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New Organs

March 2, 2004
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Westwood United Methodist Church, Los Angeles,
California,

The Shaffer Memorial Organ.

Walsh & Tidwell, 2002-2003 (chancel
additions/gallery organ).

Schantz Organ Co., 1995-1996 (chancel organ).

Robert M. Turner Organbuilder, Inc., 2001-2003
(consoles).

Specification: Charles Shaffer and Burton K. Tidwell.

153 ranks, 84 digital voices, 237 registers, 21
percussions

The distinctive central spire of Westwood United Methodist
Church towers above the portal of this congregation's award-winning house
of worship, which stands along one of the nation's busiest thoroughfares:
Los Angeles's famous Wilshire Boulevard. Once dominating the landscape
when built in 1951, the church now shares its airspace with luxurious high-rise
condominiums, while remaining a landmark work of architecture, catching the eye
of those observant among the thousands of motorists who drive by weekly, few of
whom realize the treasures awaiting beyond the great façade.

Westwood's sanctuary, the work of renowned North
American architect Harold E. Wagoner and adorned with stained glass from the
Philadelphia studios of Henry Lee Willet, is rich in detail yet traditional in
form. Among the challenges faced by any organ builder--including M.P.
Möller, creator of the church's original instrument--is the
location of the main organ in side chambers of the wide chancel, in typical
fashion, forcing the organ's voice to sing around the corner to the
congregation. Fortunately, the chambers are wide, shallow and tall with
unimpeded egress.

A decade ago, when it became obvious that the church's
31-rank instrument needed to be renewed, consideration was given to rebuilding
and expanding the organ modestly. Also discussed was a complementary organ to
be positioned high in the rear gallery at the opposite end of the sanctuary on
its main axis. This second instrument would be designed to assist in the
support of congregational singing and to help draw out the sound from the
chancel organ.

As plans developed, well-known southern California organist
Charles Shaffer was asked to become the church's consultant to shepherd
the project and to help define its scope. In time, as his interest in the
project grew, he also became the principal donor for what became a new organ
using some pipework and a few offset windchests from the Möller. By 1996,
the new chancel organ was 100 ranks with a few digital stops in the pedal
(there being no room for 32' stops) and several percussions.

Resources Expand

Charles's vision for the organ never waned, and within
a couple of years following the project's "completion,"
further dialog resumed between Charles and the author. Our study and
discussions ultimately resulted in enlargement of the chancel organ by 28 ranks
and the installation of a two-manual, 25-rank instrument in the rear gallery.
At every step of our decade-long relationship, Charles has challenged me to
reach beyond the normal confines of thinking and has sought to realize specific
nuances of design and chorus building toward creating a unique musical
instrument without asking that we violate important time-honored practices of
the classical organbuilder's craft: The organ must serve the congregation
and the great body of idiomatic organ literature, which requires at its heart
ensembles built to delineate distinctly contrapuntal lines together with the
singing, soaring treble required by all music. Charles further provided the
funds to see that his vision would be fulfilled. His original gifts were in
tribute to and ultimately as a memorial to his wife, Phyllis, with the Gallery
Organ and latest additions offered as a memorial to his brothers, John and Roy,
and in a tribute to other living family members.

The project's progressive growth has brought the
greatest challenge to its realization as we remained determined that the organ
must maintain its mechanical and tonal integrity, not simply be enlarged as a
patchwork quilt of mismatched stops placed on miscellaneous windchests crammed
into every last inch of the chambers. It was mandatory that the organ remain
serviceable and that every component bring something enriching to the tonal
palette. Happily, this process (even through all the challenges that at times
stretched thinking out of my comfort zone) also afforded the opportunity to
revisit the original instrument's voicing. We have made musical
alterations to further ensure that the chancel organ now more fully engages the
room while retaining the carefully balanced choruses, with the warmth,
cohesiveness, and shimmer so treasured from the original project.

Gallery Organ

Placing even a small chorus in the gallery always had been a
priority for me, but initially funding was not available. I had learned through
several other projects that even a few stops from the opposite end of a
building could help immeasurably to bring out the sound of the main organ from
its divided chancel location without stealing the show. I hoped that this
eventually would happen, and now that it has been realized, the gallery organ
has become the crowning jewel of the project.

The three divisions are free-standing on a new platform
designed to meet present-day building codes. And because this shelf lies at
almost exactly the same plane as the upper-level chorus divisions of the main
organ, concerns about tuning stability have been alleviated. While the earliest
plans were to place an organ behind a façade reflecting that of the
chancel, the church wanted something unique with more visible pipes. The
resulting design incorporates the Schantz copper Trompette-en-chamade at its
base, with casework above holding polished principal basses and wooden Bourdon
basses in a simple façade with the Great division standing prominently
in the center, its Octave 4' in prestant position and Principal 8'
from 8-foot G# immediately behind. The result is a straightforward yet
tastefully complex display, which playfully changes when viewed at different
angles from the nave floor.

The gallery organ has no borrowing: all pipework speaks on
slider windchests except for the larger Bourdon pipes and façade basses,
which were more effectively tubed from secondary unit chests. Wind pressures
are low: from 50 mm in the Positiv to 75 mm in the Pedal, and pipe scales are
relatively small to encourage a natural, lively presence through richly
developed choruses and beautiful flutes possessing that special quality only
realized through such ingredients. The results are what we wished for: an organ
that would complement without overpowering the main organ while remaining true
to the fundamentals that inspired its larger chancel counterpart.

Digital Domain

Perhaps in the way that electric action and revolutionary
tonal ideas were sweeping the organ world during the industrial age of the late
19th century, the evolution of digital technology increasingly has invaded our
traditional world of organbuilding. Westwood's 1995 installation included
32' digital voices and several percussion stops, but the thought of
further expansion digitally did not interest me. While my ears told me that the
digital medium was evolving toward more realism, and I knew that the technology
made possible musical voices appropriate for many applications, I was not
prepared to embrace further the digital realm.

But Charles wanted to expand the resources to create
exceptional possibilities for variety and subtle buildup of ensembles, and he
has the keen ear to discern what these ingredients might be. And as he had done
on all phases of the project, he left it to me to determine how this could be
accomplished. This led to careful research and long discussions with Allen
Organ Company, who willingly worked with us on every detail to provide the
tools which in the hands of an experienced pipe voicer could be molded into the
main tonal fabric of pipework without compromise or in effect creating two
separate instruments. As much voicing was spent per digital stop in the room as
any pipe stop, samples were enhanced or changed, even special combinations of
voices were assembled to create more harmonically enriched results on several
stops. In short, no voice was accepted until it had proven to be completely
integrated musically into the instrument.

Retrospective

I remember hearing years ago that no large organs are ever
finished: they are abandoned. At Westwood, at times this has seemed to be a
fitting prophecy, but in truth we have realistically reached our musical goals
to create what we believe is a musical instrument significant far beyond its
sheer size. It serves the congregation; it serves the literature, and it does
so musically without extremes out of step with the sensibilities of the greater
musical world. I am grateful for the vision and support of Charles Shaffer, the
staff of Westwood Church and my many colleagues who have contributed to this
monumental undertaking.

--Burton K. Tidwell

Burton K. Tidwell holds a performance degree in organ from
the University of Kansas, has been a practicing organbuilder style="mso-spacerun: yes">  for 33 years, and as a musician
continues to actively study and to serve as church organist and performer. In
January 2004, he joined Allen Organ Company as Custom Organ Tonal Director
where he continues the pioneering work begun at Westwood Church in embracing
the seamless integration of pipe and digital resources to meet practical
musical requirements.

Photo credit: Charles Lohman

GREAT

                  32' style='mso-tab-count:1'>        Dulciana
I-II (Ch)

                  16' style='mso-tab-count:1'>        Geigen
Diapason

                  16' style='mso-tab-count:1'>        Quintaton

                  8' style='mso-tab-count:1'>           Open
Diapason

                  8' style='mso-tab-count:1'>           Principal

                  8' style='mso-tab-count:1'>           Flûte
Harmonique

                  8' style='mso-tab-count:1'>           Rohrflöte

                  8' style='mso-tab-count:1'>           Spitzgamba

                  4' style='mso-tab-count:1'>           Principal

                  4' style='mso-tab-count:1'>           Octave

                  4' style='mso-tab-count:1'>           Flûte
Octaviante

                  4' style='mso-tab-count:1'>           Spitzflöte

                  4' style='mso-tab-count:1'>           Schwebung

                  31⁄5' style='mso-tab-count:1'>   Tenth

                  22⁄3' style='mso-tab-count:1'>   Twelfth

                  2' style='mso-tab-count:1'>           Fifteenth

                  2' style='mso-tab-count:1'>           Waldflöte

                  13⁄5' style='mso-tab-count:1'>   Seventeenth

                  22⁄3' style='mso-tab-count:1'>   Grave Mixture II-IV

                  11⁄3' style='mso-tab-count:1'>   Mixture IV

                  11⁄3' style='mso-tab-count:1'>   Klein Mixture III

                  1⁄2' style='mso-tab-count:1'>      Scharf III

                  2⁄3' style='mso-tab-count:1'>      Terz Zimbel
IV-V

                  8' style='mso-tab-count:1'>           Cornet
V (mounted)

                  16' style='mso-tab-count:1'>        Double
Trumpet

                  8' style='mso-tab-count:1'>           Trumpet

                  4' style='mso-tab-count:1'>           Zink
II

                  8' style='mso-tab-count:1'>           Voix
Humaine

                                    Tremulant

                                    Flemish
Bells

                                    Glocken
Harp

                                    MIDI

                                    Great
On Manual IV

                                    Great
Off Manual II

                                    Great/Choir
Transfer

SWELL

                  16' style='mso-tab-count:1'>        Lieblich
Gedeckt

                  16' style='mso-tab-count:1'>        Spillpfeife

                  8' style='mso-tab-count:1'>           Diapason

                  8' style='mso-tab-count:1'>           Bourdon

                  8' style='mso-tab-count:1'>           Spire
Flute

                  8' style='mso-tab-count:1'>           Gambe

                  8' style='mso-tab-count:1'>           Gambe
Celeste

                  8' style='mso-tab-count:1'>           Voix
Céleste II

                  8' style='mso-tab-count:1'>           Amorosa

                  8' style='mso-tab-count:1'>           Amorosa
Celeste

                  4' style='mso-tab-count:1'>           Principal

                  4' style='mso-tab-count:1'>           Travers
Flute

                  4' style='mso-tab-count:1'>           Lieblich
Flöte (ext)

                  4' style='mso-tab-count:1'>           Melodia

                  4' style='mso-tab-count:1'>           Fugara

                  22⁄3' style='mso-tab-count:1'>   Nasard

                  2' style='mso-tab-count:1'>           Ottava

                  2' style='mso-tab-count:1'>           Flute

                  13⁄5' style='mso-tab-count:1'>   Tierce

                  11⁄3' style='mso-tab-count:1'>   Larigot

                  1' style='mso-tab-count:1'>           Piccolo

                  16' style='mso-tab-count:1'>        Fond
de Plein Jeu II

                  2' style='mso-tab-count:1'>           Plein
Jeu IV

                  2⁄3' style='mso-tab-count:1'>      Cymbale III

                  4' style='mso-tab-count:1'>           Carillon
III (collective)

                  16' style='mso-tab-count:1'>        Basson

                  8' style='mso-tab-count:1'>           Trompette

                  8' style='mso-tab-count:1'>           Hautbois
(ext)

                  4' style='mso-tab-count:1'>           Hörnle
II

                  8' style='mso-tab-count:1'>           Oboe

                  51⁄3' style='mso-tab-count:1'>   Cromorne Quint

                  4' style='mso-tab-count:1'>           Clairon

                  4' style='mso-tab-count:1'>           Zarthorn

                  8' style='mso-tab-count:1'>           Vox
Humana *

                                    Tremulant

                                    Tierce
Bells

                                    MIDI

 

                  *I-II
8+32 @ c/25 when Basson is drawn

CHOIR

                  16' style='mso-tab-count:1'>        Erzähler

                  8' style='mso-tab-count:1'>           Diapason

                  8' style='mso-tab-count:1'>           Stopped
Diapason

                  8' style='mso-tab-count:1'>           Quintade

                  8' style='mso-tab-count:1'>           Erzähler

                  8' style='mso-tab-count:1'>           Erzähler
Celeste

                  8' style='mso-tab-count:1'>           Dulcet
II

                  4' style='mso-tab-count:1'>           Principal

                  4' style='mso-tab-count:1'>           Gemshorn

                  4' style='mso-tab-count:1'>           Koppelflöte

                  4' style='mso-tab-count:1'>           Suave
Flute

                  4' style='mso-tab-count:1'>           Klein
Erzähler

                  4' style='mso-tab-count:1'>           Klein
Erzähler Celeste

                  22⁄3' style='mso-tab-count:1'>   Nasat

                  2' style='mso-tab-count:1'>           Octave

                  2' style='mso-tab-count:1'>           Harmonic
Piccolo

                  2' style='mso-tab-count:1'>           Coelestina
(ext)

                  13⁄5' style='mso-tab-count:1'>   Terz

                  11⁄3' style='mso-tab-count:1'>   Klein Quint

                  8⁄9' style='mso-tab-count:1'>      None

                  1' style='mso-tab-count:1'>           Rauschpfeife
II-III

                  1' style='mso-tab-count:1'>           Mixture
IV

                  1⁄2' style='mso-tab-count:1'>      Zimbel III

                  1' style='mso-tab-count:1'>           Glöckleinton
II

                  16' style='mso-tab-count:1'>        Holzdulzian

                  8' style='mso-tab-count:1'>           Cromorne

                  4' style='mso-tab-count:1'>           Oboe
Schalmei

                  8' style='mso-tab-count:1'>           English
Horn

                                    Tremulant

                  8' style='mso-tab-count:1'>           Tuba
Major (Solo)

                  8' style='mso-tab-count:1'>           Trompette-en-chamade
(Gal)

                                    Harp

                                    Celesta

                                    Chrysoglott

                                    MIDI

                                    Great
On Manual I

                                    Gallery
Great On Manual I

SOLO

                  16' style='mso-tab-count:1'>        Contre
Viole

                  8' style='mso-tab-count:1'>           Viola
Pomposa

                  8' style='mso-tab-count:1'>           Viola
Celeste

                  8' style='mso-tab-count:1'>           Gross
Flute

                  8' style='mso-tab-count:1'>           Viole
de Gambe

                  8' style='mso-tab-count:1'>           Viole
Celeste sharp

                  8' style='mso-tab-count:1'>           Viole
Celeste flat

                  51⁄3' style='mso-tab-count:1'>   Quinte Viole

                  4' style='mso-tab-count:1'>           Viola
Flauto

                  4' style='mso-tab-count:1'>           Alphorn
(ext)

                  4' style='mso-tab-count:1'>           Viole
Octaviante

                  31⁄5' style='mso-tab-count:1'>   Cornet des Violes III

                  22⁄3' style='mso-tab-count:1'>   Holznassart

                  22⁄3' style='mso-tab-count:1'>   Armonia III

                  8' style='mso-tab-count:1'>           Corneta
VIII

                  16' style='mso-tab-count:1'>        Trompeteria
II

                  8' style='mso-tab-count:1'>           Clarinete

                  8' style='mso-tab-count:1'>           Bajoncillo-Oboe

                  8' style='mso-tab-count:1'>           Chirimia
II

                  8' style='mso-tab-count:1'>           French
Horn

                                    Tremulant

                  8' style='mso-tab-count:1'>           Tuba
Major

                  8' style='mso-tab-count:1'>           Trompette-en-chamade
(Gal)

                                    Cast
Bells F

                                    Cast
Bells

                                    Cast
Bells P

                                    Chimes

                                    Tembrel
Bells

                                    MIDI

PEDAL

                  32' style='mso-tab-count:1'>        Contra
Violone

                  32' style='mso-tab-count:1'>        Contre
Bourdon

                  16' style='mso-tab-count:1'>        Open
Diapason

                  16' style='mso-tab-count:1'>        Geigen
Diapason (Gt)

                  16' style='mso-tab-count:1'>        Bourdon

                  16' style='mso-tab-count:1'>        Spire
Flute (Sw-ext)

                  16' style='mso-tab-count:1'>        Violone

                  16' style='mso-tab-count:1'>        Contre
Viole (Solo)

                  16' style='mso-tab-count:1'>        Lieblich
Gedeckt (Sw)

                  16' style='mso-tab-count:1'>        Dulciana
(Ch-ext)

                  102⁄3' style='mso-tab-count:1'>                 Gross
Quint Terz II (Sw)

                  8' style='mso-tab-count:1'>           Principal

                  8' style='mso-tab-count:1'>           Geigen
Diapason (Gt)

                  8' style='mso-tab-count:1'>           Bourdon
(ext)

                  8' style='mso-tab-count:1'>           Spire
Flute (Sw)

                  8' style='mso-tab-count:1'>           Violone

                  8' style='mso-tab-count:1'>           Viole

                  8' style='mso-tab-count:1'>           Lieblich
Gedeckt (Sw)

                  8' style='mso-tab-count:1'>           Dulciana
(Ch)

                  51⁄3' style='mso-tab-count:1'>   Quint

                  4' style='mso-tab-count:1'>           Fifteenth

                  4' style='mso-tab-count:1'>           Rohrpfeife

                  4' style='mso-tab-count:1'>           Dolkan

                  4'
          Zartflöte

                  2' style='mso-tab-count:1'>           Holztraverse

                  51⁄3' style='mso-tab-count:1'>   Quarte II (Ch)

                  22⁄3' style='mso-tab-count:1'>   Rauschquint II

                  2' style='mso-tab-count:1'>           Mixture
III

                  2⁄3' style='mso-tab-count:1'>      Zimbalonbass II

                  31⁄5' style='mso-tab-count:1'>   Terz Faberton III

                  22⁄3' style='mso-tab-count:1'>   Schreipfeife III

                  32' style='mso-tab-count:1'>        Bombarde

                  32' style='mso-tab-count:1'>        Contra
Fagott

                  16' style='mso-tab-count:1'>        Trombone

                  16' style='mso-tab-count:1'>        Fagott

                  16' style='mso-tab-count:1'>        Basson
(Sw)

                  16' style='mso-tab-count:1'>        Rohr
Krummhorn

                  8' style='mso-tab-count:1'>           Trumpet
(ext)

                  8' style='mso-tab-count:1'>           Englisch
Horn (Gt-ext)

                  8' style='mso-tab-count:1'>           Hautbois
(Sw)

                  4' style='mso-tab-count:1'>           Clarion
(ext)

                  4' style='mso-tab-count:1'>           Hautbois
(Sw)

                  2' style='mso-tab-count:1'>           Kornett

                                    Cast
Bells F

                                    Cast
Bells

                                    Cast
Bells P

                                    Chimes
(Solo)

                                    Flemish
Bells (Gt)

                                    Harp

                                    Celesta

                                    MIDI

Gallery Great

                  8' style='mso-tab-count:1'>           Principal

                  8' style='mso-tab-count:1'>           Voce
Umana

                  8' style='mso-tab-count:1'>           Spitzflöte

                  8' style='mso-tab-count:1'>           echo
Flauto Amabile

                  8' style='mso-tab-count:1'>           echo
Dolcan

                  8' style='mso-tab-count:1'>           echo
Dolcan Celeste

                  4' style='mso-tab-count:1'>           Octave

                  4' style='mso-tab-count:1'>           echo
Flauto d'Amore

                  22⁄3' style='mso-tab-count:1'>   echo Doppio Quinta II

                  2' style='mso-tab-count:1'>           Gemshorn

                  2' style='mso-tab-count:1'>           echo
Flauto Magia

                  11⁄3' style='mso-tab-count:1'>   Mixture III-IV

                  16' style='mso-tab-count:1'>        echo
Rankett

                  8' style='mso-tab-count:1'>           echo
Fagott

                  8' style='mso-tab-count:1'>           echo
Voce Angelico

                                    Tremulant

                  8' style='mso-tab-count:1'>           Trompette-en-chamade

                                    Celesta
(Chan)

                                    Chancel
Zimbelstern

                                    Gallery
Great On Manual IV

                                    Gallery
Great Off Manual II

Gallery Positiv

                  8' style='mso-tab-count:1'>           Bourdon

                  8' style='mso-tab-count:1'>           echo
Flauto a Camino

                  8' style='mso-tab-count:1'>           echo
Viola

                  8' style='mso-tab-count:1'>           echo
Viola Celeste

                  4' style='mso-tab-count:1'>           Principal

                  4' style='mso-tab-count:1'>           Spillflöte

                  4' style='mso-tab-count:1'>           echo
Flauto Cavo

                  4' style='mso-tab-count:1'>           echo
Fugara

                  2' style='mso-tab-count:1'>           Octave

                  2' style='mso-tab-count:1'>           echo
Flautino

                  11⁄3' style='mso-tab-count:1'>   echo Quintino

                  1' style='mso-tab-count:1'>           echo
Divinare

                  22⁄3' style='mso-tab-count:1'>   Sesquialtera II

                  1' style='mso-tab-count:1'>           Scharf
II-III

                  8' style='mso-tab-count:1'>           Cromorne

                                    Tremulant

                  8' style='mso-tab-count:1'>           echo
Fagott

                                    Glockenspiel
(Chan)

                                    Gallery
Zimbelstern

                                    Gallery
Positiv On Manual IV

                                    Gallery
Positiv Off Manual III

Gallery Pedal

                  16' style='mso-tab-count:1'>        Bourdon

                  16' style='mso-tab-count:1'>        echo
Salicetbass

                  16' style='mso-tab-count:1'>        echo
Basso Dolce

                  8' style='mso-tab-count:1'>           Octave

                  8' style='mso-tab-count:1'>           Gedackt
Pommer

                  8' style='mso-tab-count:1'>           echo
Sylvestrina

                  8' style='mso-tab-count:1'>           echo
Flauto Dolce

                  4' style='mso-tab-count:1'>           Choralbass

                  4' style='mso-tab-count:1'>           echo
Fernflöte

                  22⁄3' style='mso-tab-count:1'>   Mixture II

                  16' style='mso-tab-count:1'>        echo
Hornbass

                  16' style='mso-tab-count:1'>        echo
Rankett

                  8' style='mso-tab-count:1'>           echo
Fagott

                  4' style='mso-tab-count:1'>           echo
Stilles Regal

                  8' style='mso-tab-count:1'>           Trompette-en-chamade

                                    Nightingale

                                    Pedal
Silent

                                    Tremulants
Silent

                                    Celestes
Silent            

Schneider Pipe Organs,
Kenney,  Illinois, has completed
their Opus 23 for First Mennonite Church, Berne, Indiana. The initial contact
with this project began by providing a work crew to assist in removing the
1914/1947/1972 III/38 Möller organ that was to be comprehensively
renovated by another builder. The tonal design and layout concept were by that
builder, who also began initial construction and installation work. When that
builder was unable to finish out his contract due to failure of his business, Schneider
Pipe Organs, as a guarantor on the original contract, was called in to evaluate
the completed work and was engaged to complete the construction and
installation. Some aspects of the original builder's work proved to be
less than satisfactory and had to be either discarded or extensively
remanufactured, requiring the completion date to be extended.

Our shop also provided subcontract revoicing work for the
other builder prior to his default on the project, including the
"conversion" of a 16' Wood Open Diapason to a 32' Contra
Bourdon, as well as revoicing selected ranks. It became apparent that a more
comprehensive tonal revamping of the instrument would be required in order for
the completed project to be tonally satisfactory, so part of our completion
process included revoicing many more ranks, particularly the principal
choruses, the mixtures, mutations and selected flute stops. The existing reeds
were retained, except for any cleaning and repairs that were needed.

The original installation from 1914 (the building dates from
1911) had most of the instrument behind the choir. The 1947 reconstruction
enlarged the instrument from two to three manuals by placing the Swell division
behind the Choir, the Great on the north elevated level, and the Choir division
in the ceiling above the rostrum area. The ceiling division proved to be the
most unsatisfactory possible solution to attempting to get more sound into this
2000-seat sanctuary because of difficulty of access and the impossibility of
keeping it in tune with the rest of the instrument. Heat from the roof would
penetrate the chamber during the summer, and heat from the building would enter
the chambers through the tone chute in the winter.

The recently completed reconstruction abandoned that
location completely in favor of a newly-created mirror image chamber directly
across from what used to be the Great chamber. The Swell and Great chambers
have now exchanged locations to more logically put the Great division on axis
with the room. Being the largest chamber of the three spaces, the largest pipes
of the pedal organ are also located here. Ideally, an organ should have visual
appeal as well as sonic rewards, but the conservative tradition of this
particular denomination and, more specifically, this congregation, precluded
any possibility of including any exposed pipework in the design scheme.

During the summer of 2002, the congregation celebrated its
150th anniversary. Schneider Pipe Organs was on hand to ensure the organ
functioned perfectly during the event. Prior to the event, Schneider made many
of the final voicing adjustments, followed by a complete tuning.

Workers on this project included the following individuals:
W. C. Burkett, pipework repairs, rebuilding, cleaning, polishing and fitting
new tuning slides, general shop work assistance, sky rack fabrication and
assembly, wind line and general installation and troubleshooting work; Jason
Burkett, woodworking, general fabrication, wood pipe refinishing, installation;
Mike Gettelman, installation; Nicholas Fry, shop wiring; Dan Schneider, console
interior woodworking, drawknob bolster & nameboard fabrication and final
assembly, wind-chest fabrication and assembly and troubleshooting; Joan
Schneider, office and fiscal management, bookkeeping, onsite/shop wood pipe
painting, tonal finishing and tuning assistance; Matt Schneider, console
interior staining and finishing operations, windchest fabrication, finishing,
wiring and final assembly; Richard Schneider, administration, materials
procurement, CADD layout and installation engineering, on-site console
installation and wiring, shop pipework rebuilding and revoicing, general
installation work, tonal finishing, tuning, troubleshooting and overall
shop/field project oversight/supervision; Ron Whitney, shop assistance and
installation.

The church's principal organist, Dr. Scott Lehman,
also provided invaluable input during the installation and tonal finishing
process. The builder also wishes to gratefully and appreciatively acknowledge
Marybeth Huser, minister of music at First Mennonite Church, for giving up a
large portion of her choir practice room throughout the duration of the
installation process with the storage of tools, supplies and the many
components necessary and incidental to the installation of the instrument. A
truly unsung hero throughout the entire installation process was the
church's custodian, Kendall Lehman, who always had a smile and cheerful
greeting for us no matter how big the mess in his shop would become from our
on-site modifications of things that wouldn't fit right.

--Richard Schneider

GREAT (enclosed, center chamber)

                  16'
      Viola
d'Gamba  (61 pipes, rank 1)

                  8'
          1st
Open Diapason (61 pipes, rank 2)

                  8'
          2nd
Open Diapason (61 pipes, rank 3)

                  8'
          Viola
d'Gamba (ext rank 1)

                  8'
          Viola
Celeste (CC) (61 pipes, rank 4)

                  8'
          Doppel
Flöte (61 pipes, rank 5)

                  8'
          Gemshorn
(61 pipes, rank 6)

                  8'
          Melodia
(61 pipes, rank 7)

                  4'
          Octave
(61 pipes, rank 8)

                  4'
          Flöte
d'Amour (61 pipes, rank 9)

                  22⁄3'
Twelfth (61 pipes, rank 10)

                  2'
          Fifteenth
(61 pipes, rank 11)

                  11⁄3'
Mixture III (183 pipes, ranks
12-14)

                  16'
      Tuba Major
(TC, Ch)

                  8'
          Tuba
Major (Ch)

                  4'
          Tuba
Major (Ch)

                                    MIDI
1

                                    MIDI
2

                                    Gt
16-UO-4

                                    Tremulant

                                    Chimes
(21 bells)

SWELL (enclosed, right chamber)

                  16'
      Lieblich
Gedeckt (61 pipes, rank 15)

                  8'
          Open
Diapason (61 pipes, rank 16)

                  8'
          Stopped
Diapason (61 pipes, rank 17)

                  8'
          Salicional
(61 pipes, rank 18)

                  8'
          Voix
Celeste (TC) (49 pipes, rank 19)

                  8'
          Æoline
(61 pipes, rank 20)

                  4'
          Principal
(61 pipes, rank 21)

                  4'
          Harmonic
Flöte (61 pipes, rank 22)

                  2'
          Nachthorn
(61 pipes, rank 23)

                  11⁄3'
Larigot (61 pipes, rank 24)

                  2'
          Plein
Jeu III (183 pipes, ranks 25-27)

                  16'
      Bassoon (73
pipes, rank 28)

                  8'
          Trumpet
(61 pipes, rank 29)

                  8'
          Bassoon
(ext rank 28)

                  8'
          Vox
Humana (61 pipes, rank 30)

                  4'
          Clarion
(61 pipes, rank 31)

                  16'
      Tuba Major
(Ch)

                  8'
          Tuba
Major (Ch)

                  4'
          Tuba
Major (Ch)

                                    MIDI
3

                                    MIDI
4

                                    Sw
16-UO-4

                                    Tremulant

CHOIR (enclosed, left chamber)

                  16'
      Dulciana
(85 pipes, rank 32)

                  8'
          Geigen
Principal (61 pipes, rank 33)

                  8'
          Concert
Flöte (61 pipes, rank 34)

                  8'
          Rohr
Flöte (61 pipes, rank 35)

                  8'
          Dulciana
(ext rank 32)

                  8'
          Unda
Maris (TC) (49 pipes, rank 36)

                  4'
          Geigen
Octave (61 pipes, rank 37)

                  4'
          Spitz
Flöte (73 pipes, rank 38)

                  4'
          Dulciana
(ext rank 32)

                  22⁄3'
Nazard (61 pipes, rank 39)

                  2'
          Spitz
Flöte (ext rank 38)

                  13⁄5'
Tierce (61 pipes, rank 40)

                  11⁄3'
Nazard (ext rank 39)

                  8'
          Oboe
(61 pipes, rank 41)

                  8'
          Clarinet
(61 pipes, rank 42)

                  16'
      Tuba Major
(TC) (ext rank 46)

                  8'
          Tuba
Major (73 pipes, rank 46)

                  4'
          Tuba
Major (ext rank 46)

                                    MIDI
5

                                    MIDI
6

                                    Ch
16-UO-4

                                    Tremulant

PEDAL (enclosed with Great)

                  32'
      Subbass (56
pipes, rank 43)

                  16'
      Basso
Profundo (32 pipes, rank 47)

                  16'
      Open Bass
(56 pipes, rank 44)

                  16'
      Viola
d'Gamba (Gt)

                  16'
      Subbass
(ext rank 43)

                  16'
      Lieblich
Gedeckt  (Sw)

                  16'
      Dulciana
(Ch)

                  8'
          Open
Bass (ext rank 44)

                  8'
          Viola
d'Gamba (Gt)

                  8'
          Subbass
(ext rank 43)

                  8'
          Lieblich
Gedeckt  (Sw)

                  8'
          Dulciana
(Ch)

                  4'
          Open
Bass (ext rank 44)

                  4'
          Lieblich
Gedeckt  (Sw)

                  32'
      Cor Anglais
(32 pipes, rank 48)

                  16'
      Posaune (44
pipes, rank 45)

                  16'
      Bassoon
(Sw)

                  8'
          Tuba
(Ch)

                  8'
          Posaune
(ext rank 45)

                  8'
          Bassoon
(Sw)

                  4'
          Bassoon
(Sw)

                                    MIDI
7

                                    MIDI
8

Couplers

                                    Gt/Ped
8-4

                                    Sw/Ped
8-4

                                    Ch/Ped
8-4

                                    Sw/Gt
16-8-4

                                    Ch/Gt
16-8-4

                                    Sw/Ch
16-8-4

                                    Gt
& Ch manual transfer

                                    Master
Expression (All Swells to Swell)

48 ranks, 79 stops, 2903 pipes, 1 percussion

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