Steady-state line spectra of the C’s (C2 to C9) of eight diapasons of the Newberry Memorial organ were investigated using DAT records made in the hall. To better represent what a listener hears, the SPL spectra were transformed to loudness levels (LL’s), and adjusted to accommodate masking between the harmonics. The way the LL transformation altered the levels of the harmonics was shown in detail for C2, C4, and C6. The transformed LL spectral envelopes had essentially identical and well-known “diapason type” contours from C4 to C6. These envelopes differed from those at C2, C3 and C7, C8, and C9. Hence, no common diapason pattern was found over the entire frequency range. However, the spectral envelopes of the seven diapason at C2, for example, were similar, and constituted the “typical diapason” envelope at C2. The advisability of assuming a “typical diapason envelope” for all diapason sounds was discussed. The spectral envelopes at C7 and C8 of the diapason and also of chorus reed stops of the organ were similar. Since diapason type pipes were used for C7 and C8 of the reed stops (as is typical) it is not surprising that they sound similar to these notes of diapason stops.