The Longwood Organ — Longwood Gardens, PA
courtesy of Alan Levine
“In one way or another over the past two decades, I’ve worked with Christopher Broome on reeds for all kinds of projects. These have included replica stops, restored sets in various stages of preservation, and revisions to existing pipes for which a new quality is sought. “Broomed” reeds arrive to us in wonderful, even condition, requiring minimal regulation and exhibiting remarkable tuning stability. The tuning of large organs, such as at Longwood Gardens (35 reeds) or Trinity Church Boston (24 reeds), is made immeasurably easier by such careful and good work. Most important to me, Chris’ dedication to keeping original tone of important old reeds is essential for those of us who aim for genuine restoration.”
—— Jonathan Ambrosino
“Dear Chris, This is a letter of appreciation to you and your father for the fine reed work you've provided for us throughout the years. As you know, we've faced some rather serious challenges on a number of high-profile projects. Your sincere interest in every reed, coupled with welcome suggestions based on so many years of hands on experience, is some of the best we encounter in the industry. Your firm's work is consistently so good and timely that it frees us to focus our concentrations on the other portions of the contract at hand.”
— Mike Foley
Foley Baker, Inc.
Trinity Church — Boston, MA (1967)
courtesty of the Boston Public Library
Their expertise is unquestioned, their pipe repairs (and reconstructions where necessary) are beautifully done, and their tonal results demonstrate unparalleled historical sensitivity and respect for the original builder's intent.
“Chris, your reed work is always fantastic ‘right out of the box’, saving a tremendous amount of time during tonal finishing. Our clients are always thrilled with the results.”
— Duane Prill
Tonal Director Parsons Pipe Organ Builders
“I have been involved in many organ projects with Chris, which have included both new reed stops and re-conditioned vintage pipes, and he has always been a reliable source for top-notch work which has produced excellent musical results. His reeds are well voiced, evenly regulated, with very stable tuning. His workmanship is impeccable, his knowledge of reed pipes is unsurpassed, and he has always delivered a superb product at a fair price and on schedule. I am pleased to offer my strong recommendation of Chris Broome for any situation where high quality reed work is desired.”
— Ron Pearson
Music Director and Organist First Presbyterian Church, Tulsa, OK
“Broome & Company has done all of our reed restoration for the past twenty years. Their expertise is unquestioned, their pipe repairs (and reconstructions where necessary) are beautifully done, and their tonal results demonstrate unparalleled historical sensitivity and respect for the original builder's intent. Recently Dave and Chris restored thirty-five reeds (including six 16' stops) for our Longwood Gardens Aeolian project. The work involved a significant amount of research on Aeolian voicing techniques, the use of virtually all original reed tongues and wind pressures of eight to thirty inches. As usual, the pipes look like new, the tuning is exceptionally stable and the tone is superb.”
— Nelson Barden
Nelson Barden & Associates
Portland Civic Auditorium — Portland, ME (1930-1945)
courtesy of the Boston Public Library
[Broome & Co's] sincere interest in every reed, coupled with welcome suggestions based on so many years of hands on experience, is some of the best we encounter in the industry.
“Broome & Company is the only company I turn to when the reeds are essential to the completion of any of our pipe organ projects. Before their emergence on the scene, it was difficult to find anyone who paid as much attention to detail in the scaling and voicing of reed pipes. Their attention to detail of the reeds is apparent in the tonal finishing and long term stability, as well as the immediate satisfaction of our clients in the finished product.”
— James Garvin
J.E. Garvin Associates
“Two reeds, the English Horn in the Solo, and the Orchestral Oboe in the Antiphonal Swell, were beautifully voiced by David and Chris Broome turning out exactly as we had wanted them, and possessing striking imitative qualities. The full-length 32' Contra Posaune, masterfully voiced by Chris Broome, gives plenty of weight and power to full organ, but without being brash or rattling. The enclosed Tuba Mirabilis has harmonic resonators from tenor F# and is voiced on 15" pressure, providing the traditional dark, smooth and powerful tone suggested by its name.”
— Stephen Russell
Russell & Company