Specification © Andrew R L Sampson 1993.

Features:

Organ on pulpitum in 3 new cases: Gt, Ch, Sw, So face east into quire; Bom faces west into nave; Pedal cases at either side (ie where current cases are) face each other.
Bombarde case based on 16' Diapasons. Bombarde reeds are all en chamade facing west. Great façade is 16', Choir 8', and Pedal 32'.
Swell is located above Great, with controls for east-facing and west-facing shutters.
Solo is in North Pedal case, above centre of main Pedal soundboard. Its Ophicleide is suspended from the box ceiling, on 30 inch wind.
All action is mechanical (only for action between each keyboard and its pipes, and pedal couplers), Barker-lever (all manual couplers and, optionally, transmission to each division's soundboards). Drawstops are mechanical with electrical assistance.
Pressures: Pedal: 4" Choir: 3½" Great: flues 3½", reeds 6"; Swell: 3¾"; Solo: 4", Oph: 30"; Bomb: flue and low-pressure reeds: 5", harm reeds 8", Grand Bombarde: 30".
Compasses: Pedal: CCC-F, 30 notes; Manual CC-A 58 notes. All pipes are new. metal ones (inc 32's) are spotted (reeds, diapasons, strings), flutes and mutations are 70% lead.
General pistons and all couplers are duplicated by foot pistons, with 8 Pedal foot pistons. 512 piston channels etc. Balanced Swell and Solo pedals (mechanical).
Organ designed to fill Nave and Choir with clean and bright diapason tone, bright but warm reeds, and warm and big strings and flutes.
Unusual features: huge Bombarde division with its chamade reeds, including the ½-length 32; the Swell vox humanas from 32 to 8; complete mutation choruses.
The East facing divisions form a choral accompaniment and recital instrument, the west facing section provides substantial forces for leading congregations and providing special (and spatial) drama.
117 speaking stops. Only extended ranks (done mechanically via Barker machines) are the 3 Pedal 32's.
Console has terraced horizontal (curved) jambs as above.
Designed as a piece of fun for Martin Baker when he was Assistant Organist at the Abbey, to position the sounds so as to focus properly, and to replace (NB: these are my words, and no-one else's): amorphous, badly-sited and laid out, and overly revoiced existing instrument.