Michel's strings set the standard by which all others were judged. They had distinctive tone colors, stood rock solidly in tune and were perhaps more uniform note per note than any ever built. Junchen was unsparing in his praise of Michel: "His reeds were constructed with a jeweler's precision. Yet as Van Allen Bradley remarks, correctly, in his company history Music for the Millions: "It was Michel more than any other man who gave the Kimball pipe organ of the 20th Century its great reputation."2 Meyer, and the astute front-office businessmen Wallace Kimball, Walter Hardy, and the much-traveled Robert P.
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His superb voicing talents, which embraced the full spectrum from reeds to strings to a Diapason chorus, were complemented by the skills and experience of other factory personnel including superintendent Oscar J.
Michel, a forgotten figure in the pantheon of notable American tonal directors and voicers, was the heart and soul of the Kimball pipe organ. No comprehensive history of the pipe organ and its builders in America in the twentieth century can be complete without a major study of Kimball. Ironically, very little has been written about the company and its instruments, apart from David Junchen's perceptive summary of the firm and its theater organ work.1 A systematic study of the tonal philosophy and practices of the firm, as well as design features and construction details of their instruments, is long overdue. John's Episcopal Church, Denver, and the Minneapolis Civic Auditorium, others lesser-known, and in the recollections of older generations. The name lives on in epic instruments in St. Instruments of all sizes in churches, colleges, theaters, homes and municipal auditoriums across the country made the Kimball organ well-known to churchgoers and the music world of that era. The Kimball Company of Chicago was one of the foremost pipe organ builders in America in the first three decades of the twentieth century.
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