This organ is a “tracker” organ. This means that the actions of the organists’s fingers and feet cause air to flow through the pipes through a direct mechanical linkage. There are no electrical wires, solenoids, lead tubes, or secondary ventils between the pallets (valves controlling wind to the pipes) and the keys played by the organist. The great advantages of the mechanical action are two: first, it permits direct contact between the organist’s fingers and the pipes, thus making the instrument more sensitive, and secondly, it is easy to maintain. The modern construction techniques utilized allows us to have a light key action with a greater degree of responsiveness in touch than possible with older instruments. The casework of the organ serves two basic functions, to unify and project the sound of the pipes and to protect and house the pipes and working elements of the instrument. The casework is built ot solid red oak, which has been finished with tung oil. The hand turned stop knobs and naturals of the keyboards are of ebony. The sharps are of satinwood plated with cowbone. The keydesk and keycheeks are of zebrawood.

The organ’s wood pipes have been constructed of red oak, white oak and American black walnut. The remaining pipes are build of various tin/lead alloys. These metal pipes were built with help from the firms of Jacques Stinkens, Zeist, Holland and Rolland Killinger. Freiberg-Beihingen, Germany.

It takes much painstaking planning, craftsmanship and patience to bring a project of this type to a satisfactory completion. Much of the credit must go to the dedicated craftsmen who work under the direction of John Nordlie. Those who have worked on this organ include A. Eugene Doutt. Janet Doutt, Donald F. Nordlie, Gail P. Nordlie, Dale E. Nordlie, Carole-Sue Ohme Nordlie, Elizabeth Nordlie MacDonald, Martin D. Larsen and Paul E. Nordlie.