New Organs

Gober Organs, Inc., Elora, Ontario, Canada

The Oratory, St. Benedict’s Monastery, St. Joseph, Minnesota

This one-manual organ was conceived expressly for gentle support of singing in the daily prayer services of this Benedictine womens’ community. The services involve the whole community and take place in complete silence except for the readings, the chanting and singing of psalms and hymns. In this setting an organ of normal softness would still be too loud. For portions of the service, psalms are chanted in alternatim between the leader and the people. The very sweet Gedackt 8' contrasts with a Gamba 8' whose complex overtones give it great pitch definition, useful for accompanying lay singers. These two stops can be switched between psalm verses using the reversible pedal. The 4' and 2' flutes, both conical, give combinations in the nature of a flute consort, with rhythmical underpinning given by the pedal 16'.

The case functions as a swell box that encloses all the manual pipes; a swell pedal operates the end panels of the case. In the spirit of the austere simplicity of the community’s buildings and their furnishings, the solid white oak case’s only adornment is a shallow scalloping given to the quarter-sawn end panels by the carver’s gouge, creating an undulating effect in the grain.

—Halbert Gober


Manual C–f3 (54 notes)

8' Gedackt

8' Gamba (C–A with Gedackt)

4' Recorder

2' Fife

Pedal C–d1 (27 notes)

16' Subbass



Manual-Pedal coupler

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada

The Church of Christ at Dartmouth College, Hanover, New Hampshire

Following a complete reconstruction of the church’s chancel area, Létourneau’s Opus 83 was completed in March 2005. The organ was formally dedicated by Peter Sykes a month later in two recitals featuring works by Mendelssohn, Mozart, Tunder, Bach and Vierne. The concerts were highlighted by the world premiere of a commissioned work by Joel Martinson entitled Out of the Depths: Three Essays on a Chorale.

The organ’s stoplist was prepared in collaboration with the church’s director of music, Ernest Drown, and reflects a classical disposition that pairs well with the instrument’s suspended mechanical key action. The organ has proven itself to be equally adept at supporting the church’s worship services and in the words of Mr. Drown, “has an uncanny sensitivity to the player’s intentions or lack of same . . . I get off the bench a better player every time.”

The organ features a two-manual and pedal console built into the organ case (en fenêtre); manuals have bone naturals and ebony accidentals, while the pedalboard features maple naturals with ebony accidentals. The stop action is electric, permitting a complete system of pistons with 64 levels of memory.

—Andrew Forrest


GREAT

16' Bourdon

8' Open Diapason

8' Chimney Flute

4' Principal

4' Spindle Flute

22⁄3' Nazard

2' Fifteenth

2' Block Flute

13⁄5' Tierce

11⁄3' Mixture IV

8' Trumpet

Tremulant

Swell to Great

SWELL (enclosed)

8' Salicional

8' Stopped Diapason

4' Principal

4' Spire Flute

2' Fifteenth

11⁄3' Larigot

1' Mixture III

8' Oboe

Tremulant

PEDAL

16' Subbass

8' Principal

8' Bass Flute

4' Choral Bass

16' Trombone

8' Trumpet

Great to Pedal

Swell to Pedal

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada, Opus 93

The Abbey of Gethsemani, Trappist, Kentucky

With roots tracing back to the 11th century Cistercian monks in France, the Abbey of Gethsemani was first established in Trappist, Kentucky in 1848. Today, the abbey is a vibrant and thriving community with 65 monks, hosting retreats year-round and supporting their work by mail-order and Internet sales of homemade fruitcakes, cheeses and bourbon fudge. Divine worship continues to be the foundation of the Trappist community and their activities, with the cycle of seven prayer services observed daily.
When confronted with the need to replace their previous pipe organ, the monks embarked on an exhaustive process to choose an organ builder. While a fine tonal result was an obvious priority, equal importance was placed on commissioning a mechanical-action instrument that was both comfortable to play and built to the highest standard of quality.

The end result of their search is the 29-rank instrument pictured here. The instrument’s simple casework is made from solid red oak and was designed to complement the abbey’s unadorned architecture. The façade displays pipes from the 16' Montre stop, made from 70% polished tin. Completed in December 2003, the organ serves daily, accompanying the abbey’s services, and was dedicated in a series of recitals by Philip T. Hines, Jr. and W. Dudley Oakes.

The organ’s console en fenêtre has bone and ebony keyboards and offers mechanical key action. The stop action is electric and boasts a 16-level piston capture system by Solid State Organ Systems of Alexandria, Virginia.

—Andrew Forrest

Orgues Létourneau Limitée

Saint-Hyacinthe, Québec

GRAND-ORGUE

16' Montre

8' Montre

8' Flûte à cheminée

8' Salicional

4' Prestant

4' Flûte conique

22?3' Nazard

2' Doublette

13?5' Tierce

11?3' Fourniture IV–VI

8' Trompette

Tremblant

Récit au Grand-Orgue

RÉCIT EXPRESSIF

8' Viole de gambe

8' Voix céleste

8' Bourdon

4' Prestant

4' Flûte à fuseau

2' Doublette

22?3' Cornet III

8' Hautbois

Tremblant

PÉDALE

16' Montre (G-O)

16' Soubasse

8' Prestant

8' Bourdon

4' Basse de chorale

16' Bombarde

8' Trompette

Grand-Orgue à la Pédale

Récit à la Pédale

Bedient Pipe Organ Company, Roca, Nebraska

Opus 71, Amistad Chapel, United Church of Christ Church House, Cleveland, Ohio

Opus 71, a Phoenix model from our Legacy Line, is a modest instrument with grand tonal possibilities. It is designed to lead liturgy, hymn singing and to play a significant amount of organ literature.
Eighteenth- and 19th-century organs of France and Germany inspire the design of the organ.
The organ case is constructed of Honduras mahogany and includes decorative pipe shades of iroko wood. The twenty-three pipes in the façade are speaking pipes and part of the Principal 8' stop. Their mouths are gilded with 23-karat gold leaf. The keyboard naturals are covered with blackwood, and the accidentals are of white maple. The pedal keys are made of oak, and the accidentals are capped with moradillo.

The fourteen sets of pipes in the organ produce twelve individual stops and total 807 pipes. The custom-designed iroko wood pipe shades incorporate maritime elements reflecting African captives’ revolt during transport to the United States on the slave ship, Amistad.

—Gene Bedient

GREAT

8' Principal (tc)

4' Octave

2' Octave

II Sesquialtera

II–III Mixture

SWELL (enclosed)

8' Salicional

8' Gedackt

4' Spitzflute

2' Flute

8' Trumpet Treble

8' Cromorne Bass

PEDAL

16' Subbass

8' Flute

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

The Reuter Organ Company, Lawrence, Kansas

St. Francis Xavier Cathedral, Alexandria, Louisiana, Opus 2218

A handsome and acoustically marvelous space, St. Francis Xavier Cathedral in Alexandria, Louisiana is truly a remarkable home for Reuter opus 2218. Given the historic beauty of the building and the care with which it has been restored, the goal of the project was to craft an instrument worthy of such a space and sensitive to existing resources. “We evaluated three designs from major organ builders,” says Jack Randall, an Alexandria architect and member of the cathedral’s organ committee. “The Reuter design was far superior to the others in that it was so respectful of the 100-plus year-old cathedral architecture, which is eclectic English Gothic style, rendered in indigenous brick on the exterior and wood and plaster on the interior. We were particularly impressed with two features of the Reuter design: 1) the antiphonal organ is completely concealed behind the ornate Gothic reredos; 2) the design of the façade pipes in the choir loft is truly beautiful and reflects the form and shapes of the reredos and the stained glass window above it, which depicts Christ ascending with arms upraised amid radiant clouds. The façade sits perfectly in the Gothic arch behind the choir.”

After much discussion, an organ design of 48 ranks was developed, using 17 ranks from the original organ and its subsequent rebuilds, including pipes from the Estey firm of Brattleboro, Vermont (1920s), as well as other builders and supply houses (1970s & 1980s). In June 2003, all of the salvaged pipework and mechanisms were transported to the Reuter facility in Lawrence, Kansas to be reconditioned and assimilated into the new instrument. After the installation, tonal finishing, and tuning—which happened over the course of about eight weeks—the organ was heard for the first time by the organ committee on Monday evening, November 24, 2003, and used for its first Mass on that Thanksgiving weekend.

Forty-three ranks are engineered into the tower chamber in the gallery, and the remaining five ranks and chimes are installed inconspicuously in a small chamber (the Echo division) behind the high altar. The Grande Orgue and Pédale are mounted high, front and center in the tower chamber. The Récit Expressif and Positif Expressif are installed at the back of the tower chamber behind large banks of mechanical shutters. The Echo division became the new home for some of the most beautiful and beloved sounds from the original Estey organ. Intended primarily for accompanying the cantors during Mass, the Echo is enclosed with a small bank of shutters mounted on the chamber ceiling. The polished copper and polished zinc speaking façade pipes of the Pédale 16¢ Montre are displayed in front of the gallery tower chamber, accentuating the Gothic arch and maintaining the traditional style of the building.

— Reuter Organ Co. /

S. Christopher Leaver



Photo: Reuter Organ Co. / Bill Klimas

Reuter Opus 2218

38 stops, 48 ranks

GRANDE ORGUE

16' Diapason (Positif)

8' Montre

8' Bourdon

8' Flûte Harmonique

4' Prestant

4' Flûte à Fuseau

2' Doublette

IV Fourniture

III Cornet

16' Contre Trompette (Récit)

8' Bombarde

8' Trompette en Chamade

Glockenstern

Cloches (Echo)

MIDI


RÉCIT EXPRESSIF

16' Flûte à Cheminée

8' Flûte à Cheminée (ext)

8' Salicional

8' Voix Céleste (TC)

4' Prestant

4' Flûte Ouverte

22/3' Nazard

2' Flûte (ext)

13/5' Tierce

IV Plein Jeu

16' Contre Trompette

8' Trompette (ext)

8' Hautbois

8' Voix Humaine

8' Trompette en Chamade (G.O.)

Tremblant

MIDI


POSITIF EXPRESSIF

16' Dolce

8' Diapason

8' Cor de Nuit

8' Dolce (ext)

8' Unda Maris (TC)

4' Octave Diapason (ext)

4' Flûte Traversière

2' Flageolet

11/3' Quint

III Mixture

8' Petit Trompette

8' Clarinette

8' Trompette en Chamade (G.O.)

Tremblant

MIDI


ECHO

8' Principal

8' Voix Aetheria

8' Voix Céleste (TC)

8' Bourdon

4' Octave

4' Flûte Ouverte

Cloches (Chimes)

Cymbelstern


ECHO PÉDALE

16' Bourdon (ext, 1–12 digital)

8' Bourdon (Echo)


PÉDALE

32' Acoustic Bass

16' Montre

16' Soubasse

16' Dolce (Positif)

16' Bourdon (Récit)

8' Octave (ext)

8' Soubasse (ext)

8' Diapason (Positif)

8' Dolce (Positif)

8' Bourdon (Récit)

4' Octave (ext)

4' Soubasse (ext)

32' Basson (ext, Récit)

16' Bombarde (ext, G.O.)

16' Contre Trompette (Récit)

8' Bombarde (G.O.)

8' Trompette (Récit)

4' Trompette (Récit)

8' Trompette en Chamade (G.O.)

MIDI

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada

The Lutheran Church of the Nativity, Alexandria, Virginia

Létourneau’s Opus 94 was completed in late 2004 with a dedicatory concert played by Haig Mardirosian, who also served as consultant to the project. Though physically a small instrument—measuring 11' wide, 11' tall and 8'9" deep including pedalboard—this 18-stop mechanical action organ was designed and voiced to produce an exceptionally wide variety of sonorities. Based on an 8' Principal and boasting a variety of other unison stops, the instrument has proven adept at accompanying the church’s liturgy and performing organ repertoire. Where practical, pipes in the bass octave have been shared between similar stops to save space (e.g., the Great 8' Chimney Flute and the Swell 8' Stopped Diapason share common pipes for the first 10 notes). The entire instrument is enclosed within one swell box—excepting the Great 8' Open Diapason and Pedal 16'-8' Bourdon—though the traditional dynamic relationship between Great and Swell has been preserved through voicing. The attached two-manual console features bone naturals and ebony accidentals, while the pedalboard features maple naturals with ebony accidentals.

—Andrew Forrest



Photo © Dupont Photographers Inc.

GREAT (enclosed with Swell)

8' Open Diapason (façade)

8' Chimney Flute

8' Salicional

4' Octave

4' Harmonic Flute

2' Fifteenth

11/3' Mixture III (Swell)

8' Echo Trumpet (Swell)

Swell to Great


SWELL (enclosed)

8' Stopped Diapason (wood)

8' Gamba

8' Voix Celeste (TC)

4' Principal

4' Spitz Flute

11/3' Larigot

11/3' Mixture III

8' Echo Trumpet


PEDAL

16' Bourdon

8' Octave Bourdon

Great to Pedal

Swell to Pedal



General Tremulant

Karl Wilhelm Inc., Mont St. Hilaire, Québec, Canada, Opus 157

St. John’s Catholic Church, Fenton, Michigan

This new 44-stop organ, Opus 157 by Karl Wilhelm Inc., was made possible by the generosity of longtime parishioner Mrs. Alvesta Veness and the William Bowman and Ann McGuire estates, as well as other benefactors and contributors from the congregation and the community. The organ project was led by Rev. David W. Harvey with the assistance of several other parishioners. Dr. David Wagner performed the dedication recital.

The organ consists of four divisions: the Great is in the center above the impost, the Swell is right behind the Great and is enclosed in its own case, the Rückpositiv is in the gallery rail, and the Pedal is on either side of the main case. There are 3,017 pipes in this instrument. The metal façade pipes are 70% tin and 30% lead, metal flute pipes are 40% tin and 60% lead. Open pipes are cone tuned; stopped pipes have fixed caps. The temperament is Bach-Kellner A440. The playing action of the organ is direct mechanical (suspended tracker). There are two manual couplers and three pedal couplers. Manual/pedal compass is 56/30. The stop action is electric and offers a complete set of registration aids featuring 32 levels of solid-state memory. Two cuneiform bellows and one electric blower provide the winding.

— Karl Wilhelm Inc.

Facteurs d’Orgues-Organbuilders

Karl Wilhelm Opus 157

St. John’s Catholic Church

Fenton, Michigan

GREAT C–g’’’

16’ Bourdon

8’ Prinzipal

8’ Rohrflöte

8’ Flute Harmonique

4’ Oktave

4’ Spitzflöte

22⁄3’ Quinte

2’ Superoktave

8’ Cornet V (c’–d’’’)

11⁄3’ Mixtur IV

1’ Zimbel III

8’ Trompette

4’ Clairon


SWELL C–g’’’ (enclosed)

8’ Principal

8’ Gambe

8’ Celeste TC

8’ Hohlflöte

4’ Principal

4’ Flute Harmonique

2’ Waldflöte

22⁄3’ Cornet III (TF)

2’ Mixtur IV

16’ Basson

8’ Trompette

8’ Hautbois

Tremolo


RÜCKPOSITIV C–g’’’

8’ Prinzipal

8’ Gedackt

4’ Prinzipal

4’ Rohrflöte

22⁄3’ Nasard

2’ Doublette

13⁄5’ Terz

11⁄3’ Larigot

1’ Scharf IV

8’ Cromorne

Tremolo


PEDAL C–f’

16’ Prinzipal

16’ Subbass

8’ Prinzipal

8’ Bourdon

4’ Choralbass

22⁄3’ Rauschpfeife IV

16’ Posaune

8’ Trompete

4’ Clairon



Note:

Prinzipal 16’ in the Pedal: C–E, open 8’ wooden pipes and common with Subbass 16’; F–f’, 70% tin and located in the façade.

Prinzipal 8’ shares the first octave with the Prinzipal 16’ in the Pedal.

Prinzipal 8’ of the Positiv has common pipes from C–G# with Gedackt 8’.

Dobson Pipe Organ Builders, Lake City, Iowa

Calvary Lutheran Church, Brookfield, Wisconsin

Dobson Pipe Organ Builders, Lake City, Iowa, has completed its Op. 72 for Calvary Lutheran Church, Brookfield, Wisconsin. Despite the low ceiling height at the rear of the church, a balcony was a part of the original design of the building. As part of a renovation project, the congregation removed the balcony and resolved to place a mechanical action organ in a free-standing position on the main floor. The choir and handbells would then be arranged about the organ.

Even without the hindrance of the balcony, fitting an organ into the broadly V-shaped space proved a challenge. Many different plans were made, finally resulting in a design in which the Swell is located behind and above the choir seating, the Great is placed forward in a separate case and the Pedal is situated behind the Great. The console, placed in the Great case, is so located that the organist can direct the choir. In spite of its seemingly scattered arrangement, the mechanical design of the organ is quite straightforward and all parts are readily accessible for tuning and maintenance. The design of the curving white oak casework echoes the arcing lines of the ceiling, which rises toward the front of the sanctuary.

The tonal design of the organ is intended to inspire enthusiastic congregational singing and to accompany a wide variety of choral literature. The instrument is voiced on a wind pressure of 76 millimeters, which is supplied from a large, parallel-rise reservoir. Tuning is in equal temperament. Metal pipes are made of the usual alloys of tin and lead; all wood pipes are made of poplar and cherry. The key action is mechanical; an electric stop action and multi-level combination action are provided. Several Pedal stops are made available at two pitches through a system of mechanical duplexing.
Calvary was assisted in this project by John Behnke, organ consultant, and Scott Riedel, acoustical consultant. Suzanne and Steve Hibbard were director of music and organist, respectively, at the time of the organ’s construction. Bill Bravener is the current director of music.

—John Panning



Photo credit: Lynn Dobson


GREAT (58 notes)

16’ Bourdon

8’ Prestant

8’ Chimney Flute

4’ Octave

4’ Nachthorn

2’ Fifteenth

11⁄3’ Mixture IV

8’ Trumpet

Swell to Great


SWELL (58 notes, expressive)

8’ Gedackt

8’ Salicional

8’ Celeste FF

4’ Principal

4’ Traverse Flute

22⁄3’ Nazard

2’ Piccolo

13⁄5’ Tierce

11⁄3’ Quinte

8’ Oboe


PEDAL (32 notes)

16’ Subbass

16’ Bourdon (Gt)

8’ Principal

8’ Gedackt (ext)

4’ Choralbass (ext)

16’ Posaune

8’ Trumpet (ext)

Great to Pedal

Swell to Pedal



Tremulant

Zimbelstern

Lauck Pipe Organ Company,
Otsego, Michigan
Opus 61, 2009
Karl Schrock Residence,
Kalamazoo, Michigan
Through the years, we have had the pleasure to build a substantial number of small residence organs for many college professors and church organists. There has always come a great sense of satisfaction in creating these smaller wonders because we know we are building these exclusively for one person. We also know that the money for these instruments is usually born from hard work and frugal saving. The joy is in giving the customer their long-anticipated dream and creating the most value for their money.
Our latest residence organ was for Dr. Karl Schrock, who is head of the organ program at Western Michigan University in Kalamazoo. This five-rank mechanical action organ has white oak casework, ebony naturals with coco bolo sharps, and ebony drawknobs.
—James Lauck

MANUAL I
8′ Rohrflute 61 pipes
4′ Principal (in façade) 61 pipes

MANUAL II
8′ Gedeckt (oak) 49 pipes
common bass
2′ Blockflute 61 pipes

PEDAL
16′ Pommer 32 pipes

Man I–Man II
Man I–Ped
Man II–Ped

269/694-4500
[email protected]

J. Zamberlan & Co.,
Wintersville, Ohio
Christ, Prince of Peace Parish, Ford City, Pennsylvania
Christ, Prince of Peace Parish was formed on July 23, 2002, from the merger of three parishes in Ford City; the building formerly known as St. Mary’s Church is now the sole worship site. A 1930s organ occupied split cases in the rear gallery; this instrument had been rebuilt in 1965, and by 2002 was experiencing severe mechanical problems, in addition to suffering from a lack of ensemble and variety of stops.
Initial design concepts retained the choir in the gallery, but in the end the parish decided a nave location was preferable for the singers. In addition to the console, a 3-rank unenclosed “choir” division, available independently on either manual, is located in the shallow right transept. Wind for this division comes from a small blower and reservoir located in the church basement but fed from an intake housed in the base of the choir casework, which also encloses the support steel for the chest as well as shelves for choir music.
Several ranks from the old organ were incorporated into the new stoplist, as well as two stops from a 1965 Möller at one of the closed churches. The existing quartersawn white oak gallery casework was retained, as were the façade pipes, which were refinished for the church by a local auto body shop. The new console, as well as the choir casework, is of red oak, finished to harmonize with the pews; this casework also incorporates panels from former modesty screens in the choir area. The console interior is of Honduras mahogany, oiled and waxed. Keyboards have bone naturals and ebony accidentals, with drawknobs, pistons, etc. of bocote; legal ivory is used for labels and stopknob faces.
The solid-state control system includes 128 levels of memory for 8 generals and 4 divisionals, as well as several reversibles. At the suggestion of a visiting recitalist, the parish agreed in 2008 to add Great and Swell Unison Off toestud reversibles to enhance the organ’s versatility; this permits drawing the normal stops plus Choir stops on either manual, then using the Unison Off and pedal coupler to achieve separate voices on that manual and the pedal.
The main chests of the organ are slider with electric pulldowns, with bass notes utilizing double pallets where necessary. All pallets were carefully sized, and pallet travel was kept at 4mm, in order to keep the action responsive. Several stops are either duplexed between divisions or unified; these sit on chests with individual note actions (electro-mechanical except for the largest bass pipes), which incorporate expansion chambers between the valve and toe to minimize undesirable speech characteristics sometimes found in this chest design. The organ comprises 37 stops, 27 registers, 36 ranks, and 1993 pipes, and is our largest instrument to date. Donald Fellows, director of music at St. Paul Cathedral in Pittsburgh, dedicated the organ on March 18, 2007. The parish director of music is Andrew Motyka.
—Joseph G. Zamberlan

GREAT (58 notes)
8′ Diapason
8′ Rohrflute (existing Tellers,
C1–b48 wood)
4′ Octave
4′ Open Flute (existing Tellers,
formerly in Swell, C1–c49 wood)
2′ Fifteenth
4′ Cornet IV (c13–c49)
11⁄3′ Mixture IV
8′ Trompette
8′ Cromorne
8′ Choir Gemshorn
8′ Choir Bourdon
4′ Choir Italian Principal
4′ Choir Bourdon (ext)
2′ Choir Bourdon (ext)
Swell to Great 16′
Swell to Great
Tremulant
Cymbelstern
MIDI

SWELL (58 notes)
16′ Quintaten (C1–f18 wood)
8′ Violin Diapason (existing Tellers,
C1–B12 from Gedackt)
8′ Gedackt (existing Möller, wood)
8′ Viole de Gambe (existing Tellers,
formerly in Great)
8′ Voix Céleste (existing Möller,
from G8)
4′ Principal
4′ Flute (existing Tellers, formerly in Great, C1–a46 wood)
22⁄3′ Nazard
2′ Spitzflute
13⁄5′ Tierce
2′ Plein Jeu III
2⁄3′ Cymbale II
16′ Basson
8′ Hautbois (ext)
8′ Choir Gemshorn
8′ Choir Bourdon
4′ Choir Italian Principal
4′ Choir Bourdon (ext)
2′ Choir Bourdon (ext)
Tremulant
MIDI

PEDAL (32 notes, AGO)
32′ Bourdon (C1–B12 independent 10 2⁄3′
wood with Subbass,
from c13 Subbass)
16′ Principal (prep)
16′ Subbass (wood)
16′ Quintaten (Swell)
8′ Octave (prep)
8′ Gedackt (ext)
4′ Choral Bass (prep)
16′ Trombone (wooden resonators)
16′ Basson (Swell)
8′ Trompette (Great)
8′ Cromorne (Great)
4′ Clairon (Great)
Great to Pedal
Swell to Pedal
MIDI

740/765-9028
[email protected]

Bedient Pipe Organ Company, Roca, Nebraska
Residence of Elaine Mann,
Chippewa Falls, Wisconsin
In August, Gene Bedient installed and voiced Bedient Opus 82 at the home of Elaine Mann, Chippewa Falls, Wisconsin. Ms. Mann is organist at Grace Lutheran Church, Eau Claire, Wisconsin. She has written following the installation: “I just want you to know how happy I am with the organ. It is a dream come true.”
The intent was to design and build a small, encased organ with sensitive but not fragile suspended action, an ideal instrument for practicing. It features keyboards with natural playing surfaces of blackwood and accidentals of hard maple. The 30-note concave-radiating pedalboard has oak and maple playing surfaces. Wind is supplied from a small wedge bellows that is located in the top of the organ case.

MANUAL I
8′ Rohrflute (58 pipes)

MANUAL II
8′ Gedackt 8 (46 pipes; 1–12 common with Rohrflute)

PEDAL
Manual II/Pedal

R. T. Swanson, Inc.,
Grand Ledge, Michigan
Salem Lutheran Church,
Owosso, Michigan
Salem Lutheran Church was established in 1862, and its current edifice was built in 1893. The church’s first pipe organ was built by the Reuter Organ Company of Lawrence, Kansas in 1922 as Opus 70. This two-manual, 11-rank instrument was installed in a chamber located to the left of the chancel and above the sacristy. In 1964, William Kaltrider of Owosso, Michigan, relocated the organ to the rear gallery and added a new console and seven new ranks.
Deteriorating leather and other problems caused the church to request a proposal from our company. We agreed to build an essentially new organ of 21 ranks, reusing three ranks of the 1922 pipework and all seven ranks of the 1964 pipework. All of the old pipework was reconditioned and revoiced in order to blend with the new. While the 1964 console was recycled, it was refitted with new manual keyboards with rosewood naturals and maple sharps and new drawknobs. A new solid-state combination action and relay system were provided, which feature full MIDI capability. Action is electro-mechanical.
The new casework was designed to be in architectural harmony with the 1893 structure and is cantilevered into the room in order to provide better projection for the Great division. The new Swell enclosure helps focus and project the Swell division’s tone. Wind pressures are 3″ for the Great and 4½″ for the Swell.
—Richard Swanson

GREAT
16′ Rohrflöte (ext 8′)
8′ Principal
8′ Rohrflöte
8′ Gemshorn
4′ Octave
4′ Hohlflöte
22⁄3′ Twelfth
2′ Fifteenth
11⁄3′ Mixture III
8′ Trompete
Chimes
MIDI on Great
Great to Great 16, UO, 4
Swell to Great 16, 8, 4

SWELL
8′ Holzgedeckt
8′ Viole de Gambe
8′ Voix Celeste TC
4′ Principal
4′ Spitzflöte
22⁄3′ Nazard TC
2′ Octave (ext 4′ Principal)
2′ Spitzflöte (ext 4′ Spitzflöte)
11⁄3′ Larigot (ext 22⁄3′)
13⁄5′ Tierce TC
Tremulant
8′ Hautbois
MIDI on Swell
Swell to Swell 16, UO, 4

PEDAL
32′ Resultant
16′ Subbass
16′ Rohrbass (Gt)
8′ Octave
8′ Bassflöte (ext 16′ Subbass)
8′ Gemshorn (Gt)
4′ Superoctave (ext 8′ Octave)
4′ Flöte (ext 16′ Subbass)
2′ Twentysecond (ext 8′ Octave)
16′ Posaune (ext Gt 8′ Trompete)
8′ Trompete (Gt)
4′ Hautbois (Sw)
MIDI on Pedal
Great to Pedal 8, 4
Swell to Pedal 8, 4