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I can’t quite conceptualize what you’re referring to.

@@jrorganbuilding For the tuning slide, the top of the pipe would have a helical cut, and a stud sticking in from the slide would ride on it, so that when you turn it one way, it ascends, and when you turn it the other way, it descends. Alternatively, the bottom of the tuning slide would have a helical cut, and a stud sticking out from the pipe would provide for the slide to ride up and down in the same way. For the tuning wire, have the wire pushed and/or pulled by a screw (easiest thing I can think of would be to have captive nuts on the end of the screw inside the boot, with the tuning wire looped around them so that when you turn the screw one way it pushes and when you turn it the other way it pulls . . . but somebody might think of a better arrangement).

That has already been done and it proved impractical for several reasons. Good slide tuners are stable, do not move except when being tunes and allow the pipe to be tuned over many years, during which time the metal slowly softens, with out damage to the top of the pipe body. The cone tuning fanatics have spread this false narrative that slide tuners are not stable. That is nonsense if they are correctly fitted.@@Lucius_Chiaraviglio

Check the pipe, organ garage sale on Facebook or if you have a pipe organ builder locally they usually may have an extra blower on hand that they might want to sell.

Can u advice how to tune some pipes if i dont have any special, hmm, sticks or whatsoever? Long story, never did that but i will. Also some pipes doesnt make a sound

Great! I’m really looking forward to it as well. Delivery on materials is a little bit behind schedule. I was supposed to have the pipe valves by the end of November and now they tell me I’m lucky to get them in February. Other parts are moving forward though. Soon we will be working on the exterior case work.

@@jrorganbuilding We've waited this long, so we easily can wait longer! I've recently retired from my long-time position as organist at the Cathedral Basilica of Saint Augustine - and over the years had the opportunity to play whatever instrument was in place at what is now the Shrine church. Looking forward to your updates - blessings upon you.

@@shannonmckay9375 you can follow more of the progress at my Facebook page hopefully through this link: facebook.com/profile.php?id=100057206929851&mibextid=LQQJ4d

It’s two ranks of pipe ranks playing at once. Since they were both principal pipes, when they’re in tune they effectively sound like one pipe. However, when one is out of tune, you hear the beats between the two.

It is Saint Thomas (Tantum Ergo).

Reeds are a whole other topic. Maybe some day.

@@jrorganbuilding Yes, please. The local church's reeds are often the problematic ones.

@@James_Bowie in lieu of a video, much of the problem with reeds is that they are often over tuned to match the flue work due to seasonal temperature fluctuations. After a while they become so out of regulation that they no longer stay in tune. I always recommend tuning them at A 440 and then leave them alone. Main rule: tune only using the wire - not the scroll. Additionally, cleanliness is also important. Dirt and / or corrosion will always make for troublesome reeds.

@@jrorganbuilding Thanks. I suspect that dirt is the main culprit in this case.

⁠​⁠@@jrorganbuilding reeds do not go out of regulation from ‘over tuning’ unless it has been done badly by tuning at the regulating scrolls and then somebody else comes along and tunes at the spring. Unless perhaps the wedges and tongues are loose. Many of the cathedral organs I tune stand very well in tune with monthly or even more frequent visits.

What’s wrong with showing pipes that have been abused before repairing them? It seems rather than trying to change the overall pitch it’s simply that someone has not used the correct tools, perhaps because they are too lazy to go and get them, forgot them or didn’t know how to use them. Tuning cones are always lubricated before use and are best used at a slight angle to help prevent galling and damage to the pipe mouths.

Glad you found the video informative.

@@jrorganbuilding It's a really neat but time consuming effort to watch in tuning organ pipes. I've had tht pleasure of help tuning them at my church since I also play the pipe organ.

Contrary to common opinion, the seasonal changes do not have a great effect on tuning. Now allow me to explain. The flue pipes go sharp as the temperature increases and flat as the temperature decreases. So in theory the tuning has changed but the reality is that all of the pipes move sharp and flat together so the difference in pitch is not noticeable. Reed stops on the other hand do not move in pitch with temperature changes, so they appear in contrast to be out of tune. Actually the reeds are in tune with themselves and the flute pipes are in tune with themselves but they may not agree as the temperature changes. I do not recommend tuning reeds to match flue work extremes because the reed voicing eventually gets ruined. Tune the reeds to A 440 at 70 degrees and leave them alone and live with the fact that they will not match the flue pipes during extreme hot and cold. Now one more issue. If the organ is tracker action with pallet and slider chests ( you say “sound board” in the UK), the slider chests can be greatly affected by humidity changes. What happens particularly in older slider chests is that a certain amount of air escapes around the slides both on top and bottom. In dry seasons more air escapes than in humid seasons. That difference in the amount of air that escapes ultimately delivers more or less air to the pipes. The smaller trebles are more seriously affected than the larger ones. This can create quite a bit of tuning instability. That’s often the reason that cone tuned pipes eventually get mangled. It’s not that the pipes went out of tune, it’s the chest underneath that’s delivering varied amounts of air depending on humidity that is affecting the pitch in erratic ways.