Allen Organ Company LLC L-123 User manual

L-123
Bravura™ Series
Copyright © 2015 Allen Organ Company LLC
All Rights Reserved
AOC P/N 033-00203 Revised 6/2015

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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/Quantum™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 SHOES ......................................................................................................... 3
IV. SETTING CAPTURE REGISTRATIONS........................................................................... 3
V. ARTISTIC REGISTRATION............................................................................................... 5
VI. TRANSPOSER ..................................................................................................................... 8
VII. ACOUSTIC PORTRAIT™................................................................................................... 8
VIII. INSTALLATION, VOICING, AND CARE OF THE ORGAN........................................... 9
IX. SAFETY INFORMATION................................................................................................. 10
X. GENISYS™ CONTROLLER GUIDE ............................................................................... 12
APPENDIX A: MIDI IMPLEMENTATION CHART.................................................................. 71
APPENDIX B: HYMN PLAYER Song List ................................................................................. 72
APPENDIX C: GNU PUBLIC LICENSE INFORMATION ........................................................ 73

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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,
Koppelflöte,
flute mutation stops
Flute Voices - Stopped:
Holzgedackt, Bourdon,
Lieblichgedackt,
Rohr Bourdon
Lesser harmonic development than Principals. Open flutes
are somewhat imitative; stopped flutes are not. Present at
all pitch levels and in all divisions.
String Voices
Gamba, Salicional,
Viole 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.

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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.
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 at unison pitch.
Swell to Pedal Connects all Swell stops to the Pedal at unison pitch.
Swell to Great Intermanual coupler connecting all Swell stops to the Great manual at
the unison pitch.
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
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.”
Swell Unison Off Turns off stops within the Swell Division at their normal or unison
pitch.

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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
Trompette or Hautbois, the melody played by the top note on the Great
is accentuated.
Bass Coupler Similar to the Melody coupler, however, in this case the lowest note
played on the Great will also play all stops drawn in the Pedal
Division. This allows voices normally played from the pedalboard to
be heard without using the pedalboard.
Alternate Tuning When activated, the organ’s tuning will change to the alternate tuning
selected from within the GeniSys™ Controller. See the GeniSys™
Controller Guide, later in this Manual, for more information relating to
Alternate Tunings.
Console Speakers Off Used in conjunction with External Speakers control. This control
turns off the organ’s console speakers.
External Speakers Off This control turns off the organ’s external speakers. When the
Console Speakers Off control is turned on, the external speakers will
sound alone.
III.EXPRESSION SHOES
The organ’s control pedals (called “shoes”) control expression (volume).
The left shoe expresses the Great and Pedal Divisions.
The right shoe expresses the Swell Division.
IV.SETTING CAPTURE REGISTRATIONS
Your Allen organ’s capture system lets you set stop registration combinations in each of its
available capture memories. The L-123 has a set of six (6) General pistons located under the left
side of the Swell manual and four (4) Divisional pistons for both the Swell and Great divisions
centrally located under both the Swell and Great manuals. There is also a set of four (4) toe
studs, located to the right of the organ’s Swell expression shoe for the Pedal division. As a
convenience to the organist, a set of six (6) 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.
SETTING GENERAL 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 SET Piston.
Press and release the desired GENERAL piston.
Finally, release the SET Piston.
Note: General pistons are customarily set from soft to loud using graduated stop combinations.

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SETTING 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 SET Piston.
Press and release the desired DIVISIONAL piston.
Finally, release the SET Piston.
The pistons, General or Divisional, which have been set “remember” the registration
combinations which have been assigned to each of them. Each time a given piston is pressed,
the registration assigned to it is activated. Stop registration combinations may be changed at any
time by repeating the above procedures.
SETTING TOE PISTONS (STUDS)
Stop registration combinations may be set and drawn by toe studs, as well as by pistons. Toe
studs, located on each side of the Expression 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.
RECALL “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 that the capture system takes a “snapshot” of the current stop registration and
stores it within the Recall piston memory before it actually changes to the new stop registration
selected. Then, when the “R” piston is pressed, the capture system “recalls” the previous
registration stored before the last piston/toe stud selection was made.

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PISTON SEQUENCER PISTONS
The L-123 is equipped with the Piston Sequencer feature which allows the organist to step
through General piston registrations within individual or multiple capture memory levels. A
custom sequence mode is also available which allows the organist to custom program his/her
piston sequence. The Piston Sequencer is activated through the GeniSys™ Controller and by
using the “+” or “―” piston buttons. Please see the GeniSys™ Controller guide later in this
manual for more details on the operation of this feature.
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’, 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.
SUGGESTED SOLO REGISTRATIONS
SWELL SOLO COMBINATION
Swell: Gedackt 8’, Traverse Flute 4’, Nasard 2-2/3’, Piccolo 2’, Tierce 1-3/5’
Great: Harmonic Flute 8’, Spitzflöte 4’
Pedal: Lieblich Gedackt 16’, Flute 8’
[Play solo on Swell]

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FLUTE SOLO COMBINATION
Swell: Viola Pomposa 8’, Viola Celeste 8’
Great: Harmonic Flute 8’
Pedal: Lieblich Gedackt 16’, Swell to Pedal
[Play solo on Great]
TRUMPET SOLO COMBINATION
Swell: Trompette 8’
Great: Diapason 8’, Octave 4’, Fifteenth 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. 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.

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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’, 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 8’
2. Gedackt 8’, Viola 8’ Traverse Flute 4’
3. Gedackt 8’, Viola 8’ Traverse Flute 4’, Piccolo 2’
4. Gedackt 8’, Viola 8’ Traverse Flute 4’, Piccolo 2’
5. Gedackt 8’, Viola 8’ Traverse Flute 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola 8’ Traverse Flute 4’, Piccolo 2’, Fourniture 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
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.

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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 GeniSys™ Controller
controls the operation of the Transposer. The GeniSys™ 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 GeniSys™ Controller window displays a brief message then displays M 1,
indicating the first capture memory level. Also displayed is the Transposer setting of neutral
pitch. The Transposer is displayed as a large digit within the GeniSys™ Controller display (“0”
is displayed on the right side of the display).
To shift the music to a higher key, you must first move the cursor's position in the GeniSys™
Controller's display window so that the “0”symbol is selected. To move the cursor, repeatedly
press the button on the GeniSys™ Controller labeled "CURSOR" until the “0”symbol is
selected. Once the “0”symbol is selected, turn the GeniSys™ 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 GeniSys™ Controller illuminates any time the
Transposer setting is moved from the “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.
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!

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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 pallets,
ranging from intimate rooms to cavernous cathedrals.
The switch labeled ACOUSTICS on the GeniSys™ Controller must be ON to hear the selected
pallet. The selected Acoustic Portrait™gain, measured in dB (decibels), can be accessed and
adjusted within the GeniSys™ Controller. See the GeniSys™ Controller guide later in this
manual for more detailed instructions on Acoustic Portrait™ settings and adjustments.
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. 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.
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.

10
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!
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. GENISYS™ CONTROLLER GUIDE
A. BASIC OPERATION................................................................................................... 13
1. Start-Up Sequence ................................................................................................................................................................................... 13
2. Advancing Through the Windows........................................................................................................................................................... 14
3. Selecting the Capture Memories.............................................................................................................................................................. 14
4. Saving Registrations Using the Pistons/Toe Studs .................................................................................................................................15
5. Locking Capture Memories .....................................................................................................................................................................15
6. Unlocking Memories Using Your Code..................................................................................................................................................16
7. Unlocking All Memories If You Forget Your Code ............................................................................................................................... 16
8. Stop Action and Capture Self Check....................................................................................................................................................... 17
9. Stoplist Library™..................................................................................................................................................................................... 17
10. Acoustic Portrait™Settings ..................................................................................................................................................................... 18
11. Hymn Player ............................................................................................................................................................................................21
B. USB OPERATION................................................................................................................ 22
1. USB Memory Port ................................................................................................................................................................................... 22
2. GeniSys™ Sequencer .............................................................................................................................................................................. 23
3. Capture Memory Registration Save/Load ............................................................................................................................................... 35
C. ADVANCED OPERATION................................................................................................. 40
1. Selecting an Alternate Tuning ................................................................................................................................................................. 40
2. Configuring General Pistons ................................................................................................................................................................... 41
3. Restoring Original Factory Settings ........................................................................................................................................................ 42
4. Global Tuning .......................................................................................................................................................................................... 43
5. Headphone Volume (optional)................................................................................................................................................................ 43
6. Sostenuto (optional)................................................................................................................................................................................. 44
7. Piston Sequencer......................................................................................................................................................................................45
C. MIDI FUNCTIONS...................................................................................................... 56
1. Standard MIDI Channel Assignments.....................................................................................................................................................56
2. Selecting Program Change Modes ..........................................................................................................................................................56
3. General MIDI Sound Names or Program Numbers ................................................................................................................................57
4. Assigning MIDI Program Changes to Organ Pistons ............................................................................................................................. 60
5. MIDI Bank Selecting ............................................................................................................................................................................... 61
6. Changing the MIDI Base Channel...........................................................................................................................................................63
7. MIDI Expression Settings........................................................................................................................................................................ 63
8. MIDI Sustain Kick Switch (optional) .....................................................................................................................................................64
9. Organ Local Off....................................................................................................................................................................................... 65
10. Transmission/Reception of Individual Stop Data ...................................................................................................................................66
D. MIDI GUIDE ................................................................................................................ 67
1. MIDI for Organists .................................................................................................................................................................................. 67
2. Allen’s Exclusive MIDI System.............................................................................................................................................................. 68
3. MIDI Transmission Channels..................................................................................................................................................................69
4. GENERAL MIDI SOUND SET.............................................................................................................................................................. 70

13
INTRODUCTION
The GeniSys™ Controller is an interface that controls many organ functions and a variety of
MIDI functions. The GeniSys™ 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. During the start-up sequence, the LCD window
will display:
Once the GeniSys™ computer has completed its initial start-up procedure, the LCD will
display the current stopmap level (SMAP) and operating software base code level
(CODE) currently installed in the organ.
Then, the Main Window function is displayed:
Important: The Allen Organ includes several self-testing features. If a warning is
displayed within this sequence, please contact your Allen authorized representative
immediately!
DATABASE:
XXXXXXXXXXXXXXXXXXXX
SMAP:098-XXXXXX
CODE:X.XX
M 1
0
......Loading...... Please Wait

14
2. Advancing Through the Windows
The Allen Organ GeniSys™ operating software contains many settings that are user-
programmable. Each programmable setting can be adjusted via the GeniSys™
Controller. These programmable settings are divided up into many window functions.
To advance the GeniSys™ Controller's
display to the next window function, locate
and press the CURSOR button until the
CURSOR is positioned under the
abbreviation “M” within the display, this
location is known as the “Menu Function”.
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 GeniSys™ Controller. Press this button to move the
cursor to the number to the right of the
abbreviation “M” on the display. Once the
cursor is positioned on the memory number,
turn the ROTARY DIAL clockwise to select
the memories sequentially from M 1, to M 2,
to M 3. Or, turn the ROTARY DIAL
counter-clockwise to select the memories sequentially from M 1, to M 40, to M 39, M
38...
The capture memories allow you to save different registrations on each piston/toe piston.
This means General Piston 1 on M 1 may be totally different from General Piston 1 on
M 2, M 3, etc.
UNLOCK ALL
CAPTURE MEMORIES
M 1
0
M 1
0

15
4. Saving Registrations Using the Pistons/Toe Studs
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.
General Pistons are those that affect all stops on the organ. General pistons are located
on the left side, underneath the keyboards on the piston rails.
Divisional Pistons affect only those stops associated with the particular manual/division.
Divisional pistons are located in the center of the piston rails below the keyboards.
Located just above the pedalboard are the Toe Studs. Toe Studs to the left of the
expression shoes duplicate the General Pistons, while those to the right of the expression
shoes are for the Pedal Division.
The L-123 is equipped with six (6) General pistons, (4) Divisional pistons for both the
Swell and Great Divisions and four (4) Divisional toe studs for the Pedal Division. In
addition, there are also six (6) General toe studs which are duplicates of the six General
pistons.
To Save a Registration to a General Piston:
The Main Window function in the GeniSys™ Controller must be displayed (See Section
A-2). Select any memory number (M 1, M 2
... M 40, etc.)(see section A-3); however, for
this example use M 1. Next, select the desired
stops you want General Piston 1 to remember.
Once the selected stops are selected, 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.
Note: General Pistons are often set gradually from soft to loud with General #1 the
softest and General #10 the loudest.
To Save a Registration to a Divisional Piston:
The Main Window function in the GeniSys™ Controller must be displayed (See Section
A-2). Select any memory number (M 1, M 2 ... M 40, etc.)(see section A-3); however, for
this example use M 1. Next, select the desired Swell division stops you want Swell
Piston #1 to remember. Once the selected stops are selected, press and hold the SET
piston, then press and release Swell Piston #1. Finally, release the SET piston. Swell
Piston #1 will now store in memory the selected Swell division stops.
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.
Note: Memory 1 remains unlocked as a convenience to visiting or substitute organists (if
applicable).
The GeniSys™ 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 (Piston 10 = zero).
M 1
0

16
On the GeniSys™ 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 “M” 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 GeniSys™ Controller. Then, while
pressing MEMORY, enter the same
three-digit code that was used to lock
this memory (See Section A-5). Release
the MEMORY button. If the correct
code was entered, the "L" will disappear, indicating that this memory is now unlocked.
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
GeniSys™ 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. The display
will return to the Main Window
function when completed.
M 1L
0
M 1
0
UNLOCK ALL
CAPTURE MEMORIES

17
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 GeniSys™ Controller to position
the 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 stops will
turn on and off consecutively one at a time. If
any stop position does not light (or move if
mechanical drawknobs), 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).
9. Stoplist Library™
The L-123 is equipped with four (4) complete voicing suites as standard and can be
equipped to include nine (9) complete voicing suites (see model specific specification
documents as to the available standard/optional voicing suites). A new voicing
specification can be selected from the GeniSys™ 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.
SELF CHECK
OFF
SELF CHECK
ON
_SOUND LIBRARY
CLASSIC ALLEN

18
LOADING SUITE
ENGLISH CATHEDRL
SOUND LIBRARY
ENGLISH CATHEDRL
ACOUSTICS
To change to a different voicing specification, press the CURSOR button on the
GeniSys™ 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 GeniSys™ Controller.
Release both.
The display 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 ACOUSTICS on the GeniSys™ Controller must
be switched 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.
SOUND LIBRARY
CLASSIC ALLEN
SOUND LIBRARY
ENGLISH CATHEDRL