Hughes United Methodist Church - Tonal Changes and Additions
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While the original design was acceptable, the organ was not very flexible. We suggested several changes and additions to broaden the tonal spectrum.
From the walkboard, the first stop is the Cymbal III. This bright mixture was too high in pitch. Then the next reed is a 16 Rohr Sordun, a quarter-length baroque reed that tended to sound like a bee in a bottle, not adding much to the ensemble, and of little use.
We suggested replacing the Cymbal with a Plein Jeu III, a more full and rich sound that would fill out the chorus. Then, since there was not a 2 in the division, we suggested a 2 Flute, in this instance a 2 Zauberflφte from a Moller organ of the same age.
The Cymbal III was moved to the Choir division on a new windchest. Here it is appropriate to the division and will be useful.
In the Swell we added a 16 Bassoon/8 Oboe unit, to provide a softer unison reed than the existing Trompette, and a 16 pitch of full definition.
In the Great the need was for a full reed that would provide the backbone of the ensemble, and be extended into the Pedal as a Bombarde.
This is the bottom section of the 16 Bombarde, set up in the factory. This is a full-length 16 reed.
The Antiphonal division consisted of a Melodia, Dulciana, Octave and Trumpet.
To this we added a Mixture III, in the front, a 2 Super Octave, left rear, and an 8 Unda Maris, right rear. These stops were also from a similar organ of the same age.
As part of our work we converted the action to Multiplex, so we could have MIDI and a Transposer. This new relay panel receives the signals from the console and transmits the information to the pipes..
Also included in the work were new main and antiphonal blowers.