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The pipe organ consists of ranks of pipes which are controlled by means of stops, keys, and pedals. Each rank of pipes has its own tone color, its own stop, and its own name, which is written on the stop. If a particular stop is pulled out, the various pipes within the corresponding rank can be played by means of the keys or pedals. A small organ may be equipped with as few as two or three ranks. A large organ may be equipped with several hundred. Each pipe is said to speak with a certain distinctive "voice," the characteristics of which are controlled by the mechanical design and adjustment of the pipe. Over the centuries, organ builders have devised a whole spectrum of voices. To a large extent, the quality of an organ depends on the aesthetic quality of each individual voice and how well the various voices of the organ blend together. There are an infinite number of possible variations in the design or "specification" of a given organ. Allen Organs, which emulate pipe organs, exhibit this same versatility. The situation can be likened to that of an artist selecting individual colors and combinations of colors for a work of art. The variations are endless. Some choices turn out to be aesthetically quite successful. And, of course, some choices turn out to be rather ugly.
If we look at the broader world of musical instrument building, we see that it is unusual to have so many options in the construction of a given instrument. For example, a piano has only one "voice," and that one voice cannot deviate very much from the expected "piano sound" before we are reluctant to accept it as a true piano. I don't mean to minimize the task of the piano builder. Certainly, there are tremendous qualitative and tonal factors to be considered by the piano specialist. However, the target at which the piano builder is aiming is more sharply defined than in the case of the organ builder. As a result, it is rare to find a pianist who is deeply "into" the design and mechanics of the piano. Such matters are generally left to the acknowledged experts—the piano builders and technicians. In contrast, because of manifold variations from organ to organ, musicians and other organ enthusiasts must, of necessity, study and develop a certain understanding of the many different arrangements of the ranks of pipes in organs. Thus has been spawned an army of organ "experts" who are eager to tell the organ builder how to build the world's greatest instrument.
In many cases when an organ is purchased, an organist or other key music specialist will insist upon some arrangement of ranks and stops which the organ builder knows is far from typical and may even be unique. Pity the poor organ builder in this situation. He has devoted his life to the problems of organ construction and has seen his share of "bright ideas" turn into white elephants. His practical experience often puts him at odds with the more exotic views of the customer. Should he speak up and risk creating a personal gulf between himself and the customer, or should he simply assume a laissez-faire posture?
As a vintage organ builder, I have had my share of well-meaning yet off-the-wall "bright ideas" with which to deal. I'm not sure I've run into all "10,000" organ designers out there, but certainly a good number of them. I'm not one to look the other way when I sense a white elephant in the making. Accordingly, I've always expressed my views, albeit as gingerly as possible, usually with good results. Admittedly, however, there are a few organs here and there which have slipped out with some features which, in my opinion, border on the harebrained. These are monuments to those would-be organ "experts" who, in spite of diligent warnings, have insisted on "having their own way."