The organ is in chambers to the sides at the front of the room. There are no visible pipes.
Traditional style console.
The console is in a fixed position, right.
Three manuals. 4 divisions.
Manual compass is 73 notes.
Pedal compass is 32 notes.
Austin Universal Air Chests(©).
Drawknobs in vertical rows on angled jambs.
Balanced swell shoes/pedals.
Adjustable combination pistons.
Concave radiating pedalboard (not AGO standard dimensions).
Reversible full organ/tutti thumb piston.
Reversible full organ/tutti toe stud.
Combination action thumb pistons.
Combination action toe studs.
Coupler reversible thumb pistons.
Coupler reversible toe studs.
- Information identifying this instrument from the Austin Organs, Inc. web site, accessed December 31, 2004: http://www.austinorgans.com/organ-research.htm. (James Cook. 2005-01-08)
- Updated through online information from Kenneth Brown. -- The original 3 manual stop tab console was replaced with a 3 manual stop knob console by Schantz in app. 1982. There had already been some tonal changes and ranks deleted/replaced, notably in the Swell division. The Swell still retained its very keen Viole d'orchestre and matching celeste, as well as an harmonic flute at 4'. An interesting feature was the Swell Vox Humana, which was duplexed on the Choir on the old stop tab console; when you drew the Vox on the Swell it automatically released the Vox tab if you had it drawn on the Choir! The reverse took place if you drew it on the Choir, the Swell tab came off. Each division had Austins canceler bars above the tabs. It still retained its original fan tremolos on swell and Choir. The original keyboards have been incorporated into my current residence organ along with the Swell expression pedals and the 4' Oboe. I had been using the original not quite AGO standard pedalboard until I constructed a new one to AGO standards. The non-conformity was the fact that it was not quite as concave, but the radiation was correct. The Choir was almost untouched, including a very lovely Dulciana and Unda Maris at 8' pitch and a Concert Flute, as well as a rather gentle Clarinet 8' The pedal still retained its large 16' Open Wood, although the Schantz representative wanted to take it out, saying that "nobody used those anymore" (I suspect he saw a ready-made and profitable 32' Bourdon after adding stoppers) I objected strenously and it was retained, along with its original Violone 16' and Bourdon 16'. The Great I believe had a Cello Celeste that was on a stop list found in the church records, but this wss gone by the time I was there. There had also been upperwork added, including a 2' fifteenth and a very poorly matched three-rank mixture sometime in the 70's on elevated supply-house windchests. Robert Glasgow re-dedicated the new Schantz console, with a ravishing performance of some of the Brahms chorale preludes; he particularly noted the aforementioned Dulciana/Unda Maris. A 10 2/3 quint was wired using the wood Open and the Bourdon to create a Resultant 32' The organ still retained as I recall its main Universal Windchests. Dr. Paul Klemme was organist before myself and may have more information. (Database Manager. 2012-03-17)
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