AWA's "Carillons"

• the inside of the timber cabinet, lined with a rough underfelt padding tacked in.  Keeping in mind that a microphone will be enclosed in the cabinet to pick up the sounds of the tubular bells, the padding is probably aimed at reducing the cabinet resonances.  Given the padding is pretty thin, only upper partials will be much reduced.  It's possible that this is intentional, perhaps offering some extra low sonority to the otherwise fairly short bells.
• a simple frame to hold the bells, in the form of the metal tubes running up each side and across the top, with several wooden laths running horizontally.
• the tubular bells themselves, of which there appear to be 18 in this instrument, giving the range C to F. The rods are suspended on short cords from their tops. (There appear to be holes for two more bells at each end, which would give a range of 22 notes, from Bb to G, fully chromatic.  Still short of the 23 bells now regarded as the minimum for a carillon!)
• red damping felt, running horizontally about halfway up the box
• a foot damping (or perhaps sustain?) pedal at left of box, for the right foot.  The pedal seems to communicate with the damping felt previously mentioned.
• a black cable exiting the box from a small hole at the bottom rear, but with the spare end temporarily hooked over the pedal mechanism.  This is probably the microphone cable that would have communicated the sound of the bells with the big amplifier needed to drive the tower speakers.  The microphone connector is visible dangling at the bottom of the left tubular frame.  The other end of the cable appears to go to the white box on the wooden shelf three quarters of the way up the casework.
• Note that there appears to be no electronics (i.e. valves, in that era) in the cabinet, perhaps a little surprising given that AWA was a wireless (and later TV) company.  But there does appear to be some electrics.  One of the images on the Powerhouse site gives us a glimpse of what appears to be contacts at the back of the keyboard area.  And colour-coded wire pairs (in the time-honoured multicore colour scheme based on blue-green-orange-brown-slate) leading from them.  What that is for is still to be determined.
• A white-sheathed cable and two separate wires, red and black, near the top right, purpose not known, but possibly mains input and low voltage to drive electrics?

Questions arising

The Singleton Argus article (above) included this discussion on the instrument's action:

On sharply depressing a key, which takes little more effort than a piano, a simply-balanced hammer carries forward and strikes a tubular bell, and loudness is dependant entirely on the force expended in depressing the key. The hammer then recedes, leaving the bell free to ring in its true tone.

When the key is allowed to rise, a soft felt damper is automatically applied to a scientifically predetermined part on the bell to eliminate the sustained ringing that has so often been raised as an objection in this type or even with a fully rung carillon, or even a ring of bells.

This suggests a simple upright-piano style action has been put in place to strike and dampen the bells.  But then we see the electrical contacts and wiring in the Powerhouse image, suggesting some kind of electric action.  But if electric action, how do they achieve (in 1947!) any kind of touch sensitivity, as described in the first paragraph above?

We should of course consider the possibility that more than one version of this instrument existed in its relatively short life.

The Carillon was installed to commemorate those from the town and district who served in World War Two and as a thanks offering for victory. The honour roll located over the keyboard in the carillon lists the names of those who died in service or were killed in action during World War Two. The Carillon also contains a Book of Remembrance which contains the names of those from the Scone District who served in World War Two. 

The first playing of the carillon was in July 1948 but the dedication at that service was delayed owing to the fact that the Bishop of the Diocese (Right Reverend Dr. de Witt Batty) was in England.

It has been definitely decided by the Vestry and congregation of St. Luke's parish church, Scone, to install A.W.A. carillon equipment in the bell tower of St. Luke's Church, as a fitting war memorial to those of the town and district who served in the various branches of the forces in World War II., and as a thanks giving for victory. In doing this, St. Luke's is falling in line with several other churches, such as St. Anne's Church, Ryde, Sydney, the historic old Church of St. John, in Launceston, Tasmania, Hurstville Presbyterian Church, and St. Andrew's Church, Newcastle.

Nearer our own terrain is All Saints Church, Singleton. Recently, members of St. Luke's Parochial Council visited Singleton to hear the bells of All Saints, and were much impressed by their beauty as their melody floated out over the town, in brilliant runs of "changing music," interspersed with familiar old hymn tunes and sacred music, ending with the national anthem. The flexibility of the carillon will make it eminently suitable for regular recitals, which, it is felt, will make a very pleasant feature for the life of the community, and give Scone an atmosphere akin to that of many of the great cathedral towns of England. A subscription list is now open, and already several donations of a substantial nature to share promised. 

Scone Advocate (NSW), 24 October 1947, reported on the Monument Australia website.