Thanks for the positive comments ... all very much appreciated.
I see the 16 or 8 foot stops on the solo. How do you control which version is used when you draw the stop? And how is the high and low pressure 16 implemented?
It's quite an unusual system and one that I'm not aware of anywhere else. There are two separate controls - basically miniature and rather fragile feeling drawstops - which, when drawn, have the effect of playing the chosen ranks at 16 foot pitch. One controls all the low pressure stops regardless of whether they have 16 foot extensions (ie all apart from Tromba, Tuba and Glockenspiel) and the other just controls the Tromba which is on high pressure (the Tuba is unaffected).
This picture shows the relevant controls (look below the Tromba and below the Orchestral Oboe) ...
As with the Haverhill OIC, would you consider an extended version to complete the project??
Thanks for the suggestions Iain and although the focus is (as you would guess) on getting the complete instrument as built ready, never say never ! I guess the thought is already in place with the Great Trumpet planned to be available on other divisions in Volumes 1 and 2 and having all great reeds available on the Solo would be a good plan. I like the Unda Maris suggestion, although unfortunately the Swell Contra Gamba is stopped in the bottom octave and sounds more like a Bourdon, so may not work on the pedal.
The Flanders and Swann reference made me smile. In case anyone was wondering, it was written to poke fun at xenophobic Englishmen. However, there is a line that could be appropriate to organists in the song ....
And they practise beforehand which ruins the fun!