Allen Organ Company Historique III Owner's Manual
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Allen Organ Company Historique III Owner's Manual

Chapel series
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Historique III™
Chapel™ Series
Copyright © 2013 Allen Organ Company
All Rights Reserved
AOC P/N 033-00178
Revised 3/2014

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Summary of Contents for Allen Organ Company Historique III

  • Page 1 Historique III™ Chapel™ Series Copyright © 2013 Allen Organ Company All Rights Reserved AOC P/N 033-00178 Revised 3/2014...

  • Page 2: Table Of Contents

    Your organ is significantly advanced since the first generation Allen digital instrument. Organs with Renaissance technology are the product of years of advancements in digital sound and control techniques by Allen Organ Company. This system represents the apex of digital technology applied to exacting musical tasks.

  • Page 3: Organ 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’...

  • Page 4: Specialized Stop Controls

    Your Allen Organ provides authentic, digitally sampled voices. They are protected by copyrights owned by the Allen Organ Company and are stored in memory devices, each having affixed to it a copyright notice; e.g., © 2003 AOCO, © 2001 AOCO, etc., pursuant to Title 17 of the United States Code, Section 101 et seq.

  • Page 5: Expression Shoe (Volume Control Pedal)

    SETTING GENERAL PISTONS Your Allen organ’s capture system lets you set stop registration combinations in each of its available capture memories. The Historique III™ has a set of twelve (12) General pistons centrally located under the Swell and Great manuals.
  • Page 6 For accompaniment, the most desirable voices are the 8’ flutes or strings on each manual. Celestes often make effective accompaniments. The correct choice depends on the volume of the solo tone (a soft solo voice requires the softest accompaniment stop), the element of contrast, and the location of the solo stop.
  • Page 7 Ensembles are generally divided into three tonal groupings called “choruses”: The Principal Chorus is the most fully developed with representation in various divisions of the organ and at every pitch from 16’ to high mixtures. The Principal Chorus is sometimes called the narrow-scale flue chorus, a reference to the relative thinness of Principal pipes in relation to their length.

  • Page 8: Transposer

    and a coupler. Please note that the softest stops and flute mutations are normally not used with ensembles. FULL ORGAN Due to the immense capabilities of the organ, every stop and coupler on the instrument could be used simultaneously without distortion, if the organ is adjusted properly. In good registration practice, however, the organist would not haphazardly put on every stop on the instrument.

  • Page 9: Acoustic Portrait

    VII. ACOUSTIC PORTRAIT™ Allen Organs are the only digital organs to bring the science of sampling to acoustics! Ordinary electronic reverb is a synthetic imitation of acoustics “applied to” the sound, not created as an integral part of it. Acoustic Portrait™ produces the real thing in exacting detail! Acoustic Portrait™...
  • Page 10 CARE OF THE ORGAN Your Allen Organ constitutes a major advance in long-term maintenance-free operation. There is 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.

  • Page 11: Safety Information

    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.
  • Page 12 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.

  • Page 13: Console Controller™ Guide

    CONSOLE CONTROLLER™ GUIDE BASIC OPERATION ...................... 12 Start-Up Sequence ....................................12 Advancing Through the Windows ................................13 Selecting the Capture Memories ................................13 Saving Registrations Using The Pistons ..............................13 Locking Capture Memories ..................................14 Unlocking Memories Using Your Code ..............................14 Unlocking All Memories If You Forget Your Code ..........................

  • Page 14: Basic Operation

    INTRODUCTION The Console Controller™ is an interface that controls many organ functions and a variety of MIDI functions. The Console Controller includes a LCD (liquid crystal display) window that displays functions, one at a time, as well as an integrated Rotary Dial with push buttons used to make selections.

  • Page 15: Advancing Through The Windows

    (remembered) by the organ’s capture memory system. The pistons provide a way to make changes quickly from one registration to another. Historique III™ is equipped with twelve (12) General pistons. General pistons are those that affect all stops on the organ. They are centrally located under the front of the Swell...

  • Page 16: Locking Capture Memories

    To Save a Registration to a General Piston: The Main Window function in the Console Controller must be displayed (See Section A-2). Select any memory number (MEM-1, MEM-2 ... MEM-4, etc.)(see section A-3); however, for this example use MEM-1. Next, select the desired stops you want General Piston 1 to remember.

  • Page 17: Unlocking All Memories If You Forget Your Code

    7. Unlocking All Memories If You Forget Your Code Advance to the 'UNLOCK ALL CAPTURE MEMORIES' window function (see section A-2). UNLOCK ALL CAPTURE MEMORIES Press and hold the MEMORY button on the Console Controller, then press General Pistons 2-5-5, in sequence. Release the MEMORY button.

  • Page 18: Stoplist Library (Optional)

    9. Stoplist Library (optional) Historique III™ can be equipped to include nine complete voicing specifications. A new voicing specification can be selected from the Console Controller at any time. To change a voicing specification, advance to the 'STOPLIST LIBRARY' window function (see Section A-2).
  • Page 19 To change the Acoustic Portrait pallet, press the CURSOR button on the Console Controller until the cursor is positioned on the Acoustic Portrait pallet name. Turn the ROTARY DIAL on the Console Controller to select a different pallet name. Note: The change will not be immediate. You must wait 3 seconds for the newly selected Acoustic Portrait pallet to load.

  • Page 20: Advanced Operation

    ADVANCED OPERATION 1. Selecting an Alternate Tuning Advance to the ‘ALTERNATE TUNING’ window function (see section A-2). ALTERNATE TUNING xxxxxxxxxxxxxxx (The current Alternate Tuning will appear on line 2 of the display) Allen Organs offer seven Alternate Tunings, plus one standard tuning. These tunings are accessible from the Console Controller.
  • Page 21 Press the CURSOR button until the cursor is positioned on “DISABLED” on the second line. Turn the ROTARY DIAL clock-wise until “ENABLED” appears on the display. This will activate Configure Piston mode. CONFIGURE PISTONS ENABLED At this point, pressing any piston will illuminate stops which are controlled by that particular piston.

  • Page 22: Restoring Original Factory Settings

    3. Restoring Original Factory Settings Advance to the ‘RE-INITIALIZE’ window function (see Section A-2). The window will display... RE-INITIALIZE Piston Config. Certain functions can be restored to the original factory settings. They are: RE-INITIALIZE RE-INITIALIZE Piston Config. MIDI Settings RE-INITIALIZE Capture Mem.

  • Page 23: Headphone Volume

    5. Headphone Volume The master headphone volume control is integrated into the Console Controller™. Adjusting this setting will change the overall output volume level of the headphone in relation to the organ’s expression pedal. To adjust the headphone volume, advance to the “HEADPHONE MASTER’...

  • Page 24: Midi Functions

    Note: You must also consult the owner’s manual that covers the external MIDI device(s) you are using for more details of their operation. 1. Standard MIDI Channel Assignments These are the Allen Organs’ standard MIDI channels settings: Historique III™ Channel Organ Division Swell...

  • Page 25: General Midi Sound Names Or Program Numbers

    PRESET Mode: This mode causes the organ to send a program change number equal to the piston number that is pressed. General Pistons will send program changes 1-5 on MIDI Channel 8, the organ’s General Piston control the channel. USER Mode: In this mode the organ is capable of sending any program change number on any piston that will select voices, change banks, or change program or “patch”...
  • Page 26 You can change either the Bank value or Program Change name at any time by pressing the CURSOR button until the cursor is positioned on the value you wish to change. Turn the ROTARY DIAL to change the selected value. Section C-4 explains this procedure in more detail.

  • Page 27: Assigning Midi Program Changes To Organ Pistons

    4. Assigning MIDI Program Changes to Organ Pistons This function allows the organist to select any voice on an external MIDI device by pressing any General piston on the organ. The "USER" program change mode must be selected (See Section C-2). Advance to the 'MIDI PROG CHANGE' window function (see Section A-2).
  • Page 28 There are MIDI devices that are High Bank and Low Bank compatible. It would be possible for these MIDI devices to have as many as (128 X 128 X 2 = 32,768 voices/sounds) 128 voices/sounds in each of the 128 BANK Numbers, in each of the High and Low Banks.

  • Page 29: Changing The Midi Base Channel

    6. Changing the MIDI Base Channel This function allows you to change the setting of the MIDI Base Channel. The Base Channel is a reference point to establish the positioning of the other 15 MIDI channels on the organ. On Allen Organs, the Base Channel equals the Swell Division's channel of transmission (i.e., if the Base Channel = 1, then the Swell Channel = 1, if the Base Channel = 2, then the Swell Channel = 2, etc.).

  • Page 30: Midi Sustain Kick Switch (Optional)

    Note: In POLY-VELOCITY mode, all expression information is sent in key velocity form. Changes in velocity will occur only when a new key is struck. Consequently, if you change the position of the Swell pedal after a key is struck there will be no change in velocity until a new key is struck.

  • Page 31: Transferring And Saving Capture Memory Data To A Sequencer

    10. Transferring and Saving Capture Memory Data to a Sequencer CAPTURE MEMORY refers to all of the piston registrations on all available memories, piston configuration settings, plus all MIDI settings as well as MIDI program changes. With this operation, the organist can copy and save all of this stored information to a digital MIDI sequencer.

  • Page 32: Transmission/Reception Of Individual Stop Data

    12. Transmission/Reception of Individual Stop Data This function allows the organist to turn on/off the transmission and reception of individual stop data, known in MIDI terminology as "Non-Registered Parameters". In some cases individual stop data (on/off) from the organ may conflict with data from an external MIDI device.

  • Page 33: Quick Reference Guide

    D. QUICK REFERENCE GUIDE 1. Basic Operations Review a. Advancing Through the Windows: Use the ROTARY DIAL in the Console Controller. b. Return to the Main Window function from ANY other window function: Hold SET, press CANCEL, release both or use the ROTARY DIAL in the Console Controller.

  • Page 34: Midi Guide

    MIDI GUIDE 1. MIDI for Organists The term MIDI is an acronym for Musical Instrument Digital Interface. MIDI has been adopted by the music industry as a standard means of communication between digital musical devices enabling devices of different types and manufacturers to communicate. MIDI by itself will not make a sound.

  • Page 35: Allen's Exclusive Midi System

    If the sequencer allows multi-tracking, each vocal section’s part may be recorded on a different track, and then played back individually, or in any combination, for more flexibility. Multi-tracking can also be used in teaching and learning new organ works. The teacher may record each hand or pedal part on a different track, allowing the student to "mute"...

  • Page 36: Midi Transmission Channels

    Under normal circumstances, MIDI sound modules should be connected to the switched MIDI port labeled MIDI OUT 2. Doing so allows the organist to disable the sending of MIDI keying data from the organ to the sound module. Devices such as MIDI sequencers should be connected to the unswitched MIDI port labeled MIDI OUT 1, eliminating the necessity of having to draw the MIDI stop controls before recording a digital sequence.

  • Page 37: General Midi Sound Set

    4. GENERAL MIDI SOUND SET 1. Acoustic Grand Piano 44. Contrabass 86. Lead 6 (voice) 2. Bright Acoustic Piano 45. Tremolo Strings 87. Lead 7 (fifths) 3. Electric Grand Piano 46. Pizzicato Strings 88. Lead 8 (brass + lead) 4. Honky-tonk Piano 47.

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