https://ssosystems.com/

SSL. Never, ever had one bad experience after innumerable hours playing on instruments they control. Simple, no ugly LCD screen, just what you beee.

Ours has Peterson. It has caused us some trouble once or twice, including cutting out during an orchestral concert, but otherwise has been very serviceable.

ServiamScores

100% agree about the utility of the Scope feature! Happily, all the major control companies include it now; sometimes it is called Range.

I did not want, nor would I have paid for, a sequencer.

If I had to guess, I’d bet you’re in the minority here.

Sequencers are invaluable if you plan on doing any sort of recital work. They are also useful during liturgies: take a long setting of a Gloria, for instance, where you might change registrations at major sections. Just kicking “next” is very useful. You only have to practice a single motion, rather than reaching for various specific toe studs or pistons in the heat of the moment.

Honestly, I think sequencers are an absolute must on any modern instrument with a combination action. Almost all modern builders are placing ➡️ studs adjacent to the swell pedal these days.

You also need to think about any organist who may inherit your instrument after you. You may not use that particular feature but it’s good to have it included so that the person after you has the flexibility if they want it. I have seen many organs in my life that were very peculiar as a result of the incumbent at the time of installation. There is no swell oboe 8 because there is a 4' flute celest the pedal… don’t do that, lol. Similarly, I'd advise against a principled stand against sequencers, which are becoming de rigeur on modern instruments.

I have used the Peterson ICS4000, but while Peterson's customer service/tech support is excellent, the product is sort of dated. One of my organ builder friends said he's had a lot of bad luck with SSOS/SSL and one of my friends has had to have the processor on their organ replaced several times because half the organ would go out or certain octaves of the manuals would just stop playing. Another friend had his organ rebuilt and used the IOTI Virutoso system, and he raved about it.

If it isn't French, it isn't a real organ. LOL.

I know exactly what you mean. I watched a video of Daniel Roth playing the Reubke 94th Psalm. Two registrants were pushing and pulling stops, operating pedals, all the while Roth was playing and barking orders to them on what to do next. Feet and hands were flying everywhere. While some of those old organs are beautiful, they are often very difficult to play. Some modern aids would be helpful, to be sure.

I paid (or rather a donor did most of it) $45,000 for a console rebuild on the mighty 1953 Schantz. That was for a new Peterson combination action with new toe and thumb studs, revoicing a 3-rank-mixture, adding a 32' resultant and restoring/replacing a half a dozen or so ivory keys. Also, replacing the pedal board with new naturals and all new contacts. $3,500 of that $45 K was for a new adjustable bench. I paid for and donated a Zimbelstern because there had been one on the organ in 1953. When that organist left, he took it with him. Said it was his which I always questioned.

So to answer your question, it depends on how much work you want done.

I should add that this was in 2015 and I would suspect prices have gone up since.

Additional Note: Talk with a builder/restorer you trust and ask for an estimate specific to your organ.