stoplist and technique
Great (I. Manual)

Double Open Diapason 16'
Open Diapason No.1 8'
Open Diapason No.2 8'
Orchestral Flute 8'
Principal 4'
Harmonic Flute 4'
Fifteenth 2'
Mixture IV 2 2/3' *
Trumpet 8'

Choir (II. Manual)

Gedact 8'
Dulciana 8'
Gamba 8'
Harmonic Flute 4'
Nazard 2 2/3'
Piccolo 2'
Tierce 1 3/5'
Clarionet 8'

Swell (III.Manual)

Open Diapason 8'
Lieblich Gedackt 8'
Gamba 8'
Sylvestrina 8'
Sylvestrina Celestes 8'
Geigen Principal 4'
Flautina 2' *
Mixtur III 2'
Contra Oboe 16'
Cornopean 8'
Oboe 8' **


Harmonic Bass 32'
Open Diapason 16'
Bourdon 16'
Octave 8'
Flute 8'
Trombone 16' *
Trumpet 8' *

High pressure auxiliary (new 2013, to couple on all divisions, on 400mmWS)  [more about the Tuba...]
Tuba 16'
Tuba 8'
Tuba 4'

manuals C-c'''', pedal C-f'
* new rank
** added, original Binns


Koppeln: II/I, III/I, III/I 16', III/I 4', III/II, III 16', III 4'
tremulants: Choir, Swell
stop action: elektric, combination action with 4096 combinations, USB, MIDI-ready
action: electro-pneumatic slider chest


„An electro-mechanical action?“ This question will definitely be on the tip of a few tongues. Actually, the type of mechanical action was a big issue during the design phase. Since the intended concept was not originally planned as a pure restoration but rather to rebuild the missing components, building a new pneumatic mechanical action was out of the question.

Now it was a choice between the mechanical and the electrical alternatives. A mechanical solution, which is usually sought after when building new constructions, would also have been theoretically possible here. However it had to be taken into consideration that from the outset, this organ was not only meant to be operated mechanically – it still needed several smaller, individual “Barker-machines” in the windchests in order to operate the largely dimensioned pallets. (see picture gallery)

So the smart solution was chosen, that is, to make the controls electric right up to the windchest but to still restore the complicated bellows system within the windchest. This solution, which was made possible by the parish community’s wish for a mobile console, approaches the original controlling principle more than would have been possible with a purely mechanical solution. Moreover, the historical materials of the windchest were almost fully re-utilised. Next to the compelling concept, the agreement over the windchests was a determining factor in the decision to give the contract to Schulte. Intensive trials with the pallet operation bellows displayed a propensity for repetition, exactly what Binns was famous for and which, here in these parts, is seldom found in comparable instruments. 

The Swell Sandwich

During the early design phase, the organ builders already anticipated that special attention would have to be paid to the swell effect. The organ’s unique sound definitely required an extremely flexible swell range. 
So Oliver Schulte actualised what had been on his mind for a long time: a swell box construction made in a massive sandwich style with 2 outer layers of 18 mm thick spruce, filled with 40 mm quarz sand. The individual, one square meter large swell chambers were correspondingly heavy but the spectacular outcome speaks for itself!