Question: How long did it take to restore the organ?
About the article "Notre Dame de Paris", section "Organ".

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The Minster's organ dates was built by Father Willis for the 1862 International Exhibition.
It was rebuilt by the same company in 1936.
In the early 21st century, the church began a project to restore the organ.
The organ was largely neglected throughout the 20th century, leaving pipes corroded, the bellows damaged and the soundboards warped.
The restoration requires a fund of approximately £500,000 and aims to replace the wind system, electronics and manuals. 
The organ repertoire consists of music written for the organ.
Because it is one of the oldest musical instruments in existence, written organ repertoire spans a time period almost as long as that of written music itself.
The organ's solo repertoire is among the largest for any musical instrument.
Because the organ was found almost exclusively in the western churches from the Middle Ages until the emergence in the Romantic era of large concert hall instruments, a significant portion of organ repertoire is sacred in nature.
Thus, most organ music comes from Western Europe and North America; because the eastern religions (such as the Eastern Orthodox Church) did not use any instruments in their worship.
Owing to the age of the instrument and its frequent use in Western worship, the organ has one of the most varied repertoires of any instrument. 
The organ has declined and is now in poor condition, and is no longer entirely functional.
The upper chambers (Fanfare, Echo, and String III divisions) have long been inaccessible due to the presence of asbestos (which has recently been removed), which left the pipework decayed and out of tune.
The Gallery chambers have suffered water damage due to roof leaks.
Also, the remote combination action of the main console, housed in the Auditorium basement, was flooded and rendered unusable due to the 1944 Great Atlantic Hurricane, and it took several years before another mechanism could be integrated into the main console.
Because of this, and the overall decline of the rest of the organ due to lack of repairs, the organ hasn't been playable for a long time.
There isn't enough money to employ three required technicians to provide the constant maintenance required, let alone to restore the organ to its original state.
Full restoration of the organ is estimated to cost up to $13 million.
In September 1998, a part of the organ (the Right Stage chamber) was restored to playable condition.
Afterwards, a recording session took place, which captured the organ's record holders (the 64′ Diaphone-Dulzian, and the 100″ Tuba Imperial and Grand Ophicleide).
This was made possible by a $1.17 million grant from the New Jersey Sports and Exposition Authority, which was used to return the Right Stage Chamber of the Main Auditorium organ and the entire Ballroom (Kimball) Organ to playable condition.
Unfortunately, due to lack of planning and oversight and the carelessness of workmen during the renovation of the Boardwalk Hall, much damage has been done to the organ.
Pipes were removed, bent, and stepped on.
Windlines to various pipe chambers were cut, with no effort to identify the lines nor any plans to re-route or repair them.
The relay for the left stage chamber was cut out without regard to its restoration, and various switching and control cables were cut.
The 5-manual console connection was cut.
Also, cement dust has entered the switching contacts, magnets and the organ pipes themselves.
All this left the entire organ damaged and the Right Stage chamber, which was 98% operational in 1998, was completely disabled.
The relay of the Ballroom Organ was also removed in a careless way, which rendered that organ unplayable as well.
The organization in charge of the organs, ACCHOS (Atlantic City Convention Hall Organ Society), set about raising funds to restore both organs and on June 11, 2007, ACCHOS announced that, under the supervision of a new curator, work is underway to restore the entire Ballroom Organ, and the Right Stage chamber of the Main Auditorium organ back to working order, as they were around 1998.
The Left Stage chamber is to be restored, pending the installation of a new relay.
Thanks to the efforts of ACCHOS, the 64' Diaphone Dulzian is now operational.
In addition, new fire suppressant systems and chamber lighting have now been installed in all 8 chambers including the Echo and Fanfare chambers.
Recently, the Right stage chamber (which was used in the 1998 recording "The Auditorium Organ") has been brought back online and is working once again.
Work continues on the Left stage chamber.
The Ballroom Kimball organ has also been restored. 
The song acquired its distinctive rhythm when Wyman, looking for a way to "fatten up" the bass sound, began playing with his fists on the pedals of an organ during the recording session.
Richards said Wyman was doing a take-off of their first manager who started out as a cinema organist.
Richards has also been quoted as saying "we cut it as a comedy track".
He said they started out playing it in a kind of "funky rhythm" which did not work.
They then played around with it to how it appears on the record.
He says that "Brian playing the sitar makes the whole thing". 
The New Age groups were interested in the indigenous traditions, customs, and rites because they involved mysticism and they often involved the use of hallucinogens.
Neopaganism, on the other hand, is the revival of those customs, and aims to restore the ancient traditions that were once practiced by the native indigenous groups of Mexico, and in the rest of the world.
Both New Age and Neopaganism involve the use of mysticism and rites, but they differ in purpose.
New Age groups aim to study and incorporate these rites and customs in modern life, using mysticism and ancient lore to solve modern problems.
Meanwhile, Neopaganism aims to restore these traditions and recreate how the rites and customs were held in the past.
The purpose is not just to study mysticism or hold rites, but to take their entire worldview and live as they did in the past.
It is not necessary to live in the wilderness, or to hunt and harvest as their ancestors did; the idea is to see the world as they did.