(Taken from The American Organist, March 1993 issue, pages 56-57)

	The original commission to build two organs for the Cathedral
of the Sacred Heart represented an exciting challenge to the Schantz
Organ Company.  While the size of the project was in itself
impressive, of more importance was the opportunity to create two
separate but related organs in such a splendid setting.  Since their
completion, the resulting instruments have been well known for their
role in the worship life and cultural outreach of the cathedral and a
source of considerable pride to the firm.  Assuming the task of
restoring and preserving the company's magnum opus has thus been a
project which has been undertaken with great interest and concern.
	The cathedral organs were both mechanically state-of-the-art
at the time of their completion, and their basic mechanisms, if in
need of some careful restoration after nearly 40 years of use, were
still of sound design and condition.  A shift in emphasis in support
of the liturgy from the rear gallery to the chancel necessitated a new
console for the front of the church which could control the entire
resources of the instrument.  In providing for effective new control
of both organs, it was thus logical to rebuild all electrical
equipment and install solid-state switching and control systems
throughout.  This major work has thus renewed the instrument with
current technology while preserving the major mechanical structure as
originally designed.
	While an organ's mechanism is hardly an insignificant adjunct
to its tonal structure, in a large electropneumatic installation as
thoughtfully planned as the one in Newark, decisions regarding changes
to the organ's mechanism were much more clearly discerned than the
questions of what should be done tonally.  One could perhaps argue
that there are few instruments which cannot be altered or improved in
light of experience, but this perspective could not in itself justify
tonal changes.  It would have been naive to direct modifications
without careful consideration and planning.  Far too many important
organs have been lost in an effort to satisfy current fashion.
	Inspection of the pipework in both organs revealed many
interesting facts about the instruments, how they may have been left
originally, and how they were subsequently altered.  The chancel organ
predates its larger brother in the gallery by a year and was scaled
and voiced in a more conservative manner.  The gallery organ's
pipework in general has lower cutups and lighter nicking in the style
which would become more typical of the firm in the next few decades.
Over the years some revoicing had been completed, both by Schantz and
by other individuals, and a number of stops had been moved to new
pitches.
	As our study progressed, the more convincing became the
evidence that the original concept should be respected as much as
possible.  But the desire to alter some details of the organ's tonal
structure remained.  Together, we agreed that subsequent evolution and
experience of the builders justified reconsideration of some details
in this past work, especially when evaluating the musical performance
of the organs over the years and in recognition of the contemporary
needs of the cathedral.  Keeping those facts clearly in mind, we
determined to enhance and augment the work to bring it to a fresh new
state of completion without altering the organs beyond recognition.
	Several stops were returned to their original places in the
organ, and with minor reregulation lost balances were restored.  A
pressing concern was to address the restoration of reed stops,
particularly chorus members, and to make other judicious modifications
and refinements which would heighten their effectiveness in the organ.
Most of the reeds were cleaned and revoiced, a process which brought
new life and tuning stability to these stops.  Other chorus reeds were
replaced with appropriate new stops to brighten the overall impact of
the organ, and also to minimize the redundancies in power and color of
several ranks which previously existed.  Addititional new reeds were
provided to complete choruses where they had been lacking and to
augment the palette of solo stops available.
	No changes were made in the basic pricipal stops, although we
believed that the instruments would benefit from replacement and
augmentation of a number of the mixtures.  In no other aspect of the
project was care more important in avoiding the introduction of new
compound stops which would be incompatible with the originals.  The
new stops had to be clean and clear but they could not take over or
separate from the ensembles.  The Solo in its original form contained
a chorus of large-scaled principals at 8', 4', and 2' pitches, capped
with a rather unsuccessful five-rank mixture having third sounding
pitches.  Because the scope of the organ seemed to demand an
additional chorus available to augment the Great, it was logical to
provide a new mixture of more normal composition to complete this
major ensemble component.  Similarly, the Gallery Choir had principal
stops, but no real chorus due to the ineffectiveness of its mixture, a
problem which was corrected in the present project.  The addition of a
2' Principal and a Mixture III in the Chancel Choir completed that
division's chorus where none had previosly existed.
	Beyond the strictly utilitarian needs, there was presented the
possibility of enhancing the organ with a few new special stops
desirable in any large instrument and especially appropriate to the
acoustical environment found in the cathedral.  Among these is the
Flute Harmonique of the Gallery Great.  The result is a captivating
solo voice, which is now as musically satisfying to play and hear as
it was a joy for the voicers to experience as the stop was being
brought to life in the superb acoustics.
	Our ongoing concern and desire to respect the foundation of
the instrument gave the project a theme which helped keep a proper
perspective while seeing the project through to a musically successful
completion.  The current generation of Schantz employees has thus had
an unparalleled opportunity to renew the work of preceding generations
in a setting where it may continue to be enjoyed and appreciated well
into the next century.
				-Burton K. Tidwell, Tonal Director
				 Schantz Organ Company

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Location:	Newark, New Jersey, USA
		Cathedral Basilica of the Sacred Heart Roman Catholic Church
Builder:	Schantz Organ Company
Year:		1953/1990
Opus:		
Case
  Builder:
  Date:
  Materials:
  Console type: 4 manual
  Stop controls:
  Pedal type:
Action
  Key:		Electro-Pneumatic
  Stop:		Electro-Pneumatic
Temperament:
Tuning (a'):
No. stops: 	165
No. ranks:	154
No. pipes:	9,513
Wind supply
  Power:
  Press. (mm):
History:	(see text above)
Bibliography:	
Discography:	
Comments:


Stop list:
----------------------------------------------------------------------------
Cathedral [Basilica] of the Sacred Heart
Newark, New Jersey[, USA]
Specifications of the Schantz Organ
Built in 1953-1954
Rebuilt with tonal alterations, 1989-1990
154 ranks -- 165 stops -- 9,513 pipes

GALLERY GREAT (61-note Chests)
1.	16	Montre
2.	8	First Diapason
3.	8	Second Diapason
4.	8	Flute Harmonique (replaced Melodia)
5.	8	Bourdon (revoiced)
6.	8	Viola de Gamba
7.	8	Gemshorn
8.	4	First Octave
9.	4	Second Octave
10.	4	Flute Octaviante
11.	2 2/3	Twelfth
12.	2	Fifteenth
13.	1 3/5	Seventeenth
14.	IV	Fourniture (19-22-26-29)
15.	III	Scharf (26-29-33)
16.	8	Trumpet	(new pipes)
17.	4	Clarion (new pipes)
18.		Chimes (Solo)
19.		Gallery Great 4
20.		Unison Off

GALLERY SWELL (73-note Chests)
1.	16	Flute Conique
2.	8	Open Diapason
3.	8	Gedackt (revoiced)
4.	8	Salicional
5.	8	Voix Celeste
6.	8	Spitzflote (revoiced)
7.	8	Spitzflote Celeste (revoiced)
8.	4	Geigen Octave
9.	4	Fugara
10.	4	Hohlflote
11.	2	Octavin
12.	II	Sesquialtera (recycled pipes -- replaced 12th)
13.	IV	Plein Jeu (19-22-26-29)
14.	III	Cymbal (29-33-36) (replaced Cornet)
15.	16	Petite Bombarde (old Fag. 16 #1-12 plus 
		                 old Sw. Trompette 8 #13-73 -- revoiced)
16.	8	Trompette (new pipes)
17.	8	Hautbois (revoiced)
18.	8	Voix Humaine (new stop addition)
19.	4	Clairon (new pipes)
20.		Tremolo
21.		Gallery Swell 16
22.		Gallery Swell 4
23.		Unison Off

GALLERY CHOIR (73-note Chests)
1.	16	Quintaton
2.	8	Geigen Principal
3.	8	Rohrflote
4.	8	Quintaton (new ext. #1)
5.	8	Viola
6.	8	Viola Celeste
7.	8	Dolce
8.	8	Dolce Celeste
9.	4	Octave
10.	4	Nachthorn (revoiced)
11.	4	Flute d'Amour
12.	2 2/3	Rohr Nasat
13.	2	Piccolo (revoiced)
14.	1 3/5	Terz (revoiced)
15.	1 1/3	Larigot (new stop addition)
16.	III	Mixture (22-26-29) (replaced Cym.)
17.	8	Petite Trompette (old Gal. Gt. Trumpet revoiced)
18.	8	Cromorne
19.		Tremolo
20.		Celesta
21.		Gallery Choir 16
22.		Gallery Choir 4
23.		Unison Off

SOLO (73-note Chests)
1.	16	Contra Gamba
2.	8	Principal
3.	8	Doppeflote (revoiced)
4.	8	Gross Gamba
5.	8	Gamba Celeste
6.	4	Major Octave (revoiced)
7.	4	Flute Ouverte
8.	2	Doublette (revoiced)
9.	V	Grand Fourniture (15-19-22-26-29) (replaced Harmonics V)
10.	16	Ophicleide
11.	8	Tuba
12.	8	Trompette Militaire (new stop addition -- 18" wp)
13.	8	Corno di Bassetto (new stop -- replaced Tuba Clarion 4)
14.	8	French Horn
15.	8	Cor Anglais
16.	4	Tuba Clarion (new ext. #11)
17.		Tremolo
18.		Chimes
19.		Solo 16
20.		Solo 4
21.		Unison Off
22.	8	Trompette en Chamade (Chancel)

GALLERY PEDAL
1.	32	Double Open Wood (elec. ext. #3)
2.	32	Contra Bourdon (elec. ext. #5)
3.	16	Open Wood
4.	16	Principal
5.	16	Bourdon
6.	16	Echo Lieblich
7.	16	Flute Conique (Sw.)
8.	16	Quintaton (Ch.)
9.	16	Contra Gamba (Solo)
10.	16	Gemshorn (Gt.)
11.	16	Contra Dulciana
12.	10 2/3	Gross Quinte
13.	8	Octave
14.	8	Bourdon (ext. #5)
15.	8	Lieblich Gedackt (ext. #6)
16.	8	Cello
17.	8	Gemshorn (Gt.)
18.	8	Dulciana (ext. #11)
19.	5 1/3	Quint (ext. #12)
20.	4	Super Octave
21.	4	Flute (ext. #5)
22.	4	Flute Conique (Sw.)
23.	III	Fourniture (8-12-15)
24.	IV	Cymbale (15-19-22-26) (replaced Sesqui. II with recycled pipes)
25.	32	Contra Posaune (1-12 new pipes)
26.	16	Posaune (ext. #25)
27.	16	Ophicleide (new borrow from Solo)
28.	16	Petite Bombarde (Sw.)
29.	8	Tromba (ext. #25)
30.	8	Petite Bombarde (Sw.)
31.	4	Clarion (ext. #25)
32.	4	Zink (old Gel. Gt. Clarion 4 -- replaced Blockfl. 2)

CHANCEL GREAT (61-note Chests)
1.	16	Gemshorn (ext. #4)
2.	8	Open Diapason
3.	8	Bourdon (revoiced)
4.	8	Gemshorn
5.	4	Octave
6.	4	Harmonic Flute
7.	2 2/3	Octave Quinte
8.	2	Super Octave
9.	IV	Mixture (15-19-22-26)
10.	8	Trumpet (new stop addition)
11.		Chancel Great 16
12.		Chancel Great 4
13.		Unison Off
14.	8	Trompette en Chamade (new pipes -- 25" wp -- over high altar)

CHANCEL SWELL (73-note Chests)
1.	16	Rohrbordun (ext. #3)
2.	8	Diapason
3.	8	Rohrflote
4.	8	Salicional
5.	8	Voix Celeste
6.	4	Octave
7.	4	Flute Ouverte
8.	2	Waldflote
9.	IV	Mixture (19-22-26-29)
10.	16	Fagotto (ext. #12)
11.	8	Trompette (revoiced)
12.	8	Oboe (revoiced)
13.	8	Vox Humana
14.	4	Clairon (revoiced)
15.		Tremolo
16.		Chancel Swell 16
17.		Chancel Swell 4
18.		Unison Off
19.	8	Trompette en Chamade

CHANCEL CHOIR (73-note Chests)
1.	16	Quintaton
2.	8	Geigen Diapason (revoiced)
3.	8	Concert Flute
4.	8	Quintaton (new ext. #1)
5.	8	Dulciana
6.	8	Unda Maris
7.	4	Geigen Octave (revoiced)
8.	4	Koppelflote (revoiced)
9.	2 2/3	Nazard
10.	2	Fifteenth (new stop addition)
11.	2	Harmonic Piccolo
12.	1 3/5	Tierce
13.	III	Mixture (22-26-29) (new stop addition)
14.	8	Clarinet
15.	8	Bombarde (revoiced)
16.		Tremolo
17.		Chancel Choir 16
18.		Chancel Choir 4
19.		Unison Off
20.	8	Trompette en Chamade

CHANCEL PEDAL
1.	32	Resultant
2.	16	Open Diapason
3.	16	Subbass
4.	16	Rohrbordun (Sw.)
5.	16	Quintaton (Ch.)
6.	16	Gemshorn (Gt.)
7.	8	Octave
8.	8	Major Flute (ext. #3)
9.	8	Dolce Flute (Sw.)
10.	8	Gemshorn (Gt.)
11.	4	Super Octave (ext. #7)
12.	4	Flute (new ext. #3 -- recycled pipes)
13.	IV	Mixture (12-15-19-22) (old II rank Mix. plus 2 new ranks)
14.	32	Cornet des Bombardes (derived)
15.	16	Bombarde (Ch.)
16.	16	Fagotto (Sw.)
17.	8	Bombarde (Ch.)
18.	8	Oboe (Sw.)
19.	4	Clarion (Ch.)
20.	8	Trompette en Chamade

PORTATIVE (prepared for)
1.	8	Gemshorn (1-12 Gedackt)
2.	8	Gedackt
3.	4	Principal (1-12 Gemshorn)
4.	4	Spillflote
5.	2	Octave (Gemshorn)

COMBINATION SYSTEM
General: 1-20 pistons (5-20 duplicated by toe studs)
Great (Gal. and Chan.): 1-12 pistons
Swell (Gal. and Chan.): 1-12 pistons
Choir (Gal. and Chan.): 1-12 pistons
Solo: 1-12 pistons
Pedal (Gal. and Chan.): 1-12 pistons, duplicated by toe studs)
Coupler: 1-6 pistons
4 programmable "Tutti"
4 programmable "Crescendo"
Peterson Solid State System with 16 levels of memory gives a total of
	1,376 possible combinations on this console

CANCELS
General Cancel Piston
Cancel Bars for each division
Gallery Console Off -- disengages all controls of the Gallery console.
	(A Chancel Console Off piston on the rebuilt Gallery console
	 disengages all the controls on the Chancel console.)

WIND PRESSURE
Flues -- 4 1/2" throughout, except Solo at 6"
Reeds -- 6" throughout, except Solo and Pedal at 10"
Trompette Militaire -- 18"
Chamade -- 25"

TRANSFERS
Chancel Great On Solo (off Gt.)
Chancel Swell On Solo (off Sw.)
Chancel Choir On Solo (off Ch.)
Solo Off Man. IV
Great/Choir Transfer (affects keys, pistons, and divisional couplers)

SHADE COUPLERS
	Each of the five enclosed divisions may be assigned to any one
of the three expression shoes by means of selector buttons.
Additionally, an "All Swells" reversible allows all divisions to be
controlled by Expression Shoe II.

REVERSIBLES
Chancel Great to Pedal (piston and toe stud)
Gallery Great to Pedal (piston and toe stud)
Chancel Swell to Pedal (piston and toe stud)
Gallery Swell to Pedal (piston and toe stud)
Chancel Choir to Pedal (piston and toe stud)
Gallery Choir to Pedal (piston and toe stud)
Solo to Pedal (piston and toe stud)
Contra Bourdon 32 (piston and toe stud)
Double Open Wood 32 (piston and toe stud)
Contra Posaune 32 (piston and toe stud)
Resultant 32 (piston and toe stud)
Cornet des Bombardes 32 (piston and toe stud)
Tutti I (piston and toe stud)
Tutti II (piston and toe stud)
Tutti III (piston and toe stud)
Tutti IV (piston and toe stud)
Portative on Swell (piston) (prep.)
Portative on Choir (piston) (prep.)
All Swells to Exp. Shoe II (piston and toe stud)
Manual 16s Off (piston)
Pedal 32s Off (piston)
Pedal Couplers on Pedal Pistons (piston)
Chancel Swell Transept Shades (piston)
Zymbelstern (toe stud)
Gallery Organ On (piston)
Chancel Organ On (piston)

COUPLERS
Chancel Great to Pedal 8
Gallery Great to Pedal 8
Chancel Swell to Pedal 8
Gallery Swell to Pedal 8
Chancel Choir to Pedal 8
Gallery Choir te Podal 8
Solo to Pedal 8
Chancel Great to Pedal 4
Gallery Great to Pedal 4
Chancel Swell to Pedal 4
Gallery Swell to Pedal 4
Chancel Choir to Pedal 4
Gallery Choir te Podal 4
Solo to Pedal 4
Chancel Swell to Great 16
Gallery Swell to Great 16
Chancel Swell to Great 8
Gallery Swell to Great 8
Chancel Swell to Great 4
Gallery Swell to Great 4
Chancel Choir to Great 16
Gallery Choir to Great 16
Chancel Choir to Great 8
Gallery Choir to Great 8
Chancel Choir to Great 4
Gallery Choir to Great 4
Solo to Great 16
Solo to Great 8
Solo to Great 4
Chancel Swell to Choir 16
Gallery Swell to Choir 16
Chancel Swell to Choir 8
Gallery Swell to Choir 8
Chancel Swell to Choir 4
Gallery Swell to Choir 4
Solo to Choir 8
Chancel Choir to Swell 8
Gallery Choir to Swell 8
Solo to Swell 8
Gallery Great to Solo 8
Gallery Swell to Solo 8
Gallery Swell to Solo 4
Gallery Choir to Solo 8
Gallery Choir to Solo 4