The organ is situated on a gallery at the west end of the church which itself has a reverberation time of approximately 4 seconds. Thus the apocryphal “best stop” of the organ – its location and the acoustic into which it sounds – is most favourable and somewhat unusual for a British church. The gallery is relatively shallow in depth which has resulted in the Swell organ being placed above the combined Great and Pedal soundboard, with the larger bass pipes being located behind, to the sides and in the facade. The pipework is designed to give a bright but unforced sound, operating on relatively low wind pressures. The key and pedal action is mechanical, but the stop action is electric, thus allowing for a relatively advanced level of control, with divisional and general pistons, alongside a sequencer. In part, this flexibility makes up for the fact that the instrument has just two manuals; whilst a three manual organ would have just about fitted in the available space, it would inevitably have involved various compromises.
There is one unusual addition to the specification – MIDI on Swell. This was requested by the then organist, Alan Wilson, who is a noted composer and it allows a range of electronically produced sounds to be added as desired. Incidentally, this facility has been incorporated into the standard sample set, meaning that the Swell manual MIDI output from Hauptwerk can be switched on and off from within the sample set.
A multi-microphone approach was taken, with a total of eight microphones employed in various locations. The Close perspective has been captured by microphones placed in the gallery itself, situated directly in front of the pipework to the left and right. The Ambient perspective is a blend of two stereo microphone sets, located on tall stands positioned approximately 5 metres back from the case. The Surround perspective is set another metre further away, but has microphones facing directly away from the organ to maximise the pick-up of the church acoustic. For the single-channel sample set, a careful blend of the Close and Ambient perspectives has been created, to give an optimal balance of direct and reverberant sound.