3. The Organbuilders

This represents a broad range of organbuilders from the small builders to the large Austin factory of 45 employees. Mainly, I looked at mechanical action but also examined some new electric action organs and some with borrowing.

It soon became apparent that I did not need to spend a week at each workshop. I found that I could talk to the main personnel, tour through the factory and then concentrate on the areas that were different to other builders or that took my fancy. I found that I was looking at workshop practices, different tools and the various ways they built their soundboards. Sometimes, I would return to the factory to ask further questions after playing an organ with a feature I liked or which was new to me.

It soon became apparent that another very useful result of this was not only comparing organbuilding techniques, but also general workshop approaches. I saw how various organbuilders organised their workshops, managed their work and a whole range of business techniques. Not only that, but I could then compare this with the results in their work. This was quite useful.

Some of the most important things I noticed were:

At Bedient I was shown a computer programme to cost, plan and check the progress of every job. I had spent 3 years trying to design one and here it was working happily in front of me.

I have problems in my own work with wood warping both in the slides and pallets. I saw many different ways of solving these problems ranging from careful selection of fine wood from the tree, to the use of modern materials. By playing the various examples of each builder and asking the organist of each organ questions about reliability and function, I was able to draw my own conclusions as to the success of their design.

I found that a small workshop, when properly organised, was capable of making up to 30-stops of organ a year including pipework and keyboards.

I compared pipemaking techniques. I found that many of the best builders made their own metal pipes, which is an art in itself. I was able to see how they achieved this and various techniques of casting. I was amazed to find that many important builders made their own reeds including shallots and it was possible for my workshop to do the same.

I tried to play at least three examples of each builder. I would approach each organ in the same manner. I would play a hymn on it, pulling on each stop of the chorus. I would then play either Bach's E minor Prelude and Fugue (or the C major from the 8 Short Preludes) to gauge the wind and action repetition. A short piece by John Stanley would examine the 8' Principal and the cornet or solo reed. I would then play various pieces to test the possible colours and repertoire of the instrument. By repeating the process, I was able to compare and judge each organ.

Even in just playing and hearing so many organs in a short space of time crystallized my views and tastes on the types of sounds that were beautiful.

I need to make one last comment on the people themselves. TV formed my impression of the American people before the trip, just as I found that their impression of Australians was based on Crocodile Dundee and the Crocodile Man. What I found throughout with very few exceptions was a gracious and thoughtful people. It was hard not to share their enthusiasm or verve. In general the organbuilders and organists were not afraid to try something new or experiment. One very important and surprising comparison I made when I got home was that I experienced more road rage in one week of Brisbane driving than in 7,200 kms of driving in the US! Having said that, the nicest thing about travel is coming home.

Last updated 26 July, 2005