Organ Restoration Proposal

Christ Church Proposal 2015 Pipe Organ Proposal
FOR
CHRIST EPISCOPAL CHURCH
70 S A N T A R O S A A V E N U E
S A U S A L I T O , CA 94965
HUPALO & REPASKY PIPE ORGANS , LLC.
2 4 5 0 A LV A RA D O S TR EET , B LD G 7
S A N L EA N D RO , C A 9 4 5 7 7 - 4 6 1 3
Phone: 510-483-6905
WWW.HUPALOREPASKY.COM
January 5, 2015
TABLE OF CONTENTS
PROPOSA L
BACKGROUND
RECOMMEN DA TION
COMPONEN TS
CHU RCH RESPON SIBILI TIES
SCHED ULE
COST
PAY MENT SCHED ULE
F IN A L A C C E P T A N C E
REQUEST FOR A PPROV A L
P R O P O S E D S T O P L IS T
A BOUT HUPA L O & REPA SKY
PHILOSOPHY
2
2
3
4
4
5
6
6
6
6
7
8
12
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PROPOSAL
January 5, 2015
Hupalo & Repasky Pipe Organs, LLC are pleased to submit the following proposal for the
re-construction of the current pipe organ for Christ Episcopal Church, Sausalito, California.
1.0 BACKGROUND
As originally built the organ was a modest one manual and pedal instrument with a
simple mechanical action built by the Swedish immigrant, John Bergstrom in 1891. From
existing chests pipework and what organ builders were doing in the 1890’s its stop list was:
MANUAL
8’ Open Diapason, (bass pipes in display and treble pipes immediately behind them.)
Swell enclosure behind this affecting rest of manual stops
8’ Salicional
8’ Aeoline
8’ Stopped Diapason
4’ Harmonic Flute
Tremulant
Super Coupler
PEDAL
16’ Bourdon
Manual to Pedal Coupler
In 1949, this simple playing action was "modernized" with elaborate pneumatic pull
downs, a new electro-pneumatic action chest for the Open Diapason with an extra top
octave of pipes added so it could play at two pitches, and a detached console. Typically
Schoenstein also added an 8’ Vox Humana rank of pipes and chest to these “electrifying of
mechanical action organ projects” they were doing throughout northern California.
The 1949 Specification may have been something like:
GREAT
8’ Open Diapason
4’ Octave (Diapason rank playing from note 13 and up through the extended top octave)
? 8’ Vox Humana
Great to Great 4’ Coupler
Swell to Great 16 Sub Coupler
Swell to Great 8 Unison Coupler
Swell to Great 4 Octave Coupler
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January 5, 2015
SWELL
8’ Salicional
8’ Vox Celeste (Aeoline rank loudened and tuned slightly sharp to create undulating effect.)
8’ Stopped Diapason
4’ Harmonic Flute
Swell to Swell 16’ Sub Coupler
Swell to Swell 4’ Super Coupler
Tremulant
PEDAL
16’ Bourdon
8’ Diapason (from Great)
8’ Bourdon (extension with additional treble pipes to play Bourdon octave higher)
Great to Pedal 8’
Great to Pedal 4’
Swell to Pedal 8’
Swell to Pedal 4’
The 1960’s saw the additions of pipes and unit chests: 8’ Metal Gedeckt, 4’ Spill Flute, II
Rank (2 2/3’ 1 3/5’) Cornet II, playable on the Great and Pedal keyboards, a new two
manual and pedal console, and new key switching system to make all these pipes playable
at various pitches on the Great and Pedal keyboards, a new blower and winding system.
Currently, the pneumatic organ leathers operating the key and stop actions
installed from the 1940’s and on as well as some of the switching and
mechanical devices have reached their life expectancy. Due to this deterioration, certain
aspects of the playing system are no longer reliable or even operable. For the organ
to be in 100% working order, this situation needs to be addressed.
2.0 RECOMMENDED PLACEMENT AND ORGAN DESIGN
2.1. PLACEMENT ~ the organ will remain where it was placed over hundred years ago,
traditionally the preferred placement for the organ many churches.
2.2. ORGAN DESIGN ~ Given the high cost of repairing the organ and its m i x of
tonal variety, we advise the church to consider returning the organ to mechanical
action with the addition of new ranks of pipes that will enable the instrument to
lead congregational song, provide adequate accompaniment to voice and
instruments, and, when played as a solo instrument, have enough tonal variety to
inspire all those listening.
The advantages of mechanical key and stop action are: its simplicity, longevity, and
the organist experiences a more direct connection to the pipes. Since the keyboards
will be attached to the organ case, having the mechanical action restored will
eliminate the organ console and free up space in the worship area. The beautiful
organ case and stenciled facade pipes will be retained.
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January 5, 2015
The result of our proposal would offer Christ Church a delightful, tonally cohesive,
reliable instrument of great integrity for generations to come. A pipe organ that
would attract, retain and inspire quality musicians for your own music program and
outside community venues. This will enable you to build on your current program
and expand your musical outreach to the community. Investing in your pipe organ
will provide your congregation a significant stewardship asset as you live your
mission.
3.0 COMPONENTS
3.1. Pipe Work
Existing pipe work will be refurbished along with the additions from either period
instruments or fabricated new by our pipe maker to match the style of the original
pipe work in order to create the desired, cohesive tonal scheme.
3.2. Chests
Our proposal will be to construct new slider wind chests. As you know these chests
are noted for their longevity and minimal cost for repairs and rebuilding. The offset
Pedal and unit chests will have individual modern unit actions. While the existing Swell
Chest could be rebuilt, it is not large enough for the new proposed tonal scheme; allowing for
both additional pipework, and a well designed layout, allowing ease of tuning and maintenance
access.
3.3. Keydesk
A new two manual and pedal keydesk will be integrated into the original
Bergstrom case as it was in its original design. The keyboard will feature bone,
naturals and ebony accidentals. Stop controls will be turned draw knobs with
engraved faces typical of the period.
3.4. Pipe Façade & Case
The existing facade and case from the 1891 Bergstrom organ will be
retained and refurbished with minor modifications carried out in the
style of the original instrument to accommodate the new two manual /
pedal keydesk.
3.5. Winding
The existing blower will be retained and incorporated into the new instrument.
4.0 RESPONSIBILITIES OF THE CHURCH
4.1. Electrical
The church is responsible for any and all AC Electrical connections, supply and
modifications necessitated by the organ project. These include lighting, high
power, blower wiring and connection of AC-DC power supplies where the
instrument is connected to the electrical system in the building and shall
January 5, 2015
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conform to the International Electrical Code (IEC) and any state or local codes.
Hupalo & Repasky Pipe Organs, LLC will be responsible for all the internal low
voltage electrical connections, systems or controls specific to the organ itself.
4.2. Access to the church for organ builders
The church must reserve the necessary time in its schedule for the removal,
installation and tonal finishing of the organ. For the convenience of the organ
builders and the staff of the church, we request a copy of the key to the church for
the duration of the installation of the new organ.
4.3. Aesthetics
Decisions for aesthetic design will require dialogue between the owners of Hupalo
& Repasky Pipe Organs, LLC, and Christ Episcopal Church.
5.0 ORGAN CONSTRUCTION SCHEDULE
The company anticipates six phases from design to acceptance of the organ. This
schedule will take a period of 6-10 months.
5.1. PHASE ONE – Design and Engineering
5.1.1.Discuss design, layout, and placement of the proposed instrument
5.1.2.Finalize design, layout and placement
This phase will be short and will be the last review before ordering parts. It is
crucial that matters of design be settled by the end of this phase.
5.2. PHASE TWO – Removal of the current organ/ transporting to the shop.
5.2.1. Begin Construction
Fabrication of the Great, Swell and Pedal main slider windchests, chest
supports and Swell enclosure.
5.2.2. Construct new key, pedal and stop actions.
5.3. PHASE THREE – Preparation of pipes and reservoirs
5.3.1. Begin making new pipe work
The making of pipes will start at this stage.
5.3.2. Construct winding components
Leather regulators, build wind lines and install tremolo
5.3.3. Voicing and regulation on pipe work
Hupalo & Repasky voices all pipe work. Shop voicing will be carried out
during the entire building process.
5.4. PHASE FOUR - Organ set up and testing at shop
5.4.1. Erect organ and case in shop
Each division will be erected, winded, and connected in our shop. Organ Case
will be refurbished with incorporation of the new key boards and pedal. Pipes
will be fitted to the chests.
5.4.2. Test organ actions and pre-voice
January 5, 2015
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All actions and pipes will be inspected and tested while o r g a n is set up in
our shop.
5.5. PHASE FIVE – Installation
5.5.1. Shipment of the organ from shop to church
All components, after erected and tested at the shop, will be disassembled,
packed and shipped to the church.
5.5.2. Install organ in church
The organ components will be unpacked and installation of the organ at the
church will begin.
5.6. PHASE SIX – Tonal finishing
5.6.1. Once the entire organ is assembled, winded, a n d key and stop actions
connected, all pipes will again be adjusted for speech and volume in the church.
6.0 COST ~ PIPE ORGAN RECONSTRUCTION
The cost for designing, building, and installing the proposed PIPE ORGAN is
$250,000.00 U.S. Dollars. This figure does not include California state sales tax or
outside contracting costs such as structural engineering, electrical and construction work.
We will hold this price for a period of 30 days.
7.0 PAYMENT SCHEDULE
Payment shall be made in the following seven installments:
• 10% of total cost
$25,000.00~ Due with signed agreement.
• 10% of total cost
$25,000.00~ Due upon completion of 1st phase.
• 20% of total cost
$50,000.00~ Due upon completion of 2nd phase.
• 20% of total cost
$50,000.00~ Due upon completion of 3rd phase.
• 20% of total cost
$50,000.00~ Due upon completion of 4th phase.
• 10% of total cost
$25,000.00~ Due upon completion of 5th phase.
• 10% of total cost
$25,000.00~ Due upon completion of 6th phase &
Final acceptance
Total $250,000.00
8.0 FINAL ACCEPTANCE
Acceptance of the project shall not be withheld on account of minor matters including
minor tuning or adjustment. The use of the organ during a public recital or on a regular
basis for church services constitutes acceptance.
9.0 REQUEST FOR APPROVAL
The owners of Hupalo & Repasky Pipe Organs, LLC, respectfully request your approval
for the proposed pipe organ as presented in this document. We will then supply you with
a Contract Agreement for your review.
January 5, 2015
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PROPOSED STOP LIST
•
•
•
Reuse existing facade and casework
Keyboards to be attached to case (not reversed)
Mechanical Key, Pedal and Stop Action
JOHN BERGSTROM – HUPALO & REPASKY PIPE ORGAN
I
8’
8’
4’
4’
2 2/3’
2’
Great – 61notes
Diapason +
Chimney Flute *
Octave
Harmonic Flute +
Nasard
Super Octave
Double Draw [
Mixture III
1 3/5’ Tierce
II 8’ 8’ 8’ 4’ 4’ 2’
8’
Swell – 61 notes
Geigen
St’d Diapason +
Voix céleste tc +
(sal*
Principal
Open Flute *
Piccolo
Oboe
Tremulant
Great to Pedal
Swell to Pedal
l
8’ Trumpet
Swell to Great + Indicates Original Bergstrom Pipe work *Indicates other extant pipework. Pedal – 32 notes
16’ Bourdon +
8’ Diapason +
8’ Bourdon ext.
4’ Choral Bass ext.
16’ Fagot
January 5, 2015
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ABOUT HUPALO & REPASKY
OUR
GOAL
IS
TO
BUI L D
AN
IN S T R U M E N T T H A T F A IT H F U L L Y
SERVES THE NEEDS OF OUR
CLI EN T
AND
IS
A
SOURCE
OF
IN S P IR A T IO N F O R A L L W H O A R E
MOVE D BY ITS ARTISTRY.
With all that goes into developing the mechanical and the artistic requirements of a pipe
organ, we can never stray from our ultimate charge in creating an instrument to lead and
inspire worship. As pipe organ builders, we are entrusted with the responsibility to create
instruments that reflect the long standing tradition of the pipe organ and its service to the
Church.
In determining the role of new instrument, there are several fundamental aspects to address:
the new acoustical environment, placement of the choir, and Congregational singing as well
as the many and varied concert settings that take place. The new organ must therefore
address these musical challenges, and in addition, make a visual statement relative to its
surroundings. Musically, it must accompany the choir, lead the Congregation in the singing
of hymns and service music and have a tonal design for performance of a large body of solo
organ literature. Visually, this instrument needs to be designed to allow for a symbiotic
balance between the elements of the room so that they do not overpower the delicate visual
symmetry of form and function.
JOHN N. HUPALO - MANAGING MEMBER
Mr. Hupalo offers thirty-four years of organ building experience, managerial and technical
skills necessary to construct a classic pipe organ. An early interest in pipe organs and sacred
music lead him to study music at the University of Hartford, Hartt School of Music
Conservatory. However, though he had a great love of music performance did not fulfill his
creative sense, building instruments would.
Mr. Hupalo began his career in organ building in the metal pipe shop at the Austin Organ
Company. In the pipe shop he attained all the skills necessary to manufacture organ pipes
from the smallest to the largest of pipes. He worked casting sheets of metal with all the
varied alloys used in metal pipe making. Sending almost ten years learning pipe making,
though there is no formal title given one might call him a master pipe maker.
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January 5, 2015
His career did not end in the pipe shop but he continued to add to his skills and experience,
first joining the cabinet shop as assistant cabinetmaker crafting consoles and wooden pipes
(sixteen foot open.) He then furthered his experience by fabricating organ components in
the parts department, which crafted all the parts for Austin consoles, chest actions and
moving parts of the organ. This exposed him to machinery of all types. Many of these
machines were made at the factory for specific jobs such as making the Austin chest actions.
This apprenticeship at Austin was invaluable.
Having gained a full range of organ building experience, Mr. Hupalo founded his first
enterprise, a custom pipe shop in Connecticut. His company manufactured and supplied
organ pipes to numerous independent organ builders throughout America. In 1986, Mr.
Hupalo accepted an offer to join the San Francisco based organ builder Schoenstein &
Company. For the next thirteen years, he managed the pipe shop where he contributed his
skills to developing the pipe shop, which included casting facilities, training your pipe makers
along with making most of the new pipes for Schoenstein. Within the first few years Mr.
Hupalo was developing the rebuilding standard for reed pipes used in the rebuilding of the
Mormon Tabernacle organ and developing the French romantic reeds from information
gathered by Jack Bethards during his study tour in France.
In 1994, started his own pipe shop, the Hupalo Organ Pipe Co. while the remaining active in
supervising the Schoenstein pipe shop. During this period Mr. Hupalo made pipes for many
notable organ projects, among them: St. Cyril of Jerusalem Catholic Church (Rosales Organ
Builders Inc.), façade Jacksonville Symphony Jacksonville Florida (Quimby Pipe Organs),
rebuilding all pipes of the E.M. Skinner at Hollywood High School (Austin Organs Inc.)
In the 2001 Steve Repasky and John Hupalo decided to form Hupalo & Repasky Pipe
Organs, LLC. Since then the company has been building, rebuilding and servicing pipe
organs.
Mr. Hupalo is a member in good standing in the following organizations, American Institute
of Organ Builders, the American Guild of Organists, British Institute of Organ Studies,
International Society of Organ Builders and the Organ Historical Society.
STEVE REPASKY – MEMBER
Mr. Repasky holds a bachelor of music degree in organ performance from Youngstown
State University and a master’s degree from the University of California, Berkeley. Mr.
Repasky is a member of the American Institute of Organ builders, the Organ Historical
Society, and the American Guild of Organists.
Steve served as organist for churches since his parochial school days. He was organist at Old
St. Mary’s Church in the early 1980′s and music director a St. Patrick Church, San Francisco
for nearly 30 years. Steve is currently associate music director at The Episcopal Church of St.
Mary the Virgin, San Francisco. He has one of the largest private collections of organ, chant,
and sacred choral music on the west coast. He performs regularly as an organ soloist,
accompanist and choral conductor for the Noontime Concert Series as well as several other
Bay Area concert venues.
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January 5, 2015
His apprenticeship with organ building began in 1990 with Schoenstein & Company. Over
the years, Mr. Repasky has gained extensive experience in the building, restoring, and voicing
of pipe organs. He is also an experienced organ service technician, taking care of many of
the more notable organs in northern California. One of the highlights of his career is the
restoration of an 1812 English chamber organ. This charming instrument was completely
rebuilt from the inside out. Damaged parts were meticulously restored and missing parts
were made to match the originals.
In 1995, he was the program chairman for the annual convention of the American Institute
of Organ builders in San Jose. Mr. Repasky has served two terms as subdean (program chair)
for the San Francisco Chapter of the American Guild of Organists and is currently serving as
a member-at-large on the chapter board.
WILLIAM VISSCHER – MASTER ORGANBUILDER
Mr. Visscher received his bachelor’s degree from Susquehanna University in Pennsylvania
where he studied organ with Dr. James Boeringer. Mr. Visscher holds the title of “Master
Organ builder” with the American Institute of Organ builders. He gained extensive
experience in organ building while working for the organ building firms of James McFarland
& Co., Bozeman & Gibson Co. Inc., Rosales Organ Builders, Inc., and
Martin Pasi Organbuilders.
For eighteen years, he owned and operated his own firm, Visscher Associates, located in the
Santa Cruz area. During that time, he built many new instruments throughout California. His
most notable instrument being the seventy-three rank organ for Old First Presbyterian
Church in San Francisco.
Mr. Visscher is currently the music director and organist at All Saints Episcopal Church, San
Francisco.
David Secour – Design Engineer
David Secour holds a bachelor of music degree in trumpet performance from the
New England Conservatory of Music. Mr. Secour grew up in San Francisco where
his father, Michael, spent 33 years as the organist/ choirmaster at the Episcopal
Church of St. Mary the Virgin. Being the son of a choirmaster meant he started
singing in choirs at the age of 3 (almost 4).
In college, David studied trumpet with members of the Boston Symphony Orchestra
and took part in several masterclasses by members by the finest orchestras in the
world. In 1996, Mr. Secour was accepted as a member of the Tanglewood Festival
Chorus which is the official chorus for the BSO and the Pops.
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January 5, 2015
In 1999 Mr. Secour moved to Connecticut and became the Production Manager of
the Harford Symphony Orchestra. For 2 years he oversaw all rehearsals, concerts
and any logistics involved.
After leaving the HSO David focused his efforts on teaching and spent 3 years as
band director and instructor. In 2006 he joined Russell & Dawson, Architecture and
Engineering. He spent 3 years there under the direct supervision of Robert
Dawson, Professional Engineer. This gave Mr. Secour valuable experience in the
fields of structural, electrical and mechanical engineering design.
In 2011, David joined Austin Organs Inc. He helped bring AutoCAD into their
design department while learning the organ building trade. As a designer he
worked mostly with the chest, erecting and console departments often assisting in
the build of each instrument. David was involved with one of Austin’s largest
projects during his time; Opus 2795 at the First Baptist Church in Washington, D.C.
with a total of 118 ranks, 6,158 pipes and a 5 manual draw knob console. He
designed the structure for each chamber, Great/ resonance, Swell/Choir/Solo,
Gallery Great, Gallery Swell, and the trumpet en chamade which projects from the
rear balcony. He also helped in engineering the console for a 5th manual. Austin
had only done 2 in its entire history. Mr. Secour also worked in the parts
department making electro magnets which Austin uses on all of their pneumatics.
In late 2013, Mr. Secour returned to San Francisco and soon after he was called in
to Hupalo & Repasky to assist with tunings. Over time that grew into a full time
position as designer and builder with the current company.
Aaron Garfinkel - Maintenance technician
Aaron Garfinkel received his Bachelor of Arts and Sciences in History and
Chemistry from the Oberlin College and Conservatory, where he began his training
in organ building. Following coursework in the keyboard technology department,
Mr. Garfinkel was taken on as chief assistant to Organ Builder and Technician Hal
Gober in maintaining the College Conservatory’s sizable organ collection. In his
time working for the conservatory he gained extensive experience in the repair and
tuning of a great variety of organs, including such notable instruments as the
Fairchild Chapel Brombaugh, Finney Chapel’s Fisk Opus 116, the Warner Hall
Flenthrop, as well as numerous mechanical and electro-pneumatic practice organs
from an array of builders.
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January 5, 2015
He then continued his training with C.B. Fisk located in Massachusetts. At Fisk, Mr.
Garfinkel was exposed to every step of the organ building process, with a special
focus on the art of pipe making. He was trained by each of the company’s master
pipe makers, developing his knowledge and practical abilities along of each step of
the pipe making process. In addition to this valuable pipe making experience, he
was able to further develop his background with mechanical action organs. His
work is incorporated into Fisk Opus 140, located in Seattle.
He has continued his education in organ building under Master Organ Builder
William Visscher and Pipe Maker John Hupalo. He participated in the re-build and
installation of a 4 manual Skinner Organ located at Congregation Emanu-El located
near the Presidio in San Francisco and is currently in the process of constructing a
number of continuo organs. Outside of the shop he is one of the principal tuners for
Hupalo & Repasky.
PHILOSOPHY OF ORGAN-BUILDING
Our fundamental goal is to develop a tonal design with selected choruses, ensembles and
solo voices that work within the scope of all musical literature. Rather than supplying a pipe
organ with a more narrow predetermined style of musical repertoire, we choose to build an
instrument capable of creating the music drawn out by the organist. We feel it necessary to
avail the musician with a greatest possible collection of blend-able colors.
In order to meet our expectations of tonal design, all new pipework in a Hupalo & Repasky
instrument is custom built by our own craftsman. With over 30 years of pipe making
experience, we can utilize this back ground to maintain full control over all the particular
characteristics necessary for the desired quality of each stop. Our pipe shop has the ability
to produce nearly any type of pipe—flue or reed of any material to produce the desired tonal
result.
An additional source of pipes for many of our instruments has been through the use of
vintage pipework. Restored to “like new” condition, such pipework enables us to continue
the artistic character and talents of our predecessors. It is a wonderful way to retain the
beauty of the past, while—in many cases, providing a financial savings to our clients.
Quality vintage pipework is given serious consideration when it fits into our tonal design.
The pipe organ has a long-standing tradition in the church and has been an outlet for human
creativity and praise. One can look at the vibrant stained glass, sculpted marble, carved
woods, symbolic paraments, and ornate vessels, experiencing the historic adornment of the
worship place. This beauty can be awe-inspiring and assist one in the spiritual transcendence
for worship. Just as one hears the first chords of the organ, its case draws one’s focus from
January 5, 2015
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the ordinary to the sublime. A formidable case of great beauty gives the instrument a visual
presence to lead the congregation, its primary responsibility. It creates a musical reality for
the instrument, much like seeing a quartet or a large orchestra.
In creating the visual design of a Hupalo & Repasky instrument, it is necessary to study the
intended environment for the instrument. This study is not limited to only the visual
character and physical structure of the space, but also includes the worship format, the
history of the church, the practices of the denomination and the desires of the parishioners.
With this in mind, we can then determine whether it be contemporary or traditional in
design, a case which compliments or reflects its room. Careful study of line, materials,
shapes and colors can bring about the desired visual effect of the instrument.
The console is the point at which the organist connects with the pipe organ in order to
create music. Because of this, it is necessary for the console to be a pleasing and well
planned tactile environment for the organist. The music rack, the stop faces, the pedal
board, and the adjustable bench, all must be carefully and ergonomically located in order to
work together and assist the organist’s ability to play the instrument.
To facilitate this interplay, all of our electric action consoles are equipped with tracker touch
keys. Carefully regulated, they create the response necessary for superb articulation, as well
as the feedback which makes the action a joy to play. To accentuate the natural connection
between the organist’s fingers and the keys, we prefer to use natural materials for key
coverings, such as bone or exotic hardwoods.
Stop controls, pistons, toe studs and expression shoes, all used by the organist to manipulate
the instrument’s sound and tonal character, must be reliable, precise, and logically
positioned. Sophisticated electronic systems such as multilevel combination actions–with
many programmable functions, MIDI systems and state-of-the-art processors–incorporated
where console mobility is required, are standard features in our consoles. We carefully
choose the manufacturers of our systems so that we can not only guarantee seamless
function, but also ensure universality with our systems and those of other builders.
The consoles cabinetry is custom designed, and incorporates the finest quality materials.
They are constructed of select hardwoods, and sized to fit the specific space requirements
and usage. They are designed not only to match the cases of our instruments but also to
blend with the details of their environment. The cabinetry –like our cases, is finished using
dye stains and multiple layers of applied oils to create a resilient, rich finish. This finish
draws out the natural beauty of the woods.
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January 5, 2015
Our windchests must fulfill four specific requirements: efficient space usage, ease of service
and maintenance, reliability, and–most importantly, provide for the most lyrical of pipe
speech. We find the slider-pallet style windchest fulfills these criteria for both electric and
mechanical action instruments. In the case of our electric action instruments, either our
direct-electric or electro-pneumatic pull down system most closely replicates the gentle,
articulate quality found on a tracker pipe organ. The integrity of this style has been proven
again and again over the history of the pipe organ as the most reliable and also the most
musical. The simplicity of construction, ease of access for maintenance and adjustment and
economy of space usage make the slider chest the choice by most major organ builders.
Tuning time is greatly reduced when the pipes are easier to access. Electro-pneumatic unit
windchests are used to develop a more expanded tonal design by extending the resources of
specific pipe ranks at additional pitches or to additional manuals. All windchests are custombuilt to each project’s requirements.
The wind system used by Hupalo & Repasky provides expressive pipe speech as well as very
effective tremulants. It incorporates carefully balanced and engineered wind trunks fed
through curtain valves and reservoirs of precisely calculated dimensions. While the function
of the reservoir is to provide the organ with an ample supply of wind at a regulated pressure,
its design can also have a definitive role in the character of sound achieved.
From its founding, Hupalo & Repasky Pipe Organs has been committed to the care and
maintenance of existing pipe organs throughout the San Francisco Bay Area. Whether
servicing new installations that only require regular tuning or vintage instruments in need of
reconditioning, our technicians draw on many years of experience with organs by a wide
variety of builders.