Unlike other musical instruments, each pipe organ is a unique creation. In the 120-year history of Casavant Frères no other organ has been built with the same list of stops, in an identical configuration or with the particular visual appearance of this instrument. Just as each church is architecturally different, so too are its acoustics and the musical needs of the congregation. Therefore, the task of the organ builder is to conceive and blend the appropriate elements in order to assure a successful result when the organ is installed and voiced in its home.

While no two organs are alike, organ design is not an undisciplined art. There must be an overall tonal concept, or tonal architecture, in order to give structure and form to the resulting instrument. One may think of good organ design as a kind of tonal pyramid where the foundation is provided by the bass voices, with other stops representing the tenor, alto and soprano registers. In this instrument each of the four divisions (Grand Orgue, Récit, Positif and Pédale) has a well-developed complement of stops from bass to treble thus providing a solid foundation of tone at various levels of dynamics. There are no less than seven stops in the instrument at the 16-foot pitch, four flue stops and three reed stops. The flues consist of two open stops, the Contrebasse and Violonbasse and two stopped wood ranks, Soubasse and Bourdon. The Contrebasse is physically the largest single stop in the organ. Its big open wood pipes provide the solid foundation heard and felt in the fuller combinations of the organ's sounds. Principal stops, which give the organ its characteristic tone, are among its important sounds. In this instrument the Grand Orgue (Great) features a 16-foot chorus, or plenum, based on the Violonbasse 16'. The Positif's eight-foot plenum provides a foil to the Grand Orgue. The distinction between these divisions is further enhanced by their separation on different sides of the chancel, which provides an additional dimension during performance, especially when these divisions are played in dialogue.

An important goal for the tonal orientation of the organ is the development of maximum tonal color within individual stops, from the very soft Flûte douce and céleste to the powerful Tuba. Each of the many flute stops has an interesting individual color, with the Flûte Harmonique offering the unique possibility of hearing a pipe's first harmonic rather than its fundamental pitch. There are seven different reed stops beginning with the sub-sub unison pitch of the Contra Bombarde 32'. A number of color possibilities are found, including: two trumpets (one enclosed and one unenclosed), bassoon, oboe, cromorne and Vox Humana. Although the basic tonal orientation is French, the instrument's specification is based upon solid historical practices allowing the performance of a wide range of literature from all schools and periods of music.

Casavant Opus 3786 occupies a physical position similar to that of the previous organ, however, in order to bring the sound of the instrument more directly into the building, two new cases were created to house the principal stops of the Grand Orgue and Pédale divisions on the left and right sides of the chancel respectively. The expressive Récit and Positif divisions are behind the casework on the right, while the Grand Orgue and Pédale divisions are housed in a similar position on the left. The woodwork of the two cases and console incorporate architectural details found on the choir modesty screen and wainscot, while the hand-carved pipe shades feature a decorative motif found in the altar.

"When we were informed that the commission for the new organ for Trinity United Methodist Church was to be entrusted to us were extremely pleased to have this opportunity to build an organ for Florida's capital city, not only to serve the congregation but also to be a tool for outreach to the community at large. We trust that its musical voice will enrich and inspire all those who hear it for many generations." Casavant Frères