The Swell organ is in a central position and has 2 sets of shutters. The large set face West from behind the Great, and the small ones face South from behind the Choir. Either set of shutters can be connected to the swell pedal and the set not connected are closed. The Swell is unusually large because it provides a home for all stops which are needed in both parts of the building.
The Great Organ offers many options for chorus building. The two Open Diapasons differ considerably in scale, the Octave sits midway between them and the Principal is scaled to the Geigen. Organists can therefore select top-heavy, bass-heavy, or balanced foundation tone. Three mixtures are available and these also differ considerably. The Fourniture (19 22 26 29) is Dulciana scaled and offers a gentle option for 'top'. Nevertheless, it has enough sparkle to live with the heaviest foundation stops. The Carillon (15 17 19 22) is a good deal larger and makes an excellent first mixture for choruses built on the large Open and Octave. The Cymbal (26 29 33) is very large, in fact it's scaled to the Principal, and has the traditional octave breaks.
The Trombas are extremely heavy and dark toned in the best Yorkshire tradition.
The Solo Organ is notable for its big reeds and the wealth of it's keen-toned string voices. The latter are not often found on Yorkshire Organs, we borrowed them from Arthur Harrison! The Harmonic Trumpet has a very free 'orchestral' sound and is enclosed. In addition to its function as a solo voice, it can be coupled to full Swell as a climax reed, or used as an alternative to the Great Trombas if one desires a more 'Willis' style pleno.
The Swell Organ also has some Harrison touches. The grand Mixture (15 19 22 26 29) carries its highest voices almost to middle C. Thereafter it has octave breaks. It is scaled to a Twelfth - a mighty beast indeed! This allows the chorus reeds to have considerable weight in addition to their fiery tone. To hear this combination unleashed over the Great chorus is a spine-tingling experience and one of the glories of the organ.
The unenclosed Choir Organ serves as an 'Echo Great'. Anything that can be heard on the Great Organ has its counterpart on the Choir, but the voices are softer and more transparent. The Choir also has a set of flute Mutations. Players of French Baroque music are well served with no less than 4 Cornet combinations available - a Female cornet on Choir, a Male and a Hybrid on Swell, and a String cornet on Solo (the Cornet de Violes is 12 15 17). Amidst all this classical clarity we have the Unda Maris, flute toned with the second rank tuned flat. It purrs like a Persian cat the ultimate in romantic sensuality!
The Pedal Organ has the only 'digital cheat' in the instrument. The Sub Bass 32' adopts the tone of whatever is drawn with it. It can thus be a Sub Bourdon, an Open Metal, or an Open Wood ( to be used with discretion as it shakes the pews). This kind of stop is now being added to some well known pipe organs, so we felt no guilt about having one.
Copeman Hart have created for us an organ of almost endless variety and versatility, well able to perform the entire organ repertoire in a most convincing manner. It's a joy and an inspiration to play as well as to hear.
John Mitchell, October 2006