dings.[3] Cavaille-Coll subsequently utilized slightly increased
pressures for the trebles of his flue stops as well as for his larger
reeds. As a pioneer he did excellent work in this direction.

To Willis, however, must be attributed greater advance in the
utilization of heavy pressures for reed work. He was the first to
recognize that the advantage of heavy wind pressure for the reeds lay
not merely in the increase of power, but also in the improvement of the
quality of tone. Willis founded a new school of reed voicing and
exerted an influence that will never die.

In organs of any pretensions it became his custom to employ pressures
of 8 to 10 inches for the Great and Swell chorus reeds and the Solo
Tubas in his larger organs were voiced on 20 or 25 inches.

He introduced the "closed eschallot" (the tube against which the tongue
beats in a reed pipe) and created a revolution in reed voicing. He has
had many imitators, but the superb examples of his skill, left in
English Cathedral and town hall organs, will be difficult to surpass.

Prior to the advent of Hope-Jones (about the year 1887) no higher
pressure than 25 inches had, we believe, been employed in any organ,
and the vast majority of instruments were voiced on pressures not
exceeding 3 inches. Heavy pressure flue voicing was practically
unknown, and in reeds even Willis used very moderate pressures, save
for a Tuba in the case of really large buildings.

Hope-Jones showed that by increasing the weight of metal, bellying all
flue pipes in the centre, leathering their lips, clothing their flues,
and reversing their languids, he could obtain from heavy pressures
practically unlimited power and at the same time actually add to the
sweetness of tone produced by the old, lightly blown pipes. He used
narrow mouths, did away with regulation at the foot of the pipe, and
utilized the "pneumatic blow" obtained from his electric action.

He also inaugurated "an entirely new departure in the science of reed
voicing." [4]

He employs pressures as high as fifty inches and never uses less than
six. His work in this direction has exercised a profound influence on
organ building throughout the world, and leading builders in all
countries are adopting his pressures or are experimenting in that
direction.

Like most revolutionary improvements, the use of heavy pressures was at
first vigorously opposed, but organists and acousticians are now filled
with wonder tha