The subject of registration is a very personal one and my approach is very much my own thinking aided by long association with organ fellow restorers, and performers not to mention my own musical background and private study of the instrument as a whole. I am pleased to say however that all those I have coached and lectured on the subject find that it is pretty logical and a useful point from which to start developing ones own ideas.

In applying those initial registrations to the 216, simply substitute the Tuba for the Trumpet and the Vox for the Sax.

There are of course thousands of things one can do with a 216 but it is important to stick to the basics for a while in order that they become thebackbone of ones understanding.

With regard to pedal stops, first of all they are either controlled by 3-5 pedal pistons, or a modification is made to the basic Wurlitzer design to allow the pedal department to be set with the accompaniment pistons. I will explain a little more when we meet.

Normally the pedal progression most get started with is Flute 16 and 8 then plus Diapason 16 and 8 then plus Tuba 16 & 8

For my own performance I supplement the above with one combination which is just 8' Tibia, Flute and Cello as this is great for big band swing numbers - you are not left with a sense of the big wind consuming 16's struggling to keep up.

For slow ballads then 16' tone is my preference sometimes without any 8's as it seems to underpin everything and allows the melody line to soar.