St. Mark's Church is a recently and elegantly restored 1888 Victorian Gothic building. The choir sits in a "wrap-around" three sided balcony. The original encased mechanical action organ (from an unknown builder) still exists at the center/rear balcony, on the long axis of the room. An Austin organ was installed in 1924 (Opus 1224). The Swell division, with some Pedal stops, was placed in the historic balcony case. The Great, Choir and remaining Pedal stops were located in a chamber to the upper right of the Altar and Chancel. During the 1980's, the Austin Company rebuilt and altered the organ, adding new Principal Choruses and Reeds to the Great and Pedal Divisions, as well as changing out most of the Swell Division pipes to neo-Baroque/Germanic ranks. The combination of new and old pipes of differing musical styles and eras resulted in a lack of cohesion and balance. These musical challenges, along with difficulties in the electrical system, and decay of leathers necessitated a thorough repair, rebuilding, and re-organization of the instrument.

John-Paul Buzard Pipe Organ Builders were chosen to take on the project. All wind-chests were replaced with non-leathered electric-slider actions. All pipes were retained and re-voiced, with some re-scaled and re-purposed. Some new ranks were added, and the entire organ was installed within the central rear-balcony case. The case was enlarged to match the historic original portion by church members.

The instrument now has musical unity and integrity, with durable actions. The historic Austin console shell was retained, and outfitted with a new multi-feature electrical operating system. The visual presentation of case and facades are befitting of the historic room, and tone is projected evenly in the space on the long axis of the room.

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The St. Luke Church worship space is as square room having relatively short wall heights, and with the altar set beneath the central peak of the pyramidal roof. While the floor plan facilitates an intimate seating arrangement focusing on the altar, the square and pyramidal geometric form makes even sound distribution difficult to achieve. Further, the floor was partly carpeted, and the ceiling was entirely clad in sound absorbing "Tectum" material, so the "dead: environment did not support vibrant speech, inspiring music, or participation by the congregation in sung and spoken liturgy. The church's small neo-Baroque style organ with low wind pressure, narrow scaling, and few 8' or 16' stops, did not have the capacity to lead hymnody or accompany the choir well.

Acoustic improvements included re-surfacing the ceiling deck with hard and sound reflective materials, and changing from carpet to slate flooring, all to increase the reverberation period. Further, brick features were added to side walls to diffuse sound energy and eliminate flutter echoes.

A used/heritage Möller pipe organ, having electric-slider action as well as a stop-list and pipe scaling/voicing attributes commensurate to the St. Luke space and choral liturgy, was reconditioned and installed into an enlarged organ chamber on the central axis of the room, behind choir singers.

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The new three-manual and pedal pipe organ at Grace Church is an electric-slider action instrument of 44 Resisters and 60 Ranks. Some of the pipe work is new, and some are heritage ranks retained from the church previous instrument. That was a mechanical action Johnson organ from the 1800's, that had been significantly modified over the years, and including the later addition of an electro-pneumatic action Antiphonal Division placed in the church's rear balcony.

The right-side of Sanctuary main organ case was structurally reinforced, with all new wind-chests and expression boxes fitted within. The new electric console is positioned now at the opposite side of the Sanctuary and Choir from the organ case, so the organist now hears direct tonal projection and balance (the former console was on the same side of the Sanctuary as the organ case, beneath its cantilevered façade, such that the organist had no direct hearing and perception of organ tone or balance). All finishes are white and mahogany to match the building's historic architecture. Pipe shades and some façade pipes are painted in historic colors found in the church's stained glass windows.

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The Holy Trinity church organ was originally installed by the M.P. Möller Company in 1949, and had 43 ranks of pipes in chambers flanking the Chancel. Over the years the instrument was enlarged by various Organ Companies, bringing the total rank count to over 150, along with some digital voices. Additions were made within the Chancel chambers, and in the rear gallery of the church. By the early 2000's, the organ was suffering from wear and age, particularly due to decaying leathers. Maintenance and access were extremely difficult, because the placement of addition pipes and equipment over the years obstructed walk-boards, ladders, and access ways.

The Parsons Organ rebuilding project included replacing all original and added wind-chests with new electric-slider (non-leather) actions, and the reconfiguration of wind-chest and wind ducting layouts within the chambers to facilitate maintenance and tuning accessibility. A new tone opening was created to improve tonal egress from the right-side chambers. Most of the organ's pipes were retained, restored, and re-voiced, while some pipes were replaced.

The rich heritage of Holy Trinity Church's organ has been retained and renewed, and improvements to the layout and replacement of wind-chest actions will assure dependable durability for decades to come. Rebuilding of the Gallery divisions was not included in this 2016 Parsons project.
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The new two-manual and pedal pipe organ at Pilgrim Church is an electric-slider action instrument of 31 Resisters and 37 Ranks. The church building, also recently designed by architect John Munson, has a generous cubic air volume, with tall ceiling heights and a spacious rear loft containing choir and organ. The electric-slider action instrument has a wood case that is commensurate with the building's interior décor. The façade features polished tin Diapason ranks, and copper Festival Trumpets. The movable console is on the first level of the tiered choir loft, where the organist has direct and intimate hearing of both organ and singers.

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St. Mark's Lutheran Church is a congregation that offers a wide variety of worship opportunities and styles. As the project began, the church had one worship space in which they were conducting Traditional, Blended, Contemporary and "High Impact" services. The room contained theater style stadium seating, large areas of carpeted flooring, sound absorbing wall panels and curtains, video screens, and a mechanical action organ that had been moved from the congregation's former church building. Though the effort was made via architectural detailing and A/V system design to meet the needs of the varying worship and music styles, the room metthe needs of none well.

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The St. Monica's Church worship space is a round/concave shaped room. Originally, floors in the nave aisles were carpeted, and Sanctuary, Choir, and under-pew area flooring was hard surfaced. The concave perimeter walls were primarily glass, with hard surfaced sections between glass panels; these created unwanted echo reflections and "hot spot" sound focusing within the nave. The concave, asbestos clad ceiling surface was highly sound absorbing. The combined sound absorbing effects of the floor and ceiling materials resulted in a reverberation period too low to enhance organ and choral music, and too low to foster good participation by the assembly in sung and spoken liturgy.

The choir and organ space was separated from the main nave by a wood lattice wall that obstructed tone projection, and the former organ was a poorly executed attempt at a baroque tonality, with failing operating systems.

Acoustic improvements to the room include entirely hard surface marble/tile flooring and a sound reflective and diffusive ceiling deck, with sound diffusing wall features having discrete areas of absorbing treatment. The result is a live room that supports Catholic liturgy, with echoing and "hot-spot" focusing effects eliminated. The music area's obstructive lattice wall was removed, and sound reflective diffusers were added to blend tone amongst musicians, as well as to distribute music evenly throughout the nave. The sound system features an array of ceiling mounted speakers, along with special coverage speakers installed in discrete locations.

The new Nichols and Simpson four manual organ with primarily electric-slider action has five divisions. All pipework is located in a sound reinforcing chamber above and behind choir singers, wrapped in a façade designed by Frank Friemel.

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The Community Church worship space is a "fan shaped" auditorium type room. Originally, congregation area floors were carpeted, and the rear perimeter walls were primarily clad in sound absorbing cloth covered fiber-glass acoustic panels. The ceiling was made of coffered plaster, and choir andorgan were located to the upper left of the Chancel platform. The former organ was a neo-baroque mechanical action instrument. The low reverberation period in the space did not enhance choral and organ music, nor did it foster good congregational participation in hymns and sung or spoken liturgy.

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Mayflower Congregational Church's worship space is as a long and fairly narrow New England Colonial style building with reasonably tall side walls. Original interior materials included significant amounts of carpeting, and many wall and ceiling surfaces clad with sound absorbing acoustic tile treatments. The Chancel choir area was limited in size and flexibility, and separated singers from each other in transepts with low ceilings and with large modesty railings.

The former organ was an electro-pneumatic unit organ, inadequate in size for the church's music program and worship space size, and suffering from failing mechanisms. The former organ pipes were located in a tone-restrictive side chamber that was without adequate climate control.

The extensive music program of the church called for a reliable instrument, capable of accompany and leading sacred music of many styles. Further, adequate flexible and functional space and a supportive acoustical environment were necessary to the present and future goals of the church's music ministry. Acoustic improvements to the room include the use of hard surface flooring throughout along with soundreflective and diffusing, hard, dense wall and ceiling gypsum board and plaster treatments. The Chancel and choir area were enlarged by extending the space towards the nave. The Chancel now accommodates all liturgical functions as well as provides space for choir singers, the organ console, a grand piano, and other instrumentalists. Modesty railings are spindle/baluster type to allowunobstructed sound projection. Access is facilitated with a chair lift.

The new Glück organ is located in twin chambers at the front and sides of the Chancel. The primary divisions are on the long axis of the room, in cases/chambers that flank the central Chancel window. The casework and façade blend into the architectural style of the room, andthe expression chambers are finished in multiple layers of dense, sound reflective gypsum board, with both insulation and air circulation fans to stabilize tuning/temperature conditions for the organ. The organ action is electric with some unit actions. The movable side-jambstop tab console has a complete multi-level combination system. The organ employs some restored and rebuilt pipe work from the previous Mayflower Church organ, along with re-purposed pipes from Glück stock, as well as newranks.

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St. Hedwig church is set in one of the oldest neighborhoods in Milwaukee, WI. The building dates at over 100 years old. Over time the worship space interior and organ have been remodeled, updated, redecorated, and rebuilt many times. The instrument and room were far from their original artistic and architectural inspiration and intent. The parish desired a restoration and return of the building to a more historic style and period. The organ was a significant factor in returning to the historic integrity of the room. In 2006 we found the organ to be failing... mechanically, electrically, and structurally. Considerable portions of the original Kimball instrument remained, but over timethe organ had been removed from its original case,changed to electro-pneumatic action, and positioned into two chambers at the back of the balcony that obstructed eight art glass windows.

The project goals therefore included returning the organ to a traditional encased position at the center of the balcony, thus allowing the art glass at the rear ofthe former chambers to be revealed.

Happily, the Holtkamp organ company had available a modestly sized existing instrument available that could be repurposed into St. Hedwig Church, with the best portions of St. Hedwig's Kimball organ available to be combined with the Holtkamp organ. The result is an instrument that contains the bright clarity of the newer Holtkamp organ, along with the rich sonorities of the Kimball pipe-work. All of this has been combinedon new act electric slider actions for superb reliability and tone, with pipes fully re-voiced into a noble, clear, broad palette of tone. Further, the Holtkamp console from the Julliard School of Music in New York was available for sale, so this console now controls the instrument. A classicallystyled case, evoking the architectural idioms of the St. Hedwig room, provides both an artistic visual effect, and a blending tonal effect.

The entire project was accomplished economically due to the restoration, re-purposing, and re-use of good existing resources and materials.

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Faith Lutheran Church's worship space is as a long and fairly narrow "A Frame" style building with reasonably tall side walls. Original interior materials included a softwood ceiling deck with some tiled and some carpeted floor areas. The rear choir loft had a high, solid railing and side vestibules that obstructed and trapped sound energy. The former organ was in its core a Tellers electro-pneumatic unit instrument with other used ranks added over the years. This organ was located in a Masonite clad chamber at the rear of the balcony.

The growing and vibrant music program of the churchgenerated the need for additional and flexible space to accommodate the parish's many musical ensembles which include full choirs, bell choirs, and instrumental ensembles. Further, a larger, durable and reliableorgan, with sufficient musical resources to lead the sung liturgy and support and accompany a variety of musical styles was desired.

Acoustic improvements to the room include the use of hard surface flooring throughout along with sealed and hardened wood surfaces, and multiple layers of dense, sound reflective wall materials. The balcony was enlarged with a cantilever overhanging only two rear of navepews. The balcony also now has a sound transmitting wood baluster railing.

The new Glück organ is located in an elevated case at the rear of the balcony, with sound transparent grill material flanking the case to facilitate tonal egress from pedal ranks adjoining the case. The action is electric-slider with some unit actions. The movable side-jamb stop tab console has a complete multi-level combination system. The organ employs some restored and rebuilt pipe work from the previous Faith Church organ, along with re-purposed pipes from the Glück stock, as wellas new ranks. Faith Lutheran Church

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The First Presbyterian Church, built in 1837 in Gallatin, Tennessee, was severely damaged by fire in December of 2004. The fire, begun from a Christmas decoration candle on a window sill, burned up the side wall ofthe church, across the ceiling, into the organ chamber, and through the roof of the building. While partly damaged, the Egyptian Art Deco styled organ case survived the fire, along with some pipes from the electro-mechanical organ. The new mechanical action instrument, built by Bradley Rule of New Market, Tennessee, has electric stop controls and a detached console. Room acoustics were enhanced with a coffered detail on the ceiling, reinforced gypsum board walls, and a reduction in the amount of carpet in the space.

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The Salem United Church of Christ, Quincy, Illinois, has a Victorian Gothic structure built in 1876, featuring a "wrap around" balcony, with choir and organ elevated at the front of the room. The old Moller organ, worn and decayed, was installed with extremely challenged access and maintenance space into three chambers. Choir seating, while well placed, was fixed and inflexible in a "stadium" arrangement of theater chairs on carpeted floors. The new Schantz organ, having more ranks than the previous Moller, is accessibly installed into the chambers, with the historic façade pipes retained. The choirarea, with the movable organ console, now featuresportable chairs and risers with hardwood flooring.

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The St. John Lutheran Church building is constructed in the "A-Frame" style, with organ and music ministries functioning from the rear gallery. The congregation's musical offerings include traditional liturgieswith organ, choir, bell choir, and other vocal and instrumentalgroups. Community musical organizations also use the church as their performance venue.

Originally, the music gallery had an unsealed, soft-wood ceiling, carpeted floor, and "soft" sound absorbing acoustic spray material on the rear wall. The former electro-pneumatic pipe organ was composed of a variety of used and newer components, and was inadequate, bothmusically and mechanically.

Acoustic improvements include an all hard surface music gallery floor with foot-fall noise sound deadening under-floor treatments, a sound reflective rear wall madeof multiple layers of gypsum board, and the application of sealants to harden the wood ceiling. Future plans include the reduction of first floor area carpets.

The new Berghaus organ has electric slider main chest action, with some unit chests. The fully encased instrument sits at the center-rear of the balcony, on the long axis of the room. Three ranks of pipeswere restored and re-used from the church's previous organ. The movable console is outfitted with a multi-level combination action as well as player conveniences such as "Automatic Pedal" and "Melody Assist" features to aid pianists.

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Christ Episcopal Church has a classic, traditional worship space with a long center aisle, Apse and Chancel, and a lofty peaked and arched ceiling. The Tiffany windows and Victorian Gothic style of the room increased the building's inspirational setting. The primary acoustic deficit was a too low reverberation period caused by the presence of large expanses of carpeted flooring. The organ was suffering from the effects of dirt andage to the pipes, leathers, and electrical switching system.

The re-designed room honors and maintains the integrity of the original architectural style and detailing. Wood carvings and the Tiffany windows were cleaned and restored. Additional wood wainscoting to match the existing now completes the room. All new hard-wood floors with artistic inlay details create a visual and acoustic vitality in the space. New seating, classically designed, is better oriented for liturgical gathering, and accommodates the flexible use of the space.

The organ was cleaned, repaired, and restored, witha new multi-level solid state switching and combination system retrofitted into the historic, and now movable console.

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The P.J. Swartz Organ Company of Eatonton, GA has recently completed the rebuilding of the 1969 Verlinden organ at Christ Church UCC, Milwaukee, WI. Technical, mechanical, and tonal revisions and updates were accomplished. These include the replacement of theaging electro-pneumatic switches with a new Syndyne solid state control system that offers an expanded combination action as well as MIDI capability. Trumpet pipes were replaced with a new rank for improved scaling and tonal blend, along with a 16' extension into the Pedal. The original Vox Humana was also replaced with an historic Wangerin Oboe to expand the organ's tonal paletteand functional use. Finally, a 4' Swell Principal rankwas added, particularly so that the unification ofthe Great Diapason stop could be reduced.

When originally installed, the main windchests of this instrument were mounted within the chamber, higher than the top level of the tone opening. From this position, no tone from pipes could project directly through the grille opening to the nave of the church. It is speculated that this "too high" mounting of windchests by theoriginal builder above the tone opening was caused by the tall pneumatic switch stacks that were located beneath the windchests. With the introduction of the solid state switching system, the tall pneumatic switch stacks were removed, and the windchests lowered to bring pipes even to the tone opening level. The result is a renewed tonal vitality, presence, and projection. The repositioning of the organ pipes for good tonal egress, alongwith the replacement of carpeted worship space flooring withpolished granite, has resulted in an excellent musical and liturgical functional space. Scott R. Riedel & Associates Ltd., Milwaukee, WI, provided consultation service to the project. The dedication recital was performed by Donald VerKuilen on Sunday November 13, 2011 to a capacity crowd.

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Luther Memorial Church's worship space is as a traditional Victorian gothic long and fairly narrow "center aisle" room. Original interior materials included plaster walls and ceilings, with carpeted Chancel, balcony and aisle floors. The choir singers are located in a rear loft along with a "Positiv" organ division. The main Great, Swell and Pedal organ divisions are located in second floor chamber to the right of the Chancel that had two layers of fabric at the tone opening grilles.

The original organ was in its core an Estey electro-pneumatic unit instrument. Later additions of other new and used ranks, along with a replacement console, were provided by the Berschdorf Organ Company. The Chancel chambers were clad in Masonite, and the balcony chamber walls and ceiling were softened and damaged byroof leaks.

A durable, reliable instrument of compatible tonal and voicing styles was desired, along with acoustical improvements for the enhancement of hymn singing, choral, and organ tone.

Acoustic improvements to the room include the use of hard surface flooring throughout the Chancel and Balcony, along with multiple layers of dense, sound reflective wall materials in all organ and choir areas.

The Berghaus Organ Company found, restored, re-configured, and installed an historic Casavant organ, re-voiced to fit into the new setting. Due to structural challenges in the building, the primary divisions of the Casavant-Berghaus organ (Great, Swell, Pedal) are installed into the rejuvenated Chancel chambers. An expressive Choir division composed of some ranks and components fromthe church's previous Estey-Berschdorf organ is installed in an updated balcony chamber.

A case of working facade pipes now fronts the Chancel chambers. The action is electro-pneumatic with some unit actions. The draw-knob console is located in the balcony along with choir singers.

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The Pilgrim Church building is designed in the Victorian Gothic style. There is a tall, long central nave, with twin transepts flanking the crossing. Originally the Altar was at the front wall of the Chancel, with choir singers facing each other in the Anglican manner. The original Wangerin organ, of primarily unit stops, was installedin a left-front chamber with tone openings only into the Chancel.

Building and acoustic modifications include a Chancel extension toward the Nave crossing, with a central, free standing Altar and movable liturgical furniture. The choir is now located on tiered risers at the front wall of the Chancel, on the long axis of the room. All Chanceland choir flooring, formerly carpeted, is now finished in sound reflective hardwood.

The re-purposed organ was originally built by the Schantz Organ Company in 1958 for the Community Reformed Church in Holland, Michigan. Changing worship styles at the Michigan church caused the organ to be sold. The organ was re-designed and installed by the Berghaus Organ Company to have the Great division in twin cases flanking the central Chancel window. The Swell andPedal divisions are placed in the former organ's Chancel side chamber. The chamber has been remodeled for improved tonal projection and to have an expressive Swell chamber separated from the non-expressive Pedal stops. Wind pressures were increased, and the organ was re-voiced to serve its new Lutheran liturgical and architectural setting. The three-manual draw-knob console is movable to accommodate flexible use and positioningin the Chancel.

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Formerly, St. John Cathedral had a traditional long center aisle with fixed pews, and a forward Sanctuary with a baldachin covered altar, as well as a free-standing altar. The very small rear balcony contained a 4 manual electric action Noehren pipe organ, with little remaining space for choir singers or instrumentalists. Floors and walls were hard surface terrazzo and marble, and the ceiling deck was a moderately sound absorbing composition tile material. A large and unsightly sound system speaker cluster was suspended from the forward ceiling.

The liturgical renewal of the space included the positioning of a single central altar, a baptismal font and pool near the main entrance, a single ambo for proclamation of the word, and movable chair seating for the assembly. The former forward Sanctuary is now the music ministry plaza, with adequate space for cantor, organ case and console, choir singers, piano, and instrumentalists. A new Nichols and Simpson encased organ is placed at the front of the room, at the Apse/former Sanctuary, behind the choir singers. The new four manual “front” console controls both the Apse and balcony organs. Three digital line-array sound system speakers serve the entire space from discrete locations aside columns, and the ceiling deck has been hardened.

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This worship space had many characteristics that made musical blend, congregational response, clarity of the spoken work, and choral projection difficult. These characteristics included carpeted floors, an acoustically tiled ceiling, sound restrictive organ chambers, failing organ mechanisms.

Additionally, the original choir location was in a small balcony at the front of the church, above the chancel. This was an unsafe and spatially inflexible choir loft.

In order to improve this situation, the total amount of carpeting was reduced, and the ceiling deck was hardened. The choir was relocated from the front balcony to an enlarge choir / chancel “plaza” elevated at the front of the main floor. This allowed for greater flexibility for the music program. A new sound system includes modestly sized speakers high along the center axis of the room.

The three manual Schlicker organ was designed to be durable, long lasting, and to have a variety of tonal colors for the wide scope of protestant American worship music.

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The well proportioned architecture of St. Mark’s Lutheran Church suffered from a poor acoustical environment and an inadequately placed, decaying organ. The room contained both sound absorbing carpeted floors and a porous ceiling. The divided Chancel choir seating arrangement restricted musical flexibility. Worn out organ pipes and parts from various sources were trapped in a deep side chamber with restrictive tone openings.

The acoustical improvements and liturgical renovation of the church included a new Martin Ott mechanical action pipe organ placed on the long axis of the room, and an altar, font, and ambo placed closer to the congregation. Ample space, risers and flexible seating are provided for the choir. Flooring throughout the room is now primarily sound reflective hardwood, with only a modest center aisle runner of carpet. The ceiling surfaces have been hardened and a new sound system projects the spoken word.

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Formerly, St. Matthew Lutheran Church was a modest sized worship space with a traditional long center aisle, a Chancel with a “front wall” altar, and a balcony that held a medium sized choir and an aging pipe organ in a remote chamber. Floors were carpeted, and the ceiling was made of thin, sound transmitting composition wood panels. A dynamic Pastoral and music staff at the church fostered increases in church attendance and choir/music program participation.

The revitalized worship environment now has a nearly doubled seating capacity. There are a central, free-standing altar, marble inlaid floors, plaster ceilings, a tiered music plaza large enough for choral and instrumental groups together, a state of the art sound system, and a new encased organ with enchamade trumpets and a French terraced console. The acoustically live and flexible worship space facilitates creative worship and is a venue that draws a large concert following as well.

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The Peace Lutheran Church building is newly constructed, incorporating classical elements with a modern interpretation. There is a "center aisle" congregational seating plan that yet wraps the broad Chancel. Musicians are located in a spacious rear gallery that accommodates choristers, woodwind, string, and brass players, a full range hand-bell choir, and a two manual and pedal mechanical action organ.

Flooring throughout the space is hard surface ceramic. The ceiling deck is lacquered/sealed wood, with discrete areas of sound absorbing treatment added to fine-tune the room's 2.2 Second Reverberation Period. The walls are primarily brick, set in a variegated geometric surface profile pattern that diffuses sound, and prevents focusing and echoes. Modest areas of sound absorbing cloth covered fiberglass wall inserts also tune the reverberation time. A spindle type baluster railing at the balcony edge allows music to transmit to the nave without obstruction.

The sound system uses traditional ceiling mounted loudspeakers with supplemental speakers in under-balcony areas of the room. Twin video screens flank the Chancel, and A/V controls are in the balcony.

The Martin Ott two manual and pedal organ has primarily mechanical key action with electric stop actions and a multi-level combination system. The organ is voiced in a modified neo-baroque style, and contains three electric unit action ranks to expand the use of its tonal resources. The console is detached from the case, with trackers running in a chase beneath the tiered choir risers.

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This project involved planning for a new Episcopal retirement home chapel environment and new organ. Acoustics were designed to be optimal for both speech and music, with special concern given to the needs of the hearing-impaired. Strengthened gypsum board wall & ceiling, hardwood floors, and tall ceiling geometries contribute to the favorable acoustics.

The organ was designed within the framework of the multim in parvo concept; that is “much in little”. Jack M. Bethards, President of the Schoenstein Organ Company writes:

Because of the size of the chapel and the need for maximum versatility, we decided to put both Great and Swell under expression. Since the bass pipes of the Open Diapason would not fit comfortably in the Swell box, we placed them in display but provided two separate knobs to draw the Open Diapason in order to avoid the problem of a big break in loudness at tenor C should the box be closed. The firm bass of the Lieblich Gedeckt serves well to underpin the Open Diapason when it is played under expression. The extended 16’ flute stop is made of four different types of pipes. Given the size of the room and the chapel’s musical requirements, we decided that a celeste to the Dulciana (Unda-Maris) would be more useful than a narrow unison string.

The most important element of this tiny stoplist is the Trumpet under double expression. We have used double expression with great success on several large instruments. I felt that it might have even more utility in a small one. This has proved to be true. The Trumpet, with tapered shallots, is very boldly voiced. It is in its own box, speaking into the main one. This extra degree of dynamic control allows it to play as soft as a capped oboe with the shades closed and then to crescendo a dramatic amount, becoming a very powerful chorus reed dominating the ensemble, admirably leading congregational singing or serving as a solo stop. This six-rank organ has a full-Swell effect of real grandeur.

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This project presented the opportunity to optimize the acoustics for a completely new facility. The client desired a traditional cruciform room shape with the music space in the front. A particular challenge in this design was to allow organ tone to reach the main part of the nave, given that the organ was placed in a side transept. The choir / music area was designed to be flexible for the various musical ensembles that utilize the space. Primarily, hard materials were used to create acoustics that are friendly to both music and spoken word.

The Berghaus organ was designed with a wide tonal palette across two manuals and pedal. In order to achieve desired durability, sound quality and flexibility, a detached and electric slider chests were employed.

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First English Lutheran Church
Whitewater, Wisconsin

The project involved the re-design and renovation of an existing space and replacement of a failing electro-pneumatic organ. There were several acoustical deficiencies in the church including excessive carpeting, soft ceilings, and a choir space in a completely different area than the organ. The original organ spoke from chambers into the chancel, and did not project in to the nave.

Our recommendations included a tile floor for the chancel, a hardened ceiling, and moving of the choir space. The new Holtkamp organ now speaks down the long axis of the nave with the choir directly below. From the dedication booklet –

“Our goal was to provide an instrument and liturgical / acoustical environment which would provide for more devotional, inspirational, and exciting worship. This building, of commodious original design integrity, now offers an even fuller, richer service to the congregation. The resonant organ case has been built of historical wood cabinetry, blending with the visual design of space. The location of organ pipes on the front central axis of the room now allows blended tonal projection, balanced to the acoustics of the room. The acoustical environment itself has been ‘brightened’ with more sound reflecting surfaces, giving improved reverberance for organ, choir and congregational singing. Martin Luther’s concept of a central altar table, closer to the congregation, has been achieved fro more intimate and communicative liturgy. The mechanical action ‘tracker’ organ, now enhances worship with warm and clear tone; it will do so for many generations due to its long lasting design and workmanship.”

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This project had a number of acoustical deficiencies including lack of musical blend, poor projection of choir and organ tone, difficulties in congregational response in hymns and service music, less than desirable speech clarity, and unreliable organ service.

These problems were caused by the presence of excessive sound absorbing materials (acoustical tile ceiling and carpeted flooring), poor placement of organ pipes, a decaying organ mechanism, and an antiquated sound system.

Excellent musical rendition and speech clarity along with full-bodied participation by the congregation in the Service has been achieved by raising reverberation time. This was accomplished through the use of sound reflective ceiling and flooring materials, by seating the choir on the long axis of the room, and through the use of a new sound system specifically designed for the renovated environment.

The new Casavant organ has its primary divisions encased on the long axis of the room with accompanimental divisions placed in acoustically enhanced side chambers.

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The Grace Lutheran Church building is an excellent historic example of Victorian Gothic architecture. While there have been some alterations to the structure over the years, recent restoration and updating projects have maintained the original architectural style.

Acoustical improvements include the re-creation of the original pulpit canopy/sound reflector, hard surfaced simulated marble flooring under pews and in aisles for increased reverberance, and a re-organized choir/music loft with safety railings and space for instrumentalists.

The old organ suffered from the effects of deteriorated leathers, a failing electrical system, and damaged pipe-work. The “new” organ retains the historic casework, some of the older façade pipes, and many restored interior ranks. The remaining façade pipes have been built to blend with the historic façade, and new, durable slider windchests, solid-state electrical systems, and a movable draw-knob console have also been provided.

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This handsome building contained an excessive amount of sound absorbing material in the form of fully carpeted floors and a “celotex” ceiling deck. The choir and aging electronic organ console were located in a sound restrictive side transept, with the organ speakers in chambers flanking the altar.

Our goals were to enliven the room for worship participation and music, bring choir and organ together in an appropriate location, and to design a durable, artistic instrument. Carpets have been largely replaced with hardwood flooring. The ceiling is now sound reflective, and choir and organ are together on the central axis of the room. The modest size, yet world-class Harrison & Harrison organ speaks from new cases where the former speaker chambers had been.

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We had the welcome opportunity to design both the architectural/acoustical environment and the new organ for this vibrant congregation. The traditional long and tall geometric form, marble and ceramic tile flooring, and hardened splayed walls and ceiling all combine to result in a 2.0 Second reverberation period that supports liturgical worship. The modest size Sipe organ, with select duplex stops, fills the room from the central axis position in the Chancel.

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The previous chancel design of this church featured an organ buried in deep chambers. With the renovation of the sanctuary, the opportunity was available to improve the organ’s location. The altar and pulpit were moved closer to the congregation, and a new choir seating area was created. The organ is now located in shallow chambers and matching casework on either side of the chancel.

The acoustic problems of this church were addressed in a unique manner. Through cooperation with the architect and contractor, the structure of the ceiling was made more reflective and dense through the use of a special expandable insulation. New slate flooring was also installed. The result is a space that is excellent in its support of liturgical participation and the grand “English Cathedral” sound of the Harrison & Harrison Organ.

From the Harrison & Harrison Organ Company:

The city of Hendersonville is situated in the Blue Ridge Mountains of North Carolina, 100 miles west of Charlotte. St James's Episcopal Church was dedicated in 1863, and has been enlarged several times since then, in the English Gothic style. It is a lofty building with seats for 250. The most recent work in the church included a remarkable improvement in the acoustics, under the guidance of the consultant Scott Riedel.

The two matching oak cases, bracketed out on either side of the chancel, were designed by Didier Grassin, suitably echoing the nineteenth-century work of the English designer and organbuilder Dr Arthur Hill. The south case contains the enclosed Choir Organ; the remainder is all within the north case, including the copper Orchestral Trumpet on 10-inch wind pressure.
The organ is as expressive as it is eye-catching. In many ways it is typical of Harrison Romantic instruments: for example, the Swell and pedal chorus reeds have English closed shallots and are voiced on 6-inch wind pressure.

The organ has 44 stops on three manuals; the console is detached and mobile. Electro- pneumatic action is accompanied by traditional slider chests and reservoirs.

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St. Peter’s United Church of Christ is a building of worthwhile size and proportion but certain features compromised the acoustical space. The ceiling was made of sound absorbing acoustical tile and the floor was covered primarily with carpet. A divided chancel choir seating arrangement did not the meet the needs of the church’s various vocal and bell choirs. The previous organ was located in a right side chamber that did not project sound directly into the nave. While much of the pipe work was valuable, the electrical and pneumatic (leather) actions were decaying.

The liturgical and acoustical improvements included an altar, font and pulpit placed closer to the congregation. A new Reuter electric slider organ is placed on the long axis of the room. The organ contains a significant number of original pipes restored from the previous instrument. The new music ministry space includes a moveable drawknob organ console and risers large enough to accommodate bell tables. Reverberation was increased in the room by replacing the original carpeting with genuine Jerusalem limestone, and by adding a plaster ceiling finish. A sound system was installed to accommodate the revised room.

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This historic church on the upper east side of Milwaukee is blessed with an architectural design that lends itself well to music. Hard surfaces abound, and space for music was plentiful in the balcony. The previous instrument spoke down the long axis of the room, and this position was maintained in the new instrument built by Robert Sipe, of Dallas Texas.

The old instrument was suffering from mechanical deterioration, and the overall tonal design was less than grand. The church desired an instrument that would have greater reliability and longevity, and one that would also lead the liturgy with greater musical expression. The new organ actually has fewer ranks than the previous organ, but far surpasses it in the range of expression and color in its tonal palate.

Many ranks of the previous instrument were recycled, reconditioned, and revoiced by Sipe for inclusion in this instrument. The case of the organ was designed to balance the visual concept of the main altar. The key action is mechanical with electric stop controls, and features a detached console.

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The Glück pipe organ is "new" regarding the tonal design, voicing, and scaling, as well as having all new infrastructure, wind-chests, actions, winding, and console systems. The restored heritage portions of the instrument are the best of the pipes from the previous organ, supplemented with some new ranks.

The former challenges of the disposition of Immanuel's organ included its installation in chambers without balanced heat or air conditioning, and without any thermal insulation within the chamber's walls. The blower received supply air from an unheated and un-insulated attic space as well. Due to these climate issues, tuning was never reliable, and components were compromised and decaying. Maintenance problems were compounded by the fact that the organ's wind-chests were double-decked and inaccessible within the too-small chamber. The organ did contain some fine heritage pipes made by the Milwaukee firm of J.B. Meyer; these pipes were given little tonal regulation at their initial installation, however.

The new instrument is installed into rebuilt, insulated, and climate controlled chambers. A silent blower is also located within the chamber, along with fully accessible wind-chests and pipe-work. Portions of the Great division are located outside the chamber as a façade to facilitate good tonal projection and access. The tonal style is now American Classic. The two manual and pedal movable console has tablet stop controls and a multi-level combination action. Wind chest actions are electro-pneumatic with some unit chests. The Chancel's carpeted floor surface was replaced with wood laminate to improve the acoustic tone of both choir and organ.

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