New Organs

Lewis & Hitchcock,
Beltsville, Maryland
Chevy Chase United Methodist Church, Chevy Chase, Maryland

Like the Sound of a Great Amen
(So begins the description of the church organ in the booklet prepared for the dedication of the new building in 1954.) Perhaps no other single facet of a worship service provides at once so much pleasure and so great an inspiration as does its music. The traditional musical foundation in Christian churches is the pipe organ. Organ music opens and closes each service. It creates an atmosphere of reverence aurally, much as Gothic architecture—often aptly called “frozen music”—does visually. Chevy Chase Methodist Church can be as proud of its inspiring new organ as of the sanctuary itself. In the words of a music critic, writing of the thrilling dedicatory concert on December 5, 1954, our organ “is in every respect worthy of its attractive surroundings . . . It sounded like one of the best organs in Washington.”
This organ represented the height of organbuilding for its time. It had just about everything an organist could want then. But this was a time when music in the church was much less varied than it is now fifty-plus years later. In addition, several things conspired against the organ.
When the sanctuary was complete, it was judged to be too reverberant, and the organ to be too shrill. Curtains covered the organ chamber, and acoustical treatment was applied to the ceiling. We like to say that the most important stop on the organ is the room in which it is located. The organ became a jewel in a velvet box; many of the tone colors were swallowed up.
The organ was also built at the beginning of the “Organ Reform Movement,” when organs were being designed to have more clarity. One of the fashions then was to make the unisons thin and the octaves larger, which, while making the organ a bit clearer, often made them lack body. So many times in trying to accompany a soloist or choir the organ was either too soft or too loud; there was a missing medium level of sound.
Also, many stops seemed better suited to other divisions than where they were located. Couplers helped tie sounds together, but the organist had to do lots of strange maneuvering to make that happen, and it tied up manuals that were needed elsewhere.
When the age of the organ made a mechanical refurbishing necessary, we drew up plans of how to make the organ be the best it could be. The first thing was to fix the room, and that was done to great effect. All music benefits from the wonderful new floors and ceiling.
Then stops needed to be relocated to where they fit best. As the original console could not be expanded, a new console was designed, with all the latest technology available to the organist. Next, new stops were added to fill in missing sounds, all capped by the commanding Trompette en Chamade in the rear gallery.
The result is an instrument that is a joy to play and hear. All the stops are where they should be to perform the literature. A new middle layer of sounds makes it easy to accompany a soloist or choir. And the full sound of the organ can lift the congregation to new heights in hymn singing. Charles Wesley wrote “O for a thousand tongues to sing my dear Redeemer’s praise.” Now the organ does.
Linda Ellinwood was the musician who spearheaded this effort, working with Gerald Piercey on the tonal design. Grey Emmons served as the chair of the organ committee.
Text and pictures by Gerald Piercey; console picture by Randy Walker

M. P. Möller Opus 8839, 1954
Rebuilt by Lewis & Hitchcock, Inc.

GREAT
Chimes (21 tubes, in Choir)
8′ Diapason (new) 61 pipes
8′ Bourdon 61 pipes
8′ Viola 61 pipes
moved from Choir
8′ Flûte Harmonique 49 pipes
new & new chest,
1–12 from Pedal Bourdon
4′ Octave 61 pipes
4′ Rohrflute 61 pipes
22⁄3′ Octave Quint 61 pipes
2′ Super Octave 61 pipes
11⁄3′ Fourniture IV 244 pipes
new & new chest
8′ Bombarde (Choir)
Tremolo
Gt/Gt 16′–Unison Off–4′
8′ Trompette en Chamade 61 pipes
new & new chest, in rear gallery

SWELL
16′ Rohr Bourdon (ext 8′ Rohrflute)
8′ Diapason Conique 61 pipes
moved from Great on new chest
8′ Rohrflute 73 pipes
8′ Viole de Gamba 73 pipes
8′ Viole Celeste tc 61 pipes
4′ Principal 73 pipes
4′ Harmonic Flute 73 pipes
2′ Flautino 61 pipes
2′ Plein Jeu III (new) 183 pipes
8′ Trompette 73 pipes
former Clarion with new 1–12
8′ Oboe (new) 73 pipes
Tremolo
Sw/Sw 16′–Unison Off–4′
8′ Trompette en Chamade (Great)

CHOIR
8′ Gemshorn 61 pipes
moved from Great on new chest
8′ Cor de Nuit 73 pipes
8′ Dulciana 73 pipes
8′ Unda Maris tc 61 pipes
4′ Principal (new) 73 pipes
4′ Nachthorn 73 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
1′ Cymbal III 183 pipes
moved from Swell on new chest
8′ Clarinet (new) 73 pipes
Tremolo
8′ Bombarde 73 pipes
former Swell Trompette moved,
revoiced, on new chest
Ch/Ch 16′–Unison Off–4′
8′ Trompette en Chamade (Great)

PEDAL
32′ Untersatz 32 notes
new, Walker Paradox unit
16′ Diapason 32 pipes
16′ Bourdon 32 pipes
16′ Rohr Bourdon (ext, Sw) 12 pipes
8′ Octave (ext 16 Diap) 12 pipes
8′ Bourdon (ext 16 Bourd) 12 pipes
8′ Rohrflute (Swell)
4′ Super Octave (ext) 12 pipes
4′ Flûte Harmonique (Great)
4′ Rohrflute (Swell)
2′ Diapason Conique (Swell)
32′ Bombarde 32 notes
new, Walker Paradox unit
16′ Bombarde (ext Ch Bomb) 12 pipes
16′ Bassoon (ext Sw Oboe) 12 pipes
8′ Trumpet (Choir Bombarde)
4′ Oboe (Swell)
8′ Trompette en Chamade (Great)
Couplers
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
MIDI on Pedal

MIDI on Swell

Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
MIDI on Great

Swell to Choir 16′, 8′, 4′
Great/Choir Manual Transfer
MIDI on Choir
Pedal to Choir 8′

Lewis & Hitchcock, Inc.,
Beltsville, Maryland
Wesley United Methodist Church, Vienna, Virginia
Wesley United Methodist Church of Vienna, Virginia, has a Wicks organ that was installed in 1966 and enlarged in 1971. The organ had begun to have problems in the switching system and combination action. Working with trustees Harvey Bowles and Dick Takamatsu and organist Jason Bowles, we developed a plan to rebuild the organ, including replacing the switching system and relays with a new multiplex system that would provide a large combination action, with accessories such as a transposer as well as a piston sequencer. New keyboards were recommended, for a better feel as well as reliable contact systems.
We also recommended the replacement of one rank of pipes that would not hold voicing. As plans went forward, the desire was expressed to add some digital stops, and eventually a full complement of digital stops was designed to complete the organ tonally. These were provided by the Walker Technical Company of Zionsville, Pennsylvania. As there was no space in the chambers for a large bass speaker, they provided a cabinet finished to match the organ grillework, which sits directly in front of it.
Besides all the standard accessories, there is a piston sequencer with Next and Previous pistons and toe studs, and a MIDI data file record and playback system. The result is a versatile instrument that easily provides the right sound for the music.
—Gerald Piercy

GREAT
16′ Violone (Walker Paradox System)
8′ Principal 61 pipes
8′ Bourdon 61 pipes
4′ Octave 61 pipes
4′ Spillpfeife 61 pipes
new pipes on existing chest
22⁄3′ Twelfth 61 pipes
2′ Fifteenth 61 pipes
8′ Trumpet (Walker)
Chimes (Walker)
Great to Great 16–UO–4
Swell to Great 16–8–4
Choir to Great 16–8–4

SWELL
16′ Rohr Gedeckt 61 pipes
8′ Geigen Diapason (Walker)
8′ Rohrflute (ext)
8′ Viole d’Gambe 61 pipes
8′ Viole Celeste (tc) 49 pipes
4′ Geigen Principal 61 pipes
4′ Nachthorn 61 pipes
2′ Piccolo 61 pipes
11⁄3′ Plein Jeu III 183 pipes
16′ Contre Trompette (ext)
8′ Trompette 61 pipes
8′ Vox Humana (Walker)
8′ Hautbois 61 pipes
4′ Clarion (ext)
Tremolo
Swell to Swell 16–UO–4

CHOIR
8′ Nason Gedeckt 61 pipes
8′ Erzahler 61 pipes
8′ Erzahler Celeste (tc) 49 pipes
4′ Koppelflute 61 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflute 61 pipes
13⁄5′ Tierce 61 pipes
8′ Krummhorn 61 pipes
Tremolo
8′ Harp (Walker)
4′ Celesta (Walker)
8′ Festival Trumpet (Walker)
Choir to Choir 16–UO–4
Swell to Choir 16–8–4

PEDAL
32′ Untersatz (Walker)
16′ Principal (Walker)
16′ Bourdon 32 pipes
16′ Rohr Gedeckt (Sw)
8′ Spitz Principal 32 pipes
8′ Bourdon (ext)
8′ Rohrflute (Sw)
4′ Spitz Principal (ext)
4′ Bourdon (ext)
2′ Octave (Gt 8′ Principal)
16′ Trombone (Walker)
4′ Hautbois (Sw)
Great to Pedal 8–4
Swell to Pedal 8–4
Choir to Pedal 8–4

25 registers, 27 ranks, 12 Walker voices

Eyeline console, white knobs for stops and division couplers, black knobs for intermanual couplers.
The existing console shell was retained. The manual keys, pistons, drawknobs, toe studs and all internal works are new. The pedalboard was rebuilt to new standards. The relay system was replaced with multiplex units.

Lewis & Hitchcock, Inc.
www.lhorgans.com

Wicks Organ Company,
Highland, Illinois
All Saints Catholic Church,
Manassas, Virginia
All Saints Catholic Church in Manassas, Virginia, is privileged and blessed to have a new church building and a newly renovated pipe organ. Approximately thirteen years ago, our original Opus 6376 was purchased by All Saints from the Wicks Organ Company of Highland, Illinois, with the intention of one day moving it into a new church. The organ is a “hybrid” instrument, comprising pipework and digital voices. The pipework and console were built by Wicks, and the digital voices are a product of the Walker Technical Company of Zionsville, Pennsylvania.
During the design period for our new church, every attempt was made to ensure that we retained as much of the current organ as possible. In the fall of 2008, All Saints entered into a contract with the Wicks Organ Company for a redesign and expansion of the current instrument for the new church. All of the pipework in the previous organ was retained. The console was renovated and enlarged. Because the wood case of the original organ did not match the woodwork of the new church and did not fit into the new space, two new identical pipe towers were built (matching the wood stain of the altar area) to fit into the space on either side of the new altar. These towers contain the revoiced pipework, ten additional ranks of pipes, upgraded digital voices, and an array of new digital voices.
The enlarged stoplist features a wide range of voices in different tonal colors that are used to accompany the choir and the congregation, as well as to play solo organ literature. Full MIDI features, solid-state memory, and a playback system are also included. Mounted high above the baptismal font on the back wall of the sanctuary is a horizontal Fanfare Trumpet. Additionally, the bell tower carillon, by the Verdin Bell Company, is also controlled from the organ console.
The renovated organ was delivered by Wicks in July 2010, and it was completely installed in time for the dedication Mass on August 14. This updated and expanded version of our organ gloriously adorns the liturgical life of our vibrant parish community.
In addition to the rebuilt main organ, a Wicks digital organ was acquired by All Saints. The two-manual organ was installed in our Blessed Sacrament Chapel, where it is used for smaller liturgies.
—William H. Atwood
Director of Music, and Coordinator of Liturgical Ministries
All Saints Catholic Church
Manassas, Virginia

GREAT
16′ Violone* (D)
8′ Open Diapason 61 pipes
8′ Hohlflöte 61 pipes
8′ Gemshorn* (D)
8′ Bourdon* 61 pipes
4′ Octave 61 pipes
4′ Spillpfeife* 61 pipes
22⁄3′ Octave Quinte* 61 pipes
2′ Super Octave* 61 pipes
IV Fourniture 244 pipes
8′ Trumpet 61 pipes
(formerly in Swell)
8′ Tuba Mirabilis* (D)
8′ Fanfare Trumpet* 61 pipes
Tremolo
Chimes* (D)
Harp* (Ch) (D)
Cymbelstern 9 bells
Carillon (existing)
MIDI

SWELL
16′ Rohrbourdon* (1–12 D)
8′ Geigen Diapason* 61 pipes
8′ Rohrflöte 61 pipes
8′ Viole de Gambe 49 pipes
(1–12 D*)
8′ Voix Celeste TC 49 pipes
4′ Principal 61 pipes
4′ Flauto Cantabile* 61 pipes
4′ Violina*
4′ Voix Celeste*
22⁄3′ Nazard (1–12 D*) 49 pipes
2′ Octavin* 61 pipes
2′ Flageolet* (50–61 D)
13⁄5′ Tierce TC 49 pipes
V Plein Jeu* (D)
16′ Contra Fagotto* (D)
8′ Trompette* (D)
8′ Oboe* (D)
8′ Vox Humana* (D)
4′ Clarion* (D)
8′ Fanfare Trumpet (Gt)
Tremolo
MIDI

CHOIR
8′ English Diapason* (D)
8′ Harmonic Flute* (D)
8′ Viola* (D)
8′ Erzähler* (D)
8′ Erzähler Celeste* (D)
4′ Lieblichflöte* (D)
4′ Gemshorn* (D)
2′ Piccolo* (D)
11⁄3′ Quinte (D)
III Mixture* (D)
8′ Cornopean* (D)
8′ French Horn* (D)
8′ English Horn* (D)
8′ Clarinet* (D)
8′ Fanfare Trumpet (Gt)
Tremolo
Chimes
Harp* (D)
MIDI

ANTIPHONAL
8′ Open Diapason* (D)
8′ Chimney Flute* (D)
8′ Flute Celeste II* (D)
4′ Octave* (D)
4′ Flauto Traverso* (D)
2′ Gemshorn* (D)
III Mixture* (D)
Tremolo*
16′ Antiphonal Pedal Subbass* (D)
8′ Antiphonal Pedal Flute* (D)

PEDAL
32′ Contra Violone (D)
16′ Open Diapason (D)
16′ Violone* (Gt) (D)
16′ Bourdon (D)
16′ Rohrbourdon* (Sw) (1–12 D)
8′ Octave (D)
8′ Bassflute* (D)
8′ Gemshorn* (Gt) (D)
8′ Rohrflöte* (Sw)
4′ Choral Bass (D)
4′ Kleinflöte* (Sw)
III Mixture* (D)
32′ Double Fagotto* (D)
16′ Trombone* (D)
16′ Contra Fagotto* (Sw) (D)
8′ Trumpet* (Gt)
8′ Fagotto* (Sw) (D)
4′ Clarion* (Sw) (D)
8′ Tuba Mirabilis* (Gt) (D)
8′ Fanfare Trumpet (Gt)
MIDI
* = New
D = digital voice

83 stops, including six percussions,
22 pipe ranks, 42 digital voices

===========================================================================

Lewis & Hitchcock,
Beltsville, Maryland
Christ Ascension Episcopal Church, Richmond, Virginia
Christ Ascension Episcopal Church of Richmond, Virginia, has a 1978 Schantz organ. Organist/choirmaster Ed Schutt wanted the organ to be made as flexible as possible. There was a desire for several additions, and there was no space for them in the organ chamber, which is directly behind the altar and speaks clearly down the length of the reverberant nave. Lewis & Hitchcock worked out a plan to use the unit stops as much as possible, and then fill out what was missing with digital stops from the Walker Technical firm.
The console now has a full complement of pistons and toe studs, and a multiple-memory combination action. The multiplex relay system allows the unit stops to play on all divisions. The result is a reliable, flexible instrument that can easily provide the right sound for the music.
—Gerald L. Piercey

GREAT
16′ Rohr Gedeckt (Sw)
8′ Principal 61 pipes
8′ Bourdon (Ped Bourdon/Sw Röhrfl)
8′ Gedeckt 61 pipes
4′ Octave 61 pipes
4′ Koppelflöte 61 pipes
2′ Waldflöte 61 pipes
IV Fourniture 244 pipes
16′ Contre Trompette (Sw)
8′ Trompette (Sw)
Great to Great 16-UO-4
Swell to Great 16-8-4
Positiv to Great 16-8-4
8′ Festival Trumpet (Walker digital)

SWELL
16′ Rohr Gedeckt (ext)
8′ Rohrflöte 61 pipes
8′ Viole 61 pipes
8′ Viole Celeste TC 49 pipes
4′ Spitz Principal 61 pipes
4′ Hohlflöte 61 pipes
22⁄3′ Nazard 61 pipes
2 Blockflöte (ext 4′ Hohlflöte) 12 pipes
13⁄5′ Tierce 61 pipes
III Scharff 183 pipes
16′ Contre Trompette (ext)
16′ Bassoon 61 pipes
8′ Trompette 61 pipes
Tremolo
Swell to Swell 16-UO-4
8′ Festival Trumpet (Gt)

POSITIV
16′ Rohr Gedeckt (Sw)
8′ Rohrflöte (Sw)
8′ Nason Gedeckt 61 pipes
8′ Gemshorn 61 pipes
8′ Gemshorn Celeste TC 49 pipes
4′ Nachthorn 61 pipes
2′ Principal 61 pipes
11⁄3′ Larigot 61 pipes
III Zimbel 183 pipes
16′ Contre Trompette (Sw)
8′ Trompette (Sw)
8′ Krummhorn 61 pipes
Tremolo
Positiv to Positiv 16-UO-4
Swell to Positiv 16-8-4
8′ Festival Trumpet (Gt)

PEDAL
32′ Untersatz (Walker digital)
16′ Principal 32 pipes
16′ Bourdon 32 pipes
16′ Rohr Gedeckt (Sw) 12 pipes
8′ Octave (ext) 12 pipes
8′ Bourdon (ext) 12 pipes
8′ Rohrflöte (Sw)
4′ Choral Bass 32 pipes
4′ Bourdon (ext) 12 pipes
2′ Choral Bass (ext) 12 pipes
22⁄3′ Mixture III (Walker digital)
32′ Bombarde (Walker digital)
16′ Contre Trompette (Sw) 12 pipes
8′ Trompette (Sw)
4′ Clarion (Sw)
Great to Pedal 8-4
Swell to Pedal 8-4
Positiv to Pedal 8-4
8′ Festival Trumpet (Gt)

27 registers, 34 ranks, 4 Walker digital voices

Fabry, Inc., Antioch, Illinois: Memorial Chapel, The Culver Academies, Culver, Indiana

Fabry, Inc., Antioch, Illinois
Memorial Chapel, The Culver Academies, Culver, Indiana
The nucleus of this organ is Möller Opus 8168, a 54-rank organ installed in the chapel in 1951. Various builders made some tonal modifications in the 1970s, but the organ returned to the care of Fabry, Inc. in 1978. Various ranks have been replaced since, often in an effort to resolve problems created by the work done in the 1970s. The entire electrical system was replaced with a Peterson ICS-4000, providing all relay connections, MIDI interface, adjustable crescendo pedals, adjustable “accent pedal” settings, ventils, and 256 levels of memory. The Möller individual pneumatic shade actions were replaced with Peterson 16-stage units (three for each expression enclosure). The Vox Humana enclosure was replaced with a new enclosure with shades and a Peterson shade action, operable from the console.
All tremolos were replaced with A. R. Schopp electric tremolos, including additional tremolos for the Great division and for the 7-inch pressure chest for the new reeds in the Choir.
The console was totally rebuilt by David Gustav Fabry, retaining the English ivory keyboards and some structural members. All new stop jambs were built in walnut, with accents in bloodwood and partitions between divisions in distressed maple. Nearly all external console woodwork was replaced, and the organ was fitted with a rebuilt pedalboard, featuring maple naturals and ebony-topped walnut for the sharps. Expression shoes (of walnut), divisional cancel bars (of distressed maple), switch plates for Chimes, Zimbelsterns, Vox Humana shades, and Pedal Divide, along with some external parts of the console, were laser engraved. All console pneumatics were replaced by Syndyne drawknob and Peterson rocker tablet actions.
David Gustav Fabry also constructed a new chest and modified an existing Choir chest to accommodate added stops and provide unit actions for one existing rank. Drawknobs and label plates were made by Hesco, Inc. of Hagerstown, Maryland. The Cor d’Amour and English Horn are patterned after the later work of E. M. Skinner. The new reeds and the Viola Celeste in the Choir were made by Eastern Organ Pipes, also of Hagerstown. The Doppelflöte was recycled from an 1892 instrument by William King and Son of New York City. Its bottom and top octaves (to yield a total of 73 pipes) were recycled from a similarly large-scaled Möller Melodia. The organ now possesses 58 ranks—3,625 pipes.
All cloth-wrapped wiring was replaced with PVC-coated wiring conforming to present-day codes. Connections between the console and the satellite cages in the chambers are done by Ethernet cables. Pouches and primaries were releathered in all but the Swell B chest (which had been replaced entirely after severe water damage in 1980). The Choir division was reconfigured with an expanded enclosure (and additional shades) to accommodate the new additions comfortably. The overall direction of the project was by David J. Fabry, assisted by Mike Pishioneri, Grant Ellis, Steve Ellis, and Phil Spressart, all from the Fabry company. The specification and details (including specific location of all controls on the console) were designed by John Gouwens, Academy Organist. Gouwens played the rededication recital on April 15, 2007. A CD recording of the enhanced instrument is in preparation.
—Phil Spressart

GREAT (Manual II)
16′ Quintaton 61 pipes
8′ Diapason 61 pipes
8′ Bourdon# 61 pipes
8′ Doppelflöte+ (enclosed w/Ch) 73 pipes
8′ Gemshorn 61 pipes
8′ Viola* (new duplex from Choir)
4′ Octave 61 pipes
4′ Harmonic Flute 61 pipes
(harmonic from f#2)
2′ Super Octave 61 pipes
2′ Piccolo# 61 pipes
(Zauberflöte, harmonic from low C)
Fourniture IV 244 pipes
Cymbel III 183 pipes
8′ Military Trumpet (from Choir)
Chimes# (Sw, immune to couplers)
MIDI on Great*
Great to Great 16′
Great Unison Off
Great to Great 4′
Tremolo*

SWELL (Manual III)
16′ Flûte Conique 85 pipes
8′ Geigen Diapason 73 pipes
8′ Rohrflöte# 73 pipes
8′ Flûte Conique (from 16′)
8′ Viole de Gambe 73 pipes
8′ Viole Céleste 73 pipes
8′ Salicional 73 pipes
8′ Voix Céleste (TC) 61 pipes
4′ Principal 73 pipes
4′ Flûte Triangulaire 73 pipes
2′ Fifteenth 61 pipes
Plein Jeu IV# 244 pipes
16′ Contra Oboe 85 pipes
8′ Trompette 73 pipes
8′ Oboe (from 16′)
8′ Vox Humana 61 pipes
Vox Humana Forte* (overrides Vox Humana shades setting)
4′ Clarion 73 pipes
Chimes# (not subject to couplers) 21 tubes
MIDI on Swell*
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′
Tremolo

CHOIR (Manual I)
16′ Flûte Conique* (new duplex, Swell)
8′ Viola 73 pipes
8′ Viola Celeste+ 73 pipes
8′ Cor de Nuit 73 pipes
8′ Erzähler 73 pipes
8′ Erzähler Celeste (TC) 61 pipes
4′ Prestant 73 pipes
4′ Koppelflöte 73 pipes
22⁄3′ Nazard 61 pipes
2′ Blockflöte 61 pipes
13⁄5′ Tierce 61 pipes
16′ Cor d’Amour+ 73 pipes
16′ Contra Oboe* (new duplex, Swell)
8′ English Horn+ 73 pipes
8′ Cor d’Amour* (from 16′)
8′ Clarinet 73 pipes
8′ Military Trumpet 73 pipes
(harmonic from middle c)
8′ Bombarde# (Pedal)
8′ Harp# (TC) (Deagan/Möller) 49 bars
MIDI on Choir*
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′
Tremolo

SOLO (Floating—all duplexes from other divisions)
8′ Doppelflöte* (Gt, enclosed w/ Ch)
8′ Viola* (Choir)
8′ Viola Celeste* (Choir)
16′ Cor d’Amour* (Choir)
8′ Cor d’Amour* (Choir)
8′ English Horn* (Choir)
8′ Oboe* (Swell)
8′ Bombarde* (from Pedal, 61 notes)
8′ Military Trumpet* (Choir)
Harp* (Choir)
Tremolo* (engages appropriate tremolos for all stops drawn on Solo)

PEDAL
32′ De Profundis* (Resultant from Bourdon and Flûte Conique)
16′ Contra Basse (open wood) 44 pipes
16′ Diapason (ext Gt 8′, open metal) 12 pipes
16′ Bourdon (wood) 44 pipes
16′ Quintaton (from Great)
16′ Flûte Conique (from Swell)
102⁄3′ Quint 44 pipes
8′ Octave (from Contra Basse)
8′ Principal 32 pipes
8′ Bourdon (from 16′)
8′ Quintaton (from Great)
8′ Flûte Conique (Swell)
62⁄5′ Grosse Tierce* (from Bourdon)
51⁄3′ Octave Quint (from 102⁄3′)
44⁄7′ Grosse Septième* (from Flûte Conique)
4′ Choral Bass 32 pipes
4′ Nachthorn# 32 pipes
Mixture III 96 pipes
32′ Voix de l’Abîme* (Resultant from Oboe and Cor d’Amour)
16′ Bombarde (full length, open metal) 73 pipes
16′ Cor d’Amour* (new duplex, Choir)
16′ Contra Oboe (Swell)
8′ Bombarde (from 16′)
8′ Oboe* (new duplex from Swell)
4′ Clarion (from 16′)
Pizzicato Bass* (8′ Octave, pizzicato relay)
Chimes#
MIDI on Pedal*
Zimbelstern# (two, selectable)

Couplers (rocker tablets)
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Solo to Pedal* 8′, 4′
Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Solo to Great* 16′, 8′, 4′
Solo to Great Melody Coupler*
Swell to Choir 16′, 8′, 4′
Solo to Choir* 16′, 8′, 4′
Solo to Choir Melody Coupler*
Great to Choir* 8′
Pedal to Choir* 8′
Choir to Swell* 16′, 8′, 4′
Solo to Swell* 16′, 8′, 4′
Great-Choir Transfer*
Pedal Divide* (Pedal stops/couplers; adjustable break point)
Ventils* (changing function of Pedal 1–5 toe studs to divisional blind silencers)
All Tremolos Off*

+ Added ranks, 2007–8
* New duplex, extension, or control
# Stops replaced or added by Fabry, Inc. in earlier projects
Photo credit: John Gouwens

Wicks Organ Company,
Highland, Illinois
Bethel Lutheran Church,
Rochester, Minnesota
On a pleasant evening in July 2007, five members of Bethel Lutheran Church climbed into a van for a trip to Highland, Illinois. It was the next step in a process that had been going on for years. We had a dream: ever since our new worship space was being designed, we dreamed of filling it with music. Now the Wicks Organ Company—currently building their 6400th organ—had a unique proposal for us. In 1964 Wicks had built their 4400th instrument for themselves, to showcase their work to prospective customers. They had built a climate-controlled room for it, and maintained and updated it ever since.
In Highland we met with representatives of Wicks who told us about their company and Opus 4400. We listened as Dale Mundahl, our principal organist, sat down at the console. We heard the beautiful tones and the awe-inspiring low notes that our temporary organ could not produce. We delighted in the variety of different tone colors available; quintessential pipe organ, sweet strings, melancholy flutes, vibrant reeds, stirring brass and majestic festival trumpets, even a set of chimes. It sounded fantastic and looked stunning.
So what was the unique opportunity? Well, this instrument had a list of pipes very similar to that of our hoped-for ideal, with all the features we had dreamed of—and this meticulously maintained and updated organ, with a replacement value of $1.2 million, was being offered to Bethel for less than half of that. In January 2008 the people of Bethel approved a proposal to purchase it.
Then came the day when our new instrument was delivered. Twenty-five members of Bethel joined the Wicks staff in unloading the two trucks. Three hours later our narthex and several other areas were covered with all the pieces that make up Opus 4400—what an interesting, informative, and enjoyable labor of love. Throughout the installation process we were impressed with the willingness of the Wicks personnel to include us and answer questions.
After a process of tonal finishing and final adjustments, the space above our choir has been filled with a magnificent instrument that will be a blessing to our worship for present and future generations of Bethel—well worth an extended road trip in a rented van.
—Gary G. Thorn
Minister of Music & Worship

GREAT (unenclosed)
16′ Quintaton 61 pipes
8′ Prinzipal 61 pipes
8′ Gedeckt 61 pipes
4′ Prestant 61 pipes
4′ Waldflöte 61 pipes
2′ Oktave 61 pipes
II Tertian 122 pipes
III Mixtur 183 pipes
8′ Trompette en Chamade 61 pipes
8′ Krummhorn Pos
Chimes

SWELL (enclosed)
8′ Rohrflöte 61 pipes
8′ Salicional 61 pipes
8′ Voix Celeste TC 49 pipes
4′ Spitz Prinzipal 61 pipes
4′ Koppelflöte 61 pipes
22⁄3′ Nazard 61 pipes
2′ Hohlflöte 61 pipes
1′ Flautino 61 pipes
III Scharff 183 pipes
16′ Posaune 12 pipes
16′ Bassoon 61 pipes
8′ Trumpet 61 pipes
8′ Oboe digital
4′ Rohrschalmei 61 pipes
Tremolo

CHOIR (enclosed)
8′ Geigen Principal 61 pipes
8′ Gemshorn 61 pipes
8′ Erzähler 61 pipes
8′ Erzähler Celeste TC 49 pipes
8′ Viole 61 pipes
8′ Viole Celeste 61 pipes
4′ Gemshorn 12 pipes
2′ Harmonic Flute 61 pipes
II Rauschpfeife 122 pipes
8′ Clarinet 61 pipes
4′ Hautbois 61 pipes
8′ Trompette en Chamade Gt
Tremolo

POSITIV (unenclosed)
8′ Holzgedeckt 61 pipes
4′ Spillpfeife 61 pipes
2′ Flachflöte 61 pipes
11⁄3′ Quint 61 pipes
1′ Nachthorn 61 pipes
II Sesquialtera 110 pipes
III Klingende Cymbel 183 pipes
16′ Krummhorn 61 pipes
8′ Holzregal 61 pipes
Cymbelstern

PEDAL (unenclosed)
32′ Bordun digital
32′ Violone digital
16′ Kontra Bass 32 pipes
16′ Bordun 32 pipes
16′ Quintaton Gt
8′ Prinzipalbass 32 pipes
8′ Gedeckt 32 pipes
8′ Gemshorn Ch
4′ Choralbass 32 pipes
4′ Copula 12 pipes
2′ Oktavbass 12 pipes
III Mixture 96 pipes
32′ Contra Bombarde digital
32′ Sordun 32 pipes
16′ Bombarde 32 pipes
16′ Posaune Sw
16′ Bassoon Sw
8′ Trumpet 12 pipes
4′ Cromorne Pos
8′ Trompette en Chamade Gt
Chimes

65 stops, 59 ranks

=========================

Nichols & Simpson, Inc., Organbuilders, Little Rock, Arkansas
West Side Presbyterian Church, Ridgewood, New Jersey
The journey towards a Nichols & Simpson pipe organ for West Side Presbyterian Church began in 1999, when a contract was signed for an instrument to replace the church’s Austin organ, reusing many pipes from the existing instrument. On January 8, 2002, the church was totally destroyed by fire. In the ensuing months, friends and fans of West Side Presbyterian watched in amazement as this courageous and faith-filled congregation made the decision to rebuild. Nichols & Simpson, Inc. was chosen to build the pipe organ for the new worship space.
The West Side Presbyterian organ is unique in many ways. Its striking visual appearance was designed by the church’s architect, Herbert S. Newman and Partners, PC, and the unusual cylindrical case pipes were constructed by A. R. Schopp’s Sons, Inc. The case was designed by Frank Friemel and executed by QLF Custom Pipe Organ Components, LLC. The chest actions are electric-slider with pneumatic-cylinder stop actions and electro-pneumatic/electro-mechanical actions for unit and duplexed stops. The swell boxes are two inches thick, with hollow shades featuring sound-trap joint construction. Shade movement is controlled by 12-stage pneumatic-cylinder whiffletree swell engines.
The moveable console is constructed of mahogany finished to match the interior of the church, and features an interior of burl eucalyptus, bone natural keys with rosewood sharp keys, rosewood expression and crescendo shoes, rosewood drawknobs with bone faces, rosewood thumb pistons with bone faces, and bone tilting tablets to operate the intermanual couplers. The organ utilizes a Peterson ICS 4000 control system and incorporates 256 levels of memory.
The instrument was dedicated on Sunday, October 9, 2007, during a recital by Dr. Catherine Rodland, daughter of Joanne Rodland, the church’s director of music, and the late John Rodland.
—C. Joseph Nichols
Photo credit: David C. Scribner

Nichols & Simpson, Inc.,
West Side Presbyterian Church,
Ridgewood, New Jersey
48 stops, 59 ranks

GREAT
16′ Double Geigen
8′ Principal
8′ Geigen (extension)
8′ Harmonic Flute (expressive)
8′ Bourdon (expressive)
8′ Gamba (expressive)
4′ Octave
4′ Nachthorn (expressive)
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth
IV–V Fourniture
8′ Harmonic Trumpet (expressive)
8′ Cromorne (expressive, preparation)
4+8′ Clairon (expressive)
Tremolo
8′ Tuba (expressive)
Chimes

SWELL
16′ Bourdon
8′ Diapason
8′ Chimney Flute
8′ Salicional
8′ Voix Celeste
8′ Flauto Dolce
8′ Flute Celeste GG
4′ Principal
4′ Flute Octaviante
22⁄3′ Nasard
2′ Octavin
13⁄5′ Tierce
11⁄3′ Larigot
IV–V Plein Jeu
16′ Double Trumpet
8′ Trompette
8′ Hautbois
8′ Vox Humana
4+8′ Clarion
Tremolo
8′ Tuba (Great)

CHOIR
16′ Erzahler (extension, preparation)
8′ Geigen Diapason
8′ Bourdon
8′ Erzahler
8′ Erzahler Celeste GG
4′ Octave
4′ Koppelflote
2′ Flautino
IV Mixture
8′ English Horn
8′ Clarinet
Tremolo
8′ Tuba (Great)
Cymbelstern
16′ Trombone (Pedal)
8′ Tromba (Pedal)
4′ Tromba Clarion (Pedal)

ANTIPHONAL
8′ Principal (console preparation)
8′ Gedeckt (console preparation)
4′ Octave (console preparation)
8′ Trompette (console preparation)

ANTIPHONAL PEDAL
16′ Gedeckt (console preparation)

PEDAL
32′ Contra Bourdon (extension)
16′ Open Wood
16′ Subbass
16′ Double Geigen (Great)
16′ Bourdon (Swell)
16′ Erzahler (Choir)
8′ Gross Flute (extension Open Wood)
8′ Octave
8′ Geigen (Great)
8′ Gross Bourdon (extension Subbass)
8′ Bourdon (Swell)
8′ Erzahler (Choir)
4′ Choral Bass
4′ Gross Flute (extension Open Wood)
IV Mixture (preparation)
32′ Ophicleide (extension)
16′ Trombone
16′ Double Trumpet (Swell)
8′ Trumpet
8′ Tuba (Great)
4′ Clarion (extension Trumpet 8′)
Chimes

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia
Hendricks Avenue Baptist Church, Jacksonville, Florida
The early morning hours of December 23, 2007 were of significance and great loss for the Hendricks Avenue Baptist Church. Due to contract negotiations with the symphony, the then-locked-out musicians of the Jacksonville Symphony Orchestra performed at Hendricks Avenue Baptist Church with a “Messiah Sing” on the evening of December 22. The proceeds of this performance were to benefit the Health and Welfare fund of the members of this institution. This was the last performance ever held in the sanctuary. Sometime in the morning hours of the 23rd a fire started and in a matter of hours consumed the church to the foundation. On the brink of Christmas, the stunned members and staff assembled on the church grounds in front of the still-smoldering pyre of their sanctuary, to console, pray, and plan. From this immeasurable loss they resolved to bolster their presence in the Jacksonville community with a new church and renewed dedication to their ministry.
Reverend Dr. Kyle Reese assembled a team to plan and oversee the rebuilding of the sanctuary. They vowed to have the church open no later than December 23, 2009, when they would again open the church to the public with a performance of Handel’s Messiah. In addition to Pastor Reese, key members who were to play a role in our building an instrument were O’Neal Douglas, chairman of the Sanctuary Renovation Task Force; Bill Mason, organ committee chairman; Reverend Tommy Shapard, Minister of Music and Worship; and Brenda Scott, organist. A constant presence on this construction project was O’Neal Douglas, who served as a living Gantt chart. He invested untold hours to assure the clear communications and coordination between all the different trades involved to build this church by the required completion date.
Lost in the fire was a three-manual, 48-rank Möller that had been installed in 1989. As one of the last instruments from Möller, it was a very good example of their building style and had been well loved by the congregation. Prior to working with our firm as a sales representative, Herbert Ridgeley Jr. represented the Möller firm. He had worked with then minister of music Reverend Kendall Smith on the installation of this Möller instrument. Marc Conley of our staff had worked on this instrument when he was employed by Möller. With these past affiliations, we began the initial discussions with the church as they considered a replacement pipe organ and evaluated firms that might build this instrument. In the words of Tommy Shapard, the charge of the organ committee was “to design an instrument with a variety of colors and levels of expression available in the new instrument to give our congregation and choir the opportunity to sing together more vitally and creatively as a worshipping body.”
I will always recall an exchange that took place early in our meeting with the organ committee. As we talked about a proposed stoplist, we were five minutes into the discussion when Chairman Mason raised a finger and jokingly said, “Arthur . . . from this point forward whenever we say Baptist, we want you to think Presbyterian.” He was referring to the landmark III/62 instrument our firm was building at that time for New York Avenue Presbyterian in Washington and its ties to President Lincoln and theologian Peter Marshall. (See cover feature, The Diapason, July 2010.) I came to find a much deeper meaning in his offhand quip. In public and private discussions, I have heard other builders refer to a “type” of organ they design by denomination. Personally, I do not believe one serves any church well by imprinting their view of any particular denomination—a generic “this is it” approach to stoplist and tonal design of an instrument. This is true regardless of whether it be Baptist, Methodist, Presbyterian, Catholic, Episcopal, or any other denomination. There are and always will be the subtle and not so subtle differences in a church’s worship style. Often in my professional career I have had a church explain their “traditional” worship only to find a worship style that I might personally find to be contemporary, or often a church that describes itself as “contemporary” to be traditional. The euphemism “blended” often used by many churches to describe their music in worship does not solve any identity issues either. As a builder, it is incumbent upon you to experience a church’s worship with your own eyes and ears and then really listen to how your client will use the organ in their worship. This is the only surefire way to refine a stoplist and scale sheets into a cogent amalgam that will allow you to design, voice, and tonally finish an instrument that truly serves the vision of the church you are working for.
A very real challenge in the design of this instrument was that the church moved very fast in the design of a building to assure their December 23, 2009 first service. By the time a contract was signed with our firm, the basic design of the building was locked in place and key building materials had been ordered. We had to work with the architect to design space for an instrument in a building that was already well defined. To allow for an instrument, space would have to be created. As a design team, we found that if we changed the width of the hallway access to the baptistery on the right and left and had a concrete lentil poured above the hallway and above the baptistery, room could be provided for a 43-foot-wide chamber of varying depth and elevations. Taking into account the sloping ceilings in the chambers, we planned a left-to-right division orientation of Swell, Great/Pedal, and Choir. The enclosed divisions of the organ have tone openings on their front and also on the side openings into the center Great and Pedal division. These side openings provide a coalescence and focus for the enclosed resources into the central axis of the instrument.
The chancel façade is designed to frame the baptistery. The façade is silver with polished mouths and features pipework from the 16′ Principal, 16′ Violone, 8′ Octave, and 8′ Diapason. The casework has a maple finish to match the church furnishings. To support the needs of audio-visual functions in their ministry, a projection screen was incorporated into the center section of the upper organ case.
The completed organ is 60 ranks, divided among three manual divisions in the chancel and a floating Antiphonal division in the rear of the church. My specification and scaling for this instrument has its roots in American Classicism, with an emphasis on the English elements found within this stylistic construct. All of the organ divisions are weighted around 8′ chorus structure. The Great is designed around a diapason chorus that has richness and warmth but that still maintains clarity in its phrasing. The Swell features an independent 8′ Principal, which allows the 8′ Swell string scales to be narrower, since these stops do not need to provide the core 8′ flue foundation. The Gemshorn in the Choir is generously scaled, with a wide mouth to support a function in this division analogous to a foundational Spitz Principal. The mixtures in the enclosed divisions are pitched at 2′ and provide a logical completion to the enclosed division principal choruses. This allows completion of the 8/4/2 chorus ladder without breaks in pitch or the need for independent 2′ principals as single stop draws. In addition to avoiding the stridency sometimes found in mixtures with pitches above 1′, this treatment of the mixtures also frees up the 2′ pitch registers for independent manual flutes.
While individually differing in color, the two enclosed divisions have parallel flue pitch registers for support of choral accompaniment. With a large, effective shade front, these divisions provide ample resources of weight and color against the human voice.
The organ reeds were designed with English shallots, which prove much more favorable in a dryer American acoustic. As is our common practice, the organ reeds are placed on separate reservoirs, separate tremolos, and individual unit electro-pneumatic windchests. This treatment allows the reeds to be freed from the strictures of the manual flue wind pressures. This allows complete freedom in scale, shallot design and treatments, and tongue thickness. With a separate tremolo, achieving the correct depth and speed on the reed stops does not become as elusive as it can sometimes be when flues and reeds share a common plenum.
For a large festive solo voice, the chancel organ features a high-pressure English Tuba. This stop is located in the Choir division, and under expressive control it can be used as a darker ensemble reed when it is dynamically caged. It is carried down to the 16′ register to effectively ground the Pedal division.
A very complete Pedal division was desired, with multiple pitches represented from 32′ through 4′. Just the 16′ registers alone represent nine of the 24 stops in the Pedal division. In addition to independent Pedal registers, full advantage was taken of manual-to-pedal duplexes. The result is a plethora of stops under the organist’s control, with a full range of colors and dynamics.
Early on in the design of this instrument, we prepared for a 10-rank Antiphonal. Due to the beneficence of several members, the church was able to contract for this “prepared for” item and have it installed with the chancel instrument. Visually, the rear organ takes its design from the chancel façade. Positioned between the two cases is an 8′ Trompette En Chamade with brass bells. Cognizant of its position in the church and the presence of the high-pressure English Tuba in the chancel organ, the stop was voiced on a moderate 7½ inches pressure. By its position, it has presence and lacks the offensiveness that is sometimes associated with this stop. The core of the Antiphonal organ includes a complete 8′ principal chorus, a lyrical 8′ Gedeckt, and an ethereal pair of 8′ Erzahler Celestes.
Foundational support for the Antiphonal division is provided by a Pedal 16′ Stille Gedeckt and 8′ Stille Principal in the Antiphonal Pedal division. In addition to providing foundation for the rear division, these stops are also very useful in larger organ registrations by adding definition and dimension to the chancel bass presence.
Never to be forgotten in an instrument of this size is the need for quiet contemplative moments. Early in our meetings we talked about the need for the organ to have the resources for what we began to refer to as “the whisper.” In the Choir division, we added a Ludwigtone stop. This is a wooden set of pipes with a dividing wall in the center of the pipe that has two separate mouths. Its unique construction allows each pipe to produce two notes, one of which can be tuned off-beating. In our stoplist as the Flute Celeste II, when it is drawn with a closed box, full couplers, and the Antiphonal Klein Erzahlers added to it, with a light 16′ Pedal stop, there is a moment of being surrounded by an ethereal magic that is at once all enveloping and yet without any weight.
Mechanically this organ uses our electro-pneumatic slider chests, with the organ reeds placed on electro-pneumatic unit chests. Conventional ribbed box regulators are used for the winding system.
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 maple, with an ebonized interior. The console features modern conveniences for the organist, such as multiple memory levels, programmable crescendo and sforzando, transposer, MIDI, and the ability to record and play back organ performances.
To allow full control in the tonal finishing of this instrument, we set sample pipes on the windchests in the organ chambers and then removed the pipes from the chambers to continue work with a portable voicing machine located in the chancel. This allowed us to work unimpeded and be more accurate with cutups and initial nicking, feathering, and flue regulation than could have possible within the confines of the organ chambers and the sea of pipework on each chest. After “roughing in” the pipework voicing, the stops were reinstalled in the organ chamber for final voicing and tonal finishing. In a process that lasted months, the tonal finishing was completed by a team including Daniel Angerstein, Peter Duys, John Tanner, Marc Conley, and Bud Taylor. In addition to our tonal finishers, our installation team included Marshall Foxworthy, Rob Black, Patrick Hodges, Jeremiah Hodges, Kelvin Cheatham, Joe Sedlacek, and Wilson Luna. I am thankful for their dedication and the long hours they put into this project to make sure that our tonal ideals for this instrument were not only achieved but exceeded.
The new sanctuary was finally at a point of completion by November 16 that we were able to begin the installation. The organ was brought up divisionally to allow autonomous work by our staff in multiple divisions. This allowed 40 ranks of the organ to be brought online when first heard in public on December 23, 2009. On this day, our staff was able to return home to be with their families during Christmas, and two family members, Art Schlueter Jr. and Arthur Schlueter III, were able to begin their Christmas together at the public opening of this church with Handel’s Messiah. Forever in my memory will be standing tall as father and son during the Hallelujah Chorus. As with all organ projects, there was still work to be done to complete and finish the organ, but it was a satisfying conclusion to a year that saw the installation of multiple new instruments by our firm and the fulfillment of a promise to this congregation and community.
A final chapter to this story must be told. To assist their search for an organbuilder and evaluate plans for a new instrument, the organ committee engaged local Jacksonville organbuilder, Jim Garvin, as part of their working group. As I developed my proposal for the church, he was a ready translator to discuss the minutiae of the organ proposal—from chest design, stop type, material construction, winding systems, etc. As a builder, I found it a great pleasure to work with Jim, who ably served as a liaison between the organbuilder and the church. Sadly, during the building of this instrument Jim began a battle with cancer. Even as he was weakened by his fight with the cancer, he never wavered in his role as consultant through the organ installation and dedication. I am happy to say that he lived to sing and worship with this instrument. One of our collective proudest moments was at the inaugural organ dedication with Dr. Al Travis. With a solid look in the eye and a firm stance, we exchanged handshakes as equals who had both worked to the best of our abilities on behalf of Hendricks Avenue Baptist Church. Earlier this year Jim lost his fight with cancer. His funeral was held at Hendricks Avenue Baptist Church, where I again returned to hear organ and choir, but this time to say goodbye. I will forever be grateful for my consultant and colleague I worked with in the completion of this project. Reminiscent of the way the project started, I once again heard Handel, as Jim’s final request for his service had been the Hallelujah Chorus.
Additional information on our firm and projects can be viewed at www.pipe-organ.com or by writing A. E. Schlueter Pipe Organ Company, P.O. Box 838, Lithonia, GA 30058.
—Arthur E. Schlueter III, tonal and artistic direction

All photos taken by Tim Rucci (www.timrucci.com)

Hendricks Avenue Baptist Church
Three manuals, 60 ranks

GREAT—Manual II
(unenclosed) (16 ranks)
16′ Violone 61 pipes
8′ Diapason 61 pipes
8′ Violone 12 pipes
8′ Flute Harmonique 49 pipes
(1–12 Pedal Bourdon)
8′ Bourdon 61 pipes
4′ Octave 61 pipes
4′ Spire Flute 61 pipes
22⁄3′ Twelfth 61 pipes
2′ Super Octave 61 pipes
IV Mixture 11⁄3′ 244 pipes
III Klein Mixture 2⁄3′ 183 pipes
16′ Double Trumpet 61 pipes
(English shallots)
8′ Trumpet 12 pipes
16′ English Tuba (Choir) (non-coupling)
8′ English Tuba (Choir) (non-coupling)
4′ English Tuba (Choir) (non-coupling)
Chimes (Choir)
Zimbelstern 9 bells
Great to Great 4′
Tremulant

CHOIR—Manual I (enclosed)
(13 ranks)
16′ Gemshorn 12 pipes
8′ Hohl Flute 61 pipes
8′ Gemshorn 61 pipes
8′ Gemshorn Celeste 49 pipes
8′ Flute Celeste II 80 pipes
(Ludwigtone)
4′ Principal 61 pipes
4′ Spindle Flute 61 pipes
2′ Harmonic Piccolo 61 pipes
11⁄3′ Quint 61 pipes
III Choral Mixture 2′ 183 pipes
8′ Clarinet 61 pipes
(English shallots with lift caps)
8′ English Tuba 61 pipes
(non-coupling)
Tremulant
Choir to Choir 16′
Choir Unison Off
Choir to Choir 4′

SWELL—Manual III (enclosed) (14 ranks)
16′ Lieblich Gedeckt 61 pipes
8′ Geigen Principal 61 pipes
8′ Viole de Gamba 61 pipes
8′ Viole Celeste TC 49 pipes
8′ Rohr Flute 12 pipes
4′ Geigen Octave 61 pipes
4′ Nachthorn 61 pipes
22⁄3′ Nazard TC 49 pipes
2′ Flageolet (from 16′) 24 pipes
13⁄5′ Tierce TC 49 pipes
IV Mixture 2′ 244 pipes
16′ Bassoon 61 pipes
(English shallots with lift caps)
8′ Trumpet 61 pipes
(English shallots)
8′ Oboe 12 pipes
4′ Clarion 12 pipes
Tremulant
Swell to Swell 16′
Swell Unison Off
Swell to Swell 4′

ANTIPHONAL—floating division (10 ranks)
8′ Weit Principal 61 pipes
8′ Gedeckt 61 pipes
8′ Klein Erzahler 61 pipes
8′ Klein Erzahler Celeste 49 pipes
4′ Principal 61 pipes
III Mixture 2′ 183 pipes
8′ Trompette En Chamade 61 pipes

ANTIPHONAL PEDAL
16′ Stille Gedeckt 12 pipes
8′ Stille Principal 32 pipes

PEDAL (7 ranks)
32′ Violone (digital)
32′ Bourdon (digital)
16′ Principal 32 pipes
16′ Violone (Great)
16′ Gemshorn (Choir)
16′ Subbass 32 pipes
16′ Lieblich Gedeckt (Swell)
8′ Octave 32 pipes
8′ Violone (Great)
8′ Gemshorn (Choir)
8′ Bourdon 12 pipes
8′ Gedeckt (Swell)
4′ Choral Bass 12 pipes
4′ Bourdon 12 pipes
IV Mixture 22⁄3′ 128 pipes
32′ Posaune (digital)
32′ Harmonics (wired Cornet series)
16′ Trombone (ext Tuba) 12 pipes
16′ Double Trumpet (Great)
16′ Bassoon (Swell)
8′ English Tuba (Choir)
8′ Trumpet (Great)
4′ Clarion (Great)
4′ Oboe Clarion (Swell)

Inter-manual couplers
Great to Pedal 8′, 4′
Swell to Pedal 8′, 4′
Choir to Pedal 8′, 4′
Antiphonal on Pedal

Swell to Great 16′, 8′, 4′
Choir to Great 16′, 8′, 4′
Antiphonal on Great

Swell to Choir 16′, 8′, 4′
Antiphonal on Choir

Antiphonal on Swell

MIDI controls (programmable as preset stops) (with record/playback) (audio included)
MIDI on Pedal
MIDI on Great
MIDI on Swell
MIDI on Choir

Combination system with a minimum of 128 levels of memory