Allen Organ Company LLC GeniSys Series G230 User manual

G230
GeniSys™ Series w/GeniSys Display
(includes Drawknob series instruments)
Copyright © 2018 Allen Organ Company LLC
All Rights Reserved
AOC P/N 033 00246 Revised 10/2017

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.
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Contents
I. GENISYS™ DISPLAY......................................................................................................1
II. ORGAN STOPS.................................................................................................................1
III. STOP CONTROLS.............................................................................................................3
IV. SPECIALIZED STOP CONTROLS..................................................................................5
V. GENISYS VOICESTM (optional).....................................................................................6
VI. KEYBOARDS....................................................................................................................6
VII. LUMITECHTM CAPTURE...............................................................................................7
VIII. EXPRESSION SHOES.......................................................................................................7
IX. SETTING CAPTURE REGISTRATIONS.........................................................................7
X. REVERSIBLE PISTONS...................................................................................................9
XI. TUTTI I/II...........................................................................................................................9
XII. PISTON SEQUENCER......................................................................................................9
XIII. USB MEMORY PORT.......................................................................................................9
XIV. STOPLIST LIBRARY......................................................................................................10
XV. ARTISTIC REGISTRATION............................................................................................10
XVI. TRANSPOSER.................................................................................................................13
XVII. ACOUSTIC PORTRAIT™..............................................................................................14
XVIII. INSTALLATION, VOICING, AND CARE OF THE ORGAN.......................................15
XIX. SAFETY INFORMATION...............................................................................................16
APPENDIX A: MIDI IMPLEMENTATION CHART.......................................................18
APPENDIX B: HYMN PLAYER Song List.....................................................................19
APPENDIX C: GENISYS™ VOICES SOUND LIST......................................................20
APPENDIX D: VISUAL KEY RANGE CHART.............................................................22
APPENDIX E: GNU PUBLIC LICENSE INFORMATION............................................23
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I. G NISYS™ DISPLAY
GeniSys™ model G230 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 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
In addition, more in depth descriptions about the features and functions within the GeniSys™
Display is available within the GeniSys™ Overview manual. See the Owner’s Manual DVD or
the Owner’s Manual section within the Allen Organ website at: www.allenorgan.com
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 FOOTAG
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 FAMILI S
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.
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.
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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 O en:
Harmonic Flute,
Koppelflöte,
flute mutation stops
Flute Voices Sto ed:
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 Céleste
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.
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III. STOP CONTROLS
P DAL ORGAN
Contre Violone 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.
Violone 16’ String tone at 16’ pitch.
Lieblich Gedackt 16’ Softer stopped flute of delicacy and definition. Useful where a soft 16’
(Sw) pitch is required. Expresses with 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 Gedackt (Sw) 16’.
Choralbass 4’ Pedal 4’ principal tone.
Mixture IV Compound stop of Principal tones. One pedal produces four distinct
pitches at octave and fifth relationships to the pedal being pressed.
Used to crown the Pedal Principal chorus.
Contra Posaune 32’ Powerful, loud and brilliant reed which adds “snarl” to the Pedal
division. Use with large combinations.
(Sw) Waldhorn 16’ Loud and full timbred stop, similar to the French Horn at 16’ pitch.
Posaune 16’ A strong Pedal reed that lends strength and “snarl” to the Pedal line.
Trompete 8’ Clear Pedal reed useful in adding definition to a full Pedal
combination, or as a solo Pedal trumpet.
Clarion 4’ A bright chorus reed. Also usable as a solo voice.
SW LL ORGAN
Lieblich Gedackt 16’ Softer stopped flute of delicacy and definition.
Gedackt 8’ Stopped “chiffy” flute tone of moderate harmonic development. The
8’ member of the Swell Flute chorus. Useful by itself or with other
flutes and mutations in creating solo voices.
Viola Pomposa 8’ Full bodied string tone with good harmonic development.
Viola Celeste 8’ String tone, slightly detuned, used with the Viole Pomposa 8’ to create
a warm String celeste.
Flute Celeste II 8’ Two soft flute sounds, one slightly detuned from the other to create a
warm, shimmering sound.
Octave Geigen 4’ Bright 4’ Principal tone.
Traverse Flute 4’ Distinctive flute voice 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.
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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.
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’ Chorus reed tone at the 16’ pitch level, designed to supplement the
other chorus reeds. Similar to that of a French Horn.
French Trumpet 8’ Chorus reed stop of rich harmonic development. Can also be used as a
solo voice.
Festival Trumpet 8’ Very bright, fiery and edgy reed. Useful as a large ensemble reed or as
a solo stop. Note: This sto does not cou le to other divisions.
Oboe 8’ Solo reed with a pungent nasal timbre.
Celesta Sound similar to that of a Glockenspiel, but with a much softer and
subtle timbre.
GR AT ORGAN
Violone 16’ String tone at 16’ pitch.
Diapason 8’ Foundation stop of the Great Principal chorus.
Harmonic Flute 8’ Open flute of considerable harmonic development. An excellent solo
stop.
(Sw) Flute Celeste II 8 Two soft flute sounds, one slightly detuned from the other to create a
warm, shimmering sound. Note: Ex resses with the Swell division.
(Sw) Viola Pomposa 8’ Full bodied string tone with good harmonic development. Can be used
as a solo stop. Note: Ex resses with the Swell division.
Octave 4’ The 4’ member of the Great Principal chorus.
Spitzflöte 4’ Partially stopped 4’ flute tone. Usually classified as a flute/string
hybrid stop that is both a bit reedy and breathy.
Fifteenth 2’ An open metal stop that produces foundation tone at the 2’ pitch level.
Also the 2’ member of the Great Principal chorus.
Cymbale III A compound stop of principal tones. One key produces three distinct
pitches at octave and fifth relationships to the key being pressed. The
Cymbale III should never be used without stops of lower pitches. It is
typically added to Diapason or Flute ensembles after the Mixture IV.
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.
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Krummhorn 8’ The tone quality of the shawm, a medieval ancestor of the clarinet, is
the basis for this light, bright, nasal reed. It can be used alone as a solo
or combined with light flues for a somewhat rounder reed solo effect.
Festival Trumpet 8’ Very bright, fiery and edgy reed. Useful as a large ensemble reed or as
a solo stop. Note: This sto does not cou le to other divisions.
Chimes Typical Tubular Chimes.
(Sw) Celesta Sound similar to that of a Glockenspiel, but with a much softer and
subtle timbre. Note: Ex resses with the Swell division.
IV. SP CIALIZ D 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 8’ Connects all Great stops to the Pedal at Unison pitch.
Swell To Pedal 8’ Connects all Swell stops to the Pedal at Unison pitch.
Swell To Pedal 4’ Connects all Swell stops to the Pedal at 4’ pitch.
Swell To Great 16’ Intermanual sub coupler connecting all Swell stops to the Great
manual at 16’ pitch.
Swell To Great 8’ Intermanual coupler connecting all Swell stops to the Great manual at
Unison pitch.
Swell To Great 4’ Intermanual super coupler connecting all Swell stops to the Great
manual at 4’ pitch.
Unison Off (Swell) Turns off stops only within the Swell Division at unison pitch.
Note: Stops coupled into the Swell from other divisions will play
from the Swell manual at unison pitch. Also, Swell Division stops
coupled to other manuals or the pedalboard will play at unison pitch.
Swell 16’ Swell sub octave coupler.
Swell 4’ Swell super octave coupler.
MIDI on Pedal Opens MIDI channel to the Pedal.
MIDI on Swell Opens MIDI channel to the Swell
MIDI on Great Opens MIDI channel to the Great.
Tremulant This stop provides a vibrato effect, natural in the human voice and
(Swell, Great) wind instruments.
Tremulants Full When activated with one or more of the organ’s tremulants, it causes
the tremulants to become much deeper than normal classical
tremulants. Very useful for Gospel music. Also known as “Vibrato.”
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 or French 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.
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Alternate Tuning When activated, the organ’s tuning will change to the alternate tuning
selected from within the GeniSys™ Display. See the GeniSys™
Display tutorial for instructions on how to change Alternate Tunings.
(Internal S eaker Version Only)
Main Organ Off Used in conjunction with the Antiphonal stop control. This stop
disables the Main speakers.
Antiphonal Organ On Causes the organ to speak from the Antiphonal speakers. The organ
will speak from both Antiphonal and Main divisions unless the Main
Organ Off stop is also turned on.
(External S eaker Version Only)
Swell Mains Off Used in conjunction with the Swell To Antiphonal and Gt Pd To
Antiphonal tablets. This stop disables the Swell Main speakers.
Swell To Antiphonal Causes the organ to speak from the Swell Antiphonal speakers. The
organ will speak from both the Swell Antiphonal and Main divisions
unless the Swell Main Off stop is also turned on.
Gt/Pd Mains Off Used in conjunction with the Swell To Antiphonal and Gt Pd To
Antiphonal tablets. This stop disables the Gt/Pd Main speakers.
Gt/Pd To Antiphonal Causes the organ to speak from the Gt/Pd Antiphonal speakers. The
organ will speak from both the Gt/Pd Antiphonal and Main divisions
unless the Gt/Pd Main Off stop is also turned on.
V. G NISYS VOIC STM (o tional)
GeniSys™ Voices is a set of over 260 classical and contemporary style voices, including eight
drum kits and various special effect voices, which can be assigned and activated by designated
stop controls within each division of the organ. Each division can contain up to two GeniSys™
Voice stop controls. The stop controls are programmed within the multi function GeniSys™
Display and those voices assigned may be easily viewed at any time. In addition to selecting a
voice for a stop control's position, the voice's gain (volume), tuning, pitch and key range or split
may also be adjusted.
All voice settings are retained when the organ is turned off. GeniSys™ Voices expands the
organ’s sound capabilities by offering literally dozens of many different and creative sound
configurations. Programmed combinations is all dependent on the requirements of the music and
the creativity of the organist.
GeniSys™ Voices can also couple between Divisions for even more versatility!
See the GeniSys™ Display tutorial about instructions on GeniSys™ Voices.
VI. K YBOARDS
The GeniSys™ model G230 utilizes industry standard keyboards with velocity sensitivity for the
best economical alternative option in playability and control. Note: Velocity sensitivity cannot
be disabled.
Optional deluxe series Allen keyboards offer a better feel utilizing a traditional wooden key
action as well as the ability to adjust the key tension.
6

VII. LUMIT CHTM CAPTUR
State of the art LED technology is incorporated into Allen’s exclusive Lumitech Capture
System. LED's not only require less power, but last about 10 times longer than incandescent
bulbs for the ultimate in reliability. Manually pressing the upper or lower portion of a Lumitech
stop control will “toggle” the on or off status of the stop. When the stop is lit, the labeled
function of the stop control is activated. The “Self Check” feature within the GeniSys™ Display
can be performed at any time to test the organ’s capture system as well as the LED indicators.
Allen’s optional deluxe moving capture system utilizes mechanical drawknob and rockertab stop
controls which offer a more traditional look and feel similar to that of a real pipe organ console.
VIII. XPR SSION SHO S
The organ’s control pedals (called “shoes”) control expression and Crescendo.
The left shoe expresses the Great and Pedal Divisions.
The middle shoe expresses the Swell Division.
The right most shoe is the Crescendo shoe. It is a master Crescendo for all divisions. It
gradually adds stops as it is opened/depressed. Sequential green, yellow and red lights on the
GeniSys™ Display illustrates 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 reg
istrations. See the GeniSys™ Display tutorial about accessing the Crescendo B program
ming section.
IX. S TTING CAPTUR R GISTRATIONS
Your Allen organ’s capture system lets the organist set stop registrations within each of its
available capture memories. The GeniSys™ G230 model contains a set of General pistons,
located under the left side of the Swell and Great manuals, as well as a set of Divisional pistons
for each manual division centrally located under both the Swell and Great manuals. There is also
a set of six (6) toe studs, located to the right of the organ’s Crescendo shoe for the Pedal division.
As a convenience to the organist, a set of ten (10) General division toe studs are located to the
left of the organ’s Great Pedal Expression shoe. The General toe studs, when pressed, will
activate the same stop registration programmed on the same number General piston. As a
convenience, the GeniSys™ Display will indicate the last piston pressed underneath the
expression/crescendo bar graph displays.
S TTING G N RAL PISTONS
General pistons will affect all stops in any division. Any stop turned on will be set within a
General piston registration. To set a General piston:
First, turn on any stops you wish to save within a registration.
Press and hold the S T Piston.
Press and release the desired GENERAL piston.
Finally, release the S T Piston.
Note: General istons are customarily set from soft to loud using graduated sto combinations.
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S TTING DIVISIONAL PISTONS
Divisional pistons are different in that they only affect the stops of a single division. For
example, only the Swell stops can be programmed onto a Swell divisional piston. Any Great
stops turned on while selecting or setting a Swell divisional piston will be unaffected or changed.
To set a Divisional piston:
First, only turn on stops within a single division you wish to save within a registration.
Press and hold the S T Piston.
Press and release the desired DIVISIONAL piston.
Finally, release the S T Piston.
The pistons, General or Divisional, which have been set “remember” the registrations which
have been assigned to each of them. Each time a given piston is pressed, the registration
assigned to it is activated. Stop registrations may be changed at any time by repeating the above
procedures.
S TTING TO 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 #8 also places its combination on General toe stud #8.
R CALL “R” 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 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.
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X. R V RSIBL PISTONS
The GeniSys™ model G230 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.
XI. TUTTI I/II
The Tutti I and II pistons are sets for full organ registrations. Tutti II has a larger, louder
registration than Tutti I. The Tuttis are turned on and off by the pressing piston buttons labeled
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 the Tuttis.
The GeniSys™ Display will indicate when either Tutti has been selected. A second set of Tuttis
can be programmed by the organist. Like the Crescendo, indiscriminate use of Tuttis should be
avoided. See the GeniSys™ Display tutorial about accessing the Crescendo B programming
section.
XII. PISTON S QU NC R
The GeniSys™ model G230 includes a multi function Piston Sequencer. The Piston Sequencer
allows the organist to step through a sequence of programmed registrations using the plus (+)
and minus (-) piston buttons. There are four modes of operation available:
OFF: The Piston Sequencer is disabled. The "+" and " " pistons/toe studs will not
function.
SIMPL ST PP R: This mode allows the organist to step sequentially through the
available General pistons of a single capture memory level.
ADVANC D ST PP R: This mode allows the organist to step sequentially through
the available General pistons of all capture memory levels.
CUSTOM: This mode allows the organist to sequentially step through a user
programmed piston sequence of any available piston and capture memory level. Piston
Sequence memory allows 512 steps allocated to a maximum of 99 sequences. See the
GeniSys™ Display tutorial about accessing the Piston Sequencer programming section.
XIII. USB M MORY PORT
GeniSys™ model organs contain a USB memory port for a USB memory device. A variety of
data is stored on the USB memory device that the organ uses for various functions. The factory
supplied USB memory device is formatted to contain the pre programmed MIDI files used for
both the Hymn Player and Performance Player as well as the factory preset registration settings
for GeniSys™ Voices.
The USB memory device also contains a sub directory called “\work”. This sub directory is
required for the Recorder feature as this is the location of where the user recorded MIDI files are
stored. Hundreds of user recorded MIDI songs can be recorded on the factory supplied USB
memory device without exceeding the available memory on the USB memory device. However,
if a non factory USB memory device is used, then the “\work” directory needs to be created on
the USB memory device or the Recorder function will not operate correctly. Note: If a non
factory USB memory device is used, the Hymn Player, Performance Player features will be
disabled and the GeniSys™ Voices factory preset files will not be available.
9

Note: A secondary USB (Type B) connection is located under the console key desk. This USB
connection is dedicated and used to connect a PC computer equipped with Allen Organ
Company’s proprietary voicing software package called DOVE™ to the organ for voicing
purposes. Do NOT attempt to connect anything to this USB port or use any other software
package as this could cause damage to the organ.
XIV. STOPLIST LIBRARY
GeniSys™ model G230 contains six (6) Classical voicing suites as standard stop lists with the
option of adding three (3) Theatre voicing suites for total of (9) voicing suites.
The standard model includes: Classic Allen, English, Cavaillé Coll, Schlicker, Arp Schnitger and
Aeoline Skinner.
The three (3) optional Theatre suites are: Wurlitzer, Barton and Morton
Voicing suites are selected using the GeniSys™ Display. See the GeniSys™ Display tutorial
about accessing and changing the current Stoplist Library.
XV.ARTISTIC R GISTRATION
(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. 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 solo and accompaniment without covering them.
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 adds 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 the following Swell stops: Gedackt 8’, Traverse Flute
4’, Nasard 2 2/3’, Piccolo 2’ and Tierce 1 3/5’. This solo combination, widely used for Baroque
organ music, is just as appropriate for some modern music. Useful variations of the Cornet may
be achieved by eliminating the 4’, the 2’, or even 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 a solo voice an octave lower than written, the
notes 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 is 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, though the flute often contributes greater interest because
of its greater contrast. Try to seek a “natural” balance of volume between solo and
accompaniment.
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SUGG ST D SOLO R GISTRATIONS
CHIMES SOLO
Swell: Gedackt 8’ or Viola Pomposa 8’, Viola Celeste 8’
Great: Chimes
Pedal: Lieblich Gedackt (Sw) 16’, Swell to Pedal 8’
Play solo on Great and accom animent on Swell
SOLO CORNET COMBINATION
Swell: Gedackt 8’, Traverse Flute 4’, Nasard 2 2/3’, Piccolo 2’, Tierce 1 3/5’
Great: Viola Pomposa (Sw) 8’ or Flute Celeste II 8’
Pedal: Lieblich Gedackt (Sw) 16’, Flute 8’
Play solo melody on Swell and accom animent on Great
TRUMPET SOLO
Swell: French Trumpet 8’ (milder) or Festival Trumpet 8 (louder)
Great: Diapason 8’, Viola Pomposa (Sw) 8’, Octave 4’, Fifteenth 2’, Mixture IV
Pedal: Contre Violone 32’, Diapason 16’, Octave 8’
Play melody on Swell and accom animent on Great.
These few combinations demonstrate basic techniques of solo registration. In creating
registrations of your own, remember these three simple rules:
Seek tonal contrast between solo and accompaniment.
Be sure the solo is louder than the accompaniment.
Choose a solo whose character is appropriate to the specific piece.
NS MBL R GISTRATIONS
Volumes have been written on the subject of ensemble registration. Following is a summary of
the major points.
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.
Two factors are always to be considered: tone quality and pitch. Ensembles begin with a
few stops at the 8’ and/or 4’ pitch and expand “outward” in pitch as they build up. New
pitches are usually added in preference to another 8’ stop. 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.
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.
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The Reed Chorus includes those reed tones designed to be used in the ensemble
buildup. Not all reed voices are ensemble tones. A Clarinet, for example, is usually
a solo stop. The various Trumpets, Clairons, Bassons, etc., are usually ensemble
voices that add brilliance, power, and incisiveness to the sound. If you have
questions as to whether a specific reed is a solo or ensemble stop, refer to the stop
list in the preceding section.
The Swell Reed Chorus is a special ensemble of Basson 16’ and Trompette 8’. It
represents an entity important to French organ music and the full ensemble of the
organ. These stops create a “blaze” of richly harmonic sounds that tops off both flue
choruses.
Another special ensemble combination important in French music is the Cornet (described 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, adding weight and
thickness to the sound.
SUGG ST D NS MBL COMBINATION R GISTRATIONS:
GREAT ENSEMBLE COMBINATIONS
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 ENSEMBLE COMBINATIONS
1. Gedackt 8’, Viola Pomposa 8’
2. Gedackt 8’, Viola Pomposa 8’ Spitzflöte 4’
3. Gedackt 8’, Viola Pomposa 8’ Spitzflöte 4’, Fifteenth 2’
4. Gedackt 8’, Viola Pomposa 8’ Spitzflöte 4’, Fifteenth 2’
5. Gedackt 8’, Viola Pomposa 8’ Spitzflöte 4’, Fifteenth 2’, Mixture IV
6. Gedackt 8’, Viola Pomposa 8’ Spitzflöte 4’, Fifteenth 2’, Mixture IV, Tromba 8’
The use of the Swell to Great coupler allows these separate ensembles to be combined on the
Great manual. It is also possible to combine some of these ensembles within the same division;
for example, when the #5 Great and #3 Swell registrations are coupled together and played on
the Great, they 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 with
ensembles.
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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. For
best results, listen and include only those stops that really contribute to the fullness and brilliance
of the ensemble. Eliminate soft stops and solo stops that make no purposeful contribution.
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:
Audsley, George Ashdown. Organ Sto s and their Artistic Registration.
Hialeah, FL: C. P. P. Belwin, 1985.
Irwin, Stevens. Dictionary of Pi e Organ Sto s. 2nd ed.
New York: Macmillan Books, 1983.
XVI. TRANSPOS R
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.
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XVII.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. See the
GeniSys™ Display tutorial (mentioned later in this manual) for instructions on the Acoustic
Portrait™ adjustments.
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XVIII. INSTALLATION, VOICING, AND CAR OF TH 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 any parameters be required to be changed, your Allen Organ representative is able
to make such changes. Final adjustments in scaling and voicing involve procedures that are best
left to an expert. These adjustments are normally part of the installation, and once completed,
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.
CAR OF TH 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. 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!
15

XIX. SAF TY 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.
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.
INT RNATIONAL ONLY
CAUTION
Do not plug the instrument into any current source other than that stated by the selling
dealer. 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 (if applicable).
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 its being accidentally switched off.
Read and comply with all instructions and labels that may be attached to the instrument.
16

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.
17