities for choral, vocal and instrumental accompaniment are greatly enhanced.

As a concerned observer, I paid close attention to the project throughout the building process. The Odells always welcomed my inquiries and kept all parties informed with frequent photographs from their shop. Once the installation commenced, it was exciting to see how beautifully designed and well made all components of the organ were, both inside and out. During the tonal finishing, it was gratifying to witness the attention to detail in balancing each stop and the various ensembles. Further, it was refreshing to hear from the builder that materials and workmanship were never an issue; they simply insisted that in every aspect things be done thoroughly, with the highest level of attention to detail.

The organ is now in regular use and a series of dedication concerts have been planned. My thanks go to Edward and Holly Odell, their associates, to Todd Simmons and the United Methodist Church of Westport and Weston, Connecticut, and the donor for having me work with them in a collaborative effort to complete this important project to enrich the worship and outreach of this vibrant congregation.

—K. Bryan Kirk, advisor/consultant

J.H. & C.S. Odell Opus 645

United Methodist Church of Westport and Weston, Westport, Connecticut

Great (Wind pressure 4")

8’ Principal CC–AA en façade, otherwise 70% tin, 61 pipes

8’ Second Principal 1–12 from Principal 8’, 13–49 from Octave 4’

8’ Bourdon 70% tin, arched cutup, 61 pipes

8’ Harmonic Flute 1–12 from Bourdon 8’, 13–61 from Harmonic Flute 4’

8’ Gemshorn 70% tin, 2/3 taper, 61 pipes

8’ Gemshorn Céleste 70% tin, 2/3 taper, 49 pipes

4’ Octave 70% tin, 61 pipes

4’ Harmonic Flute 55% spotted metal, special Odell scale, harmonic at
middle C, 61 pipes

22⁄3’ Quint 55% spotted metal, 61 pipes

2’ Super Octave 55% spotted metal, 61 pipes

III Mixture 55% spotted metal, 19-22-26, 183 pipes

Chimes. 25 tubes


Swell (Expressive, in existing chamber, wind pressure 4")

16’ Rohr Gedeckt wood, 13–61 from Rohr Flute 8’, 12 pipes

8’ Rohr Flute 70% tin, chimneyed, 61 pipes

8’ Gamba 70% tin, bearded, 61 pipes

8’ Gamba Céleste 70% tin, bearded, 49 pipes

4’ Spitz Principal 70% tin, 2/3 taper, 61 pipes

4’ Flute 55% spotted metal, 2/3 taper, 61 pipes
22⁄3’ Nazard 70% tin, capped and chimneyed to middle C, 61 pipes

2’ Block Flute 70% tin, 61 pipes

13⁄5’ Tierce 55% spotted metal, 2/3 taper, 61 pipes

8’ Trompette double blocked, French shallots, 56 reeds, 61 pipes

8’ Oboe dual taper resonators, English shallots, 49 reeds, 61 pipes

Tremulant


Pedal

16’ Subbass wood, 32 pipes

16’ Rohr Gedeckt from Swell

8’ Octave CC–GG# en façade, otherwise 70% tin, 32 pipes

8’ Bourdon extension, Subbass, 12 pipes

8’ Rohr Flute from Swell

4’ Choralbass extension, Octave 8’, 12 pipes

4’ Flute from Swell

16’ Trompette extension to Swell Trompette, 12 pipes

8’ Trompette from Swell

8’ Oboe from Swell

4’ Clarion from Swell

J.H. & C.S. Odell, East Hampton, Connecticut, Opus 644

St. Ann’s Episcopal Church, Bridgehampton, New York

From the Rector of St. Ann’s

The committee all agreed--something had to be done. For
years the church organ had been in irreversible decline, and the time had come
to act. I regarded this to be a daunting and confusing challenge in which we
needed professional counsel. Dr. Mark Andersen guided us through the various
options and needs of the decision-making process, and by July 2004 it was
agreed that J.H. and C.S. Odell of East Hampton, Connecticut be engaged to
restore the organ. It was a decision that we would never regret.

In September 2004, Edward and Holly Odell arrived to remove
the existing organ. Pipes were carefully laid out in special boxes. Frames and
blowers were removed--and those were only the things that I could
identify! It all happened remarkably quickly, and before long the truck was
driven away leaving a large space where the console had once stood, and a
spotlessly clean church where the disassembly had taken place.

The novelty of using just piano and occasional other
instruments wore off after Christmas, and we waited anxiously for the organ to
return. Our patience was not helped by tantalizing photographs and reports sent
regularly from the Odell factory showing the new instrument taking shape!

It was March 2005 (the day I was flying off on vacation)
that the Odell team returned. It was time to put the whole thing together, but
it was only two weeks before Holy Week, and three to Easter. Could it really be
done?

Eight days later I returned to find the church in wonderful
disarray with parts and pipes everywhere, and Edward Odell looking and sounding
confident, if a little tired. Yes, of course it could be done. The project was
running according to schedule. The organ would be partly voiced by Palm Sunday
and ready for Easter.

Every part was in place and every promise fulfilled. A
magnificent new console was carefully maneuvered into position. Pipes were
ready and being expertly voiced by Holly Odell. Cables and wires were
connected. The organ had life--and was indeed ready for Easter morning. It
was resurrection in a different form!

We have not looked back since then. Not only has this
instrument enhanced our Sunday worship, it has enabled us to host a season of
superb organ recitals over the summer, and earned for St. Ann’s Church a
reputation for being a place where good music can be found.
style="mso-spacerun: yes"> 

Working with the Odell Organ Company has been not only a
proven right decision but also a joy. From the outset we not only admired the
professionalism of Edward and Holly Odell, but also came to share in their love
of organs and sheer depth of knowledge in their field. All these things,
coupled with their warmth and sense of humor, have made the whole process one
which we can reflect on with immense satisfaction. It is never an easy task for
a small parish church to embark on such a large project and investment, but we
know that we have learned and benefited so much from choosing the right organ
and the right builder.

The Reverend Tim Lewis, Rector

St. Ann’s Episcopal Church

Bridgehampton, New York

From the Consultant

As an organ consultant for nearly 35 years, I have had the
opportunity to design a large range of instruments from the smallest two-manual
to several five-manual instruments throughout the United States, England, and
Australia.

St. Ann’s parish is that wonderful combination of
sophistication in a relaxed atmosphere. It is many New Yorkers’ church away
from home, and the organ would have to meet the discriminating tastes of
parishioners who worship in some of the largest churches in the metropolitan
area.

There was not much with which to start--an old hybrid
Möller from the ’20’s that was on its very last legs after having several ranks
replaced over the years. I designed an organ specification capable of
accompanying a proper Anglican service, but in a size and fit that matched St.
Ann’s. After requesting bids from many organbuilders, it was clear that J.H.
& C.S. Odell had the talent to see the task through with outstanding
results. Tonally the organ now fits the space perfectly and is complete enough
in specification to satisfy even the most discriminating organists. The
craftsmanship is superb, and the voicing is clear and clean, leaning beautifully
toward the English tradition. The project has surpassed my expectations.

Mark Andersen, PhD

New Berlin, New York

From the Organbuilder

Our Opus 644 began life as what could be termed a “Heinz 57”
instrument, which is to say it featured a combination of pipes and parts from a
combination of organbuilders and suppliers. The console case and most of the
wooden pipes in the organ date from a five-stop 1927 M.P. Möller instrument,
which was then rebuilt and altered in the early 1970s. It was during this 1970s
rebuild that much of the original pipework was replaced.

As we found it, the organ was a unified instrument of modest
resources, most of them well made if not terribly well looked after. It was
unrefined, but met the basic requirements. In the 1980s a German supply house
Trumpet 8’ and Mixture III (inexplicably, a Zimbel based on 2?3’ pitch) were
added, along with a polished tin Gemshorn that was used to form a façade. The
entire organ was in a single expression chamber to the right of the chancel. The
existing electro-pneumatic unit chests, made from solid mahogany, were in good
physical condition, though the installation made maintenance access difficult
in certain areas.

In July of 2004, Dr. Mark Andersen (organ consultant to St.
Ann’s) approached us with a prospectus that included a rebuild and enlargement
of the organ. In addition to new pipes and new chest work, a new 3-manual
terrace-jamb console was part of this plan.

Dr. Andersen’s proposed stoplist would add a total of nine
ranks to the organ. The scheme had an immediate appeal, as it would expand the
resources of the organ to include a full principal chorus in the Great, as well
as a new 8’ Rohrflute to contrast the existing Chimney Flute in the Swell.
“Fleshing out” the Great with six new ranks allowed us to recast the remaining
resources to work as a mostly independent Swell division. The new scheme would
also extend the existing Trumpet to 16’ pitch to play from the Pedal and add a
small Cornet (a tenor C, 2-rank 12/17 combination, scaled and voiced to match
the new Great flute).

The challenge, of course, was to now somehow fit 19 ranks in
a space that before barely contained eight. Early in the design process it became
evident that much of the precious real estate in the organ chamber could be
reclaimed if the many offset chests for various ranks could be consolidated
onto a new single offset chest that would also provide for the new Trumpet 16’.
We also wanted to ensure the new chamber layout would permit adequate access
for service and, most importantly, tuning. Rebuilding the existing expression
shades and fitting them with new expression controllers made available space
that had been previously occupied by a pneumatic motor with an unwieldy linkage
system.

We developed a new 7’4? diatonic chest scale to accommodate
the new stops and the relocated Gemshorn. The existing Principal 8’ was
carefully revoiced to give it more moderate power, and the new principal ranks
were scaled and voiced to build from this new foundation. The new Great Bourdon
8’ was voiced using a special arch cutup schedule, which lent the pipes a color
that allows the stop to work superbly as both a solo and ensemble voice. The
Swell was given its own new 3-rank mixture based on 2’ pitch, and the existing
Zimbel mixture was recomposed into a more appropriate chorus mixture based on
11?3’ pitch for the Great.

Though the action for the new chestwork was specified to be
electro-mechanical, we milled all windchest toeboards to be no less than one
and one-half inches in thickness. This, along with proper attention to voicing,
successfully offset any pipe speech problems normally anticipated with this
type of action. Our windchests were made from solid poplar, with the exception
of the toeboard for the new Swell Mixture, which was milled from sugar pine.

The new console and case, both entirely of our own design
and manufacture, were milled  in
our East Hampton shop from solid quarter-sawn white oak, and stained and
finished to match existing fixtures in the sanctuary. The console interior
(stop jambs and key cheeks) was milled from solid walnut and finished with
hand-rubbed Danish oil. The façade pipes are polished tin, made to custom
specifications we developed and submitted to our friends at Giesecke. The new
flue pipes were built to our scales by Luc Ladurantaye Tuyatier of Lac Saguay,
Quebec.

Along with the standard complement of accessories, the
console features an integrated control system with multiple memory levels,
programmable crescendo and sforzando, 12-step transposer and MIDI interface for
record and playback ability. The digital Antiphonal division was contracted and
installed separately by Artisan Instruments.

Edward Odell

J.H. & C.S. Odell

Glück New York,

New York, New York

The Church of Our Lady of Loretto, Cold Spring, New York

This historic church, known for its remarkable collection of
stained glass windows, was recently restored, with a new instrument and a
marble chancel floor included in the renewal plans. Under the direction of Fr.
Brian McSweeney, Pastor; Frances Pergamo, Director of Music; and Fr. Richard D.
Baker of the New York Archdiocese, three organbuilders were each invited to
present their vision of an appropriate musical instrument. The smallest and
most stylistically focused proposal submitted, the new Glück organ occupies a
traditional position in the rear gallery to great acoustical advantage. While
the organ looks toward the French orgue d’accompagnement of the 1860s for both
its concept and tonal palette, it is certainly not intended to be a stylistic
copy.

The manual soundboards are placed side-by-side at impost
level, with the Swell to the right, its vertical shutters operated by direct
mechanical linkage. The two large wooden pedal stops stand on their own
windchests behind the organ. The Great organ incorporates some pipework from a
mid-1870s Levi Underwood Stuart organ of undetermined provenance. Interior
metal pipes are of 70% lead alloy, except for the Swell strings, which are of
50% tin. Wooden pipework is of pine and fir. The façade pipes are built with
English bay leaf mouths arrayed in a swag pattern after Gottfried Silbermann’s
façades of the 1740s.

The walnut keydesk en fenêtre sports beveled figured maple
jambs and pao ferro drawknobs. Both pedal and manual accidentals are Brazilian
rosewood. Compasses are 56/30; there is no combination action, but the three
unison couplers are reversible by toe paddles. The case is painted in various
shades of olive, with details in sapphire, ruby, and faux marbre. Architectural
design was by Sebastian M. Glück, who executed the Neapolitan-style angel,
tower finials, and buttress niches, which are suitably polychromed and gilded.
Color photographs may be viewed at the firm’s web site at
<www.glucknewyork.com&gt;.

The structural design and layout are the work of Albert
Jensen-Moulton, general manager of the firm, who was assisted in the
construction of the organ by Dominic Inferrera, foreman. Voicing and tonal
finishing were accomplished on site by Sebastian M. Glück, tonal director. The
organ was formally dedicated in a series of three recitals by Lana Kollath, Dr.
Jennifer Pascual, and the builder.

--Benito Orso

GREAT

8’               Open
Diapason

8’               Open
Wood Flute

4’               Principal

2’               Doublet

8’               Hautboy
(from Swell)

                       Swell
to Great

                       Swell
to Great Octaves

SWELL

8’               Salicional

8’               Voix
Céleste

8’               Stopped
Diapason

4’               Harmonic
Flute

8’               Hautboy

                       Tremulant

                       Swell
to Swell Octaves

PEDAL

16’           Open
Wood Bass

16’           Stopped
Bass

8’               Octave
style="mso-spacerun: yes">  from Great

8’               Hautboy
from Swell

                       Great
to Pedal

Swell to Pedal

                       Swell
to Pedal Octaves

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois

Maxwell Street Presbyterian Church, Lexington, Kentucky, Buzard 2009–2010 renovation

Hayes Barton United Methodist Church, Raleigh, North Carolina, Buzard Opus 39, June 2010

I am proud to showcase a recently completed new organ, and a renovation project successfully accomplished by our service and tonal departments, to give a glimpse into the depth of our firm, and the differing types of projects that we regularly and successfully undertake.
Some years back The Diapason featured a renovation project of ours at First Presbyterian Church, also in Lexington, Kentucky. Word of the success of this project quickly sped through the community, and we were contacted by Maxwell Street Presbyterian Church’s music director, Clif Cason, about the possibility of giving their 1963 Rieger tracker action organ a mechanical and tonal “going over.” He and the parishioners at Maxwell Street Church liked the transparency and vigor of the organ’s neo-Baroque style, but weren’t convinced of the inharmonic noise in the flue voicing, nor the unstable and thin-toned reeds. The organ exhibited mechanical symptoms which signaled that work was necessary, and we discovered that the organ was impossible to tune, or keep in tune.
All of us had a turn to inspect this organ: general manager Charles Eames, tonal director Brian Davis, service department director Keith Williams, service department foreman, David Brown, and I. We discovered that the pallets had been covered in a foam-rubber substance, which was becoming sticky and gooey. Additionally, the felt bushings in the keyboards and pedalboard had worn to a point at which the action was clattery. The organ leaked wind inordinately, especially where the pull-down wires exited the slider chests’ pallet boxes.
We re-covered the pallets with felt and leather. All the deteriorated leather purses at the pull-down wires were replaced with felt punchings held down by small lead weights. Keyboards and pedalboard were restored, tracker “combs” that had been removed were replaced, small “bleed” holes were drilled into the slider chests’ tables, and the action was re-hung and balanced properly. Since re-regulating the action and eliminating the flaws we found in our initial inspection, we have discovered that many of the steel needle-axles that act as a bearing for the actions’ squares have worn and will on occasion jump out of their bearing clevises. Replacement of these axles will be a future maintenance operation.
Tonally, the organ was not a happy instrument. Years of heavy cone tuning had done its damage, especially to the small mixture pipes in the organ. Tuning scrolls on façade pipes and the larger flue pipes on the chests had been rolled down too far, and could not tune flat enough. Throughout, the sound was noisy, with a disproportionate amount of speech articulation, scratchiness in the tone, and in many of the small mixture pipes, quick speech to the point of over-blowing an octave. The reeds’ resonators were too short to couple to the pitches that the reeds’ tongues were producing, contributing to a thin and unstable tone. We all concluded that the existing flue pipes could be physically restored and the voicing amended for a significantly improved musical result. However, the reed pipes needed to be replaced.
Our tonal director, Brian Davis, came to us from Visser-Rowland & Associates and was not only intimate with the techniques of flue-regulation voicing, but also significant achievements in neo-Baroque reed making that had been made by German reed pipe maker Roland Killinger in the late 1960s. These developments produced neo-Baroque reeds of excellent tone and tuning stability, even though voiced on very low wind pressures. Ironically, just as Mr. Killinger’s experiments began to produce results, the neo-Baroque trend ended, and few of these new reeds were ever made—until this project.
All of the organ’s pipes (except the largest wood pipes screwed onto the case sides) came back to our workshop for cleaning, repair, and re-voicing. The damage to the small pipes by heavy cone tuning was too significant to warrant restoration of the cone-tuning system, so we installed stainless steel tuning slides on the smaller pipes, and restored (in many instances replaced) the scrolls on the larger pipes. While we had the pipes out we also removed the toeboards to vacuum clean the chest tables and sliders, and to manufacture toeboard overlays and new racking for the new reeds. We observed that the organ used modern-style spring-loaded slider seals, except that from about middle “C” on up these sleeves were sealed with diaphragms of pneumatic leather—all of which were ripped and leaking. No wonder this organ could not be tuned, and no wonder former technicians simply bashed and bashed those poor little pipes sharper and sharper with their tuning cones—because they weren’t receiving enough wind, because of the leaking leather! New slider seals sans leather replaced the originals. Not surprisingly, now the organ can be tuned, and stays in tune.
In order to get as much sound from the relatively small-scaled 16′ Subbass pipes (stamped “Lieblich” by the way), the corrugated tubing connecting the toe holes on the chest to the toes of the pipes screwed onto the case was replaced with larger diameter tubing, and we installed “lifters” onto the pallets, so that the pedal action would be able to open the pallets farther.
There was a half-length 16′ Posaune in the Pedal, but it was of such small scale, producing no fundamental pitch, that we opted to place a nicely scaled 8′ Trompete in its place. Music director Clif Cason envisions a second phase of the project to install a new full-length 16′ Posaune in the back of the organ, and a Pedal 16′ Offenbass in additional cases alongside the existing instrument. This may be tied into a long-hoped-for chancel renovation and re-configuration project.
The re-installation of the organ took approximately two weeks, and tonal finishing occupied three weeks. The result is a phenomenally clean, clear, transparent, buoyant, musical sound. The reeds are full and round, the direct result of Roland Killinger’s research from the 1960s. This organ, and our rebuilt organ at First Presbyterian Church, will be featured in the AGO regional convention to be held next summer in Lexington.
It is possible to work faithfully in a style that may not be one’s own when renovating an existing instrument. But this takes complete subrogation of one’s self from the tonal and mechanical equation. Our firm has the depth and experience to successfully undertake such a project, while at the same time developing our own personal style of modern organbuilding. Many know that I’m a romantic at heart. One of my colleagues said to my son at the recent AGO convention (to paraphrase) “It’s because of your father, that we can build modern romantic organs.”
The new organ at Hayes Barton United Methodist Church in Raleigh, North Carolina came about because the wonderful people on the organ committee had a romantic and emotional reaction to our organs at All Saints Episcopal Church in Atlanta, Georgia, and Williamsburg Presbyterian Church in Williamsburg, Virginia. They asked their consultant, Keith Shafer, why they needed to listen to any other builders’ instruments after hearing ours, because they knew in their hearts that they had fallen in love. But they followed the consultant’s discipline, and hearing others confirmed their impression of heart. They had to have a Buzard organ in their church!
Their organ project was coupled with a tremendously successful sanctuary renovation project, in which the visual and acoustical environments were transformed into a dignified, lively and holy place of worship. Organist David Witt spent endless hours coordinating architects, contractors, and consultants. The interior designer was Terry Byrd Eason and the acoustician was Dana Kirkegaard.
Engineering this instrument of 43 stops and 52 ranks was one of the greatest physical challenges for executive vice-president Charles Eames (also a Visser-Rowland alumnus). Every inch of roof gable, every nook and cranny of former organ chambers, and a space above a newly developed sacristy became home for the instrument, all of which can easily be reached for maintenance and tuning.
The warmth and breadth of the tonal palette encompasses a dynamic and lively Principal chorus as the backbone of the instrument, as well as flute, string, and reed choruses. No two stops of the same class are identical, which translates into tremendous tonal variety. The organ can accompany a single small child, through a choir of 100. And, the improved acoustics coupled with our voicing allows one to feel the sound all around oneself, and that one is always supported in singing.
During our last week of tonal finishing in early June, son Stephen came down to Raleigh from his last summer at Westminster Choir College in Princeton, New Jersey, and played an impromptu concert for the members of the church’s building and organ committees. Playing for about half an hour, the clarity of the Principal choruses was highlighted, then the softer, suave voices in the Swell and Choir as well as the lyrical reeds; then the organ’s orchestral nature shone in the Willan Introduction, Passacaglia, and Fugue. All agreed that they never thought pipe organs could sound this way.
Yes, I am a romantic at heart, a professional of mind, perhaps a pragmatist and dreamer all rolled into one. But so is everyone else on my staff, and we would love nothing more than to be a part of your worshipping community, whether it involves building you a new pipe organ, or renovating an instrument you have, with which you want to fall in love again.
—John-Paul Buzard

Maxwell Street Presbyterian Church, Lexington, Kentucky
1963 Rieger Orgelbau, Austria, mechanical action, 21 stops, 30 ranks
2010 renovations John-Paul Buzard Pipe Organ Builders, Champaign, Illinois. Completed October 15, 2010

HAUPTWERK Manual I 55mm wind pressure
8′ Principal 61 pipes
8′ Röhrflöte 61 pipes
4′ Octave 61 pipes
II Sesquialter 122 pipes
2′ Blockflöte 61 pipes
11⁄3′ Mixtur V 305 pipes
16′ Röhrschalmei 61 pipes*
8′ Trompete 61 pipes*
II–I 8′

POSITIV Manual II
55mm wind pressure
8′ Holzgedeckt 61 pipes
4′ Principal 61 pipes
4′ Koppelflöte 61 pipes
2′ Octave 61 pipes
11⁄3′ Quint 61 pipes
2⁄3′ Scharff IV 244 pipes
8′ Krummhorn 61 pipes*
Tremulant

PEDAL 55mm wind pressure
16′ Offenbass (* prepared for)
16′ Subbass 44 pipes
8′ Octavbass 32 pipes
8′ Subbass 32 notes
4′ Gemshorn 32 pipes
2′ Rauschpfeiffe III 96 pipes
16′ Posaune (* prepared for)
8′ Trompete 32 pipes*
4′ Schalmei 32 pipes*
Tremulant
I–P 8′
II–P 8′
(* denotes new pipes)

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois
Hayes Barton United Methodist Church, Raleigh, North Carolina
Three manuals, 43 stops, 52 ranks, electric-slider action
Completed June 2010

GREAT (4-inch wind pressure)
16′ Lieblich Gedeckt 61 pipes
8′ Open Diapason 61 pipes
polished tin in façade
8′ Viola da Gamba 61 pipes
8′ Flûte Harmonique 61 pipes
polished tin in façade
8′ Bourdon 61 pipes
4′ Principal 61 pipes
4′ Spire Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2’ Fifteenth 61 pipes
11⁄3′ Mixture IV 244 pipes
8′ Trompete 68 pipes
(doubled flue trebles)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)
8′ Major Tuba (Choir)
Tuba Solo (melody coupler)
Tremulant
Cymbalstern 14 bells
Chimes (digital)
Great-Great 16-UO-4
Swell-Great 16-8-4
Choir-Great 16-8-4

SWELL (4-inch wind pressure)
16′ Gedeckt Pommer 43 pipes
(1–18 from Great)
8′ Violin Diapason 61 pipes
8′ Stopped Diapason 61 pipes
8′ Salicional 61 pipes
8′ Voix Celeste 61 pipes
8′ Flûte Cœlestis 86 pipes
(Ludwigtone)
4′ Principal 61 pipes
4′ Harmonic Flute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Recorder 61 pipes
13⁄5′ Tierce 61 pipes
2′ Full Mixture IV 244 pipes
16′ Bassoon 85 pipes
8′ Trompette 68 pipes
(doubled flue trebles)
8′ Oboe 61 pipes
4′ Clarion (ext Bassoon)
8′ Major Tuba (Choir)
Tremulant
Chimes (digital)
Swell-Swell 16-UO-4

CHOIR (4-inch wind pressure, except as noted)
8′ English Open Diapason 61 pipes
8′ Flûte à Bibéron 61 pipes
8′ Dulciana 61 pipes
8′ Unda Maris 49 pipes
4′ Principal 61 pipes
4′ Block Flute 61 pipes
2′ Doublette 61 pipes
11⁄3′ Larigot 61 pipes
1′ Fourniture IV 244 pipes
8′ Clarinet 61 pipes
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)
8′ Major Tuba 61 pipes
25 inch wind pressure
Tremulant
Chimes (digital)
Harp (digital)
Celesta (digital)
Choir-Choir 16-UO-4
Swell-Choir 16-8-4

PEDAL (4-inch wind pressure, except as noted)
32′ Double Open Diapason (digital)
32′ Subbass (digital)
32′ Lieblich Gedeckt (digital)
16′ Open Diapason 32 pipes
wood and metal in facade;
1–6 12-inch wind
16′ Bourdon 44 pipes
8′ Open Bass 44 pipes
polished tin in façade
8′ Principal 44 pipes
polished tin in façade
8′ Bourdon (ext)
8′ Violoncello 32 pipes
polished tin in façade
4′ Choral Bass (ext)
4′ Open Flute (ext)
16′ Trombone 85 pipes
7-inch wind pressure
16′ Bassoon (Swell)
8′ Trumpet (ext)
4′ Clarion (ext)
8′ Major Tuba (Choir)
Chimes (digital)
Great-Pedal 8-4
Swell-Pedal 8-4
Choir-Pedal 8-4

Photo credit: John-Paul Buzard

800/397-3103
www.Buzardorgans.com

Berghaus Pipe Organ Builders, Bellwood, Illinois
St. Jerome Catholic Parish, Oconomowoc, Wisconsin
Berghaus Pipe Organ Builders has built a new pipe organ for the people of St. Jerome Catholic Parish in Oconomowoc, Wisconsin. Opus 226 contains 53 ranks, 42 stops, and 3,019 pipes. The project was made possible by the generosity of the people of St. Jerome Catholic Parish, as well as other benefactors and contributors from the community.
Plans to relocate St. Jerome Parish began in the fall of 1997 as it became clear that the parish was expanding beyond the physical limitations of their historic downtown church. By August 1998, the parish had purchased 37 acres of land and begun planning for a parish-wide campaign. The school was constructed first, and was dedicated on September 11, 2004. A second parish-wide campaign began in January 2005, resulting in the dedication of the church on November 15, 2008. The new 1,000-seat nave nearly tripled the previous sanctuary’s capacity of 350, and provided the parish with a bright, modern worship space with a more favorable acoustical signature.
From the onset of the project, it was clear the existing 1918 Kimball organ would need to be incorporated into the new instrument to minimize new pipe costs. The two-manual, 15-rank organ, located in the center of the rear balcony, was entirely installed in a case against the rear wall. Despite additions in the early 1980s, the organ was of typical early twentieth-century liturgical design. The stoplist incorporated six stops at 8′ pitch, two stops at 4′, and a 16′ Bourdon in the Pedal. Added ranks included a 22⁄3′ Quinte, 2′ Octave, and Mixture IV in the Great. Original voicing and pressures were retained on the Kimball pipes at the time when the organ was augmented, which did little to bridge the gap between the old and new pipes. Thankfully, the new pipes were under-voiced, which would give Berghaus ample latitude in tonal finishing. Additionally, the bottom octave of the 4′ Flute d’Amour was abandoned, and the pipes were shifted down to create a 2′ Flute in the Swell.
In the new church, the organ was planned to occupy both ends of the nave. Great, Swell, and Pedal divisions would be entirely new, and located in the rear gallery. The Antiphonal division would be installed in one chamber, above and to the left side of the chancel. We chose not to divide the resources of the Kimball, but rather use them to create the new Antiphonal division. Furthermore, the Antiphonal chamber would be situated at the same height as the gallery organ to promote tuning stability.
Special consideration was taken in planning pipe scales for the gallery instrument, with the intent that the Antiphonal organ would not be a dark distraction to the new organ. Our present tonal philosophy reflects an eclectic approach, which is conducive to blending early twentieth-century voicing styles. We took our cues from the best elements of late nineteenth-century English organs, tempered somewhat by elements of romantic French and early romantic German organbuilding. All flue scales in the gallery are variable, changing throughout the compass for acoustic and practical reasons. The result is an instrument that, while separated by distance, successfully works as a whole tonal concept, which in turn is able to effectively provide the combinations necessary for liturgical music and beyond. Differing foundation and flute resources are available for cantorial accompaniment, projecting close to the lectern. The Antiphonal also contains the softest string sounds for tonal effects in anthems and voluntaries. When the full resources of the Antiphonal are coupled to the gallery organ, the Antiphonal “carries” the sound of the gallery organ forward down the nave, while at the same time seamlessly blending with the gallery without detracting from its timbre.

Great
The Great division consists of 15 stops, 16 ranks, and is divided between one large slider chest and one electro-pneumatic chest. The division is located directly above the Swell enclosure, and is based on the 8′ Principal, which is located primarily in the façade and constructed of 75% tin, with spotted metal in the treble. The 8′ Principal is scaled near Normalmensur plus two, which on 80mm wind pressure fills the nave with a warm yet gentle tone. It is voiced full in the bass, and has clarity in the treble to reinforce the melody line. The Principal chorus is complete through a four-rank mixture, and includes mutations that are meant to reinforce the plenum. Flues are primarily in spotted metal with the intent to add warmth to the overall tone, yet allow for brightness in finishing.
Additional 8′ stops (Flute Harmonique, Bourdon, Gemshorn, and Gemshorn Celeste t.c.) complete the standard fonds d’orgue, as well as add the unique flexibility of a third, unenclosed celeste. Tonal considerations were made to allow the scaling of this hybrid pair to be generous, yet with a low cut-up to provide clarity of tone. The 8′ Trumpet is designed with German shallots to provide a blending quality, which is meant to enhance the plenum. By contrast, the horizontal Trompette en Chamade, which is mounted on the front of the case, is scaled and voiced to blend with full organ registration, and can be used as a solo stop for processionals and fanfares. Both reeds are voiced on 100mm pressure.

Swell
The Swell division consists of 17 stops, 15 ranks, and is also divided between one large slider and one electro-pneumatic chest. The division is based on the 8′ Diapason of spotted metal, which provides foundation to a complete principal chorus through the Plein Jeu. The scale of the Swell Diapason is three steps smaller and completely different in tone than the Great Principal. The Swell contains a wide variety of stops, ranging from French-style strings to a liquid 8′ Rohrflöte, which is unified at 16′ and made of wood. Mutations are broadly scaled to provide for a rich Cornet decomposée. We elected to use English construction for the 8′ Trompette in the Swell in order to provide a contrast in tone to the Great Trumpet.

Antiphonal
Restoration of the Kimball pipework involved restoration of each pipe in one form or another. While minor repair and remedial voicing work was necessary, the general pipe-making was excellent. Few pipes had been physically altered in previous rebuild efforts, which allowed for maximum flexibility in finishing. We replaced the leather on the stoppers of all wood pipes, and in the spirit of the original Kimball, we provided twelve bass pipes to the Flute d’ Amour, and returned it to 4′ pitch. We also replaced the low twelve pipes of the Open Diapason, which replaced the badly damaged pipes of the original façade. All spotted metal pipes were dunked in a restorative solution, and fitted with new stainless steel sleeves. Finally, an 8′ Vox Humana was provided by Dr. Lee Erickson, friend to the project.
The 8′ Open Diapason of this division provides the organist with yet another Diapason tone. Made from a high-lead alloy, these pipes provide the tone one would expect from a Diapason of this vintage. The pipes are cut dead-length and scrolled. Undoubtedly they would have been originally over-length and slotted. Deep nicks in the languid and lower lip allow for open-toe voicing, which allows this stop to truly enhance the gallery instrument.

Pedal
Consisting of 19 stops, 8 ranks, the Pedal provides a solid foundation to this full instrument. Through calculated borrowing and tonal finishing, this division provides an ample variety of timbres and volumes. The 16′ Principal in the Pedal division (façade) is made from a combination of zinc and 70% tin pipes, and is finished with a silver-tone patina. The Pedal is further supported by an impressive unit 32′ Kontra Posaune, which is voiced full in order to provide an equal blend of harmonics and fundamental. We used tin-faced German shallots throughout the compass of this reed, which provides unique overtones required to enhance the pedal plenum, particularly when considering this stop will be used in part in cantus firmus.

Chests and wind system
Flue pipes of the Great, Swell and Antiphonal sit on Berghaus slider and pallet chests. Reeds and offset chests are electro-pneumatic action. The entire organ is supported by an interior steel structure, which provides stability while allowing unimpeded access to interior parts of the mechanism. Wind to the pipes is supplied by two blowers—one blower for the gallery organ, and one for the Antiphonal. Our wind system provides absolutely steady wind through a balance of schwimmers and reservoirs. Wooden wind conductors help eradicate turbulence and are effective in eliminating noise. Slider chest wind pressures are 80 and 75mm, while reeds and Pedal are on 100mm.
The gallery organ case and organ console are constructed of maple, and are designed to incorporate architectural elements found throughout the worship space. Keyboards are in bone and rosewood, with African Kewazinga Bubinga stop jambs and coupler rail.
The construction of the organ at St. Jerome Parish was achieved through the dedication and teamwork of the entire Berghaus organization, which extends its sincerest gratitude to the people of St. Jerome Parish for enabling us to contribute to the life of their parish:

President: Brian Berghaus
Director of sales and marketing: David McCleary
Tonal design: Jonathan Oblander, tonal designer; Kelly Monette, head tonal finisher
Reed specialist: Steven Hoover
Structural and visual design: Steven Protzman
Shop foreman: Jeff Hubbard
Office manager: Jean O’Brien
Service coordinator: Joseph Poland
Construction/assembly/installation: Stan Bujak, Chris Czopek, Steve Drexler, Jeff Hubbard, Trevor Kahlbaugh, Kurt Linstead, Kelly Monette, David Mueller, Jonathan Oblander, Joseph Poland, Daniel Roberts, Tim Roney, Paul Serresseque, Ron Skibbe, Jordan Smoots, Paul Szymkowski, Mark Ber, Randy Watkins.

In addition, Berghaus Pipe Organ Builders gratefully acknowledges the invaluable assistance of Scott R. Riedel & Associates, Ltd. in the project, as well as the expertise and leadership of Fr. John Yockey, pastor, and Tom Koester, past organist of St. Jerome Parish.
­—Kelly Monette & Jonathan Oblander
Berghaus Pipe Organ Builders

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia

First Presbyterian Church, Savannah, Georgia

The new pipe organ for First Presbyterian Church, Savannah, Georgia is a custom-built instrument comprising 47 ranks of pipes with an eclectic specification paying homage to the American Classic school of organbuilding. A core concept of our company’s tonal ideal is “to design instruments that have warmth but not at the expense of clarity and clarity not at the expense of warmth.” We believe this to be one of the most important considerations in an instrument that draws its lineage from the organbuilding schools of Germany, France, and England. Of utmost concern was adequate support of the choir and congregation taking into account the acoustics of the church and the literature required of the organ in this worship setting.

The church musicians and organ committee had a clear vision for the type of organ they desired for worship when they contacted our firm three years ago. They listened to many instruments in order to define their ideals. Certain styles of organ design were clearly not suitable for First Presbyterian. Ultimately, they gravitated toward the collective work of Aeolian-Skinner circa 1940s–1950s as directed by G. Donald Harrison. As our firm worked with the church to develop a specification, it was decided that our work was to be in the spirit of this great builder but not a stop for stop copy. Key points of departure are found in the presence of an 8' Principal chorus in each manual division, a more dominant Choir division than would have been found in the period, and the choice of English reeds. Many of our decisions were guided by voicing sample pipes in the church prior to construction of the organ. While setting samples in the church it became evident that the French reeds often found on a Harrison-era organ would not be suitable in this acoustical environment.

During the planning and tonal finishing stages of the organ we worshipped with the choir and congregation in order to gauge critical balances and dynamic levels. We were also able to use the talents of the church musicians and other Savannah organists, each bringing their own playing and registration style to the instrument. This has been very important in the sound of the organ as it is heard in its final form.

A primary challenge was where the organ would be located. The church was built in the late 1940s and was designed to be enlarged by removing the front chancel wall. Until this came to pass, a temporary front chancel wall was built containing a large stained glass window depicting the Stations of the Cross. As the dream of a pipe organ lay dormant for many years, the congregation grew to accept the chancel design with its stained glass window and stone arch as key elements of the sanctuary. These elements were a cornerstone of the visual integrity and symmetry they wanted to maintain. Numerous design studies were undertaken with free-standing organ cases inside and outside the arch and its impact on the chancel stained glass window.

A visual design emerged from our engineering study that provided a focal point for the stained glass window with Christ as the center. The solution was to build a large chamber on the front of the sanctuary and to utilize a suspended light box for display of the window. In this manner we were able to speak around and under the window with a large degree of tonal freedom and minimal tonal occlusion. The organ chamber is built of solid concrete to concentrate the sound of the organ forward without a loss of energy. This allowed us to work with more modest scales and wind pressures than might have been required under other circumstances due to placement and chamber depth. During the installation and subsequent tonal finishing we were very pleased with the transfer of energy from this organ chamber design and construction.

The organ case was built of native white oak, finished to match other woods in the sanctuary. The lower case panels are designed as a reflective surface for the choir. The organ grille panels were designed to provide a decorative allure while acting tonally transparent. Our treatment of the organ grille panels allowed us to eliminate the use of grille cloth that is often tonally absorptive and does not allow a free exchange of air between the sanctuary and the organ chambers.

Ever mindful that an organ is musical only when it is in tune, we took great efforts in the design to provide a stable environment. A primary consideration was to place all of the manual and pedal pipework at one common level, thus avoiding differing thermo climes and the resulting tuning issues. The organ blower is located beneath the organ and draws its air from the bass of the Swell and Choir chambers. In this manner air is drawn from the same environment as the pipes to promote tuning stability. Metal windlines were used to dissipate heat buildup. The chambers were also designed with air returns in the ceiling to draw the ambient sanctuary air back into the chamber. This system is coupled to the sanctuary HVAC and runs whenever it is engaged. Thus no special controls are needed to set proper conditions in the church in respect to the organ. This careful attention to layout and other issues that affect the environmental conditions of the organ has enabled us to maintain a one-degree variance between all divisions, which promotes tuning stability.

To provide control over the volume of the organ’s resources, the organ contains two expressive boxes, one for the Swell division and one for the Choir division. Built with extra-thick shades that overlap and interlock, the expressive boxes provide wide dynamic control with electro-pneumatic servo-motors faithfully duplicating the performer’s movement of the expression shoes at the organ console. This degree of expression finds additional favor with control of the high-pressure hooded Tromba Heroique in the Choir division. Constructed with small Willis tuba shallots on 16? wind pressure, this dynamic reed is duplexed to the Great division and can be tamed for use as a chorus reed by its enclosure. Indeed, the degree of control allowed by truly effective expression allows the use of a variety of stops for choral and congregational accompaniment and tonal layering that is not often possible in other instruments.

Our firm built electro-pneumatic slider chest actions of the Blackinton variety with our electro-pneumatic primary design. This type of chest action has the ability to operate over a wide pressure range without the repetition problems and pressure limitations often associated with electric pull-down slider chests. Electro-pneumatic unit chests are provided for all large bass pipes, offset chests, and reeds.

One fabled and often debated element in organ mechanical design is the winding system of the modern organ. Often in art one can consider that anything that draws attention to itself is probably too much. This maxim is used as an internal compass in our decision-making processes. Our concern is a winding system that provides a solid wind supply without being sterile. The winding on the Savannah organ is accomplished through the use of ribbed and floating lid regulators fitted with weights and springs. The organ reeds are placed on independent wind regulators to allow a pressure differential from the flue stops and to permit independent tremulant control. All of the windchests are individually fitted with tunable concussion bellows to allow fine regulation. In this manner, we achieved stable winding that still maintains a presence of life.

The resources of the organ are controlled by a three-manual drawknob console. Built in the English style, the console sits on a rolling platform to allow mobility. The console exterior is built of white oak with an interior of mahogany and ebony. The console features modern conveniences for the organ performer such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back organ performances.

As the music ministry continues to grow, the organ is prepared for additional stops in the Great, Swell, and Choir divisions. There is also preparation for an Antiphonal division with a horizontal Trompette en Chamade in the rear of the sanctuary. These design considerations allow the organ to grow with the needs of the congregation.

The organ chassis, inclusive of the organ case, console, windchests, winding system and wood pipes were built entirely by the Schlueter craftsmen. Delivery and installation of the organ took five weeks with the tonal finishing lasting six weeks beyond the installation. Tonal finishing was completed under the direction of Arthur Schlueter III and Daniel Angerstein with the assistance of Lee Hendricks, John Tanner, Marc Conley, and Al Schroer. As is the practice of our firm, the tonal finishing of the organ has occurred with several repeat trips to work with the pipes and evaluate the results. We find that this method of tonal finishing results in a finer degree of voicing than is possible from one concentrated trip. It is expected that over the course of the year we will continue to make small changes and refinements.

Quality organ building is never the result of one individual but is the result of the synergy of a team. In this respect our firm was ably assisted by the clergy, music staff, church staff, organ committee chairman and the members of the organ committee. These individuals readily gave of their time and talents and provided invaluable assistance from the inception of the organ project to its installation and tonal finishing. Their effort, coupled with that of the craftsmen of our firm, has resulted in the creation of this unique instrument. We would like to take this opportunity to thank each of the individuals involved with this project. We would also like to publicly thank the members of the First Presbyterian Church in Savannah, the organ committee, and individual members including but certainly not limited to minister Stephen Williams, parish associate Nelle McC. Bordeaux, Ray McClain, organist, Jim Adams, music director, and organ committee chairman Bill Ricks.

Established in 1973, the A. E. Schlueter Pipe Organ Company is located of 20 miles east of Atlanta in the town of Lithonia, Georgia. The facility contains over 22,000 square feet of space dedicated to building organs for worship and recital. Created as a family business, the company is operated under the guidance of Arthur Schlueter, Jr. and Arthur Schlueter III. Together they provide direction to over 25 artisans in the building and rebuilding of pipe organs. In a desire to be mindful of the reason for the instruments, the seal of the company incorporates “Soli Deo Gloria,” God alone the glory. Additional information on our firm and projects can be viewed at .

—Arthur Schlueter III



A. E. Schlueter Pipe Organ Company wishes to thank its staff including:


Art Schlueter Jr.—president

Arthur Schlueter III—vice president/ tonal and artistic direction

John Tanner—vice president of production/tonal finisher

Howard Weaver—senior design engineer

Shan Dalton—office manager/ administrative assistant

Bob Parris—executive assistant

Marc Conley—shop foreman/tonal finisher

Randy Wilson—assistant shop foreman

Rob Black—master cabinetmaker/CAD organ design

Sam Polk—organ assembly, tuning assistant

Al Schroer—voicing, organ assembly & tuning

Dallas Wood—organ assembly, tuning assistant

Michael DeSimone—leather & small parts

Katrina Thornton—financial secretary

Barbra Sedlacek—office support

Joe Sedlacek, Sr.—console wiring

Joe Sedlacek, Jr.—organ assembly

Mark Montour—CNC operator/woodwright

Dustin Carlisle—organ assembly

Jeffery Chilcutt—organ assembly

Kelvin Cheatham—organ assembly

Kevin Cartwright—tuning & service

Bob Weaver—tuning & service

Othel Liles—electrical engineer

Patty Conley—organ assembly

Herb Ridgely, Jr.—sales and support staff

Don Land—sales and support staff

David Stills—sales and support staff

Noel Jones—sales and support staff

A. E. Schlueter: First Presbyterian Church, Savannah, Georgia,

III manuals, 47 ranks

GREAT (Unenclosed)

16' Sub Principal

8' Open Diapason

8' Principal

8' Harmonic Flute

8' Bourdon

8' Gemshorn (Choir)

8' Violone

4' Octave

4' Flute

2' Fifteenth

IV–V Fourniture 11?3'

8' Clarinet (Choir)

16' Tromba Heroique (non-coupling) (Choir)

8' Tromba Heroique (non-coupling)
(Choir)
4' Tromba Heroique (non-coupling) (Choir)

Zimbelstern

Chimes (Choir)

Tremulant


SWELL (Expressive)

16' Lieblich Gedeckt

8' Geigen Principal

8' Chimney Flute

8' Viole de Gambe

8' Viole Celeste

8' Flauto Dolce

8' Flute Celeste

4' Geigen Octave

4' Nachthorn

22/3' Nazard

2' Recorder

11/3' Tierce

IV Full Mixture 2'

16' Bassoon

8' Trumpet

8' Oboe

4' Clarion

Tremulant

Swell to Swell 16'

Swell Unison Off

Swell to Swell 4'


CHOIR (Expressive)

16' Gemshorn

8' Principal

8' Holzgedeckt

8' Gemshorn

8' Gemshorn Celeste

4' Principal

4' Spindle Flute

2' Fifteenth

11/3 ' Larigot

1' Sifflote

III Scharf 2/3'

8' Clarinet

16' Tromba Heroique (non-coupling)

8' Tromba Heroique (non-coupling, high-pressure, hooded)

4' Tromba Heroique (non-coupling, high-pressure)

Harp (digital)

Tremulant

Choir to Choir 16'

Choir Unison Off

Choir to Choir 4'


Antiphonal (prepared for)


PEDAL

32' Violone (digital)

32' Bourdon (digital)

16' Contra Bass (digital)

16' Sub Principal

16' Gemshorn (Choir)

16' Subbass

16' Lieblich Gedeckt (Swell)

8' Octave

8' Gemshorn (Choir)

8' Bourdon

8' Gedeckt (Swell)

4' Choral Bass

4' Cantus Flute (Great)

2' Flute (Swell)

III Mixture 22/3'

32' Contra Trombone (digital)

16' Trombone

16' Bassoon (Swell)

8' Tromba (Choir)

8' Trumpet (Swell)

4' Tromba (Choir)

4' Clarinet (Choir)



Inter-Manual Couplers

Great to Pedal 8', 4'

Swell to Pedal 8', 4'

Choir to Pedal 8', 4'

Antiphonal to Pedal 8'



Swell to Great 16', 8', 4'

Choir to Great 16', 8', 4'

Antiphonal to Great 8'

Swell to Choir 16', 8', 4'

Antiphonal to Choir 8'

Antiphonal to Swell 8'

Choir/Great Transfer (latching piston)

(divisional pistons transfer)



MIDI Controls (with record/playback)

MIDI to Great

MIDI to Swell

MIDI to Choir

MIDI to Pedal



Combination system with a minimum of 128 levels of memory

Six thumb pistons each division

12 General pistons—thumb and toe

Great to Pedal—thumb and toe

Swell to Pedal—thumb and toe

Choir to Pedal—thumb and toe

Swell to Great—thumb

Choir to Great—thumb and toe

Swell to Choir—thumb

32' Violone—reversible—thumb

32' Bourdon—thumb

32' Contra Trombone—reversible—thumb and toe

Sforzando—thumb and toe (programmable)

Crescendo Pedal (programmable)

Set Piston—thumb

General Cancel—thumb



Additional Features

Zimbelstern—9 bells

Chimes—32 notes

MIDI (programmable as preset stops)

Data File Sequencer provided for Playback/Record of organ performance

Transposer

Programmable Sforzando

Programmable Crescendo

Tracker touch keyboards