Allen Organ Company LLC Protege LD-34 User manual

AOC P/N 033-00169 Revised 04/2012
Protégé™
LD-34
Owner’s Manual
Copyright © 2012 Allen Organ Company LLC
All Rights Reserved

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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.................................................................................................................... 3
II. SPECIALIZED STOP CONTROLS..................................................................................... 4
IIa. PIANO AND HARP.............................................................................................................. 5
III. EXPRESSION & CRESCENDO SHOES ............................................................................ 5
IV. TUTTI I and TUTTI II..........................................................................................................6
V. SETTING PISTONS ............................................................................................................. 6
VI. ARTISTIC REGISTRATION............................................................................................... 7
VII. TRANSPOSER.................................................................................................................... 11
VIII. ACOUSTIC PORTRAIT™................................................................................................. 11
IX. MULTIPLE VOICE SETS.................................................................................................. 12
X. REAL XPRESSION™........................................................................................................ 12
XI. INSTALLATION, VOICING, AND CARE OF THE ORGAN......................................... 12
XII. SAFETY INFORMATION................................................................................................. 14
XIII. CONSOLE CONTROLLER™ GUIDE.............................................................................. 15

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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 Celeste
Mildly imitative and brighter harmonic development than
Principals. Usually appear at 8’ first; can be 4’ & 16’ ranks.
Compound Voices:
Mixture, Fourniture Voices produced by more than one rank sounding simultaneously. Best registered with other stops.
Hybrid Voices:
Erzähler, Spitzflöte Voices that combine the tonal characteristic of two families of sound, e.g., flutes and principals, or strings and principals.

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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.
Swell to Great Intermanual coupler connecting all Swell stops to the Great manual.
Tremulant This stop provides a vibrato effect, natural in the human voice and wind
instruments.
Tuba Unenclosed When activated the Solo Tuba 8 (2nd Voice) on the Swell and Great
Uncoupled manuals will be full volume and unaffected by the expression shoes.
Also, the Swell stop will not couple to the Great manual when using the
Swell To Great coupler. This allows the Swell Solo Tuba 8 to be used as
an actual solo stop.
Harp (piston) Actuates a Harp voice on the Swell manual which can be used with other
Swell stops.
Piano Only (piston) Actuates a Piano voice on the Great manual, but also disables all other
stops in all divisions on the organ, including the pedals.
2nd Voice Stop Control The Swell, Great and Pedal divisions each have a separate stop control
which actuates a set of secondary voices engraved in red on applicable
tabs. The use of the 2nd Voice stop actuates the voice in lieu of the main
voice listed on the stop.
Piano Damper (toe stud) Actuates sustain for the Piano voice. This control also actuates the
Sostenuto function assigned to the Great manual. See Section B4 in the
Console Controller section later in this manual on Sostenuto settings.

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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 Festival
Trumpet, the melody played by the top note on the Great is accentuated.
Bass Coupler Similar to the Melody coupler, however, in this case the lowest note played
on the Great will also play all stops drawn in the Pedal Division. This
allows voices normally played from the pedalboard to be heard without
using the pedalboard.
Alternate Tuning When activated, the organ’s tuning will change to the alternate tuning
selected from within the Console Controller™. See the Console Controller
Guide, later in this Manual, for more information relating to Alternate
Tunings.
All Swells To Swell Couples the Gt-Pd expression shoe to the Swell expression shoe.
IIa. PIANO AND HARP
Using Allen’s advanced MIDI system, dedicated Piano and Harp voices are uniquely assigned to the
LD-34’s keyboards. The Piano voice is exclusive to the Great manual and when turned on will
automatically deactivate all other organ voices on the organ. The Piano is designed to be a “solo”
instrument and is velocity sensitive so that the musician can control the playing dynamic, similar to
that of an acoustic piano. The Harp voice is exclusive to the Swell manual and may be played in
tandem with other Swell organ voices, especially appropriate with the softer Viola and Viola Celeste
stops.
Note: To facilitate the custom assignments of the Piano and Harp sounds and avoid the potential of
conflict with external MIDI devices, the standard MIDI system connections typically used for an
external MIDI sound module control on the LD-34 have been disabled. Controlling external MIDI
voices would require the reactivation of these connections and will disable the organ’s Piano and
Harp voices functionality. For more information on this subject, contact Allen Organ Company or
your local Allen representative.
Note: The standard MIDI recording/playback connections, MIDI OUT #1 and MIDI IN, may be
used as connections to external MIDI devices for recording/playback purposes only.
III. EXPRESSION & CRESCENDO SHOES
The organ’s control pedals (called “shoes”) control expression and crescendo.
The left-hand side expresses the Great and Pedal Divisions.
The center shoe expresses the Swell Division. It affects the loudness of Swell Division voices.
The right-hand shoe is the Crescendo shoe. It is a master Crescendo for all divisions. It
gradually adds stops as it is opened. Sequential green, yellow and red lights on the organ’s bar
graph indicator display relative pedal position. Indiscriminate use of the Crescendo, in lieu of
careful registration, should be avoided.
The Crescendo B thumb piston is associated with the Crescendo shoe. Crescendo B accesses a
second set of Crescendo registrations that can be different from the standard Crescendo registrations.
See the Console Controller™guide later in this manual for more information relating to changing the
registration settings of this secondary Crescendo.

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IV. TUTTI I and TUTTI II
The Tutti I and II pistons are sets for full organ registrations. Tutti II has a larger, much louder
registration, than Tutti I. The Tutti’s are turned on and off by pressing manual thumb pistons TUTTI
I or TUTTI II. The pistons are “toggled” meaning that pressing them a second time reverses the ON
or OFF setting of the corresponding Tutti. Only one Tutti can be turned ON at a time. Pressing the
other Tutti piston that is not turned ON will turn OFF the Tutti that was ON and turn ON the Tutti
that was OFF. The Cancel piston button will turn OFF the Tuttis.
Red signal lights illuminate when Tutti I or II is in operation. These lights are labeled and located on
the Bar Graph indicator. A second set of Tutti’s can be programmed by the organist. Like the
Crescendo, indiscriminate use of Tutti’s should be avoided. See the Console Controller™Guide later
in this manual for more information relating to changing secondary Tutti’s settings.
V. SETTING PISTONS
SETTING GENERAL PISTONS
Your Allen Organ’s capture system lets you set stop registration combinations in each of its
memories. The LD-34 contains ten General pistons, 5 of which are duplicated on toe studs; six
divisional pistons for both Swell and Great divisions and four Pedal divisional toe studs. The LD-34
contains a (16) memory combination action. This means you have a total of 160 possible General
piston combinations as well as 256 possible divisional combinations (Swell/Great/Pedal).
To set a General capture combination:
First, select and depress the stops you wish to save.
Press and hold the SET Piston.
Press and release the desired GENERAL piston.
Finally, release the SET Piston.
Remember, the General pistons are customarily set from soft to loud using graduated stop
combinations. The pistons you have set “remember” the registration combinations that you have
assigned to each of them. Each time a General piston is pressed, the registration assigned to it is
activated. You can change stop registration combinations at any time by repeating the above
procedures. For more advanced information on setting capture combinations in multiple memories
see the Console Controller™guide later in this manual.
SETTING DIVISIONAL PISTONS
The piston setting process for divisional pistons is the same as SETTING GENERAL PISTONS
described above. Only Swell stops can be set with the Swell divisional pistons, Great stops with the
Great divisional pistons and Pedal stops with the Pedal divisional toe studs.

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SETTING TOE PISTONS (STUDS)
Stop registration combinations may be set and drawn by toe studs, as well as by pistons. Toe studs,
located on each side of the Expression and Crescendo shoes, are set in the same manner as thumb
pistons. The toe studs on the left are duplicates of General Pistons. The Toe Studs on the right are
Pedal Divisional Toe Studs.
To set a Pedal Divisional Toe Stud...
Select the desired Pedal stops.
Hold the SET button, and momentarily press the desired Pedal Toe Stud.
Finally, release the SET button.
When you set a General Piston, that combination is set automatically on the Toe Stud of the same
number. That is, setting General Piston 3 also places its combination on General Toe Stud 3.
Note: The organ’s capture system is not operable until about six seconds after the organ is turned
on. RECALL PISTON
The “R” Piston recalls the last combination set prior to using any General or Divisional piston.
VI. ARTISTIC REGISTRATION
(Trained organists might not need to review this section.)
Organ registrations fall into two broad categories: solo combinations and ensembles. A solo
combination is one in which a melody is played on one keyboard, the accompaniment on another
keyboard, and the pedal often provides a light bass line. Almost any stop or combination of stops
will sound good as a solo voice. A contrasting tone quality should be chosen for the accompaniment,
so that the accompaniment is softer than the solo voice. The pedal stops must provide a foundation
for the sound without covering it.
Most 8’ reed stops make interesting solo voices. The addition of a 4’ flute or a flute mutation (e.g.,
Nasard or Tierce) to a reed such as the Trompette colors the sound further and increases its volume
slightly. Adding an 8’ flute to a reed will add body to the sound.
Flutes can be used alone or in combinations as solo voices. One special combination of flutes that
creates an appealing and historically significant solo combination is the Cornet (pronounced kor-
NAY). The Cornet is created by using Swell flute stops at these pitches: 8’, 4’, 2-2/3’, 2’ and 1-3/5’.
This combination was used widely in Baroque organ music, but it is just as appropriate for some
modern music. Useful variations of the Cornet may be achieved by eliminating the 4’, the 2’, or
both.
When choosing stops for a solo voice, it is not always necessary to include an 8’ stop. For example,
since the 4’ flute has a tone quality different from that of the 8’ flute, the 4’ flute can be used as an
independent solo voice. By playing the solo an octave lower than written, the notes will sound at the
correct pitch. In similar fashion, a 16’ stop can be selected and the notes played an octave higher
than written. Tonal variety will be gained, because each stop has its own tone color.

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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, but the flute will often contribute greater interest because of its greater contrast.
Seek a “natural” balance of volume between solo and accompaniment. This will be especially easy
to accomplish if the solo and accompaniment are under separate expression.
SUGGESTED SOLO REGISTRATIONS
CHIMES SOLO
Swell: Viola 8’, Viola Celeste 8’
Great: Chimes
Pedal: Lieblichgedackt 16’, Swell to Pedal
Play solo on Great.
SOLO CORNET COMBINATION
Swell: Gedeckt 8’, Nachthorn 4’, Nasard 2-2/3’, Piccolo 2’, Tierce 1-3/5’
Great: Harmonic Flute 8’; or Erzähler Celeste II 8’
Pedal: Lieblichgedackt 16’, Flute 8’
Play solo on Swell.
FLUTE SOLO
Swell: Gedackt 8’, Orchestral Flute 4’
Great: Erzähler Celeste II 8’
Pedal: Lieblichgedackt 16’, Swell to Pedal
Play solo on Swell
TRUMPET SOLO
Swell: French Trumpet 8’
Great: Diapason 8’, Octave 4’; Fifteenth 2'
Pedal: Diapason 16’, Octave 8’, Choralbass 4'
Play solo on Swell.
FESTIVAL TRUMPET SOLO
Swell: Gedackt 8’, Viola 8’, Octave 4’, Piccolo 2’ Fourniture IV, Swell 2nd Voices
Great: Diapason 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Fifteenth 2’, Mixture IV,
Swell to Great
Pedal: Diapason 16’, Octave 8’, Choralbass 4’, Mixture III, Waldhorn 16’, Tromba 8’, Great
to Pedal, Swell to Pedal
General: Tuba Unenclosed Uncoupled
Play solo on Swell

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These few combinations demonstrate basic techniques of solo registration. In creating registrations
of your own, remember these three simple rules:
1. Seek tonal contrast between solo and accompaniment.
2. Be sure the solo is louder than the accompaniment.
3. Choose a solo whose character is appropriate to the specific piece.
ENSEMBLE REGISTRATIONS
Ensemble registrations involve groups of stops that are played together, usually, but not always, with
both hands on one keyboard. They are characterized by compatibility of tone, clarity, and
occasionally power. Such registrations are used in hymn singing, choir accompaniments, and much
of the contrapuntal organ literature.
Ensembles are created by combining stops. Two factors to be considered are: tone quality and pitch.
Ensembles begin with a few stops at 8’ pitch and expand “outward” in pitch as they build up. New
pitches are usually added in preference to additional 8’ stops.
Ensembles are generally divided into three groups or “choruses”:
The Principal chorus, the most fully developed, is represented in most divisions of the organ and
at pitches from 16’ (Diapason) to high mixtures. The Principal chorus is sometimes called the
narrow-scale flue chorus, a reference to the relative thinness of principal pipes in relation to their
length.
The Flute chorus is also well represented with a diversity of stops at various pitches. Generally
speaking, the Flute chorus is composed of less harmonically developed tones, and is smoother
and of lesser volume than the Principal chorus. The Flute chorus is sometimes called the wide-
scale flue chorus, owing to the generally “fatter” look of Flute pipes as compared to Principals.
The Reed chorus includes those reed tones designed to be used in the ensemble buildup. Not all
reed voices are ensemble tones. An Hautbois, for example, is usually a solo stop. The various
Trumpets, Clairons, Posaunes, etc., are ensemble voices that add brilliance, power, and
incisiveness to the sound.
The Swell Reed chorus of Waldhorn 16’ and French Trumpet 8’ represents an entity important to
French organ music and the full ensemble of the organ. These stops create a “blaze” of harmonic
richness that tops off the Principal and Flute choruses.
Another special ensemble combination important in French music is the Cornet, which was discussed
in the section on solo registration. This combination can be used with the chorus reeds and mutations
to create the “Grand Jeu.” The Cornet is also useful in Romantic ensembles to add weight and
thickness to the sound.

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Here are typical ensemble combinations for the Swell and Great manuals:
GREAT
1. Harmonic Flute 8’, Spitzflöte 4’
2. Harmonic Flute 8’, Spitzflöte 4’, Fifteenth 2’
3. Diapason 8’, Octave 4’
4. Diapason 8’, Octave 4’, Fifteenth 2’
5. Diapason 8’, Octave 4’, Fifteenth 2’, Mixture IV
6. Diapason 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Fifteenth 2’, Mixture IV
SWELL
1. Gedackt 8’, Viola 8’
2. Gedackt 8’, Viola 8’, Nachthorn 4’
3. Gedackt 8’, Viola 8’, Nachthorn 4’, Piccolo 2’
4. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’
5. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV, French Trumpet 8’
The use of the Swell to Great coupler allows these separate ensembles to be combined on the Great
manual. For example, the Great #5 and Swell #4 registrations coupled together and played on the
Great combine to form a nice round hymn combination.
The Pedal ensemble is created in much the same way as the manual ensembles, starting at 16’ pitch
instead of 8’. Be careful that the volume of the pedals is not greater than that of the manuals.
Although the manual to pedal couplers are useful in bringing clarity to the pedal line, especially on
softer registrations, avoid the temptation to rely constantly on one or two 16’ stops and a coupler.
Please note that the softest stops and flute mutations are normally not used in ensembles.
FULL ORGAN
Due to the immense capabilities of your Allen Organ, every stop and coupler on the instrument could
be used simultaneously. In good registration practice, however, the organist would not haphazardly
put on every stop on the instrument. For best results, listen and include only those stops whose
contribution to the fullness and brilliance of the ensemble you can hear when they are added.
Eliminate soft stops and solo stops that make no audible contribution.
This short treatment barely scratches the surface of organ registration. For those interested in
gaining further insight into this vital area of organ playing, we recommend the following resources:
Audsley, George Ashdown. Organ Stops and their Artistic Registration.
Hialeah, FL: C.P.P. Belwin, 1985.
Irwin, Stevens. Dictionary of Pipe Organ Stops. 2nd ed.
New York: Macmillan Books, 1983.
Cherrington, Dr. Sally. A Church Organist's Primer. Volumes I, II, & III.
Allen Organ Company. Video Materials, 1996/1997.
AOC P.N: 031-0047, 031-0065, 031-0112.

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VII. TRANSPOSER
The organ can perform the difficult task of transposing, while allowing the organist to play in the
noted key. Operation of the Transposer is controlled by the Transposer function, found in the
Console Controller. Neutral (no transposition) position is indicated by the number “0” in the
Console Controller’s display To shift the music to a different key, position the flashing cursor on
the transposer value (press the CURSOR button on the Console Controller) and then turn the
ROTARY DIAL in either direction. The key can be raised a maximum of five half steps and can be
lowered a total of seven half steps.
A RED INDICATOR LIGHT COMES ON WHENEVER THE TRANSPOSER IS OUT OF
NEUTRAL (“0”) POSITION. This is to warn the organist that the instrument is not ready to play in
the same key as when in the Neutral 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.
VIII. ACOUSTIC PORTRAIT™
Allen Organ instruments 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! The LD-34 features 10 different
Acoustic Portraits™, ranging from intimate rooms to cavernous cathedrals.
The switch labeled “Acoustic Portrait” on the Console Controller™ must be ON to hear the selected
Acoustic Portrait™. The overall Acoustic Portrait™gain can be changed. The selected Acoustic
Portrait™gain, measured in dB (decibels), is shown in the Console Controller™ window. The range
of control for each Acoustic Portrait™is from +6dB to minus 35dB. Minus 35dB is the least amount
of gain. +6dB is the maximum amount of gain.
When changing to a different Acoustic Portrait™, the new selection will automatically load in 3
seconds.
See the Console Controller™guide later in this manual for more information relating to Acoustic
Portrait™.

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IX. MULTIPLE VOICE SETS
The LD-34 provides the versatility of two separate and distinct organs in one console. Choose from
American Classic or French Romantic for the stop list that perfectly complements your music. The
specifications are comprised of unique pipe samples from the world’s finest examples of each major
organ-building style. The touch of a button changes the entire organ to the stop list of your choice!
The active voice specification can be viewed in the Console Controller window. See the Console
Controller™guide later in this manual for more information about this feature.
X. REAL XPRESSION™
The LD-34 is equipped with Real Xpression™. Real Xpression™ not only changes the organ’s
volume, but also its response. This is the same thrilling feeling you get when you hear a pipe organ
really open up. Real Xpression™ faithfully recreates how expression shutters affect a pipe organ’s
sound. Real Expression is always active and may be adjusted to suit the room’s acoustics the organ
is installed in. Please contact your Allen Organ representative to complete adjustments.
XI. INSTALLATION, VOICING, AND CARE OF THE ORGAN
INSTALLATION
Wherever your organ may be situated, careful installation is a prerequisite to successful results.
Your Allen representative is well qualified to guide you in planning the finest possible installation.
Factory assistance in planning the installation is also available and may, in fact, be sought by your
Allen Organ representative.
VOICING
Your organ presents unprecedented accuracy in the scaling and voicing of each note of every stop.
Should you require that these parameters be changed, your Allen Organ representative is able to help
make such changes. Final adjustments in scaling and voicing involve procedures that are best left to
an expert. These adjustments normally are a part of installation, and once done, should not require
changes. If the organ is moved to a new location or major changes are made to the acoustical
properties of the room the organ resides in, the instrument may need to be tonally finished again.
MEMORY SYSTEM
The memory for the capture system and other miscellaneous settings on your Allen Organ utilizes
revolutionary “flash” technology for storage. This allows capture settings and related items to be
retained in memory when the organ is switched off or unplugged. No batteries are ever required
which means that regular battery maintenance, normally required every few years, has been
eliminated.
CARE OF THE ORGAN
Your Allen Organ constitutes a major advance in long-term maintenance-free operation. There are
no regular maintenance procedures required and, therefore, no periodic maintenance schedules to be
observed.
Reasonable care will keep the instrument looking beautiful for years to come. The wood surfaces
may be cleaned using a soft cloth dampened with lukewarm water. A mild solution of lukewarm
water and dish detergent may be used to remove fingerprints, etc. Polish dry with a soft cloth. Do
not use wax, sprays or oils on the finish. Satin finished surfaces will take on a semi-gloss appearance
when waxed and will eventually become yellowed.

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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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XII. 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.
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.

15
XIII. CONSOLE CONTROLLER™ GUIDE
A. BASIC OPERATION.............................................................................................................16
1. Start-Up Sequence.............................................................................................................................................................................................16
2. Advancing Through the Windows....................................................................................................................................................................17
3. Selecting the Capture Memories.......................................................................................................................................................................17
4. Saving Registrations Using Pistons and Toe Studs ..........................................................................................................................................18
5. Locking Capture Memories...............................................................................................................................................................................19
6. Unlocking Memories Using Your Code ...........................................................................................................................................................19
7. Unlocking All Memories If You Forget Your Code.........................................................................................................................................20
8. Stop Action and Capture Self Check ................................................................................................................................................................20
9. Multiple Voice Sets (two voicing specifications).............................................................................................................................................20
10. Acoustic Portrait™Settings...............................................................................................................................................................................21
B. ADVANCED OPERATION..................................................................................................22
1. Selecting an Alternate Tuning...........................................................................................................................................................................22
2. Configuring Divisional Pistons and General Pistons........................................................................................................................................23
3. Modifying the Crescendo and Tutti’s ...............................................................................................................................................................24
4. Sostenuto ...........................................................................................................................................................................................................27
5. Global Tuning....................................................................................................................................................................................................27
6. Hymn Player......................................................................................................................................................................................................28
C. MIDI FUNCTIONS................................................................................................................28
1. Standard MIDI Channel Assignments ..............................................................................................................................................................29
2. Transferring and Saving Capture Memory Data to a Sequencer......................................................................................................................29
3. Return Capture Memory Data from a Sequencer to the Organ ........................................................................................................................30
4. 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. Connecting a MIDI Sequence Recorder ...........................................................................................................................................................32
2. MIDI Transmission Channels ...........................................................................................................................................................................32
3. Allen Organ Company Hymn Player Song List (LDS Version).......................................................................................................................33

16
INTRODUCTION
The Console Controller™ is an interface that controls many organ functions. The Console Controller
is pictured below (console drawer version) and includes a window that displays functions, one at a
time, as well as an integrated Rotary Dial with push buttons used to make selections.
A. BASIC OPERATION
1. Start-Up Sequence
Open the Console Controller drawer before turning the organ on. Turn on the organ's main
power switch. The LCD window in the drawer 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.
Allen Organ Co.
Copyright(c)2000
SMAP: XXXXXXXXXX
CODE: X.XX

17
Then finally the Main Window function is displayed:
Important: The Allen Organ includes several self-testing features. If a warning is displayed
in this sequence, you should contact your Allen authorized representative immediately!
2. Advancing Through the Windows
The Allen Organ operating software contains many settings that are user-programmable.
Each setting can be programmed via the Console Controller's™display. These settings are
divided up into many window functions. To advance the Console Controller's™display to the
next window function, press the CURSOR button until the blinking CURSOR is 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 parameters 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, then release both pistons. This procedure will
always return the Console Controller’s display to the Main
Window function.
Repeat this procedure to advance through all of the windows. The last window function will
display:
3. Selecting the Capture Memories
Locate the CURSOR button on the face of 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 16 (see Note 2 below), to MEM 15.
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.
MEM - 1 ┌┐
└┘
UNLOCK ALL
CAPTURE MEMORIES

18
Note 1: The LD-34 includes an LDS specified set of registration examples stored on each
piston of the last available capture memory. You may re-program these registrations to your
own registrations. See Section XIV later in this manual for a listing of the programmed
registrations.
Note 2: The LD-34 is equipped with 16 capture memories.
4. Saving Registrations Using Pistons and Toe Studs
A registration is any combination of stop tabs and/or drawknobs. These registrations can be
stored (remembered) by the organ’s capture memory system. The pistons and toe studs/toe
pistons provide a way to make changes quickly from one registration to another.
General Pistons are those that affect all stops on the organ. These are located on the left
side, underneath the keyboards on the piston rails.
Divisional Pistons affect only those stops associated with the particular manual above them.
They are located in the center of the piston rails below the keyboards.
Located just above the pedalboard are Toe Studs. Toe Studs to the left of the expression
shoes duplicate the General Pistons (GEN-10, GEN-9, GEN-8, etc.). Those to the right of the
shoes are Pedal Divisional Pistons (PED-1, PED-2, PED-3, etc.).
To Save a Registration to a General Piston:
The Main Window function in the Console Controller™drawer must be displayed (See
Section A-2). Select any memory number (MEM-1, MEM-2 ... MEM-16, etc.)(see section A-
3 and Note 2 above regarding capture memory levels); however, for this example use MEM-
1. Next, select the desired stops you want General Piston 1 to remember. Once the stops are
selected, press and hold the SET piston, the press and release General Piston 1. Finally,
release the SET piston. General Piston 1 will now store in memory the stops you selected.
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 must be displayed, (See Section A-2). Select a memory (MEM-1,
MEM-2, etc.)(see section A-3 and Note 2 above regarding capture memory levels). Select the
division stops you want the associated Divisional piston to remember. While holding the
SET piston, press and release a Divisional Piston you want to save to. Finally, release the
SET piston. The Divisional Piston pressed will now store the stops you selected.
Intermanual Couplers/Reversibles
The intermanual coupler’s, (e.g., Swell to Great, Great to Pedal, etc.) settings can be
remembered by both the General pistons and Divisional pistons on the LD-34.
Reversible pistons may also control Intermanual couplers. These pistons reverse the
condition or "toggle" the associated stop. If a stop is ON when the associated Reversible
piston is pressed, that stop will turn OFF. If the stop is OFF when pressed, it will turn ON.

19
To Save Registrations using Toe Studs/Toe Pistons
Toe Studs/Toe Pistons can store registrations similar to General and Divisional pistons. Toe
Studs allow stored registrations to be addressed using feet instead of hands.
Note: Setting a General Toe Stud/Piston will change the registration for BOTH the toe stud
and the corresponding hand piston, i.e. General Piston 10 is identical to General Toe Stud 10,
while General Piston 6 is identical to General Toe Stud 6.
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. The Console Controller must
display the Main Window function in the drawer (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, 0-0-7, etc.). Use General Piston 1 for the 1 digit and General
Piston 10 for the zero digits. In the Console Controller™locate the MEMORY button. Press
and hold the MEMORY button. While holding MEMORY, press the General Pistons that
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.
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 capture memory is selected, press and hold the MEMORY
button in the Console Controller™. 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 10
(Piston 10 = zero). Release the MEMORY button. The "L" will disappear, indicating that
this memory is now unlocked.
MEM: 2L ┌┐
└┘
MEM: 2 ┌┐
└┘

20
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™and press General
Pistons 2-5-5. 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. Registrations remain unchanged.
8. Stop Action and Capture Self Check
This feature self-checks the capture system. It tests to insure each stop is functioning
properly and 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 light on and off consecutively. If any stop does not light, notify your Allen
service technician. During the testing process you can interrupt and 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. Multiple Voice Sets (two voicing specifications)
The LD-34 includes two voicing specifications: American Classic and French Romantic
(without second voices). A new voicing specification can be selected from the Console
Controller™at any time. To change a voicing specification, advance to the Sound 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 to position the
flashing 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 press the MEMORY button on the Console Controller. Release
both.
UNLOCK ALL
CAPTURE MEMORIES
SELF CHECK
OFF
SOUND LIBRARY
AMERICAN CLASSIC