Interestingly, the higher-pitched registers on the enclosed Pedal are all mutations and there is no 4-foot stop - just as on the Pedal Left Gallery department at the Convention Hall. With hindsight it is possible to see some parallels with the later instrument - e.g. the floating chorus of trombones, the Gottfried reeds, and the duplexed department playable from the Swell and Choir manuals - but the High School organ was not built specifically as a prototype for the Convention Hall colossus.

A peculiar feature was the Celest Minor [#34]. This is listed as a Solo organ voice but its three registers were to be found on the enclosed Pedal organ (the Solo organ and enclosed Pedal were in the same box). It is known that Seibert Losh provided, free of charge, half-a-dozen flue mutations in order to demonstrate their potential use to Richards but it is not known if the Celest Minor was one of them, or even if the mutations were provided at this time or later on. Indeed, it is not even clear if they were actually ranks or registers or if the "half-a-dozen" figure was accurate (excluding the two straight flue quint ranks, there were seven mutation registers on the instrument, all on the Pedal organ).

The unenclosed [Pedal] division will be made up mainly of three units which will be located behind the splayed walls on the right hand side of the organ.

The enclosed division will consist in the main of three units which will be enclosed with the solo division by extending the solo swell box out to a position immediately behind the splayed wall on the left hand side of the organ. There will also be included in this division the manual doubles which will be brought down to the pedals by duplex action.

The Contra Bourdon will be of rather slim scale in the CCCC octave, but shall not decrease in scale proportionately above this octave. The Diapason shall develop a commanding body of tone, furnishing a support for the entire pedal organ. It will be decreased in scale in the upper parts of the unit to supply a suitable Octave, Fifteenth, Nineteenth, and twenty-second. The Cone Gamba shall be a slim scale tapered stop of the class developed by the architect and shall be similar in construction and voicing to a stop of the same description found in his residence organ in Atlantic City.

The Contra Bombarde shall be of full scale and powerful intonation, with the bells mitered so as to send the sound directly into the auditorium. The Contra Violone will be of small scale with a string harmonic development sufficient to make the derived Contra Bass and Cello imitative of the orchestral instruments...the Contra Bombarde will also be extended to form No. 35 [Horn 8'] in the Solo. The upper part of this unit will be capped so as to impart a horn quality to the 8' register...the Tibia Major will be a powerful flute tone, capable of giving support to the pedal reeds and adding to the weight of the entire pedal organ. The three mutations stops, 130, 132 and 133 will be derived from the [Solo] Celest Minor, No. 34.