Allen Organ Company LLC Q300T User manual

AOC P/N 033-00174 Revised 10/2012
Owner’s Manual
3 Manual Series Classical Organs
Q300T
Copyright © 2012 Allen Organ Company LLC
All Rights Reserved

i
ALLEN ORGAN COMPANY
For more than sixty years--practically the entire history of electronic organs-- Allen Organ
Company has built the finest organs that technology would allow.
In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone
generators for this instrument used two hundred forty-four vacuum tubes, contained about five
thousand components, and weighed nearly three hundred pounds. Even with all this equipment,
the specification included relatively few stops.
By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of
transistorized instruments were built, including some of the largest, most sophisticated oscillator
organs ever designed.
Only a radical technological breakthrough could improve upon the performance of Allen’s
oscillator organs. Such a breakthrough came in conjunction with the United States Space Program
in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the
world’s first musical instrument utilizing digitally sampled voices!
Your organ is significantly advanced since the first generation Allen digital instrument. Organs
with Renaissancetechnology are the product of years of advancements in digital sound and
control techniques by Allen Organ Company. This system represents the apex of digital
technology applied to exacting musical tasks. The result is a musical instrument of remarkably
advanced tone quality and performance.
Congratulations on the purchase of your new Allen Organ! You have acquired the most
advanced electronic organ ever built, one that harnesses a sophisticated custom computer system
to create and control beautiful organ sound. Familiarize yourself with the instrument by reading
through this booklet.
Contents
I. ORGAN STOPS ..................................................................................................................1
II. SPECIALIZED STOP CONTROLS ...................................................................................2
III. EXPRESSION & CRESCENDO SHOES...........................................................................3
IV. TUTTI I and TUTTI II.........................................................................................................3
V. SETTING PISTONS............................................................................................................4
VI. ARTISTIC REGISTRATION .............................................................................................5
VII. TRANSPOSER....................................................................................................................8
VIII. ACOUSTIC PORTRAIT™ SETTINGS .............................................................................8
IX. STOPLIST LIBRARY......................................................................................................9
X. ACOUSTIC DIMENSION™..............................................................................................9
XI. REAL XPRESSION™ ........................................................................................................9
XII. INSTALLATION, VOICING, AND CARE OF THE ORGAN .......................................10
XIII. SAFETY INFORMATION ...............................................................................................11
XIV. CONSOLE CONTROLLER™ GUIDE ............................................................................13

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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.
Note: This Section includes a general listing of stop controls found on three-manual organs. Not
all of these controls are included in every three-manual Allen Organ model.
Swell Unison Off Turns off stops in the Swell Division at their normal pitch, while allowing
them to speak at octave and sub-octave pitch when the octave and sub-
octave couplers are drawn.
MIDI on Pedal Opens MIDI channel to the Pedal.
MIDI on Swell Opens MIDI channel to the Swell
MIDI on Great Opens MIDI channel to the Great.
MIDI on Positiv Opens MIDI channel to the Positiv.
Tremulant This stop provides a vibrato effect, natural in the human voice and wind
instruments.
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. Useful
for Gospel music. Also known as “Vibrato.”
Melody Coupler When playing on the Great manual, the highest key played on the Great
(Sw>Gt) 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 8’ Trompette, the
melody played by the top note on the Great is accentuated.
Bass Coupler Similar to the Melody coupler, however, in this case the lowest note played
on the Great will also play all stops drawn in the Pedal Division. This
allows voices normally played from the pedalboard to be heard without
using the pedalboard.

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Alternate Tuning When activated, the organ’s tuning will change to the alternate tuning
selected from the Console Controller™. See the Console Controller Guide,
later in this Manual, for more information relating to Alternate Tunings.
8’ Great to Pedal Connects all Great Division voices to the pedalboard at the pitch indicated
on the Great stops.
8’ Swell to Pedal Connects all Swell Division voices to the pedalboard at the pitch indicated
on the Swell stops.
8’ Swell to Great Intermanual coupler connecting most Swell stops to the Great manual at the
Swell stop’s indicated pitch.
8’ Positiv to Great Intermanual coupler connecting all Positiv stops to the Great manual at the
Positiv stop’s indicated pitch.
8’ Swell to Positiv Intermanual coupler connecting most Swell stops to the Positiv manual at
the Swell stop’s indicated pitch.
Manual Transfer Exchanges stops and Divisional Pistons in the Great and Positiv Divisions
so that the stops from the Great Division are played from the bottom Positiv
manual and the stops from the Positiv Division are played from Great
manual.
III. EXPRESSION & CRESCENDO SHOES
The organ’s control pedals (called “shoes”) control expression and crescendo.
The left-most shoe expresses the Great, Pedal, and Positiv Divisions.
The next shoe expresses the Swell Division.
The right-most shoe is the Crescendo shoe. It is a master Crescendo for all divisions. It
gradually adds stops as it is opened. 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.
IV. TUTTI I and TUTTI II
The Tutti I and II pistons are sets for full organ registrations. Tutti II has a larger, louder
registration, than Tutti I. The Tuttis are turned on and off by 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 Tuttis can be programmed by the organist. Like the
Crescendo, indiscriminate use of Tuttis should be avoided. See the Console ControllerGuide
later in this Manual for more information relating to changing secondary Tuttis settings.

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V. SETTING PISTONS
SETTING GENERAL PISTONS
Your Allen Organ’s capture system lets you set stop registration combinations in each of its
memories. Each Allen Organ model has different piston layouts to accommodate organ size. The
maximum number of available capture memories is 8.
To set a 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 “remembers” 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
If your Allen Organ contains Divisional pistons in addition to General pistons, the piston setting
process in each case 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.
The MIDI stops can be set on either Divisional or General pistons. The intermanual couplers can
only be set on General Pistons. These rules can be modified if you wish to reconfigure the
pistons. See the Console ControllerGuide later in this Manual for more information relating to
reconfiguring pistons.
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.

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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.
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 accompanimental 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: Viole 8’, Voix Celeste 8’
Great: Chimes
Positiv: Holz Gedackt 8’, Swell to Positiv 8’
Pedal: Bourdon Doux 16’, Swell to Pedal 8’
Play solo on Great and accompaniment on Swell or Positiv.

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SOLO CORNET COMBINATION
Swell: Rohr Bourdon 8’, Flûte 4’, Nasard 2-2/3’, Octavin 2’, Tierce 1-3/5’
Great: Viole 8’
Positiv: Holz Gedackt 8’
Pedal: Bourdon Doux 16’, Gedackt 8’
Play solo melody on Swell and accompaniment on Great or Positiv.
TRUMPET SOLO
Swell: Trompette 8’
Great: Principal 8’, Viole 8’, Octave 4’, Positiv to Great 8’
Positiv: Holz Gedackt 8’, Koppelflöte 4’
Pedal: Contre Violone 32’, Bourdon 16’, Octave 8’, Positiv to Pedal 8’
Play solo melody on Swell and accompaniment on Great or Positiv.
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.

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The Swell Reed chorus of Basson 16’ and Trompette 8’ represents an entity important to
French organ music and the full ensemble of the organ. These stops create a “blaze” of
harmonic richness that tops off the Principal and Flute choruses.
Another special ensemble combination important in French music is the Cornet, which was
discussed in the section on solo registration. This combination can be used with the chorus reeds
and mutations to create the “Grand Jeu.” The Cornet is also useful in Romantic ensembles to add
weight and thickness to the sound.
Here are typical ensemble combinations for the Swell, Great and Positiv manuals:
GREAT
1. Harmonic Flute 8’, Spire Flute 4’
2. Harmonic Flute 8’, Spire Flute 4’, Fifteenth 2’
3. Principal 8’, Octave 4’
4. Principal 8’, Octave 4’, Fifteenth 2’
5. Principal 8’, Octave 4’, Fifteenth 2’, Mixture IV
6. Principal 8’, Harmonic Flute 8’, Octave 4’, Spire Flute 4’, Fifteenth 2’, Mixture IV
SWELL
1. Rohr Bourdon 8’, Viole 8’
2. Rohr Bourdon 8’, Viole 8’, Flûte 4’
3. Rohr Bourdon 8’, Viole 8’, Flûte 4’, Octavin 2’
4. Rohr Bourdon 8’, Viole 8’, Geigen Octave 4’, Flûte 4’, Octavin 2’
5. Rohr Bourdon 8’, Viole 8’, Geigen Octave 4’, Flûte 4’, Octavin 2’, Plein-jeu IV
6. Rohr Bourdon 8’, Viole 8’, Geigen Octave 4’, Flûte 4’, Octavin 2’, Plein-jeu IV, Trompette 8’
POSITIV
1. Holzgedackt 8’
2. Holzgedackt 8’, Koppelflöte 4’
3. Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’
4. Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’, Oktav 2’
5. Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’, Oktav 2’, Mixture III
The use of the Swell to Great and/or Positiv 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.

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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, 2008.
AOC P.N: 031-00092.
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 cursor on the
transposer value then turn the ROTARY KNOB in either direction. The display will indicate the
new transposer value. The key can be raised a maximum of five half steps and lowered a total of
seven half steps.
A RED INDICATOR LIGHT COMES ON WHENEVER THE TRANSPOSER IS OUT OF THE
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. It is a good habit to operate the organ with the
Console Controller™drawer open (if applicable).
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™ SETTINGS
Acoustic Portrait™ — Quantum™ 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 that uses 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
Quantum™ organ features 10 different Acoustic Portraits™, ranging from intimate rooms to
cavernous cathedrals.

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The switch labeled ACOUSTIC PORTRAIT™ in 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.
IX. STOPLIST LIBRARY
Stoplist Library™ provides the versatility of seven separate and distinct organs in one console.
Choose from Classic Allen, Aeolian-Skinner, English Cathedral, Cavaillé-Coll, Schlicker, Arp
Schnitger or Orchestral 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!
In addition to a compliment of traditional organ voices, the Orchestral specification offers many
sounds typically found in MIDI modules. These include: Strings, Piano, Brass, Woodwinds and
Percussion.
The Stoplist Library™ display in the organ’s center section indicates if the Classic Allen
specification or an alternate specification is active. The current alternate specification that is active
can be viewed in the Console Controller window. For details on how to access the seven voice sets
in the Console Controller, go to the Console Controller section of this manual and turn to the
Stoplist LibraryTM section.
X. ACOUSTIC DIMENSION™
Acoustic Dimension™ provides dedicated “presence projection” speakers installed on the organ
console to enhance the effect of Acoustic Portrait™. These speakers include their own separate
amplification system. A separate volume adjustment is included to control the amount of Acoustic
Dimension. Since Acoustic Dimension operates in tandem with the Acoustic Portrait, if the
Acoustic Portrait switch is in the OFF position, the Acoustic Dimension speakers will not produce
any sound.
XI. REAL XPRESSION™
Your Allen Organ is equipped with Real Xpression™. Real Xpression not only changes the
organ’s volume, but also it’s 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. The Real Expression feature 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.

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XII. 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 is
no regular maintenance procedures required and, therefore, no periodic maintenance schedules to
be observed.
Reasonable care will keep the instrument looking beautiful for years to come. The wood surfaces
may be cleaned using a soft cloth dampened with lukewarm water. A mild solution of lukewarm
water and dish detergent may be used to remove fingerprints, etc. Polish dry with a soft cloth. Do
not use wax, sprays or oils on the finish. Satin finished surfaces will take on a semi-gloss
appearance when waxed and will eventually become yellowed.
Keys and stop tablets should be cleaned in the following manner: Use two clean cloths. Immerse
one in clear, lukewarm water and wring it thoroughly damp dry. Loosen the dirt with this cloth,
and then polish immediately with the dry cloth. Do not use soap or detergent on keys or stop
tablets.
To polish the clear music rack, a furniture wax polish may be sprayed on a soft dry cloth and
rubbed on the front of the music rack. Keep the wax off of the wood finishes. This will help keep
the music rack clear.
You have purchased a remarkable organ that not only faithfully reproduces the organ traditions of
the past but also anticipates the innovations of the future. Should you have questions that are not
addressed in this manual, please do not hesitate to contact your local Allen Organ representative.
Welcome to the family of satisfied Allen Organ owners!

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XIII. 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.

Q300T 12
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.
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.

Q300T 13
XIV. CONSOLE CONTROLLER™ GUIDE
Note: This Guide is designed to serve various Console Controllersoftware versions. As a result,
there may be variations in the way a particular Console Controlleroperates.
A. BASIC OPERATION..........................................................................................14
1. Start-Up Sequence.....................................................................................................................................................................14
2. Advancing Through the Windows............................................................................................................................................15
3. Selecting the Capture Memories...............................................................................................................................................15
4. Saving Registrations Using Pistons and Toe Studs..................................................................................................................15
5. Locking Capture Memories ......................................................................................................................................................17
6. Unlocking Capture Memories Using Your Code.....................................................................................................................17
7. Unlocking All Capture Memories.............................................................................................................................................17
8. Stop Action and Capture Self Check........................................................................................................................................18
9. Stoplist Library......................................................................................................................................................................18
10. Acoustic PortraitSettings ......................................................................................................................................................19
11. Virtual AcousticsSettings (Protégé L-9 ONLY) ..................................................................................................................21
12. Transposer.................................................................................................................................................................................21
B. ADVANCED OPERATION ...............................................................................22
1. Selecting an Alternate Tuning ..................................................................................................................................................22
2. Configuring Divisional Pistons and General Pistons ...............................................................................................................22
3. Modifying the Crescendo and Tuttis ........................................................................................................................................24
4. Restoring Original Factory Settings .........................................................................................................................................27
5. Sostenuto...................................................................................................................................................................................27
6. Global Tuning...........................................................................................................................................................................28
7. Hymn Player...........................................................................................................................................................................28
C. MIDI FUNCTIONS.............................................................................................30
1. Standard MIDI Channel Assignments......................................................................................................................................30
2. Selecting Program Change Modes, Viewing Program Numbers or General MIDI Sound Names .........................................30
3. General MIDI Sound Names or Program Numbers..................................................................................................................31
4. Assigning MIDI Program Changes to Organ Pistons...............................................................................................................33
5. MIDI Bank Selecting................................................................................................................................................................33
6. Changing the MIDI Base Channel............................................................................................................................................35
7. MIDI Expression Settings.........................................................................................................................................................35
8. MIDI Sustain Kick Switch........................................................................................................................................................36
9. Organ Local Off........................................................................................................................................................................36
10. Transferring and Saving Capture Memory Data to a Sequencer..............................................................................................37
11. Return Capture Memory Data from a Sequencer to the Organ................................................................................................37
12. Transmission/Reception of Individual Stop Data.....................................................................................................................38
D. QUICK REFERENCE GUIDE..........................................................................39
1. Basic Operations Review..........................................................................................................................................................39
2. Advanced Operations Review ..................................................................................................................................................39
E. MIDI GUIDE........................................................................................................40
1. MIDI for Organists....................................................................................................................................................................40
2. Connecting Allen Organs to Other MIDI Devices...................................................................................................................41
3. Allen’s Exclusive MIDI System...............................................................................................................................................42
4. MIDI Transmission Channels...................................................................................................................................................42
5. General MIDI Sound Set ..........................................................................................................................................................44
6. Allen Organ Company Hymn Player Songs List......................................................................................................................45

Q300T 14
INTRODUCTION
The Console Controller™ is an interface that controls many organ functions and a variety of MIDI
functions. The Console Controller is pictured below 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. Each window function is described in detail in this booklet.
A. BASIC OPERATION
1. Start-Up Sequence
Upon turning on the organ's main power switch the Console Controller™ will display "Allen
Organ Co. Copyright (©) 20xx" in its display window for several seconds.
During this start-up period do not press any keys, pedals, stops or move the expression
shoe(s). You may also notice that the power indicators will blink momentarily as well as the
stop indicators. The organ's computer is booting up during this time period and this is
considered a NORMAL condition. The organ will be ready to play when the Main window
function appears on the Console Controller™ and the power LED glows steadily.
The Main window function is the window that indicates the current capture memory as well as
the current Transposer value. The capture memory value
is on the first line at the upper left of the display. The
Transposer value is located on the right side of the
display. The Transposer value actually encompasses
both lines.
WARNING: If a warning is displayed in the start-up sequence, contact your authorized Allen
representative immediately.
MEM: 1
0

Q300T 15
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
The Main Window function must be displayed (See Section A-2). 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 8. Or, turn the ROTARY DIAL counter-clockwise to select the
memories sequentially from MEM 1 to MEM 8 (see Note 2 below), to MEM 7.
The capture memories allow you to save different registrations on each piston/toe piston. This
means General Piston 1 on MEM-1 may be totally different from General Piston 1 on
MEM-2, MEM-3, etc.
Note 1: Standard model Allen Organs include a factory set of registration examples stored on
each piston of the last available capture memory. You may re-program factory registrations to
your own registrations. To restore the factory registrations to the original settings, please see
RESTORING FACTORY SETTINGS referenced later in this manual.
Note 2: The number of available memories is dependent on the Allen Organ model you have.
There may be as many as 8 memories in the organ.
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.
UNLOCK ALL
CAPTURE MEMORIES

Q300T 16
General Pistons are those that affect all stops and drawknobs on the organ. These are located
on the left side, underneath the keyboards on the piston rails.
Divisional Pistons (not available on all models) affect only those stops associated with the
particular manual above them. They are located in the center of the piston rails below the
keyboards.
Toe Pistons/Studs (not available on all models) are located just above the pedalboard. 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.).
Saving 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-8, 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/drawknobs you want General Piston 1 to remember. Once the
stops/drawknobs are drawn, 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/drawknobs you selected.
Note: General Pistons are often set gradually from soft to loud with General 1 the softest and
General 10 the loudest.
Saving 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/drawknobs 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 and/or
drawknobs selected.
Saving Intermanual Couplers/Reversibles
The intermanual coupler’s, (e.g., Swell to Great, Great to Pedal, etc.) settings can be
remembered only by the General pistons, not Divisional pistons unless Divisional pistons are
reconfigured. (see Section B-2).
Reversible pistons (not available on all models) 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.
To Save Registrations using Toe Pistons/Toe Studs
Toe Pistons/Toe Studs can store registrations similar to General and Divisional pistons. Toe
Pistons allow stored registrations to be addressed using feet instead of hands.
Note: Setting a General Toe Piston/Stud will change the registration for BOTH the toe piston
and the corresponding hand piston, i.e. General Piston 10 is identical to General Toe Piston 10,
while General Piston 6 is identical to General Toe Piston 6.

Q300T 17
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 (The
button is labeled MEM in some versions of the Console Controller). 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 Capture 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.
7. Unlocking All Capture Memories
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.
UNLOCK ALL
CAPTURE MEMORIES
MEM: 2L
0
MEM: 2
0

Q300T 18
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 tablets
will illuminate on and off consecutively (drawknobs out and in). If a stop does not illuminate
or move, 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. Stoplist Library
Stoplist Library™ provides the versatility of multiple distinct organs in one console. Stoplist
LibraryTM provides a choice of Classic Allen, Aeolian-Skinner, English Cathedral, Orchestral,
Cavaillé-Coll, Schlicker and Arp Schnitger specifications. 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!
Stoplist LibraryDisplay Window
The Stoplist LibraryDisplay Window is located on the left hand panel above the Console
Controllernear the power switch.
Selecting Voice Suites with the Console Controller
While holding the SET piston, press the CANCEL piston. This will return the Console
Controller to the Main Window. The cursor will flash at the current capture memory level.
Press the CURSOR button. The cursor will now flash under the first “M” of [MEM].
SELF CHECK
OFF