In spite of every form of opposition, and in spite of serious financial difficulties, Hope-Jones built organs that have influenced the art in all parts of the globe. He proved himself a prolific inventor and can justly claim as his work nine-tenths of the improvements made in the organ during the last twenty years. Truly have these words been used concerning him—"the greatest mind engaged in the art of organ-building in this or in any other age."
Every organist fully acquainted with his work endorses it, and upwards of thirty organ-builders have honored themselves by writing similar testimony. The Austin Organ Company, of Hartford, Conn., says: "We have taken considerable pains to study his system and to satisfy ourselves as to the results he has achieved. There is, we find, no doubt whatever that he has effected a complete revolution in the development of tone."
Sir George Grove, in his "Dictionary of Music and Musicians" (p. 551), says: "No reference to this description of action [electric] as set up in recent years would be complete without mentioning the name of Mr. Robert Hope-Jones. * * * The researches in the realm of organ tone by Mr. Hope-Jones and others who are continually striving for excellence and the use of an increased and more varied wind-pressure (ranging from 3 to 25 inches) all combine to produce greater variety and superiority in the quality of organ tone than has ever existed before."
Elliston in his book on Organ Construction devotes considerable space to a description of the organs built by Hope-Jones in England and Scotland, and says: "The Hope-Jones system embraces many novelties in tone and mechanism."
Matthews, in his "Handbook of the Organ," referring to the Hope-Jones instruments, says:
"In his electric action Mr. Hope-Jones sought not only to obtain a repetition of the utmost quickness, but also to throw the reeds and other pipes into vibration by a 'percussive blow,' so to speak; being in this way enabled to produce certain qualities of tone unobtainable from ordinary actions. Soundness and smoothness of tone from the more powerful reeds, and great body and fullness of tone as well as depth from the pedal stops, are also noticeable features in these organs."
Ernest M. Skinner, of Boston, used the following words: "Your patience, research and experiment have done more than any other one agency to make the modern organ tone what it is. I think your invention of the leathered lip will mean as much to organ tone as the Barker pneumatic lever did to organ action, and will be as far-reaching in its effect.
"I believe you were the first to recognize the importance of a low voltage of electric action, and that the world owes you its thanks for the round wire contact and inverted magnet.
"Since I first became familiar with your work and writing I have found them full of helpful suggestions."
At first Hope-Jones licensed a score of organ-builders to carry out his inventions, but as this proved unsatisfactory, he entered the field as an organ-builder himself, being liberally supported by Mr. Thomas Threlfall, chairman of the Royal Academy of Music; J. Martin White, Member of the British Parliament, and other friends.