Allen Organ Company LLC GeniSys LD-34b User manual

GeniSys™
LD-34b
Owner’s Manual
Copyright © 2018 Allen Organ Company LLC
All Rights Reserved
AOC P/N 033 00258 Revised 2/2018

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.
By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of
transistorized instruments were built, including some of the largest, most sophisticated oscillator
organs ever designed.
Only a radical technological breakthrough could improve upon the performance of Allen’s
oscillator organs. Such a breakthrough came in conjunction with the United States Space
Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold
the world’s first musical instrument utilizing digitally sampled voices!
Your organ is significantly advanced since the first generation Allen digital instrument. Organs
with GeniSys 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. The result is a musical instrument of remarkably advanced
tone quality and performance.
Congratulations on the purchase of your new Allen Organ! You have acquired the most
advanced electronic organ ever built, one that harnesses a sophisticated custom computer system
to create and control beautiful organ sound. Familiarize yourself with the instrument by reading
through this booklet.
i

CONTENTS
I. GENISYS™ DISPLAY.................................................................................................................1
II. ORGAN STOPS............................................................................................................................1
III. STOP CONTROLS........................................................................................................................3
IV. SPECIALIZED STOP CONTROLS..............................................................................................4
V. PIANO AND HARP......................................................................................................................5
VI. EXPRESSION & CRESCENDO SHOES.....................................................................................6
VII. TUTTI I and TUTTI II...................................................................................................................6
VIII. SETTING PISTONS......................................................................................................................6
IX. REVERSIBLE PISTONS..............................................................................................................7
X. ARTISTIC REGISTRATION........................................................................................................8
XI. TRANSPOSER............................................................................................................................11
XII. ACOUSTIC PORTRAITä............................................................................................................12
XIII. MULTIPLE VOICE SETS...........................................................................................................12
XIV. INSTALLATION, VOICING, AND CARE OF THE ORGAN...................................................13
XV. SAFETY INFORMATION..........................................................................................................14
XVI. GENISYS™ DISPLAY REFERENCE GUIDE...........................................................................15
A. BASIC OPERATION...................................................................................................................15
1. Start Up Sequence.........................................................................................................................................15
2. Capture Memory Physics...............................................................................................................................16
3. Locking Capture Memories...........................................................................................................................16
4. Unlocking Memories Using Your Code.........................................................................................................17
5. Stoplist Library..........................................................................................................................................17
6. Acoustic Portrait........................................................................................................................................17
7. Alternate/Global Tuning.................................................................................................................................18
8. Unlocking All Capture Memories..................................................................................................................19
B. USB OPERATION........................................................................................................................20
1. USB Memory Port.........................................................................................................................................20
2. GeniSys™ Recorder......................................................................................................................................20
3. Hymn Player..................................................................................................................................................22
4. Performance Player........................................................................................................................................23
5. Capture Load/Save.........................................................................................................................................23
C. ADVANCED OPERATION.........................................................................................................25
1. Configuring General Pistons..........................................................................................................................25
2. Restoring Original Factory Settings...............................................................................................................26
3. Self Check; Stop Action and Capture.............................................................................................................26
4. Sostenuto (optional – requires Sustain Kick Switch)......................................................................................26
5. Modifying Crescendo and Tutti B Settings....................................................................................................27
D. MIDI FUNCTIONS......................................................................................................................29
1. Standard MIDI Channel Assignments............................................................................................................29
2. Selecting Program Change Modes.................................................................................................................29
3. MIDI Bank Selecting.....................................................................................................................................30
4. Assigning MIDI Program Changes to Pistons................................................................................................31
5. MIDI Base Channel.......................................................................................................................................31
6. MIDI Expression Settings..............................................................................................................................32
7. MIDI Sustain Kick Switch (optional)............................................................................................................33
8. Organ Local Off.............................................................................................................................................33
10. Transmission/Reception of Individual Stop Data.........................................................................................33
E. MIDI GUIDE.................................................................................................................................35
1. MIDI for Organists........................................................................................................................................35
2. Allen’s Exclusive MIDI System.....................................................................................................................36
4. General MIDI Sound List..............................................................................................................................38
APPENDIX A: MIDI IMPLEMENTATION CHART..................................................................39
APPENDIX B: VISUAL KEY RANGE CHART.........................................................................40
APPENDIX C: LDS Hymn Player List........................................................................................41
APPENDIX D: GNU PUBLIC LICENSE INFORMATION........................................................44
ii

I. GENIS S™ DISPLA
The LD 34b contains a multi function color touch screen display. GeniSys™ Display displays and
controls a variety of features and functions which are accessed and changed just by touching the
screen.
Please reference the online GeniSys™ Display LDS tutorial which can be easily accessed using a
personal computer (PC or MAC), tablet or Smart Phone (Android or iPhone) at:
http://www.allenorgan.com/genisys
Important!: Only a light touch is needed to select the buttons on the GeniSys™ Display touch
screen. Use only the tip or pad of your finger to touch the screen. Do NOT use any sharp objects
such as fingernails, pencil/pen tip, etc. to touch the screen as this could scratch and irreparably
damage the touch screen display.
II. 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, -3/5’ Tierce, - /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. Compound stops and hybrid stops are variations within
these three stop families.
1

The term “imitative” means that the organ stop imitates the sound of a corresponding orchestral
instrument; for example, an imitative 8’ Viola stop sounds like an orchestral viola.
Principal Voices:
Principal, Diapason,
Octave, Fifteenth,
Quinte
Characteristic organ tones, not imitative of any orchestral
instruments. Usually present at many pitches and in all
divisions. Rich, warm and harmonically well developed.
Flute Voices Open:
Harmonic Flute,
Koppelflöte,
flute mutation stops
Flute Voices Stopped:
Holzgedackt, Bourdon,
Lieblichgedackt,
Rohr Bourdon
Lesser harmonic development than Principals. Open flutes are
somewhat imitative; stopped flutes are not. Present at all pitch
levels and in all divisions.
String Voices:
Gamba, Salicional,
Viole Celeste
Mildly imitative and brighter harmonic development than
Principals. Usually appear at 8’ first; can be 4’ & 16’ ranks.
Compound Voices:
Mixture, Fourniture
Voices produced by more than one rank sounding
simultaneously. Best registered with other stops.
Hybrid Voices:
Erzähler, Spitzflöte
Voices that combine the tonal characteristic of two families of
sound, e.g., flutes and principals, or strings and principals.
2. Reeds
In reed pipes, a metal tongue vibrates against an open flattened side of a metal tube called a shallot.
The characteristic sounds of different reeds are produced through resonators of different shapes. The
family of reeds subdivides as follows:
Chorus or Ensemble:
Double Trumpet, Tromba,
Posaune, Clarion,
Bombarde
Solo:
Hautbois, Clarinet,
Krummhorn
Voices of great harmonic development; some are imitative of
their orchestral counterparts.
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.
2

III. STOP CONTROLS
PEDAL ORGAN
Contre Bourdon 32’ String tone at 32’ pitch. This stop is smooth and much less assertive
rounding out the lower end of a string ensemble.
Diapason 16’ The 16’ member of the Pedal Principal chorus. Strongest pedal flue stop.
Bourdon 16’ Stopped flute tone of weight and solidity.
Lieblich Gedackt 16’ Softer stopped flute of delicacy and definition. Useful where a soft 16’
(Swell) pitch is required. Note: Expresses with the Swell division.
Octave 8’ 8’ member of the Pedal Principal chorus.
Flute 8’ Stopped flute tone of 8’ pitch, useful in adding clarity to a pedal line in
combination with the Bourdon 16’ or Lieblich Bourdon 16’.
Choralbass 4’ Pedal 4’ principal tone.
Mixture III Compound stop of Principal tones. One pedal produces three distinct
pitches at octave and fifth relationships to the pedal being pressed. Used to
crown the Pedal Principal chorus.
Contre Posaune 32’ Robust reed which adds “snarl” to the Pedal division. Use with large
combinations.
Posaune 16’ A strong 16’ Pedal reed that lends strength and “snarl” to the Pedal line.
(Swell) Waldhorn 16 Loud and full timbred stop similar to that of a French Horn at 16’ pitch.
Note: Expresses with the Swell division.
Clairon 4’ A bright chorus reed. Also usable as a solo voice.
SWELL ORGAN
Lieblich Gedackt 16’ Softer stopped flute of delicacy and definition. Useful where a soft 16’
pitch is required.
Gedackt 8’ Stopped Flute tone of moderate harmonic development. Provides the 8’
member of the Swell Flute chorus and is useful by itself or with other
flutes and mutations in creating solo voices.
Viole 8’ Full bodied string tone.
Viola Celeste 8’ String tone, slightly detuned, used with the Viole 8’ to create a warm String
celeste.
Octave 4’ Bright 4’ Principal tone.
Nachthorn 4’ Distinctive open flute voice of wide scale that works well in ensembles of
flutes or strings, or as a solo voice.
Nasard 2 2/3’ Flute mutation that sounds one octave and a fifth above the keys played.
Always used with other stops (usually beginning with 8’) for coloration.
Piccolo 2’ A delicate, clear open flute at 2’ pitch.
Tierce 1 3/5’ Flute mutation that sounds a seventeenth (two octaves and a third) above
the keys played. Use mainly with 8’ stops or flute ensembles.
3

Fourniture IV Compound stop, or mixture comprised of Principal tones. Each note
played produces four distinct pitches at octave and fifth relationships to the
key being pressed. The mixture should never be used without stops of
lower pitches. The Fourniture IV is typically added to Diapason or Flute
ensembles, or to a reed chorus.
Waldhorn 16’ Loud and full timbred stop similar to that of a French Horn at 16’ pitch.
Also usable as a distinctive solo reed.
French Trumpet 8’ Chorus reed stop of rich harmonic development. Can also be used as a
solo reed.
Oboe 8’ Solo reed with a pungent nasal timbre.
GREAT ORGAN
Violone 16’ String tone at 16’ pitch.
Diapason 8’ Foundation stop of the Great principal chorus.
Gemshorn 8’ Hybrid stop that combines tonal characteristics of the string and flute
families, resulting in a light Diapason quality.
Harmonic Flute 8’ Open flute of considerable harmonic development. An excellent solo stop.
Erzähler Celeste II 8’ Two hybrid stops at 8’ pitch, one slightly detuned from the other that
combines the tonal characteristics of both the string and flute families.
Octave 4’ The 4’ member of the Great Principal chorus.
Spitzflöte 4’ Partially stopped flute tone.
Fifteenth 2’ An open metal stop that produces foundation tone at the 2’ pitch level.
Also the 2’ member of the Great Principal chorus.
Mixture IV A compound stop of principal tones. Four notes in octave and fifth
relationships sound together when a single key is depressed. As pitches
progress upward, they “break” back to the next lower octave or fifth. Used
to cap the Great principal chorus, adding brilliance and pitch definition
throughout the entire compass.
Tromba 8’ Chorus reed stop of rich harmonic development. Can also be used as a
solo voice.
Chimes Typical Tubular Chimes.
IV. SPECIALIZED STOP CONTROLS
Some organ stop controls do not turn voices on/off, but instead turn on/off console functions such as
outlined in this Section.
Great to Pedal Connects all Great stops to the Pedal.
Swell to Pedal Connects all Swell stops to the Pedal.
Swell to Great Intermanual coupler connecting all Swell stops to the Great manual.
Tremulant This stop provides a vibrato effect, natural in the human voice and wind
instruments.
4

Tuba Unenclosed When activated the Solo Tuba 8 (2nd Voice) on the Swell and Great
Uncoupled manuals will be full volume and unaffected by the expression shoes.
Also, the Swell stop will not couple to the Great manual when using the
Swell To Great coupler. This allows the Swell Solo Tuba 8 to be used as
an actual solo stop.
Harp (piston) Actuates a Harp voice on the Swell manual which can be used with other
Swell stops.
Piano Only (piston) Actuates a Piano voice on the Great manual, but also disables all other
stops in all divisions on the organ, including the pedals.
2nd Voice Stop Controls The Swell, Great and Pedal divisions each have a separate stop control
which actuates a set of secondary voices engraved in red on applicable
tabs. The use of the 2nd Voice stop actuates the voice in lieu of the main
voice listed on the stop.
Note: The second voices will not operate if the French Romantic voicing
suite is selected.
Piano Damper (toe stud) Actuates sustain for the Piano voice. This control also actuates the
Sostenuto function assigned to the Great manual.
Melody Coupler When playing on the Great manual, the highest key played on the Great
will automatically play all stops drawn on the Swell, in addition to those
drawn on the Great. By choosing a Swell stop such as the Festival
Trumpet, the melody played by the top note on the Great is accentuated.
Bass Coupler Similar to the Melody coupler, however, in this case the lowest note played
on the Great will also play all stops drawn in the Pedal Division. This
allows voices normally played from the pedalboard to be heard without
using the pedalboard.
Alternate Tuning When activated, the organ’s tuning will change to the alternate tuning
selected from within the GeniSys Display.
All Swells To Swell Couples the Gt Pd expression shoe to the Swell expression shoe.
V. PIANO AND HARP
Dedicated Piano and Harp voices are uniquely assigned to the LD 34b’s keyboards. The Piano voice
is exclusive to the Great manual and when turned on will automatically deactivate all other organ
voices on the organ. The Piano is designed to be a “solo” instrument and is velocity sensitive so that
the musician can control the playing dynamic, similar to that of an acoustic piano. The Harp voice is
exclusive to the Swell manual and may be played in tandem with other Swell organ voices, especially
appropriate with the softer Viola and Viola Celeste stops.
5

VI. EXPRESSION & CRESCENDO SHOES
The organ’s control pedals (called “shoes”) control expression and crescendo.
The left hand side expresses the Great and Pedal Divisions.
The center shoe expresses the Swell Division. It affects the loudness of Swell Division voices.
The right hand shoe is the Crescendo shoe. It is a master Crescendo for all divisions. It gradually
adds stops as it is opened. Sequential green, yellow and red indicators within the GeniSys
Display indicates relative pedal position. Indiscriminate use of the Crescendo, in lieu of careful
registration, should be avoided.
The Crescendo B thumb piston is associated with the Crescendo shoe. Crescendo B accesses a
second set of Crescendo registrations that can be different from the standard Crescendo registrations.
VII. TUTTI I and TUTTI II
The Tutti I and II pistons are sets for full organ registrations. Tutti II has a larger, much louder
registration, than Tutti I. The Tutti’s are turned on and off by pressing manual thumb pistons TUTTI
I or TUTTI II. The pistons are “toggled” meaning that pressing them a second time reverses the ON
or OFF setting of the corresponding Tutti. Only one Tutti can be turned ON at a time. Pressing the
other Tutti piston that is not turned ON will turn OFF the Tutti that was ON and turn ON the Tutti
that was OFF. The Cancel piston button will turn OFF both Tuttis.
Red signal indicators within the GeniSys Display will illuminate when Tutti I or II is in operation.
A second set of Tutti’s can be programmed by the organist. Like the Crescendo, indiscriminate use of
Tutti’s should be avoided.
VIII. SETTING PISTONS
SETTING GENERAL PISTONS
Your Allen Organ’s capture system lets you set stop registration combinations in each of its
memories. The LD 34b contains ten General pistons, 5 of which are duplicated on toe studs; six
divisional pistons for both Swell and Great divisions and four Pedal divisional toe studs. The LD
34b contains a (16) memory combination action. This means you have a total of 160 possible
General piston combinations as well as 256 possible divisional combinations (Swell/Great/Pedal).
To set a General capture combination:
First, select and depress the stops you wish to save.
Press and hold the SET Piston.
Press and release the desired GENERAL piston.
Finally, release the SET Piston.
Remember, the General pistons are customarily set from soft to loud using graduated stop
combinations. The pistons you have set “remember” the registration combinations that you have
assigned to each of them. Each time a General piston is pressed, the registration assigned to it is
activated. You can change stop registration combinations at any time by repeating the above
procedures.
6

SETTING DIVISIONAL PISTONS
The piston setting process for divisional pistons is the same as SETTING GENERAL PISTONS
described above. Only Swell stops can be set with the Swell divisional pistons, Great stops with the
Great divisional pistons and Pedal stops with the Pedal divisional toe studs.
SETTING TOE PISTONS (STUDS)
Stop registration combinations may be set and drawn by toe studs, as well as by pistons. Toe studs,
located on each side of the Expression and Crescendo shoes, are set in the same manner as thumb
pistons. The toe studs on the left are duplicates of General Pistons. The Toe Studs on the right are
Pedal Divisional Toe Studs.
To set a Pedal Divisional Toe Stud...
Select the desired Pedal stops.
Hold the SET button, and momentarily press the desired Pedal Toe Stud.
Finally, release the SET button.
When you set a General Piston, that combination is set automatically on the Toe Stud of the same
number. That is, setting General Piston 3 also places its combination on General Toe Stud 3.
Note: The organ’s capture system is not operable until about six seconds after the organ is turned on.
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.
Press the “R” piston. The previous stop registration, including those stops registered manually,
will re appear.
What happens is that the capture system takes a “snapshot” of the current stop registration and stores
it within the Recall piston memory before it actually changes to the new stop registration selected.
Then, when the “R” piston is pressed, the capture system “recalls” the previous registration stored
before the last piston/toe stud selection was made.
IX. REVERSIBLE PISTONS
The LD 34b is equipped with several Reversible pistons for the intermanual coupler stops.
Reversible pistons, when pressed, toggle the state of a coupler stop. For example, if the coupler stop
is turned off, pressing the associated Reversible piston for that stop will turn the stop on. The same is
true in reverse, if the coupler stop is turned on, pressing the associated Reversible piston for that stop
will turn the stop off.
7

X. 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. The pedal stops must provide a foundation
for the sound without covering it.
Most 8’ reed stops make interesting solo voices. The addition of a 4’ flute or a flute mutation (e.g.,
Nasard or Tierce) to a reed such as the Trompette colors the sound further and increases its volume
slightly. Adding an 8’ flute to a reed will add body to the sound.
Flutes can be used alone or in combinations as solo voices. One special combination of flutes that
creates an appealing and historically significant solo combination is the Cornet (pronounced kor
NAY). The Cornet is created by using Swell flute stops at these pitches: 8’, 4’, 2 2/3’, 2’ and 1 3/5’.
This combination was used widely in Baroque organ music, but it is just as appropriate for some
modern music. Useful variations of the Cornet may be achieved by eliminating the 4’, the 2’, or
both.
When choosing stops for a solo voice, it is not always necessary to include an 8’ stop. For example,
since the 4’ flute has a tone quality different from that of the 8’ flute, the 4’ flute can be used as an
independent solo voice. By playing the solo an octave lower than written, the notes will sound at the
correct pitch. In similar fashion, a 16’ stop can be selected and the notes played an octave higher than
written. Tonal variety will be gained, because each stop has its own tone color.
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. A bright, harmonically rich solo reed, for example, can be accompanied by either a
string or flute, but the flute will often contribute greater interest because of its greater contrast.
Seek a “natural” balance of volume between solo and accompaniment. This will be especially easy to
accomplish if the solo and accompaniment are under separate expression.
SUGGESTED SOLO REGISTRATIONS
CHIMES SOLO
Swell: Viola 8’, Viola Celeste 8’
Great: Chimes
Pedal: Lieblich Gedackt 16’, Swell to Pedal
Play solo on Great.
SOLO CORNET COMBINATION
Swell: Gedeckt 8’, Nachthorn 4’, Nasard 2 2/3’, Piccolo 2’, Tierce 1 3/5’
Great: Harmonic Flute 8’; or Erzähler Celeste II 8’
Pedal: Lieblich Gedackt 16’, Flute 8’
Play solo on Swell.
8

FLUTE SOLO
Swell: Gedackt 8’, Orchestral Flute 4’
Great: Erzähler Celeste II 8’
Pedal: Lieblich Gedackt 16’, Swell to Pedal
Play solo on Swell
TRUMPET SOLO
Swell: French Trumpet 8’
Great: Diapason 8’, Octave 4’; Fifteenth 2'
Pedal: Diapason 16’, Octave 8’, Choralbass 4'
Play solo on Swell.
FESTIVAL TRUMPET SOLO
Swell: Gedackt 8’, Viola 8’, Octave 4’, Piccolo 2’, Fourniture IV, Swell 2nd Voices
Great: Diapason 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Fifteenth 2’, Mixture IV,
Swell to Great
Pedal: Diapason 16’, Octave 8’, Choralbass 4’, Mixture III, Waldhorn 16’, Tromba 8’, Great
to Pedal, Swell to Pedal
General: Tuba Unenclosed Uncoupled
Play solo on Swell
These few combinations demonstrate basic techniques of solo registration. In creating registrations
of your own, remember these three simple rules:
1. Seek tonal contrast between solo and accompaniment.
2. Be sure the solo is louder than the accompaniment.
3. Choose a solo whose character is appropriate to the specific piece.
ENSEMBLE REGISTRATIONS
Ensemble registrations involve groups of stops that are played together, usually, but not always, with
both hands on one keyboard. They are characterized by compatibility of tone, clarity, and
occasionally power. Such registrations are used in hymn singing, choir accompaniments, and much
of the contrapuntal organ literature.
Ensembles are created by combining stops. Two factors to be considered are: tone quality and pitch.
Ensembles begin with a few stops at 8’ pitch and expand “outward” in pitch as they build up. New
pitches are usually added in preference to additional 8’ stops.
Ensembles are generally divided into three groups or “choruses”:
The Principal chorus, the most fully developed, is represented in most divisions of the organ and
at pitches from 16’ (Diapason) 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.
The Flute chorus is also well represented with a diversity of stops at various pitches. Generally
speaking, the Flute chorus is composed of less harmonically developed tones, and is smoother
and of lesser volume than the Principal chorus. The Flute chorus is sometimes called the wide
scale flue chorus, owing to the generally “fatter” look of Flute pipes as compared to Principals.
9

The Reed chorus includes those reed tones designed to be used in the ensemble buildup. Not all
reed voices are ensemble tones. An Hautbois, for example, is usually a solo stop. The various
Trumpets, Clairons, Posaunes, etc., are ensemble voices that add brilliance, power, and
incisiveness to the sound.
The Swell Reed chorus of Waldhorn 16’ and French Trumpet 8’ represents an entity important to
French organ music and the full ensemble of the organ. These stops create a “blaze” of harmonic
richness that tops off the Principal and Flute choruses.
Another special ensemble combination important in French music is the Cornet, which was discussed
in the section on solo registration. This combination can be used with the chorus reeds and mutations
to create the “Grand Jeu.” The Cornet is also useful in Romantic ensembles to add weight and
thickness to the sound.
Here are typical ensemble combinations for the Swell and Great manuals:
GREAT
1. Harmonic Flute 8’, Spitzflöte 4’
2. Harmonic Flute 8’, Spitzflöte 4’, Fifteenth 2’
3. Diapason 8’, Octave 4’
4. Diapason 8’, Octave 4’, Fifteenth 2’
5. Diapason 8’, Octave 4’, Fifteenth 2’, Mixture IV
6. Diapason 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Fifteenth 2’, Mixture IV
SWELL
1. Gedackt 8’, Viola 8’
2. Gedackt 8’, Viola 8’, Nachthorn 4’
3. Gedackt 8’, Viola 8’, Nachthorn 4’, Piccolo 2’
4. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’
5. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV, French Trumpet 8’
The use of the Swell to Great coupler allows these separate ensembles to be combined on the Great
manual. For example, the Great #5 and Swell #4 registrations coupled together and played on the
Great combine to form a nice round hymn combination.
The Pedal ensemble is created in much the same way as the manual ensembles, starting at 16’ pitch
instead of 8’. Be careful that the volume of the pedals is not greater than that of the manuals.
Although the manual to pedal couplers are useful in bringing clarity to the pedal line, especially on
softer registrations, avoid the temptation to rely constantly on one or two 16’ stops and a coupler.
Please note that the softest stops and flute mutations are normally not used in ensembles.
FULL ORGAN
Due to the immense capabilities of your Allen Organ, every stop and coupler on the instrument could
be used simultaneously. In good registration practice, however, the organist would not haphazardly
put on every stop on the instrument. For best results, listen and include only those stops whose
contribution to the fullness and brilliance of the ensemble you can hear when they are added.
Eliminate soft stops and solo stops that make no audible contribution.
10

This short treatment barely scratches the surface of organ registration. For those interested in gaining
further insight into this vital area of organ playing, we recommend the following resources:
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.
Cherrington, Dr. Sally. A Church Organist's Primer. Volumes I, II, & III.
Allen Organ Company. DVD
AOC PN: 031 00092.
XI. TRANSPOSER
Vast computer capability makes it possible to perform the sometimes difficult task of transposing,
while allowing the organist to play in the notated key. The GeniSys™ Display controls the operation
of the Transposer.
Transposition to any of the twelve musical keys is possible. When the organ is turned ON, the
Transposer defaults to the neutral or zero (0) position. The pitch can be raised a maximum of five
half steps or lowered a total of seven half steps. Be aware that the Transposer’s range settings "wrap
around" from the plus five half step setting to the minus seven half step setting (or vice versa).
The Transposer button within the GeniSys™ Display will change to a red color any time the
Transposer setting is moved from the zero (0) or neutral pitch position.
Why Transpose?
Because a song’s range does not always suit the vocal range of a particular singer. By
adjusting the Transposer, the piece can be sung more comfortably and effectively.
Because some instruments are non concert pitch. A trumpet in Bb, for example, can play the
same music as the organist, if the Transposer knob is set two half steps lower.
Because hymn singing can sometimes be improved by a more favorable key selection.
11

XII. 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™ begins with a sampling process using impulse responses that measure an actual
room’s acoustic properties. These measurements are then stored in the organ's computer memory.
Through an advanced real time mathematical process called “convolution”, the acoustics of the
sampled room actually become an integral part of the organ’s sound, producing a noticeably
smoother, more natural result than synthetic reverb. Allen engineers have recorded the acoustics of
cathedrals and other acoustically desirable buildings throughout the world. With advanced
processors (DSP) and patented low latency convolution algorithms, Acoustic Portrait™ reproduces
the true acoustic response of each original room with stunning realism! Each organ equipped with
Acoustic Portrait™ features 10 different Acoustic Portrait selections, ranging from intimate rooms to
cavernous cathedrals.
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.
XIII. MULTIPLE VOICE SETS
The LD 34b provides the versatility of two separate and distinct organs in one console. Choose from
American Classic or French Romantic for the stop list that perfectly complements your music. The
specifications are comprised of unique pipe samples from the world’s finest examples of each major
organ building style. The touch of a button changes the entire organ to the stop list of your choice!
The active voice specification can be viewed within the GeniSysTM Display.
12

XIV. 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
Your organ presents unprecedented accuracy in the scaling and voicing of each note of every stop.
Should you require that these parameters be changed, your Allen Organ representative is able to help
make such changes. Final adjustments in scaling and voicing involve procedures that are best left to
an expert. These adjustments normally are a part of installation, and once done, should not require
changes. If the organ is moved to a new location or major changes are made to the acoustical
properties of the room the organ resides in, the instrument may need to be tonally finished again.
MEMOR S STEM
The memory for the capture system and other miscellaneous settings on your Allen Organ utilizes
revolutionary “flash” technology for storage. This allows capture settings and related items to be
retained in memory when the organ is switched off or unplugged. No batteries are ever required
which means that regular battery maintenance, normally required every few years, has been
eliminated.
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.
Keys and stop tablets should be cleaned in the following manner: Use two clean cloths. Immerse
one in clear, lukewarm water and wring it thoroughly damp dry. Loosen the dirt with this cloth, and
then polish immediately with the dry cloth. Do not use soap or detergent on keys or stop tablets.
To polish the clear music rack, a furniture wax polish may be sprayed on a soft dry cloth and rubbed
on the front of the music rack. Keep the wax off of the wood finishes. This will help keep the music
rack clear.
You have purchased a remarkable organ that not only faithfully reproduces the organ traditions of the
past but also anticipates the innovations of the future. Should you have questions that are not
addressed in this manual, please do not hesitate to contact your local Allen Organ representative.
Welcome to the family of satisfied Allen Organ owners!
13

XV. SAFET INFORMATION
USA ONL
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.
In facilities where circuit breakers are turned off between uses (as for example, between
worship services), the circuit breaker affecting the organ console AC power should have a
guard installed to prevent it from accidentally being switched off.
It is important that you read and comply with all instructions and labels that might be
attached to the instrument.
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 is encouraged to attempt
to correct the interference by one or more of the following measures:
Reorient the receiving antenna.
Relocate the organ with respect to the receiver.
Move the organ away from the receiver.
Plug the organ into a different electrical outlet, so that the organ and receiver are on
different branch circuits.
If necessary, the user should consult the dealer or an experienced radio technician for
additional suggestions.
CE mark shows compliance with the EMC Directive.
14

XVI. GENIS S™ DISPLA REFERENCE GUIDE
INTRODUCTION
The GeniSys™ Display is an interface that controls many organ functions and a variety of MIDI
functions as well as many other functions. The GeniSys™ Display includes an LCD (liquid
crystal display) GUI (graphical user interface) touch screen that displays a variety of functions, at
any given time. The GeniSys™ operation software is vast. While the GeniSys™ Display
operation is simplistic, many of the features require more in depth details. This guide will
attempt to explain those details.
A. BASIC OPERATION
1. Start-Up Sequence
Turn on the organ's main power switch. The organ will take several seconds to start up before
it is ready to be played. It is important that no keys, pedals or stop controls are pressed or
operated while the organ is starting up as this could cause errors to occur. During the start up
sequence, the GeniSys™ Display will display the Allen Organ logo and also indicate the main
computer’s status. Once the organ has completed starting up, the GeniSys™ Display will
display the “home” screen indicating the organ is ready to play.
Important: The Allen Organ includes several self testing features. If a warning is displayed
within this sequence, please contact your Allen authorized representative immediately!
The “Home” screen displays the current Transposer setting, capture memory level (and lock
condition of the memory level), expression/crescendo positions, voicing suite, Tutti and
Crescendo B selections (if active) and the last piston/toe stud selection (if active).
To access a specific function, simply touch a button or area of the screen. For example, to
change the Transposer setting, touch the Transposer button and GeniSys™ Display will enter
the Transposer control screen. To return to the “Home” screen, touch the HOME button.
Most of the function screens contain two navigation buttons; BACK and HOME. The BACK
button will move the screen back to the previous screen/function/menu while the HOME
button will return the display to the “Home” screen.
15

The GeniSys™ Display screen is very bright so that the contents of the screen can be seen in
bright light environments. However, there maybe times where the brightness of the screen
can interfere with the organist and/or environment, ex: candlelight or evening services.
GeniSys™ Display includes a special “hidden” function to turn off the display for those
times. To turn off the display, simply touch the screen anywhere within the
expression/crescendo bar graph area and the screen will turn off (see illustration below).
To turn the display back on, touch any area of the screen.
2. Capture Memory Physics
The capture memories allow you to save different registrations on each piston/toe stud. This
means General Piston 1 on Memory 1 can be totally different from General Piston 1 on
Memory 2, 3, 4, etc. Select a different capture memory level by touching the Memory level
button on the GeniSys™ Display and then use the up and down buttons to select a different
memory level number. Return to the Home screen by touching the HOME button.
3. Locking Capture Memories
All memories, except Memory 1, may be locked or unlocked individually to prevent
unintentional or unauthorized changes to that memory’s contents.
Note: Memory 1 remains unlocked as a convenience to visiting or substitute organists (if
applicable).
The Memory level button within the GeniSys Display includes a “padlock” illustration to
indicate whether the selected capture memory level is locked or unlocked.
To lock a selected memory level, touch the Memory level button on the GeniSys™ Display to
enter the memory level selection screen. Then, touch the padlock button to enter the memory
combo lock screen. Enter a three digit lock code using any combination of the six (6)
available buttons on the display. Once a code has been entered, press the ENTER button to
lock the memory level. If a change to a number is needed before the ENTER button is
pressed, press the RESET button to clear the code to start over. Once the ENTER button is
pressed, the memory level will be locked and the RESET button will only clear the code
number displayed. The lock code needs to be re entered to unlock the memory level.
Touch the HOME button to return to the Home screen.
Remember! Choose an easy to remember three digit code.
Note: Each capture memory level lock code can be different!
16
Touch Here

4. Unlocking Memories Using our Code
To unlock a selected memory level, touch the Memory level button on the GeniSys™ Display
to enter the memory level selection screen. Then, touch the padlock button to enter the
memory combo lock screen. Using the six (6) available buttons, enter the three digit lock
lock code that was used to lock the selected memory level. Once the code has been entered,
press the “ENTER” button to unlock the memory level. If a change to the number is needed
before the “ENTER” button is pressed, press the “RESET” button to clear the code to start
over. If the correct code was entered, the memory level will unlock, otherwise the memory
level will remain locked.
Touch the HOME button to return to the Home screen.
5. Stoplist Library
The LD 34b is equipped with two voicing suites; American Classic and French Romantic.
To change the voicing specification, advance to the
'STOPLIST LIBRARY' menu function within
GeniSys™ Display; touch:
OPTIONS >> STOPLIST LIBRARY.
The display will indicate the current voicing
specification loaded. To change the voicing
specification, use the UP and DOWN buttons. Once
the desired voicing specification is displayed, touch
the LOAD button. The display will indicate the
selected voicing specification is loading. Once the voicing specification has loaded, the
capture system will automatically cancel all stops indicating the organ is now ready to play.
Touch the HOME button to return to the Home screen or the BACK button to return to the
previous menu screen.
Important: The organ will not be able to be played while a new voicing specification is
loading.
6. Acoustic Portrait
Several Acoustic Portrait parameters are controlled within GeniSys™ Display. To access the
Acoustic Portrait control screen within GeniSys™ Display; touch:
OPTIONS >> ACOUSTICS.
From this control screen, Acoustic Portrait can be
turned on or off, the Acoustic Portrait selection may be
changed and the gain (volume) may also be adjusted.
To turn Acoustic Portrait on or off, touch the ON/OFF
button. The button will “toggle” the on or off status.
The gain is displayed in dB (decibels). The gain range
is adjustable from +6dB to minus 35dB. Minus 35dB
is the least amount of gain while +6dB is the most
amount of gain available. To change the gain value, touch the gain value button to highlight it
and then use the UP and DOWN buttons to change the gain value.
To change the active Acoustic Portrait selection, touch the Acoustic Portrait selection button
and use the UP and DOWN buttons to change to a different Acoustic Portrait selection. Once
the desired selection is displayed, touch the SET button. Loading takes approximately 3 to 4
seconds to complete.
17