Sipe-Yarbrough
1961

Updated through online information from John Dill. -- In 2011 the church contacted me to once again dismantle the instrument in order to protect it for restoration work but this time it was the interior of the church that was renovated. Having only restored it the year before this was a bit upsetting due to the fact the instrument was extremely happy, however, the work was necessary and extensive and the church had no intentions of taking any chances this time around. The instrument was once again placed in storage in February of 2013 and then re-assembled and cleaned in October of 2013.
A quick note on the work done in the room. Due to the fact that the entire super structure of the church's attic is wood a fire suppression system was installed both in the sanctuary and in the sanctuary's attic. All the pews were replaced with new, that exactly matched the originals, as well as a new P. A. system. With one exception, some carpeting was installed however the carpet around the organ and in the choir loft was removed. The wood floor, of pine, was sanded and refinished. Lastly, all the stained glass was removed and sent to Waco to be cleaned, repaired, and re-leaded.
This go around the following was changed or attended to.

• The blower which had been installed by Roy Redman in a blower box next to the instrument was moved to a new box under the choir loft floor but very protected from the crawl space under the church.
• Due to the fact that it is impossible to tune the Swell without removing most of the Great pipes a small walk board was installed over the Great making it no longer necessary to remove any of the Great pipes, with the exception of a few facade pipes, to attend to the Swell.
• This instrument has always had a window immediately behind it and since the window was removed to be resorted the opportunity to add a considerable amount of insulation was taken to better protect the organ from external heat or cold that the window originally allowed to affect the instrument.
• A new adjustable bench was purchased from Jim Schmidt from Alhambra, Illinois of quarter-sawn oak and stained to match. The original bench has been set aside for those organist of extreme height. It's a tall bench.
• The tremolo is still in the instrument, however, it made such a racket that it was decided to "detach" the mechanism and to us that stop for a zymblestern. Nothing of the tremolo has been removed, only the connecting pin to the stop was pulled and attached by adhesive tape within the instrument in order to preserve this original component if it is ever decided to re-engage it.
• Four of the facade pipes were dealt with in a more serious matter. Due to the fact that William King's son - in June of 1893 - had to cut the two lowest facade pipes in order to make them fit (please refer to the photograph) it was discovered that low C and low C# had accidentally been switched. No pitch name was ever written on them but A. R. Schopp haskelled the pipes so that they could be cut in order to remove them to protect them from being crushed by the ceiling. The "haskelling" meant that both pipes also had to be bearded. The final result is very satisfying. Secondly, the two smallest pipes in the facade - Tenor G and G# of the Great Diapason had always been reversed.
• It seems that when the winding lines, which are made of pipe metal, were manufactured in 1893, these two lines both lead to the wrong pipe. Evidently someone in the King shop thought it easier to just tune the G# very flat to produce a G and to raise the G to produce a G#. This fact was known when the instrument was restored in 2010 but it was dealt with in 2013. Both sections of tubing have been removed and stored within the instrument since they are original but two sections of "flex tubing" from Organ Supply have been used to correct this 120 year old mistake. Why it was never attended to in the 1961 restoration, nor the 1985 restoration should express the lack of importance this had on the instrument tonally; however, it has been finally addressed.
A note here, though this instrument has been "modified" and altered, no builder who has ever done extensive work to this instrument has ever placed their name on it. The instrument has always been considered a William King & Son.
Lastly, and this is only mentioned due to the uniqueness/rarity of a King instrument, as of March 14, 2014, this no longer is the only William King instrument West of the Mississippi - though it should always be the only William King "& Son". A one manual King instrument was given to me from a gentleman in Ohio. This one manual instrument seems to be quite original, though it is missing its case - which was always just a front facade. Once cleaned and restored, as well as a new case made, it will spend a short time in the Sanctuary at First Methodist in Gainesville, with the church's blessings and along side its larger/younger sibling. This one manual instrument appears to have come from St. Matthew's Episcopal Church in Horseheads, New York. Details are on going. What is known is that it is early, it is intact, and none of the pipe work nor chests appear to have been altered/messed with. It is missing its bellows. The Horseheads, New York facade pipes evidently were mutes only where as Gainesville's facade only has four mute pipes out of thirty seven.

Identified through online information from John Dill. -- Restored to its 1985 state, with a new great chest and a few additional pipes. Please see notes below.

Updated through online information from John Dill. -- This is the only known William King and Son West of the Mississippi. It was installed by Mr. W. B. King (the son) of Elmira, New York in June of 1893. He completed the work two weeks prior to the building being dedicated. In August of 2010 this instrument was severely damaged during the exterior renovation of the church. Water entered the Great Chest and the CCC Pedal Chest. Renovations are underway at this time and once the work is complete an update will be submitted.