Allen Organ Company LLC Historique III User manual

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

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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 Renaissancetechnology are the product of years of advancements in digital sound and
control techniques by Allen Organ Company. This system represents the apex of digital
technology applied to exacting musical tasks. 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.
Contents
I. ORGAN STOPS.................................................................................................................... 1
II. SPECIALIZED STOP CONTROLS..................................................................................... 2
III. EXPRESSION SHOE (Volume Control Pedal).................................................................... 3
IV. SETTING CAPTURE REGISTRATIONS...........................................................................3
V. ARTISTIC REGISTRATION............................................................................................... 3
VI. TRANSPOSER ..................................................................................................................... 6
VII. ACOUSTIC PORTRAIT™................................................................................................... 7
VIII. INSTALLATION, VOICING, AND CARE OF THE ORGAN........................................... 7
IX. SAFETY INFORMATION................................................................................................... 9
X. CONSOLE CONTROLLER™ GUIDE..............................................................................11

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I. ORGAN STOPS
PITCH FOOTAGE
The number appearing on each stop, along with its name, indicates the “pitch” or “register” of
the particular stop. Organs can produce notes of different pitches from a single playing key.
When this sound corresponds to the actual pitch of the played key, the stop is referred to as being
of 8’ (eight foot) pitch; therefore, when an 8’ stop is selected and Middle C is depressed, the
pitch heard is Middle C. If the sounds are an octave higher, it is called 4’ or octave pitch. If two
octaves higher, it is called 2’ pitch. A stop sounding three octaves higher is at a 1’ pitch.
Similarly, a 16’ stop sounds an octave lower and a 32’ stop two octaves lower.
Stops of 16’, 8’, 4’, 2’ and 1’ pitch all have octave relationships, that is, these whole numbered
stops all sound at octaves of whatever key is depressed. Non-octave pitches are also used in
organs. Their footage numbers contain a fraction and they are referred to as Mutations. Among
these are the 2-2/3’ Nasard, 1-3/5’ Tierce, 1-1/3 Quintflöte and 2-2/3 Twelfth. Because they
introduce unusual pitch relationships with respect to the 8’ tone, they are most effective when
combined with other stops and used either in solo passages or in small ensembles of flutes.
TONAL FAMILIES
1. Flues
Organ tones divide into two main categories: flues and reeds. In pipe organs, flue pipes are those
in which the sound is set in motion by wind striking directly on the edge of the mouth of the
pipe. Flues include principal, flute and string tones. 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.
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,
Koppleflöte,
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 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.

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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.
II. 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.
Positiv to Pedal Connects all Positiv stops to the Pedal.
Positiv to Great Connects all Positiv stops to the Great.
Swell to Positiv Connects all Swell stops to the Positiv.
Swell to Great Intermanual coupler connecting all Swell stops to the Great manual.
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.
MIDI on Positiv Opens MIDI channel to the Positiv.
Tremulant This stop provides a vibrato effect, natural in the human voice and
wind instruments.
Gt-Pd Unenclosed The expression control for the Great and Pedal Divisions is disabled,
causing the Great and Pedal stops to sound at full volume, regardless
of the position of the expression shoe.
Bass Coupler When playing on the Great manual, the lowest key played on the Great
will automatically play stops drawn on the Pedal division, in addition
to those stops drawn on the Great. 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 an alternate tuning
selected within the Console Controller™. See the Console Controller
Guide, later in this Manual, for more information relating to Alternate
Tunings.

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III. EXPRESSION SHOE (Volume Control Pedal)
The organ’s expression pedal (called a “shoe”) is used to control the organ’s volume
(expression).
IV. SETTING CAPTURE REGISTRATIONS
SETTING GENERAL PISTONS
Your Allen organ’s capture system lets you set stop registration combinations in each of its
available capture memories. The Historique III™ has a set of twelve (12) General pistons
centrally located under the Swell and Great manuals.
First, select the stops you wish to save.
Press and hold the SET Piston.
Press and release the desired GENERAL piston.
Finally, release the SET Piston.
Remember, 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
procedure.
V. 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. 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’, Koppelflöte
4’, Nasard 2-2/3’, Blockflöte 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.

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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.
SUGGESTED SOLO REGISTRATIONS
SWELL SOLO COMBINATION
Swell: Gedackt 8’, Koppelflöte 4’, Nasard 2-2/3’, Blockflöte 2’, Tierce 1-3/5’
Great: Harmonic Flute 8’, Spitzflöte 4’
Pedal: Lieblich gedackt 16’, Gedacktflöte 8’
[Play solo on Swell]
FLUTE SOLO COMBINATION
Swell: Salicional 8’, Voix Celeste 8’
Great: Harmonic Flute 8’
Pedal: Lieblich gedackt 16’, Swell to Pedal
[Play solo on Great]
TRUMPET SOLO COMBINATION
Swell: Trompette 8’
Great: Principal 8’, Octave 4’, Super Octave 2’, Mixture IV
Pedal: Bourdon 16’, Octave 8’, Choral Bass 4’
[Play solo on Swell]
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.
ENSEMBLE REGISTRATIONS
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.

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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.
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.
SUGGESTED ENSEMBLE COMBINATION REGISTRATIONS:
GREAT ENSEMBLE COMBINATIONS
1. Harmonic Flute 8’, Spitzflöte 4’
2. Harmonic Flute 8’, Spitzflöte 4’, Super Octave 2’
3. Principal 8’, Octave 4’
4. Principal 8’, Octave 4’, Super Octave 2’
5. Principal 8’, Octave 4’, Super Octave 2’, Mixture IV
6. Principal 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Super Octave 2’, Mixture IV
SWELL ENSEMBLE COMBINATIONS
1. Gedackt 8’, Salicional 8’
2. Gedackt 8’, Salicional 8’ Koppelflöte 4’
3. Gedackt 8’, Salicional 8’ Koppelflöte 4’, Super Octave 2’
4. Gedackt 8’, Salicional 8’ Koppelflöte 4’, Super Octave 2’
5. Gedackt 8’, Salicional 8’ Koppelflöte 4’, Super Octave 2’, Mixture IV
6. Gedackt 8’, Salicional 8’ Koppelflöte 4’, Super Octave 2’, Mixture IV, Trompette 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

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and a coupler. Please note that the softest stops and flute mutations are normally not used with
ensembles.
FULL ORGAN
Due to the immense capabilities of the organ, every stop and coupler on the instrument could be
used simultaneously without distortion, if the organ is adjusted properly. In good registration
practice, however, the organist would not haphazardly put on every stop on the instrument. 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 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.
VI. 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 Console Controller™
controls the operation of the Transposer. The Console Controller™ is located at the left side of
the console.
Transposition to any of the twelve musical keys is possible. When the organ's power is first
turned ON, the Console Controller™ window displays a brief message then displays MEM - 1,
indicating the first capture memory. Also displayed is the Tranposer setting of neutral pitch.
The Transposer is displayed as a large digit in the Console Controller display. (“”is on the
right side of the display.) When the organ's power is first switched ON, the organ will start up in
Memory 1 and in this neutral pitch position.
To shift the music to a higher key, you must first move the cursor's position in the Console
Controller's™ display window so that the “”symbol is selected. To move the cursor,
repeatedly press the button on the Console Controller™ labeled "CURSOR" until the “”
symbol is selected. Once the “”symbol is selected, turn the Console Controller's Rotary Dial
to select the new musical key. Turning the dial in a clockwise manner selects higher keys and
causes the organ's pitch to rise. Turning the dial in a counter-clockwise manner selects a lower
key and causes the organ's pitch to go lower. 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.
A red indicator light (LED) on the face of the Console Controller™ illuminates any time the
Transposer setting is moved from the “”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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VII. ACOUSTIC PORTRAIT™
Allen Organs are the only digital organs to bring the science of sampling to acoustics! Ordinary
electronic reverb is a synthetic imitation of acoustics “applied to” the sound, not created as an
integral part of it. Acoustic Portrait™ produces the real thing in exacting detail!
Acoustic Portrait™ 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 Portraits, ranging
from intimate rooms to cavernous cathedrals.
The switch labeled ACOUSTIC PORTRAIT in the Console Controller™ must be ON to hear the
selected Acoustic Portrait. The selected Acoustic Portraitgain, measured in dB (decibels), can
be accessed and adjusted in the Console Controller™. See the Console Controller™ guide later
in this manual for more detailed instructions on Acoustic Portrait™ settings and adjustments.
When changing to a different Acoustic Portrait, the new selection will automatically load in
(approx.) 3 seconds.
VIII. 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. Repertoire™ has a software package1available which allows the organist to adjust the
many intricate tonal features of the organ such as note by note and rank by rank volume levels as
well as access to the more common controls bass and treble controls of the individual audio
channels. QDOVE™ is the name of Allen Organ’s proprietary voicing software which allows
access to these exclusive features as well as many others which gives the user complete and tonal
control. Contact your local Allen Organ representative for more details on this exciting software
package!

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CARE OF THE ORGAN
Your Allen Organ constitutes a major advance in long-term maintenance-free operation. There
is no regular maintenance procedures required and, therefore, no periodic maintenance schedules
to be observed.
Reasonable care will keep the instrument looking beautiful for years to come. The wood
surfaces may be cleaned using a soft cloth dampened with lukewarm water. 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!

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IX. SAFETY INFORMATION
USA ONLY
CAUTION
Never plug the instrument into any current source other than 110 to 120 volts, 50/60
Hertz alternating current (AC). A verified grounded outlet is essential to proper
operation and protection of the instrument. Proper polarity should be checked with an
AC circuit analyzer before connecting the organ.
Do not change the cable plug or remove the ground pin or connect with a two-pole
ground lift adapter.
If you are in doubt about your electrical connection, consult your local electrician or
power company.
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.
INTERNATIONAL 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.

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Warning: This equipment generates, uses, and can radiate radio frequency energy
and, if not installed and used in accordance with the instruction manual, may
cause interference to radio communications. It has been type tested and found to
comply with the limits for a Class B Computing Device in accordance with the
specifications in Subpart J of Part 15 of FCC Rules, which are designed to
provide reasonable protection against such interference in a residential
installation. Should this equipment cause interference to radio communications,
the user at his own expense will be required to take whatever measures may be
necessary to correct the interference. Whether this equipment actually causes the
interference to radio communications can be determined by turning the equipment
off and on. The user 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.

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X. CONSOLE CONTROLLER™ GUIDE
A. BASIC OPERATION...................................................................................................... 12
1. Start-Up Sequence...................................................................................................................................................................................12
2. Advancing Through the Windows..........................................................................................................................................................13
3. Selecting the Capture Memories.............................................................................................................................................................13
4. Saving Registrations Using The Pistons.................................................................................................................................................13
5. Locking Capture Memories ....................................................................................................................................................................14
6. Unlocking Memories Using Your Code.................................................................................................................................................14
7. Unlocking All Memories If You Forget Your Code ..............................................................................................................................15
8. Stop Action and Capture Self Check......................................................................................................................................................15
9. Stoplist Library(optional)...................................................................................................................................................................16
10. Acoustic PortraitSettings ....................................................................................................................................................................16
B. ADVANCED OPERATION ........................................................................................... 18
1. Selecting an Alternate Tuning ................................................................................................................................................................18
2. Configuring General Pistons...................................................................................................................................................................18
3. Restoring Original Factory Settings .......................................................................................................................................................20
4. Global Tuning .........................................................................................................................................................................................20
5. Headphone Volume.................................................................................................................................................................................21
C. MIDI FUNCTIONS......................................................................................................... 22
1. Standard MIDI Channel Assignments....................................................................................................................................................22
2. Selecting Program Change Modes, Viewing Program Numbers or General MIDI Sound Names.......................................................22
3. General MIDI Sound Names or Program Numbers ...............................................................................................................................23
4. Assigning MIDI Program Changes to Organ Pistons.............................................................................................................................25
5. MIDI Bank Selecting..............................................................................................................................................................................25
6. Changing the MIDI Base Channel..........................................................................................................................................................27
7. MIDI Expression Settings.......................................................................................................................................................................27
8. MIDI Sustain Kick Switch (optional).....................................................................................................................................................28
9. Organ Local Off......................................................................................................................................................................................28
10. Transferring and Saving Capture Memory Data to a Sequencer ...........................................................................................................29
11. Return Capture Memory Data from a Sequencer to the Organ..............................................................................................................29
12. Transmission/Reception of Individual Stop Data...................................................................................................................................30
D. QUICK REFERENCE GUIDE...................................................................................... 31
1. Basic Operations Review........................................................................................................................................................................31
2. Advanced Operations Review ................................................................................................................................................................31
E. MIDI GUIDE.................................................................................................................... 32
1. MIDI for Organists..................................................................................................................................................................................32
2. Allen’s Exclusive MIDI System.............................................................................................................................................................33
3. MIDI Transmission Channels.................................................................................................................................................................34
4. GENERAL MIDI SOUND SET.............................................................................................................................................................35

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INTRODUCTION
The Console Controller™ is an interface that controls many organ functions and a variety of
MIDI functions. The Console Controller includes a LCD (liquid crystal display) window that
displays functions, one at a time, as well as an integrated Rotary Dial with push buttons used to
make selections. Each window function is described in detail.
A. BASIC OPERATION
1. Start-Up Sequence
Turn on the organ's main power switch. The LCD window will display, in sequence:
Note: The LCD will display the current stopmap level (SMAP) and operating software
base code level (CODE) currently installed in the organ.
Then finally the Main Window function is displayed:
Important: The Allen Organ includes several self-testing features. If a warning is
displayed within this sequence, you should contact your Allen authorized representative
immediately!
Allen Organ Co.
Copyright(c)2000
DATABASE:
XXXXXXXXXXXXXXXX
MEM - 1 ┌┐
└┘
SMAP: XXXXXXXXXX
CODE: X.XX

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2. Advancing Through the Windows
The Allen Organ operating software contains many settings that are user-programmable.
Each programmable setting can be adjusted via the Console Controller. These
programmable settings are divided up into many window functions. To advance the
Console Controller'sdisplay to the next window function, locate and press the
CURSOR button until the blinking CURSOR is positioned over the abbreviation
“MEM” in the display. Once the cursor is positioned, slowly turn the ROTARY DIAL
clockwise, the display will advance to the next window function. When the second
window function is displayed, rotate the ROTARY DIAL counter-clockwise, the
window will return to the Main window display function. Turn the ROTARY DIAL
counter-clockwise again and the last window function will display. The window
functions “wrap around” for ease of accessing functions quickly.
Remember: You may return to the Main Window
function at any time by pressing and holding the SET
piston. Then, while holding SET, press the CANCEL
piston, release both pistons. This procedure will always
return the Console Controller’s display to the Main
Window function.
For reference, the last window function is:
3. Selecting the Capture Memories
Locate the CURSOR button on the Console Controller™. Press this button to move the
cursor to the first number to the right of the abbreviation “MEM” on the display. Once
the cursor is positioned on the memory number, turn the ROTARY DIAL clockwise to
select the memories sequentially from MEM 1, to MEM 2, to MEM 3. Or, turn the
ROTARY DIAL counter-clockwise to select the memories sequentially from MEM 1,
to MEM 8, to MEM 7.
The capture memories allow you to save different registrations on each piston/toe piston.
This means General Piston 1 on MEM-1 may be totally different from General Piston
1 on MEM-2, MEM-3, etc.
4. Saving Registrations Using The Pistons
A registration is any combination of stops. These registrations can be stored
(remembered) by the organ’s capture memory system. The pistons provide a way to
make changes quickly from one registration to another.
Historique III™ is equipped with twelve (12) General pistons. General pistons are those
that affect all stops on the organ. They are centrally located under the front of the Swell
and Great keyboard on the piston rails.
UNLOCK ALL
CAPTURE MEMORIES

14
To Save a Registration to a General Piston:
The Main Window function in the Console Controllermust be displayed (See Section
A-2). Select any memory number (MEM-1, MEM-2 ... MEM-4, etc.)(see section A-3);
however, for this example use MEM-1. Next, select the desired stops you want General
Piston 1 to remember. Once the selected stops are lit, press and hold the SET piston,
then press and release General Piston 1. Finally, release the SET piston. General Piston
1 will now store in memory the selected stops you selected.
Note: General Pistons are often set gradually from soft to loud with General 1 the softest
and General 12 the loudest.
5. 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. Memory 1 remains
unlocked as a convenience to visiting or substitute organists (if applicable). The Console
Controller must display the Main Window function (See Section A-2). Select a capture
memory to lock. After registrations are stored to pistons, (See Section A-4) choose three
digits you can easily remember (e.g., 1-2-3, 2-1-5, etc.). General Piston numbers reflect
their respective digits listed on the piston. On the Console Controllerlocate the
MEMORY button. Press and hold the MEMORY button. Then, while holding
MEMORY, press the General Pistons that will correspond to your three-digit code.
Release the MEMORY button and an "L" will appear next to the MEM number in the
display, indicating this memory is now locked.
As long as the memory remains locked, the piston registrations on that memory cannot be
changed. Other organists will still be able to use the locked registrations; however they
cannot be changed. Remember; choose an easy to remember three-digit code.
Note: Each capture memory level lock code can be different!
6. Unlocking Memories Using Your Code
The Main Window function must be displayed (See Section A-2). To unlock a memory,
select the capture memory to be unlocked. Remember, locked capture memories will
have an “L” behind the number. Once a desired capture memory is selected, press and
hold the MEMORY button in the Console Controller. Then, while pressing
MEMORY, enter the same three-digit code that was used to lock this memory (See
Section A-5), using General Pistons 1 through 5. Release the MEMORY button. If the
correct code was entered, the "L" will disappear, indicating that this memory is now
unlocked.
MEM: 2L ┌┐
└┘
MEM: 2 ┌┐
└┘

15
MEM
7. Unlocking All Memories If You Forget Your Code
Advance to the 'UNLOCK ALL CAPTURE MEMORIES' window function (see
section A-2).
Press and hold the MEMORY button on the Console Controller, then press General
Pistons 2-5-5, in sequence. Release the
MEMORY button. The display will
automatically return to the Main
Window function. All capture
memories are now unlocked, including
those memories other organists may have locked, however, registrations remain
unchanged.
8. Stop Action and Capture Self Check
This feature self-checks the capture system. The test insures each stop is functioning
properly and is controllable by the capture system. Advance to the ‘SELF CHECK’
window function (see Section A-2).
To start the self-check, press the CURSOR button on the Console Controller to position
the flashing cursor on the word “OFF”. Turn the ROTARY DIAL to start the Self
Check function. The display will indicate that the Self Check function is now “ON”.
The stop indicators will turn on and off consecutively one at a time. If any stop position
does not light, notify your Allen service technician. During the testing process you can
interrupt and/or return to the Main Window function at any time by turning the ROTARY
DIAL until “OFF” appears in the display or by using the SET and CANCEL pistons to
return to the Main Window function (see Section A-2).
UNLOCK ALL
CAPTURE MEMORIES
SELF CHECK
OFF

16
ACOUSTIC
PORTRAIT
9. Stoplist Library(optional)
Historique III™ can be equipped to include nine complete voicing specifications. A new
voicing specification can be selected from the Console Controllerat any time. To
change a voicing specification, advance to the 'STOPLIST LIBRARY' window
function (see Section A-2). The display will indicate the current voicing specification
loaded.
To change to a different voicing specification, press
the CURSOR button on the Console Controller and
position the cursor on the voicing specification name.
Turn the ROTARY DIAL to select a different
voicing specification. When the desired voicing
specification is displayed, press and hold the SET
piston. Then, while holding SET, press the
MEMORY button on the Console Controller. Release
both. The Console Controller will indicate the
selected specification is loading. Once the new
specification is loaded the capture system will
automatically cancel all stops. The organ is now
ready to play. To return to the Main Window
function, press and hold the SET piston then press the
CANCEL piston. Release both.
Important: The organ will not be able to be played
while a new voicing specification is loading.
10. Acoustic PortraitSettings
There are 10 available Acoustic Portrait™ pallets to select from. The
rocker switch labeled ACOUSTIC PORTRAITin the Console
Controllerdrawer must be ON to hear the Acoustic Portrait
selection. The Acoustic Portraitgain (volume) can be adjusted. The
gain is indicated in dB (decibels). The Acoustic Portraitgain range is
adjustable from +6dB to minus 35dB. Minus 35dB is the least amount
of gain while +6dB is the most available.
To change the active Acoustic Portraitor adjust the Acoustic Portraitgain, advance to
the ‘ACOUSTIC PORTRAIT‘ window function (see Section A-2). The window will
display the name of the currently selected Acoustic Portraitpallet on line 1 with the
Gain setting on line 2.
STOPLIST LIBRARY
CLASSIC ALLEN
LOADING SUITE
SCHLICKER
STOPLIST LIBRARY
SCHLICKER
STOPLIST LIBRARY
SCHLICKER
MEM
Pipe Chamber
GAIN = -8dB

17
To change the Acoustic Portrait pallet, press the CURSOR button on the Console
Controller until the cursor is positioned on the Acoustic Portrait pallet name. Turn the
ROTARY DIAL on the Console Controller to select a different pallet name.
Note: The change will not be immediate. You must wait 3 seconds for the newly
selected Acoustic Portrait pallet to load. The display will indicate that the newly selected
pallet is loading:
Acoustic Portrait Gain (Volume) Adjustment:
To change the Acoustic Portrait Gain setting, press the CURSOR button on the Console
Controller until the cursor is positioned on the Acoustic Portrait gain setting. Turn the
ROTARY DIAL on the Console Controller to change the gain setting. Gain adjustment
range is from minus 35dB to +6db. Minus 35db is the least amount of gain while +6dB is
the most or maximum amount of gain.
Acoustic Portrait™: Available Reverb Pallets
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
LOADING PORTRAIT
GAIN = -8dB
Large Cathedral
GAIN = -8dB
Large Cathedral
GAIN = -8dB
Large Cathedral
GAIN = -8dB
Large Cathedral
GAIN = -3dB

18
B. ADVANCED OPERATION
1. Selecting an Alternate Tuning
Advance to the ‘ALTERNATE TUNING’ window function (see section A-2).
(The current Alternate Tuning will appear on line 2 of the display)
Allen Organs offer seven Alternate Tunings, plus one standard tuning. These tunings are
accessible from the Console Controller. To select an Alternate Tuning, press the
CURSOR button on the Console Controller until the flashing cursor is positioned on the
Alternate Tuning name (line 2). Turn the ROTARY DIAL to select one of the seven
available tunings. The organ’s overall tuning will be changed to the selected Alternate
Tuning, by actuating the drawknob, or stop tablet engraved ALTERNATE TUNING.
The selected tuning will remain the Alternate Tuning until:
Either another Alternate Tuning in the Console Controller is selected,
Or, the stop/drawknob is turned off.
Any time the ALTERNATE TUNING stop is off, the organ is tuned to a standard general
purpose tuning. Note: The remaining tunings are of historical interest, but are limited in
application to modern music. When selected, it is normal for some intervals to sound out
of tune.
2. Configuring General Pistons
This procedure enables pistons to control stops that are normally not controlled by those
pistons.
Note: The Piston Configuration is common to all capture memories.
For example:
(1) General Pistons can be configured to control only certain specific stops.
(2) A General Piston can be configured so that it will only affect the Tremulant stops.
(3) A General Piston can be configured to respond like a Divisional Piston.
Note 1: Changing the configuration of a piston will not affect the registrations
previously remembered by that piston prior to its reconfiguration.
Note 2: Reconfiguring a piston does not change its MIDI channel assignment.
Configuring General Pistons to only affect MIDI stops:
Advance to the ‘CONFIGURE PISTONS’ window function (see section A-2).
_ CONFIGURE
PISTONS DISABLED
ALTERNATE TUNING
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