The Augustine Centre Pipe Organ
1888 – 1974
Written by Roland Cropley
The Augustine organ was built by “grandfather” George Fincham, and began its
service 25/2/1888 as a two manual tubular pneumatic, (8,7,1). A Vox Humana was added as a clamp on the
Swell together with a tremulant in 1898, and a 5 stop Choir manual 8,8,8,8,-,
in its own box was added 18/2/1902, with a latch down shutter pedal like the
Swell. A Bourdon 16 was then also added
to the pedal, which must have been a very useful addition to the large Open
Diapason 16.[i] The organ remained as a three manual 8,8,4,2
till 1972 when David Fincham converted the choir organ to 8,4,2,1⅓,8, by adding a Flute 4’, transposing the Choir
Celeste and Gamba to make the 2 and 1⅓, thus
finally utilizing the spare slide.
Here is
the specification of the organ from 1902 to 1971.
|
GREAT |
|
SWELL (enclosed) |
|
CHOIR (enclosed) |
|
PEDAL |
|
|
Open Diapason |
8 |
Bourdon |
16 |
Harmonic Flute |
8 |
Open
Diap. |
16 |
|
Clarabel |
8 |
Open Diap. |
8 |
Gamba |
8 |
Bourdon |
16 |
|
Dulciana |
8 |
Gedact |
8 |
Celeste |
8 |
|
|
|
Principal |
4 |
Keraulophone |
8 |
Clarionet |
8 |
|
|
|
Wald Flute |
4 |
Gemshorn |
4 |
spare slide |
- |
|
|
|
Fifteenth |
2 |
Piccolo |
2 |
|
|
Gt-Ped |
|
|
Mixture 15,17,19 |
2 |
Oboe |
8 |
|
|
Sw-Ped |
|
|
Trumpet |
8 |
Vox Humana |
8 |
SW-CH |
|
Ch-Ped |
|
|
SW-GT Super SW-GT Sub. SW-GT |
|
Tremulant |
|
Latch down swell pedals |
|
|
|
Organ Move to Church Hall 1974-75
Once the had church decided
to move all activities to the large Sunday School Hall and the new church
tenant had built a floor to ceiling stage between the organ and the nave, it
was unlikely to ever play there again.
The tenant requested that the pneumatic console be moved to make way for
theatre activities, and once separated from its tubes who would want to try to
reconnect it?
I did not want to lose such a beautiful instrument, and persuaded my fellow
deacons after a meeting inside the organ, that we should move it. They were rather dubious, but we could not
afford to pay an organ builder. My
father was an electrical engineer, and I had been a computer technician with
IBM where much of my work was with electro mechanical equipment. I also had carpentry skills and had recently
been making and selling children’s play equipment to subsidise my time at
university whilst studying for a B.Mus.Ed.
Ken Falconer helped me disassemble some things like the heavy swell box
panels, and after 3 weeks it was spread around the church. Several people assisted move the components
into our hall, but the console; full of compo tubing was unbelievably heavy.
Many hours of planning preceded the re-assembly, and a number of changes from
the original scheme occurred. Two of the
building frame posts were infested with borer and were replaced, and George
Stevens built and connected two wind regulators and other trunking. (Later, in
1985, he added a Mixture 22.26.29 to the swell, which was extremely useful,
displacing the Vox Humana.) I added a
small chest to the pedal organ with the 8’ Harmonic Flute and a thirty note
Oboe 16’ made from 12 bass and six top pipes (swapped by George Stevens for the
original Swell Bourdon) and the 8’ octave of the Swell Oboe (which was
transposed to an Oboe 4’)
It took me six months to get the Positive playing using 11mm plastic tubing for
the pneumatic action, and the other divisions soon followed. Most of the above activities were described
in the Victorian Organ Journal of October 1977.
Electro-pneumatic Action 1986-7
But by 1987 the original pneumatic console had
become too unreliable and it was not worth trying to repair its compo tubed
couplers. No other pneumatic console was
available so I bought the redundant duplicate 1965 console ex
Electric action produced the following
benefits:
Four adjustable pistons to each keyboard and twenty one couplers etc.
An enlarged Pedal Organ through electric extension,
A "Bombarde" division playable from the Great and the Positive. (4-7
below),
Dulciana and Trumpet 8’
moved off the Great to the Bombarde chest,
Twelfth & Seventeenth on the Great chest.
16' Pedal or manual reed.
Soft accompaniments from the Great or Positive keyboards.
The extended pedal Bourdon 16 was also playable from the Great.
In late 1986 I
had asked Michel Alcouffe to fix a few pipes with speech problems. He convinced me that by resetting the quality
and power of the Diapason, and then matching all the other ranks to it, the
organ would be greatly enhanced. There
were many dramas along the
way, which could become a separate article, but eventually
the whole organ was revoiced.
RuckPositive 1987-8
During January 1988 the old Fincham five
slide Choir Organ chest was lowered from its roost on the wall where it was not
only a frightening challenge to tune, but its volume was uneven to the player,
with the CC# end immediately behind the organist sounding louder than those at
the far end. I had worked on a larger
second hand chest with six sliders (ex
Michel created
this very beautiful section from quite diverse sources. The bulk of the Larigot and Nazard came from
84 wide scale fluty pipes replaced in the Oxley Road U.C.A. Swell Mixture. I bought them for $100. Finchams provided the remainder for $300. The Tierce was the 2nd rank of the Great
Mixture (15.17.19 now replaced & reworked as 19.22.26). The Gedact and Piccolo were originally in the
Swell, and the 4' Flute was added in 1971 by David Fincham. The Cymbale II and Sifflet 1’ stop were made
in October 1991 by Michel from spotted metal I bought from Australian Pipe
Organs. These two add a brilliant top to
the chorus and a sparkle to the Gedact.
The Positive Organ became an extremely useful division with exquisite
tonal colours having gone through a quantum leap in versatility. It makes an excellent foil for the brilliant
power of the Great Organ.
Bombarde 1987
For the first time the four divisions of the organ
were roughly equal in power and variety, but better still, there was a five
rank floating division, which I thought of initially as part of the Great. I think its chest came from the Andrewarthur
organ in Warnambool Congregational Church which had been added to the pedal
organ in 1975. It now contained the
Great Dulciana and Trumpet, a Gamba 8, and the 30 note Oboe 16.’ I called it the Bombarde division because of
the two reeds and its location beside the Great. The organ by then was a very impressive
instrument, and performed very reliably for the next 15 years as a 3 manual
8.8.4.9.8.
Revoicing
The Great Organ was revoiced in 1987 by Michel Alcouffe
with most impressive results. It now
makes a strong clean sound with a slight chiff and has considerable
versatility. The “clanging” Mixture
15.17.19 became a brilliant sparkle for the whole chorus as a 15.19.22 with the
22nd previously supplied by David Fincham.
In 1988 the Dulciana and “honking” Trumpet were also revoiced. The latter took enormous time, as half of the
resonators had to be lengthened by up to a sixth, and the tongues
replaced. No wonder it had sounded so
harsh. Previous organists had recalled
it with horror! I was delighted by its
new clarity and brilliance. The short
length problem occurred when the whole organ was lowered a semitone to A = 440
probably in 1902. I had found the discarded
top F pipe from the Pedal Open 16’ inside the organ in 1974, and a new monster
CCC that sat on a separate little box beside the main pedal chest.
In 1989 Michel’s factory was robbed of
most of his wood working machinery and he became very depressed. I rescued his voicing machine from his
abandoned factory in Mitcham after paying the long overdue rent. He worked in my garage revoicing the 560
pipes of the Swell Organ late in
1989, making a great improvement in their sound which had been muffled and
distant with pipes uneven in power and quality.
A few didn't speak at all. The
two reeds had their caps removed, which gave them a distinctly French
character. Michel donated two weeks work
to create the beautiful Chimney Flute out of a nondescript set of cut down
Harmonic Flute pipes from the old Choir Organ, and I worked for scores of hours
preparing the wooden bass pipes and fitting tuning slides to many of the metal
ranks out of his discarded beer cans.
They now speak promptly with clear (and sober) character.
In January 1990
the Pedal Organ, was
completed. It’s Contra Oboe 16' took
months of work and adds a vibrant bite to the bass. The wind pressure of the Open Diapason 16'
was reduced to about 100mm, and the cut-up lowered to the original 1888 1/3 the
mouth width. The Bourdon's cut-up was
also carefully lowered, and it is marginally softer and much more even. Its acoustic 32' now works perfectly. (Two rattling windows were silenced to
complete the job). Even the console has
been restored, with more reliable tabs and couplers, and a re-felting job to
the pedal board to stop it clattering.
The improvement that Michel made to the sound of the organ was
substantial, and added to the benefits produced by the 1985-86
electrification. The organ then
performed reliably for the next 15 years.
Building Alterations 2005-6.
The organ complicated these plans, because
its building frame was resting on the main floor, but its case and the Bombarde were
built on the stage. The positive and console were on an elevated steel
platform, and most of it had to be removed before the builders could
start. Only the building frame, Great
chest and the complete Swell could remain together with the Pedal Bourdon. The wooden pipes of the pedal Open 16’ would
also be stored, but the biggest problem was where to put the twelve pipes of
the Open Metal 16’ I had bought from Ian Wakeley ex the façade pipes of
My first reaction to these plans in 2003
was that we should get a professional organ builder to do it. My 1975 obsession with moving it into the
hall had been very costly to my first marriage; the 1987 electrification and
re-voicing had been another huge effort, and I was quite happy with the organ
the way it was. I liked its wonderful
sounds, appearance, versatility, and reliability. But there were some benefits in a partial
rebuild.
1. It was impossible to tune some Trumpet
pipes without removing others,
2. The pedal Dulciana and Oboe 16’ were
incomplete,
3. Some trunking needed repair,
4. The Bombarde chest had several runs and
needed flooding with glue,
5. It was too loud for a small congregation,
6. The Positive and Choir/Bombarde would
benefit from a swell box.
7. Some people thought my original layout a
visual hotchpotch.
It soon became obvious that we didn’t have
the funds to pay some one else to move it.
I was a member of the building committee and heard that initial costing
by the quantity surveyor of the architect’s plans was $1.5m. The available funds of about $880,000
necessitated substantial pruning of costs, and it was touch and go whether the
project could proceed. Without it, the
congregation would not be financially viable, and it was obvious that if I
wanted an organ, I would have to maintain it. The quantity surveyor had guessed
the organ rebuild would cost $60,000 and I quoted $5000 for materials and
$12,000 for labour. Stewart Organs
quoted about $45,000 and Australian Pipe Organs already had two years of work,
and was not interested. Not
surprisingly, my bid won, but with out the labour component. I eventually got petrol costs.
I was about to
retire from Melbourne High School where I had been Assistant Director of Music,
and knew the project would be a continuing rewarding challenge. I incorrectly guessed it would take about
three months, and started planning. A
significant consideration was sharing the minding of our son who was at kindergarten
three half days a week. So although
after retiring every day was like Saturday, I agreed with my wife to only work
on the organ in half day segments, which of course immediately doubled the time
scale.
Organ Dismantled
October 2005.
The church continued to
use the hall whilst the builders started on the new south building. Then suddenly one Wednesday, I was told that
the organ was to be removed by next Monday, six days later. I had expected a month.
Because the organ case was resting on a 3’ stage it had to be removed before
the builders could work. I started on
Friday with assistance from about 10 people.
The pipes were removed and several members of the congregation wrapped
them in newspaper or put them in pipe crates I had spent a week making. Another group moved them and the other
components to a small wooden shed outside the back door. The removal of the
Bombarde chest required the builders’ assistance. The foreman alone carried one end into possum
shed. He had impressive strength. And
then we were excluded from the building site.
The console sat forlornly in the middle of the hall under a sheet
surrounded by builders mess with dust everywhere. The builders then cut doorways in numerous
walls including a corridor through seven brick walls.
The six months of hall transformation was a pain for everyone. The church worship moved into a large front
room for 4 months, along with the Positive chest, part of the façade, and seven
of the twelve Open Metal pipes. After
much soul searching the remaining five 6 metre long pipes were stored outside
on the roofs of the two site offices we had hired as temporary accommodation
for our tenant therapists. Apart from a
couple of possum nests and a bit of weathering they survived the next few months
quite well.
Rebuilding
The architect’s Living
Colour Studios web site provides details, photos, and drawings of the
transition.[ii] It is worth a look.
New structures were erected at both ends of the hall after footings and
concrete were poured through holes in the floor. The electrical cabling under the floor
between three switchboards was amazing.
How had we managed for so long on only one? There was no floor under part of the old
stage and the two north posts from the organ building frame had rested on thick
timber across the beams. The builder
jacked up the frame, removed the timber and added a yellow tongue floor. The inter-twining of builder and organ
activities I found very frustrating. I
was asked at short notice again to remove the pedal diapason for painting the
wall behind it. Once again I was in
conflict with the foreman through misunderstandings about my access when they
were replaced. I was required to sign a
Vicsafe declaration about ladders, scaffolding and assistance, for health and
safety legalities, before I could work on the site. Relationships with the builders became a bit
easier once the floor was complete, and the architect had negotiated for me to
work in the new organ gallery. But first
some pedal pipes had to be positioned before a wall was built to support the
top of the organ case. Ironically the
only place the St Francis façade Open Metal 16 pipes could go without being
visually incongruous was out of sight beside the Great chest. I wished I had made a video of my friends
getting them down from the shed roof and carrying them into the hall. The Open Wood CCC was also put in place
before it was too late. A timber frame
and plaster wall for a new corridor was then built around the back organ
support posts and another three metre high wall erected near the front posts
effectively blocking the pipes in place.
During the builders Christmas break I re-erected the case on top of this
wall with the aid of the plasterers mobile scaffold. The exact location of the Great façade was
dictated by its new side timbers, so all the conveyance tubes from the Great
chest to the basses in the case had to be redone.
One of the builders had bashed a hole in the end of the main wind trunk from
the blower on a platform in the old exit corridor. I had planned to fill it after Christmas but
was horrified to find that by then it was inaccessible behind a plaster
wall. I was very relieved to hear later
that he had glued a piece of plaster over the hole. If anything requires the blower or pedal
regulator to be removed some plaster will have to be replaced also. “So be it” was the architect’s comment.
The tops of the Open Wood pipes had been clearly visible behind the main organ
in their old location, but had been off centre to avoid now redundant power
conduits. The huge CCC pipe previously
to the left of the rest of the rank had further skewed the visual misalignment.
It was put on the floor inside the case and the end pipes removed the sight
line of the now red painted central arch.
After Christmas 2006 a manual mobile fork lift was hired to raise the Positive
and Bombarde chests on to the new 3 metre high north platform. Support frames for each chest were built
400mm high for access to the pallet motor screws on the bottom of the chests. This raised the Positive much higher than the
Great, which would have made it look very strange if it had been left visible.
It was a pity, because I had liked the old appearance of 500 pipes in neat
rows. However hiding them behind a new
façade allowed the building of a 3 metre square Choir Box with the desirable
outcome of some control of volume, particularly of the Trumpet. Once again St Francis was the source of
materials; glass shutters via Wakeley Organs.
I bought fifteen 8’ bass pipes from Stewart Organs and spent 3 months
building a duplicate case for the Great in front of the Positive chest. The pipes were lengthened with gutter
down-pipes and pop rivets to match the original Dulciana and Diapason basses,
and painted the powder blue of the original colour scheme. (Several months
later, only one person has commented that there are only seven instead of nine
pipes in the centre flat, and no-one has spotted the pipe extensions.) Although silent at present they may
eventually replace the 8’ Diapason pedal stop.
We plan to stencil the original patterns on to the pipes when I take
them down to complete the tower supports.
The space behind the new north façade became my “factory” storing tools,
timber, and hardware, and then the main rebuilding activities could
commence. By then the builders tolerated
my presence and we were mutually helpful.
The first task was to create a stairway in a very limited space. It took three weeks of my half days to solve
that puzzle. The old organ loft stairs
just fitted diagonally along the wall inside the door to the corridor. Jeff Cooper, the new foreman suggested making
a little platform, and a new set of four steep steps continued up to the main
passage-board. A couple of vertical handrails and a step to push off backwards
onto the new floor completed the access, but it needed care as you could get a
back massage from the new plaster ceiling at each transit. It was a pity I didn’t work out before the
builders started that a small change to the ceiling would have made a big
difference to the ease of its use. The electricians had unexpectedly replaced
the 240 volt blower contactor with a 405 volt one and the switch was in the
store room which was my choice at the time as the console was still unconnected
in the middle of the hall. The blower
ran backwards at first, and wouldn’t turn off, requiring a trip to the main
switchboard for the next two months.
Eventually that was fixed, but I could not persuade them to create one
switch that operated the two power supplies and the blower, so there are now
two switches beside the console to turn the organ on and off.
The swell shutter mechanical links were also created from scratch, controlled
from a rotating pipe at the top of the Swell box with a hinged weight on a lever
to balance them. Getting the best
counterbalance weight and throw took some experimenting. Then the Great pipes were re-installed after
eight months in storage. It was very
nice to have two manuals playing again, and now that the administration and counseling
rooms were no longer accessible from the main hall space, it became possible
for the first time in thirty years to practice the organ without disrupting
some other activity.
Pedal
Extension Switch Unit
The next priority was
to make useful the new ecclesiastical store room under the Swell and Great
organs. It contained a pedal chest
against the back wall, the feet of the twelve St Francis Open metal 16’
(Dulciana bass), and a small 48 volt telephone exchange. I had had a difficult time planning a
location for this 1987 crossbar switch unit because it had four 80 strand
cables only 2 metres long and hundreds of permanent soldered connections to the
console outputs. As it wouldn’t fit
inside the console, and I didn’t want to resolder the connections, it had to be
close by. Finally I worked out that by
swinging the store room door outwards from the right side, it cleared the back
of the console and it was just possible to run the cables along the floor and up
to the switch unit hinged inside to the left door jam, with a 250mm gap under
the door. The connections to the unit
were the most vulnerable part of the move, because the outputs were soldered to
small electronic bread boards with hundreds of diodes behind them. This arrangement and the connections to the
relays had provided 17 years of compact reliable switching for the pedal
extensions and the Bombarde couplers, but in 1987 when I spent three months
soldering them up I hadn’t anticipated needing to relocate them. Fortunately only a few wires broke off in the
move, because the breaks were very difficult to locate and re-solder.
Dulciana
16 / Open Metal
The next challenge was
to wind the twelve Open Metal 16’ pipes standing in the store room. The bottom five sound a bit soft, despite
trying two direct magnet pallets to a pipe, so I’ll have to resolve that. The other seven matched in both power and
tone quite well with the eleven Dulciana 8’ basses in the case above. Unfortunately the top seven that I had had
made by Roger Jones are at present a little under-powered. They are sitting on the Great chest where the
bottom of the Tierce would be, but winded from the chest below via seven
tubes. His pipes perfectly matched the
scale I gave him of the rest of the stop in the choir box, but I should have
given him the scale of the façade basses.
One more task to revisit.
Bombarde
/ Choir and Positive Organs
The five stop chromatic
Bombarde chest was flooded with glue in January. I removed the upper boards and slides, and
plugged all the pipe holes with newspaper and insulation unused by the
builders, turned it over and removed the glued canvass access, then poured hot
animal glue into each bar. My brilliant
idea of plugging with insulation seemed to fill the holes easily, but the glue
dribbled through it onto the floor! It
was a wonderfully messy business. I
didn’t find out for some months that all that effort was wasted. The runs must have been on the pallet side of
the bars which I hadn’t removed. So I
had to re-bore the bleed holes and put back my “temporary” blocking magnets to
reduce the leaks to an acceptable level.
What a pity! I don’t fancy the
idea of removing all the pipes and totally dismantling the chest in such a
limited space, but getting the chest out to repair it would require removing
the positive organ and the façade pipes.
The biggest physical challenge was fitting the 150mm plastic air duct from the
main blower trunk around various corners to wind the two regulators at 65 and
90mm. It needed a taller skinnier person
than me to squeeze past the main bellows and the back wall, and it would have
been easier with an assistant to measure where the tube needed cutting and make
its supports.
Returning the 828 pipes was easy except for the first six pipes of the Oboe 16
which had to be relocated on the floor to fit under the Choir box roof. It was a particular joy to find that my
months of soldering work converting the Vox Humana from eighth to half length
resonators had paid off handsomely. It
stays in tune much better, blends effectively with the positive chorus, and is
a wonderful solo stop, with or without the tremulant. It has a slightly fuller tone than the Swell
Clarinet. Both sides of Positive
tremulant pneumatic motor were split which explained its previous unreliability. After re-leathering, the effect was splendid,
though the didgeridoo effect on the Cromorne CC and the marvelous theatre organ
sound probably won’t get much use in serious music.
The mechanical links from the console expression pedals to the glass shutters
had eighteen metres of timber and metal shafts. They were too heavy as they
went through six 90˚ turns.
Replacing the three longest mechanical links with 2mm multi strand steel
wire fixed it. There was just enough room under the door behind the console to
run the links, and after about three weeks of work, the effect was reasonably
acceptable. Rubber sealing strips glued to the glass shutters improved their
effectiveness.
Infinitely
patient tuning assistant
Because tuning is a time consuming process, and is an imposition to get someone
to hold keys, I developed two devices to make it possible for one person to do
both tasks. The first was a simple
wooden holder for a chest connector socket, with several small nails soldered
to wires connected to the 15 volt supply.
It is relatively easy to select stops and pitches and do the
tuning. Once a rank is in tune, the
remainder can be tuned to it, using the second device. It is based on a rotary 25 position 5 pole
uniselector that is stepped with a remote push-button. The chest connector sockets are plugged into
it, and switches select which stops are activated. It can control two chests at once, and three
additional switches choose the C or C# side, or the top six notes.
Pedal
Extension Chests
The pedal top notes are
on two unit chests, one screwed to the outside of the Swell box, and the other
in the middle of the gallery behind the “blue sanctuary”. Running its 100mm wind trunk from the main
reservoir was reasonably simple compared with fitting the 150mm trunk to the
choir. A branch tube went down to the
lone CCC Diapason. Despite being behind
a wall, I was delighted with its volume, which matched the rest of the rank
perfectly. Eight of the pedal Open Wood pipes were relocated to un-clutter the
sight lines of the central wall red arch shape.
Providing them with big enough conveyances was a challenge and still one
of them is not adequately winded, but acceptable. That is another task for the long
fix-it-later list.
Console
Layout
It took two weeks in
May 2007 to reorganize the stop tabs and install a Choir to Swell coupler. The Choir tabs are now between the Swell and
the Positive tabs with the 16’ Oboe and 8’ Trumpet now playable as part of the
Swell chorus. I had to work out a new
way to control the Crescendo device as the original pedal location is now
connected to the choir box shutters. A
200mm wooden disk projecting through the
console panels saved adding another pedal, and functions like a rollerschweller.
Completion
It has taken 18 months
working mainly half days to get all the components functioning again. There is still some work to do on the
liturgical store room, and revoicing some of the new pipe work. When I installed the organ in 1975 I did not
have to consult a builder, electrician, or an architect. This time I did, and all of them probably
found my requests mysterious and inconvenient.
Somehow we survived the challenges reasonably amicably, and I am much
wiser about their processes now than before.
Despite small reductions in the size of the hall and a wall to wall red
carpet, the covering of the twelve recessed doorways seems to have increased
the organ reverberation slightly. It
sounds and looks great, and we are now considering the cost and practicalities
of gilding and stenciling the north façade pipes.
Pictures are of
1. The new double façade
2. The author between the Positive and Choir organs through the glass shutters,
3. Plan of the organ at 3 metre level.
4. Floor plan of Augustine U.C.A. Hall
STATISTICS
|
|
STOPS |
RANKS |
PIPES |
|
Great Organ |
9 |
11 |
550 |
|
Positive Organ |
9 |
10 |
560 |
|
Choir/Bombarde Organ |
5 |
5 |
268 |
|
Swell Organ |
8 |
10 |
560 |
|
Pedal Organ |
11 |
4 |
129 |
|
North Façade 8’ basses |
unused |
|
23 |
|
Total |
42 |
40 |
2090 |
AUGUSTINE UNITING CHURCH CENTRE
PIPE ORGAN SPECIFICATION 2007
56 note
chests, electro-pneumatic action.
III SWELL ORGAN 90 mm wg
1 Flute a Chaminee 8' Alcouffe
1985
2 Open Diapason 8'
3 Keraulophone 8'
4 Gemshorn 4'
5 Fifteenth 2' Fincham 1974
6 Mixture III
22.26.29 Stevens 1985
7 Clarinet 8' Choir 1902
8 Oboe (French) 4'
Tremulant
Swell
16' & 4'
II GREAT ORGAN 90mm wg
9 Bourdon 16’ A (+2 pipes)
10 Claribel Flute 8’
11 Wald Flute 4’
12 Open Diapason 8’
13 Principal 4’
14 Twelfth 2
2/3’
15 Fifteenth 2’
16 Tierce 1
3/5’ Ex Gt Mixture
17 Mixture III 19.22.26
Swell-Great 16’ 8’ 4’
Bombarde-Great 8' 4'
Positive-Great 16' 8' 4'
I POSITIVE ORGAN 65mm
wg
18 Cromorne 8’ Vox
H. lengthened
19 Gedact 8' Ex Swell
20 Flute 4' Fincham 1974
21 Nazard 2
2/3' OxleyRd
Mixture
22 Piccolo 2' Ex Swell
23 Tierce 1
3/5' OxleyRd
Mixture
24 Larigot 1
1/3' Fincham
1974
25 Sifflet 1’ Alcouffe 1990
26 Cymbal II 1 1/3' Alcouffe
1990
Tremulant
Positive 16' & 4'
Swell-Positive 16’ 8’ 4’
Choir-Positive
CHOIR(BOMBARDE) (floating) 90mm wg
27 Contra
Oboe 16'
28 Trumpet
8'
29 Gamba
8’
30 Dulciana
8' 45 pipes +11 of C
31 Celeste (Salicional) 8’ Ten. C
PEDAL 100mm wg pipes
32 Acoustic Bass 32' A
33 Bourdon 16' A 30
34 Flute 8' A 12
35 Flute 4' A 12
36 Open diapason 16' B 30
37 Principal 8' B 12
38 Quint 5 1/3' B
39 Choral Bass 4' B 12
40 Dulciana 16’ C 30
Swell-Pedal
Great-Pedal
Positive-Pedal
Choir-Pedal 16' 8’
Balanced shutters for Swell and Choir/Positive
4 adjustable pistons each
manual
8 toe pistons, 5 reversibles, cresc. etc.
1888 Built
by George Fincham, II manuals, 16 stops, pneumatic action.
1902 III m. 22 stops.
1971 David Fincham remodeled Choir organ as 8.4.2.1⅓.8
1974 Removed to church hall by Roland Cropley with pneumatic action.
1985 RC fitted KA lever magnet under action; 3 man.1965 Fincham console ex
1985 Ped. extension switching & Bombarde; 1988. Ruckpositive RC
1987-1990 French revoicing by Michel Alcouffe
2004 Gamba, Celeste, Dulciana 16’
2006 Choir/Bombarde & Positive divided to North of sanctuary, Cromorne I/2
length resonators RC