"I love pipe organs, and have devoted a staggering amount of time and resources to them. For years, I had fulminated against the horrors of 'artificial keyboard devices'. Indeed, all of them once were - and many still are - positively dreadful. However, it was not until I met Copeman Hart that I began to think it would be possible to create an instrument which could successfully combine (1) the sounds I really wanted, (2) a truly elegant console, and (3) an affordable price.

"An organist rarely gets the opportunity to design - and have built - the instrument he really wants. The irritating limitations of money, space, and the musical tastes and requirements of others almost always intervene, usually drastically so. This, at long last, was the chance to do it my way: I had the singular luxury of not having to compromise with the desires of anyone else. The stop names are descriptive of the type of sound that stop produces, hence the mixture of languages in the specification. There was no attempt to create an exclusively English, French, Spanish, German or American sound, although ideas from each of these organ building traditions are incorporated into the instrument: the ensemble blends in a totally cohesive manner - naturally - because it has been voiced in my home by Ernest Hart over a period of a week.

"I have assisted in the finishing or revoicing of several pipe organs and it was therefore fascinating to participate in the same process with this instrument. Changes of mind over the sound were so easily achieved, with no expensive physical changes but simply addressing the software in the voicing terminal - equivalent to melting down and recasting ranks of pipes. It was very impressive."

John Drew