I’m Eric F. Keebler, and I’ve loved pipe organs for my entire life. When I was three years old I built organs out of my toy blocks. As a teenager I took organ lessons and discovered the joys of maintenance and tuning. I earned simultaneous degrees in Biochemistry and Music Composition and then started my own business making electric violins, learning computer-aided design (CAD) and CNC machining in the process.
In my 30s I re-entered the organ world as a volunteer, helping to take care of a 1906 Austin organ at St. John the Baptist in the Manayunk neighborhood of Philadelphia, PA. The friendships and professional connections I developed over the next few years led me to the Wanamaker Organ, where I was a staff member for two years and where I made many connections in the organ industry.
My first professional organ-related CAD project was the creation of chamber-layout diagrams for a proposed new organ for the Washington National Cathedral in 2014. I did my first pipe-organ renderings for Cornel Zimmer Organ Builders of Denver, NC; and also designed a custom console for them, infusing ergonomic principles and architectural references into a low-profile design holding over 300 stop-tabs.
I have helped Spencer Organ Company with several installations in churches and private residences; and serve as their “first responder” and a regular tuner/technician for the magnificent 10,010-pipe Aeolian organ at Longwood Gardens in Kennett Square, PA, which they restored (and for which I designed and installed new console lighting in 2024).
With my mentor Kevin Chun, I am also taking care of the Aeolian organ at the Beaumont retirement community in Bryn Mawr, PA. As part of a façade-restoration project carried out in conjunction with Spencer Organ Company and The Gilders’ Studio, we discovered that the upper woodwork of the towers was sagging and applying pressure to the façade pipes. To protect these pipes after their immaculate restoration, I engineered and built adjustable modular support structures that stand inside the towers, allowing for safer re-installation of the pipes and transferring some of the weight of the upper woodwork straight down to the impost.
I have done some flue-voicing work professionally; and also have a knack for imparting a sense of realism and coherence to electronic and hybrid organs, which is something of a guilty pleasure.
Image by J. Anthony Nichols.
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