ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops.
ORGAN STOPS PITCH FOOTAGE The number appearing on each stop, along with its name, indicates the “pitch” or “register” of the particular stop. Organs can produce notes of different pitches from a single playing key. When this sound corresponds to the actual pitch of the played key, the stop is referred to as being of 8’ (eight foot) pitch; therefore, when an 8’ stop is selected and Middle C is depressed, the pitch heard is Middle C. If the sounds are an octave higher, it is called 4’ or octave pitch. If two octaves higher, it is called 2’ pitch. A stop sounding three octaves higher is at a 1’ pitch. Similarly, a 16’ stop sounds an octave lower and a 32’ stop two octaves lower. Stops of 16’, 8’, 4’, 2’ and 1’ pitch all have octave relationships, that is, these whole numbered stops all sound at octaves of whatever key is depressed. Non-octave pitches are also used in organs. Their footage numbers contain a fraction and they are referred to as Mutations. Among these are the 2-2/3’ Nasard, 1-3/5’ Tierce, 1-1/3 Quintflöte and 2-2/3 Twelfth. Because they introduce unusual pitch relationships with respect to the 8’ tone, they are most effective when combined with other stops and used either in solo passages or in small ensembles of flutes. TONAL FAMILIES 1. Flues Organ tones divide into two main categories: flues and reeds. In pipe organs, flue pipes are those in which the sound is set in motion by wind striking directly on the edge of the mouth of the pipe. Flues include principal, flute and string tones. ...
RANKS Note: This Section includes a general listing of Ranks found on Theatre organs. Not all of these Ranks are included in every Theatre organ model. Tuba Mirabilis Very powerful Tuba sound. 16’ stop usually called Bombarde. English Post Horn Bright, brassy reed stop. Sometimes named “Post Horn” or “English Horn” on a Theatre organ. Ophicleide Loud, brassy reed sound with that contains both fundamental and overtones (similar to that of a Posaune). Diaphone Similar to a reed, but in a class by itself. The Diaphone employs a beating pallet to help produce its unique tone. The Diaphone is a full, smooth and weighty type tone. Used only in 16’ pedal rank. Brass Trumpet Useful as a smooth solo voice or chorus reed.
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COUPLERS Couplers couple one manual to another, or in other cases (depending on model) couplers may also couple within a manual at octave related pitches. This enlarges the use of the organ. Note: This Section includes a general listing of controls found on Theatre organs. Not all of these controls are included in every Theatre organ model. Acc. Traps On Pedal Couples the Accompaniment traps to Pedal. Acc. Violins > Dolces Changes the Accompaniment Violins to Dolces. Chrysoglott > Wood Harp Changes the Chrysoglott into a Wood Harp. Melody Coupler When used with an appropriate solo stop, such as a Solo reed, this feature will automatically key the highest note played on the Great keyboard allowing accentuation of the melody. ACCOMPANIMENT 2 TOUCH ...
TREMULANTS Allen Theatre organs have the most advanced authentic sounding tremulant system in the world today. In addition to digitally sampling the individual ranks without tremulant, Allen also sampled individual ranks with tremulants on. When more than one rank is on the same tremulant system in a pipe organ, the tremulant sound that results from the playing of the pipes is not identical ...
SETTING PISTONS SETTING GENERAL PISTONS Your Allen Organ’s capture system lets you set stop registration combinations in each of its available memories. Each Allen Organ model has different piston layouts to accommodate organ size. The maximum number of available capture memories on the TH317e is 128. To set a capture combination: First, select the stops you wish to save. Press and hold the SET Piston. Press and release the desired GENERAL piston. Finally, release the SET Piston. Usually, ...
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RECALL PISTON The “R” or Recall piston recalls the last registration setting prior to using any General or Divisional piston. For example; Press a General or Divisional piston/toe stud. The stop registration programmed on that particular piston/toe stud will appear. Manually register additional stops to the current stop registration. Now, press a different General or Divisional piston/toe stud. The stop registration programmed on that particular piston/toe stud will appear.
ARTISTIC REGISTRATION (Trained organists might not need to review this section.) Organ registrations fall into two broad categories: solo combinations and ensembles. A solo combination is one in which a melody is played on one keyboard, the accompaniment on another keyboard, and the pedal often provides a light bass line. Almost any stop or combination of stops will sound good as a solo voice. A contrasting tone quality should be chosen for the accompaniment, so that the accompaniment is softer than the solo voice. ...
This short treatment barely scratches the surface of the fascinating subject of organ registration. For those interested in gaining further insight into this vital area of organ playing, we recommend the following texts: Theatre Organ Registration: Strony, Walter. Theatre Organ Registration Classical/General Organ Registration: Audsley, George Ashdown. Organ Stops and their Artistic Registration. Hialeah, FL: C.P.P. Belwin, 1985. Irwin, Stevens. Dictionary of Pipe Organ Stops. 2nd ed. New York: Macmillan Books, 1983. VII. TRANSPOSER The organ can perform the difficult task of transposing, while allowing the organist to play in the noted key. Operation of the Transposer is controlled from within the GeniSys™ Display (refer to the GeniSys Overview Guide for Transposer operation instructions). The key can be raised a maximum of five half steps and lowered a total of seven half steps. The color of the Transposer button within GeniSys™ Display will change to RED whenever the Transposer is not within the neutral or “0” position. This is to warn the organist that the instrument is not ready to play in the same key as when in the Neutral or “0” position.
Available Reverb Selections 1. Pipe Chamber 2. Small Theatre 3. Small Church 4. Medium Room 1 5. Medium Room 2 6. Medium Room 3 7. Large Room 1 8. Large Room 2 9. Cathedral 10. Large Cathedral Acoustic Portrait™ is controlled within the GeniSys™ Display and must be turned ON to hear the selected reverb selection. The Acoustic Portrait™ selection as well as the gain (volume), measured in dB (decibels), can be accessed and adjusted within the GeniSys™ Display. Reference the GeniSys™...
INSTALLATION, VOICING, AND CARE OF THE ORGAN INSTALLATION Wherever your organ may be situated, careful installation is a prerequisite to successful results. Your Allen representative is well qualified to guide you in planning the finest possible installation. Factory assistance in planning the installation is also available and may, in fact, be sought by your Allen Organ representative. VOICING Allen Organs present unprecedented accuracy in the scaling and voicing of each note of every stop. Final adjustments in scaling and voicing involve procedures that are best left to an expert. These adjustments are normally a part of the installation, and once done, should not require any changes. If the organ is moved to a new location or major changes/renovations are made to the acoustical properties of the room the organ resides in, the instrument may need to be tonally finished again. Please contact your local Allen Organ representative for more details. SOPHISTICATED FLASH MEMORY TECHNOLOGY Voicing and scaling settings are stored within the Allen organ's internal Flash Memory system. Organ's equipped with Flash Memory Technology eliminates the need for batteries. CARE OF THE ORGAN Your Allen Organ constitutes a major advance in long-term maintenance-free operation. There are no regular maintenance procedures required and, therefore, no periodic maintenance schedules to be observed. Reasonable care will keep the instrument looking beautiful for years to come. The wood surfaces may be cleaned using a soft cloth dampened with lukewarm water. A mild solution of lukewarm water and dish detergent may be used to remove fingerprints, etc. Polish dry with a soft cloth. Do not use wax, sprays or oils on the finish. Satin finished surfaces will take on a semi-gloss appearance when waxed and will eventually become yellowed.
XII. SAFETY INFORMATION USA ONLY CAUTION Never plug the instrument into any current source other than 110 to 120 volts, 50/60 Hertz alternating current (AC). A verified grounded outlet is essential to proper operation and protection of the instrument. Proper polarity should be checked with an AC circuit analyzer before connecting the organ. Do not change the cable plug or remove the ground pin or connect with a two-pole ground lift adapter. If you are in doubt about your electrical connection, consult your local electrician or power company.
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Warning: This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause interference to radio communications. It has been type tested and found to comply with the limits for a Class B Computing Device in accordance with the specifications in Subpart J of Part 15 of FCC Rules, which are designed to provide reasonable protection against such interference in a residential installation. Should this equipment cause interference to radio communications, the user at his own expense will be required to take whatever measures may be necessary to correct the interference. Whether this equipment actually causes the interference to radio communications can be determined by turning the equipment off and on. The user ...
APPENDIX B: (Advanced MIDI Information – MIDI Event Data) This appendix section is for those advanced in using MIDI. KEYBOARDS: The keyboards utilized on the TH-317e will transmit key “velocity” values other than a static value of ‘64’. Key velocity values are determined by how hard the keys are played. This is similar to the effect of a piano. Valid velocity values of between 1-127 may be transmitted depending on how hard a key is played. Note: A velocity value of ‘0’ is considered a note off event. MANUAL DIVISIONS: Manual MIDI Channel Great Accompaniment Pedal Solo Accompaniment 2 Touch General Pistons Trigger and Traps Pistons MIDI note events contain three pieces of data: 1) MIDI Channel, 2) Note Number, and 3) Velocity (listed here as a value). Use of your favorite sequencer program will list the MIDI data as “MIDI Events”. The data can be displayed within a "view MIDI event" window of the sequencer ...
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EXPRESSION: MIDI expression (volume) changes fall under the broad heading of "MIDI Control Changes". MIDI Control Changes can consist of many items from expression (volume), to stops, to sustain, to sostenuto, etc. Each control type has a separate control number value assigned to them to differentiate the type of MIDI Control it is. For example, MIDI volume is assigned a MIDI Control Change value of 7. MIDI Control Change event data will contain 1) MIDI channel, 2) Control type, and 3) a number for the control change "value". In the case of MIDI volume, the control change value could be any number between 0 and 127. Since an organ's volume level never truly goes to "0", the lower limit on an Allen is approximately a value of 20. Expression event data, within a sequencing program, may look similar to this example: TRACK TIME CHANNEL EVENT VALUE DURATION XX:XXX:XX...
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For example, a Tibia Clausa 8' is assigned a MIDI control number value of “40” within the MIDI system map of the organ. The Primary Tibia 8' on any of our organs would be assigned the value of "40". Therefore, any MIDI Song File which transmits a NRPN value of “40” will turn on or off the stop assigned the MIDI stop control number value of “40”. The best way to illustrate this is to display an example (see below). The first MIDI event message packet displayed will turn on the Tibia Clausa 8' on the division assigned to MIDI channel #1. The second MIDI event message packet will turn off the Tibia Clausa 8'. TRACK TIME CHANNEL EVENT VALUE DURATION XX:XXX:XX 1 Control 99 XX:XXX:XX 1 Control 98 XX:XXX:XX 1 Control 6 TRACK TIME CHANNEL EVENT VALUE DURATION XX:XXX:XX 1 Control 99 XX:XXX:XX 1 Control 98 XX:XXX:XX 1 Control 6 If a MIDI stop control number value is 128 or larger, the number must then be “split” into separate "bytes" using both MSB and LSB byte values because MIDI can only transmit values between 0 and 127. For example, suppose a stop contains an assigned MIDI stop control number value of 132. The ...
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Here is another example with an even larger value MIDI stop control number: A stop is assigned a MIDI stop control number value of 290. In order to transmit the correct MIDI stop control number, the number is split into two bytes using both MSB and LSB values: First, figure the MSB value. 290 divided by 128 = 2 (remember, only use the whole number value to the left of the decimal as the result, the remainder or the numbers to the right of the decimal are dropped). Therefore, MIDI Control #99 (MSB) = 2. Figure the LSB value. First, compute the MSB value (2 x 128 = 256) and then compute the LSB value by subtracting the computed MSB value from the MIDI stop control number (290 – 256 = 34). Therefore, MIDI Control #98 (LSB) = 34.
APPENDIX C: (Advanced MIDI Information – NRPN Stop Data) * Note: The stop number is not transmitted and is for reference only. * PEDAL Division Chan NRPN Name Comment ---- ---- ---- ---- ------- S001, 115, Ophicleide 16 {OPH} [R], S002, 009, Diaphone 16 {DIA},...
APPENDIX E: GENISYS™ VOICES SOUND LIST Grand Piano Harmonica Muted Trumpet Grand Piano 001A Tango Accordian French Horn Grand Piano 001B Ac Guitar Nylon Brass Section Grand Piano 001C Ac Guitar Steel BrassEnsemb 062A Grand Piano 001D El Guitar-Jazz Synth Brass 1 Piano Resonance 001E El Guitar-Clean Synth Brass 2 OctavPiano 16-4 001F El Guitar-Muted Soprano Sax Piano 16 001G Ovrdrive Guitar Alto Sax Bright Piano Distortd Guitar Tenor Sax Bright Piano-XL 002A...
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Tinkle Bell 4 Engl Octave 8 Clarinet Agogo 4 Harmonic Flt 8 Schalmei Steel Drums 4 Viole 8 Vox Humana A Woodblock 2 Piccolo 8 Vox Humana B Taiko Drum 1 1/3 Larigot 4 Klarine Melodic Tom 1 1/7 Septieme 4 Clarion Synth Drum 1 Fife 4 Schalmei Reverse Cymbal Zimbel III 2 Zink Fret Noise Cymbale III Organ – MF Breth Noise Mixture IV Organ – F Seashore Grand Mixt IV Organ – FF Bird Tweet Sesquialtera II Organ – FFF Phone Ring Cornet V 8-4 Flute Helicopter 32 Posaune 8-2 Flute Applause...
APPENDIX G: GNU PUBLIC LICENSE INFORMATION NOTICE: Portions (but not all) of the software contained within this device are covered by the GNU General Public License shown below. As Such, for a period of three years after the manufacture date, you are entitled to a machine-readable copy of the applicable source code for a fee that covers the distribution costs. You may request a copy by sending that request in writing to: GENISYS GPL REQUEST ALLEN ORGAN COMPANY LLC 150 LOCUST ST. MACUNGIE, PA 18062 Please include your name, address, and phone number. All portions not covered by the GNU GPL are to be considered Copyright (C) 2008, Allen Organ Company LLC, all rights reserved. GNU GENERAL PUBLIC LICENSE Version 2, June 1991 Copyright (C) 1989, 1991 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not al- lowed. PREAMBLE The licenses for most software are designed to take away your freedom to share and change it. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation soft- ware is covered by the GNU Library General Public License instead.) You can apply it to your programs, too. When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs; and that you know you can do these things. To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. These restrictions translate to certain re- sponsibilities for you if you distribute copies of the software, or if you modify it. For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they ...
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GNU GENERAL PUBLIC LICENSE TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION 1. This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any deriva- tive work under copyright law: that is to say, a work containing the Program or a portion of it, either verba- tim or with modifications and/or translated into another language. (Hereinafter, translation is included with- out limitation in the term "modification".) Each licensee is addressed as "you". Activities other than copy- ing, distribution and modification are not covered by this License; they are outside its scope. The act of running the Program is not restricted, and the output from the Program is covered only if its contents con- stitute a work based on the Program (independent of having been made by running the Program). Whether that is true depends on what the Program does. 2. You may copy and distribute verbatim copies of the Program's source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice and disclaimer of warranty; keep intact all the notices that refer to this License and to the absence of any warranty; and give any other recipients of the Program a copy of this License along with the Program. You may charge a fee for the physical act of transferring a copy, and you may at your option offer warranty protection in exchange for a fee. 3. You may modify your copy or copies of the Program or any portion of it, thus forming a work based on the Program, and copy and distribute such modifications or work under the terms of Section 1 above, provided that you also meet all of these conditions: You must cause the modified files to carry prominent notices stating that you changed the files and the date of any change. You must cause any work that you distribute or publish, that in whole or in part contains or is derived from the Program or any part thereof, to be licensed as a whole at no charge to all third parties under the terms of this License. If the modified program normally reads commands interactively when run, you must cause it, when started running for such interactive use in the most ordinary way, to print or display an announcement ...
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Accompany it with the information you received as to the offer to distribute corresponding source code. (This alternative is allowed only for noncommercial distribution and only if you received the program in object code or executable form with such an offer, in accord with Subsection b above.) The source code for a work means the preferred form of the work for making modifications to it. For an executable work, complete source code means all the source code for all modules it contains, plus any associated interface definition files, plus the scripts used to control compilation and installation of the executable. However, as a special exception, the source code distributed need not include anything that is normally distributed (in either source or binary form) with the major components (compiler, ker- nel, and so on) of the operating system on which the executable runs, unless that component itself ac- companies the executable. If distribution of executable or object code is made by offering access to copy from a designated place, then offering equivalent access to copy the source code from the same place counts as distribution of the source code, even though third parties are not compelled to copy the source along with the object code. 5. You may not copy, modify, sub-license, or distribute the Program except as expressly provided under this License. Any attempt otherwise to copy, modify, sub-license or distribute the Program is void, and will au- tomatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance. 6. You are not required to accept this License, since you have not signed it. However, nothing else grants you permission to modify or distribute the Program or its derivative works. These actions are prohibited by law if you do not accept this License. Therefore, by modifying or distributing the Program (or any work based on the Program), you indicate your acceptance of this License to do so, and all its terms and conditions for copying, distributing or modifying the Program or works based on it. 7. Each time you redistribute the Program (or any work based on the Program), the recipient automatically re- ceives a license from the original licensor to copy, distribute or modify the Program subject to these terms and conditions. You may not impose any further restrictions on the recipients' exercise of the rights granted herein. You are not responsible for enforcing compliance by third parties to this License. 8. If, as a consequence of a court judgment or allegation of patent infringement or for any other reason (not limited to patent issues), conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot distribute so as to satisfy simultaneously your obligations under this License and any other per- tinent obligations, then as a consequence you may not distribute the Program at all. For example, if a patent license would not permit royalty-free redistribution of the Program by all those who receive copies directly or indirectly through you, then the only way you could satisfy both it and this License would be to refrain entirely from distribution of the Program. If any portion of this section is held invalid or unenforceable un- der any particular circumstance, the balance of the section is intended to apply and the section as a whole is ...
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11. If you wish to incorporate parts of the Program into other free programs whose distribution conditions are different, write to the author to ask for permission. For software which is copyrighted by the Free Software Foundation, write to the Free Software Foundation; we sometimes make exceptions for this. Our decision will be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting the sharing and reuse of software generally. NO WARRANTY 12. Because the program is licensed free of charge, there is no warranty for the program, to the extent permit- ted by applicable law. Except when otherwise stated in writing the copyright holders and/or other parties provide the program "as is" without warranty of any kind, either expressed or implied, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. The entire risk as to the quality and performance of the program is with you. Should the program prove defective, you as- sume the cost of all necessary servicing, repair or correction. 13. In no event unless required by applicable law or agreed to in writing will any copyright holder, or any other party who may modify and/or redistribute the program as permitted above, be liable to you for dam- ages, including any general, special, incidental or consequential damages arising out of the use or inability to use the program (including but not limited to loss of data or data being rendered inaccurate or losses sus- tained by you or third parties or a failure of the program to operate with any other programs), even if such holder or other party has been advised of the possibility of such damages. End of terms and conditions...