Formerly, St. John Cathedral had a traditional long center aisle with fixed pews, and a forward Sanctuary with a baldachin covered altar, as well as a free-standing altar. The very small rear balcony contained a 4 manual electric action Noehren pipe organ, with little remaining space for choir singers or instrumentalists. Floors and walls were hard surface terrazzo and marble, and the ceiling deck was a moderately sound absorbing composition tile material. A large and unsightly sound system speaker cluster was suspended from the forward ceiling.

The liturgical renewal of the space included the positioning of a single central altar, a baptismal font and pool near the main entrance, a single ambo for proclamation of the word, and movable chair seating for the assembly. The former forward Sanctuary is now the music ministry plaza, with adequate space for cantor, organ case and console, choir singers, piano, and instrumentalists. A new Nichols and Simpson encased organ is placed at the front of the room, at the Apse/former Sanctuary, behind the choir singers. The new four manual “front” console controls both the Apse and balcony organs. Three digital line-array sound system speakers serve the entire space from discrete locations aside columns, and the ceiling deck has been hardened.

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This worship space had many characteristics that made musical blend, congregational response, clarity of the spoken work, and choral projection difficult. These characteristics included carpeted floors, an acoustically tiled ceiling, sound restrictive organ chambers, failing organ mechanisms.

Additionally, the original choir location was in a small balcony at the front of the church, above the chancel. This was an unsafe and spatially inflexible choir loft.

In order to improve this situation, the total amount of carpeting was reduced, and the ceiling deck was hardened. The choir was relocated from the front balcony to an enlarge choir / chancel “plaza” elevated at the front of the main floor. This allowed for greater flexibility for the music program. A new sound system includes modestly sized speakers high along the center axis of the room.

The three manual Schlicker organ was designed to be durable, long lasting, and to have a variety of tonal colors for the wide scope of protestant American worship music.

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The well proportioned architecture of St. Mark’s Lutheran Church suffered from a poor acoustical environment and an inadequately placed, decaying organ. The room contained both sound absorbing carpeted floors and a porous ceiling. The divided Chancel choir seating arrangement restricted musical flexibility. Worn out organ pipes and parts from various sources were trapped in a deep side chamber with restrictive tone openings.

The acoustical improvements and liturgical renovation of the church included a new Martin Ott mechanical action pipe organ placed on the long axis of the room, and an altar, font, and ambo placed closer to the congregation. Ample space, risers and flexible seating are provided for the choir. Flooring throughout the room is now primarily sound reflective hardwood, with only a modest center aisle runner of carpet. The ceiling surfaces have been hardened and a new sound system projects the spoken word.

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Formerly, St. Matthew Lutheran Church was a modest sized worship space with a traditional long center aisle, a Chancel with a “front wall” altar, and a balcony that held a medium sized choir and an aging pipe organ in a remote chamber. Floors were carpeted, and the ceiling was made of thin, sound transmitting composition wood panels. A dynamic Pastoral and music staff at the church fostered increases in church attendance and choir/music program participation.

The revitalized worship environment now has a nearly doubled seating capacity. There are a central, free-standing altar, marble inlaid floors, plaster ceilings, a tiered music plaza large enough for choral and instrumental groups together, a state of the art sound system, and a new encased organ with enchamade trumpets and a French terraced console. The acoustically live and flexible worship space facilitates creative worship and is a venue that draws a large concert following as well.

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This project involved planning for a new Episcopal retirement home chapel environment and new organ. Acoustics were designed to be optimal for both speech and music, with special concern given to the needs of the hearing-impaired. Strengthened gypsum board wall & ceiling, hardwood floors, and tall ceiling geometries contribute to the favorable acoustics.

The organ was designed within the framework of the multim in parvo concept; that is “much in little”. Jack M. Bethards, President of the Schoenstein Organ Company writes:

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.

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This project presented the opportunity to optimize the acoustics for a completely new facility. The client desired a traditional cruciform room shape with the music space in the front. A particular challenge in this design was to allow organ tone to reach the main part of the nave, given that the organ was placed in a side transept. The choir / music area was designed to be flexible for the various musical ensembles that utilize the space. Primarily, hard materials were used to create acoustics that are friendly to both music and spoken word.

The Berghaus organ was designed with a wide tonal palette across two manuals and pedal. In order to achieve desired durability, sound quality and flexibility, a detached and electric slider chests were employed.

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First English Lutheran Church
Whitewater, Wisconsin

The project involved the re-design and renovation of an existing space and replacement of a failing electro-pneumatic organ. There were several acoustical deficiencies in the church including excessive carpeting, soft ceilings, and a choir space in a completely different area than the organ. The original organ spoke from chambers into the chancel, and did not project in to the nave.

Our recommendations included a tile floor for the chancel, a hardened ceiling, and moving of the choir space. The new Holtkamp organ now speaks down the long axis of the nave with the choir directly below. From the dedication booklet –

“Our goal was to provide an instrument and liturgical / acoustical environment which would provide for more devotional, inspirational, and exciting worship. This building, of commodious original design integrity, now offers an even fuller, richer service to the congregation. The resonant organ case has been built of historical wood cabinetry, blending with the visual design of space. The location of organ pipes on the front central axis of the room now allows blended tonal projection, balanced to the acoustics of the room. The acoustical environment itself has been ‘brightened’ with more sound reflecting surfaces, giving improved reverberance for organ, choir and congregational singing. Martin Luther’s concept of a central altar table, closer to the congregation, has been achieved fro more intimate and communicative liturgy. The mechanical action ‘tracker’ organ, now enhances worship with warm and clear tone; it will do so for many generations due to its long lasting design and workmanship.”

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This project had a number of acoustical deficiencies including lack of musical blend, poor projection of choir and organ tone, difficulties in congregational response in hymns and service music, less than desirable speech clarity, and unreliable organ service.

These problems were caused by the presence of excessive sound absorbing materials (acoustical tile ceiling and carpeted flooring), poor placement of organ pipes, a decaying organ mechanism, and an antiquated sound system.

Excellent musical rendition and speech clarity along with full-bodied participation by the congregation in the Service has been achieved by raising reverberation time. This was accomplished through the use of sound reflective ceiling and flooring materials, by seating the choir on the long axis of the room, and through the use of a new sound system specifically designed for the renovated environment.

The new Casavant organ has its primary divisions encased on the long axis of the room with accompanimental divisions placed in acoustically enhanced side chambers.

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The Grace Lutheran Church building is an excellent historic example of Victorian Gothic architecture. While there have been some alterations to the structure over the years, recent restoration and updating projects have maintained the original architectural style.

Acoustical improvements include the re-creation of the original pulpit canopy/sound reflector, hard surfaced simulated marble flooring under pews and in aisles for increased reverberance, and a re-organized choir/music loft with safety railings and space for instrumentalists.

The old organ suffered from the effects of deteriorated leathers, a failing electrical system, and damaged pipe-work. The “new” organ retains the historic casework, some of the older façade pipes, and many restored interior ranks. The remaining façade pipes have been built to blend with the historic façade, and new, durable slider windchests, solid-state electrical systems, and a movable draw-knob console have also been provided.

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This handsome building contained an excessive amount of sound absorbing material in the form of fully carpeted floors and a “celotex” ceiling deck. The choir and aging electronic organ console were located in a sound restrictive side transept, with the organ speakers in chambers flanking the altar.

Our goals were to enliven the room for worship participation and music, bring choir and organ together in an appropriate location, and to design a durable, artistic instrument. Carpets have been largely replaced with hardwood flooring. The ceiling is now sound reflective, and choir and organ are together on the central axis of the room. The modest size, yet world-class Harrison & Harrison organ speaks from new cases where the former speaker chambers had been.

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We had the welcome opportunity to design both the architectural/acoustical environment and the new organ for this vibrant congregation. The traditional long and tall geometric form, marble and ceramic tile flooring, and hardened splayed walls and ceiling all combine to result in a 2.0 Second reverberation period that supports liturgical worship. The modest size Sipe organ, with select duplex stops, fills the room from the central axis position in the Chancel.

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The previous chancel design of this church featured an organ buried in deep chambers. With the renovation of the sanctuary, the opportunity was available to improve the organ’s location. The altar and pulpit were moved closer to the congregation, and a new choir seating area was created. The organ is now located in shallow chambers and matching casework on either side of the chancel.

The acoustic problems of this church were addressed in a unique manner. Through cooperation with the architect and contractor, the structure of the ceiling was made more reflective and dense through the use of a special expandable insulation. New slate flooring was also installed. The result is a space that is excellent in its support of liturgical participation and the grand “English Cathedral” sound of the Harrison & Harrison Organ.

From the Harrison & Harrison Organ Company:

The city of Hendersonville is situated in the Blue Ridge Mountains of North Carolina, 100 miles west of Charlotte. St James's Episcopal Church was dedicated in 1863, and has been enlarged several times since then, in the English Gothic style. It is a lofty building with seats for 250. The most recent work in the church included a remarkable improvement in the acoustics, under the guidance of the consultant Scott Riedel.

The two matching oak cases, bracketed out on either side of the chancel, were designed by Didier Grassin, suitably echoing the nineteenth-century work of the English designer and organbuilder Dr Arthur Hill. The south case contains the enclosed Choir Organ; the remainder is all within the north case, including the copper Orchestral Trumpet on 10-inch wind pressure.
The organ is as expressive as it is eye-catching. In many ways it is typical of Harrison Romantic instruments: for example, the Swell and pedal chorus reeds have English closed shallots and are voiced on 6-inch wind pressure.

The organ has 44 stops on three manuals; the console is detached and mobile. Electro- pneumatic action is accompanied by traditional slider chests and reservoirs.

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St. Peter’s United Church of Christ is a building of worthwhile size and proportion but certain features compromised the acoustical space. The ceiling was made of sound absorbing acoustical tile and the floor was covered primarily with carpet. A divided chancel choir seating arrangement did not the meet the needs of the church’s various vocal and bell choirs. The previous organ was located in a right side chamber that did not project sound directly into the nave. While much of the pipe work was valuable, the electrical and pneumatic (leather) actions were decaying.

The liturgical and acoustical improvements included an altar, font and pulpit placed closer to the congregation. A new Reuter electric slider organ is placed on the long axis of the room. The organ contains a significant number of original pipes restored from the previous instrument. The new music ministry space includes a moveable drawknob organ console and risers large enough to accommodate bell tables. Reverberation was increased in the room by replacing the original carpeting with genuine Jerusalem limestone, and by adding a plaster ceiling finish. A sound system was installed to accommodate the revised room.

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This historic church on the upper east side of Milwaukee is blessed with an architectural design that lends itself well to music. Hard surfaces abound, and space for music was plentiful in the balcony. The previous instrument spoke down the long axis of the room, and this position was maintained in the new instrument built by Robert Sipe, of Dallas Texas.

The old instrument was suffering from mechanical deterioration, and the overall tonal design was less than grand. The church desired an instrument that would have greater reliability and longevity, and one that would also lead the liturgy with greater musical expression. The new organ actually has fewer ranks than the previous organ, but far surpasses it in the range of expression and color in its tonal palate.

Many ranks of the previous instrument were recycled, reconditioned, and revoiced by Sipe for inclusion in this instrument. The case of the organ was designed to balance the visual concept of the main altar. The key action is mechanical with electric stop controls, and features a detached console.

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