cable of a Hope-Jones organ at St Mary's Church, Hendon, London. Shortly afterwards the cable connecting the console with the Hope-Jones organ at Ormskirk Parish Church, Lancashire, was cut through. At St Modwen's, Burton upon Trent, sample pipes from each of his special stops were stolen. At the Auditorium, Ocean Grove, New Jersey, an effort was made to cripple the new Hope-Jones organ, shortly before one of the opening recitals in 1908. In the same year, on the Sunday previous to Edwin Lemare's recital on the Hope-Jones organ in the First Universalist Church, Rochester, New York, serious damage was done to some of the pipes in almost each stop in the organ. Organbuilding innovations His organ at St John's Church, Birkenhead, became famous. It was visited by music lovers from all parts of the world. Organs built on the St John's model were ordered for the United States (Taunton, Mass., and Baltimore, Maryland), for India, Australia, New Zealand, Newfoundland, France, Germany, Malta, and for numbers of English cathedrals, churches, town halls, etc. Nothing whatever was spent on advertisement. The English musical press for years devoted columns to somewhat heated discussion of Hope-Jones' inventions, and echoes appeared in the musical periodicals of the US and other countries. Among his innovations in the field of organ design were improvements to electro-pneumatic action and the invention of such stops as the Diaphone and the modern Tibia Clausa with its strong 8′ flute tone. The Tibia eventually became a staple of theatre organs. The thunderous 32′ Diaphone was less successful, but made an impression on audiences of the era. Hope-Jones organs were also noted for such innovations as stoptabs instead of drawknobs, and very high wind pressures of 10″–50″ to imitate orchestral instruments. He used expression liberally, sometimes enclosing the entire organ behind thick swell shades for great expressive power. He also used a system of unification which multiplied considerably the number of stops relative to the number of ranks. With a background in telephone engineering, Hope-Jones brought electrification of the organ to a degree of refinement, first applying many of his ideas to instruments intended for churches or concert halls. The concept of unification in organ design involves applying couplers, often at three or four pitches, to an individual rank of pipes. By extending the compass of a rank from the customary 61 pipes (one for each manual key) to 85 or 97