This organ is one of many organs by John Laycock's successors, Laycock and Bannister, listed but not detailed in Bryan Hughes' book on Laycock. The organ dates from 1900.

As you approach the console, this organ gives off a very solid, well-manufactured air. The entire case is of pitch pine, the support for the central tower of diapasons being carved underneath with the maker's name. Playing through the stops on the organ is something of an education. On paper, the armchair enthusiast might be tempted to do away with some of the unison stops in favour of more complete choruses, but when you play the organ, you realise that each stop has a distinctive rle. The Swell unison stops in particular blend well together, yet each has a character of its own.

The Great Fifteenth is more of a Piccolo in nature, being a very quiet example of its type. The Principal sings out boldly to make up for this deficiency. The Dulciana is full compass, as are all the Swell stops bar the Celeste. The Swell 16' is remarkable for not clouding the ensemble yet providing useful gravitas for toccatas and such like, although the coupling is so heavy that any such pieces would have to remain on the Swell alone. The Pedal, with only open stops at 16' and 8', is somewhat odd, but for accompanying quiet flutes on the Great you can couple the Swell 16'.

The tremulant could almost be labled "Convert to cinema organ" - it is very fast and of such depth that the entire organ is transformed into a passable LayBaritzer, although quite what use that is in a worship situation is questionable. It is a world away from the use of such tremulants on a distant Vox Humana - maybe the organist at the time had ambitions elsewhere! The organ remains in good condition and is used weekly for worship, where it proves entirely adequate for its purpose.