"Because of the size of the chapel and the need for maximum versatility, we decided to put both Great and Swell under expression. Since the bass pipes of the Open Diapason would not fit comfortably in the Swell box, we placed them in display but provided two separate knobs to draw the Open Diapason in order to avoid the problem of a big break in loudness at tenor C should the box be closed. The firm bass of the Lieblich Gedeckt serves well to underpin the Open Diapason when it is played under expression. The extended 16’ flute stop is made of four different types of pipes. Given the size of the room and the chapel’s musical requirements, we decided that a celeste to the Dulciana (Unda-Maris) would be more useful than a narrow unison string.

"The most important element of this tiny stoplist is the Trumpet under double expression. We have used double expression with great success on several large instruments. I felt that it might have even more utility in a small one. This has proved to be true. The Trumpet, with tapered shallots, is very boldly voiced. It is in its own box, speaking into the main one. This extra degree of dynamic control allows it to play as soft as a capped oboe with the shades closed and then to crescendo a dramatic amount, becoming a very powerful chorus reed dominating the ensemble, admirably leading congregational singing or serving as a solo stop. This six-rank organ has a full-Swell effect of real grandeur."