Allen Organ Company LLC Quantum User manual

AOC P/N 033-00092 Revised 1/20/2009
Quantum™
4 Manual Series Classical Organs
For Organs with Version 3.02x Software
Copyright © 2005 Allen Organ Company
All Rights Reserved

Software Version 3.02x 1
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 ------------------------------------------------------------------------------- 2
II. SPECIALIZED STOP CONTROLS -------------------------------------------------------- 3
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™ SETTINGS-------------------------------------------------- 11
IX. QUAD SUITE-------------------------------------------------------------------------------- 12
X. INSTALLATION, VOICING, AND CARE OF THE ORGAN----------------------- 12
XI. SAFETY INFORMATION----------------------------------------------------------------- 13
XII. 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.

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Compound Voices:
Mixture, Fourniture
Voices produced by more than one rank sounding
simultaneously. Best registered with other stops.
Hybrid Voices:
Erzähler, Spitzflöte
Voices that combine the tonal characteristic of two families
of sound, e.g., flutes and principals, or strings and principals.
2. Reeds
In reed pipes, a metal tongue vibrates against an open flattened side of a metal tube called a
shallot. The characteristic sounds of different reeds are produced through resonators of different
shapes. The family of reeds subdivides as follows:
Chorus or Ensemble:
Double Trumpet, Tromba,
Posaune, Clarion,
Bombarde
Solo:
Hautbois, Clarinet,
Krummhorn
Voices of great harmonic development; some are imitative of
their orchestral counterparts.
Your Allen Organ provides authentic, digitally sampled voices. They are protected by copyrights
owned by the Allen Organ Company and are stored in memory devices, each having affixed to it a
copyright notice; e.g., © 2003 AOCO, © 2001 AOCO, etc., pursuant to Title 17 of the United
States Code, Section 101 et seq.
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 four-manual organs. Not
all of these controls are included in every four-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 Choir Opens MIDI channel to the Choir.
MIDI on Solo Opens MIDI channel to the Solo.
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.”

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English Swell Engaged along with stop controls having red italicized additional
voice names located in Swell Division. Engaging this stop lets the
English style voice qualities of the secondary red italicized voices
sound.
Gt-Pd 2nd Voices Engaged along with stop controls having red italicized additional
voice names located in the Great and Pedal Divisions. This lets the
voice qualities of the secondary red italicized voices to be heard.
Gt-Pd Unenclosed When engaged, the Great Choir Pedal Shoe will express only the
Choir Division. Also, the expression control for the Great and Pedal
Divisions is disabled, causing the Great and Pedal stops to sound at
full volume, regardless of the position of the Great-Choir-Pedal
expression shoe.
Choir Unenclosed When engaged, the Great Choir Pedal Shoe will express only the
Great and Pedal Divisions. Also, the expression control for the Choir
Division is disabled, causing the Choir stops to sound at full volume,
regardless of the position of the Great-Choir-Pedal expression shoe.
All Swells to Swell When engaged, it allows all voices to be expressed from the Swell
Division’s Expression Shoe.
Melody Coupler When playing on the Great manual, the highest key played on the
(Ch>Gt), (Sw>Gt) Great will automatically play all stops drawn on the Swell or Choir
(based on the stop engraving), in addition to those drawn on the
Great. By choosing a Swell or Choir 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 the Console Controller™. See the Console Controller
Guide, later in this Manual, for more information relating to Alternate
Tunings.
Swell Main Off Used in conjunction with Antiphonal controls. This control disables
(Gt/Pd, Choir, Solo) the specified divisional Main speakers. If engaged and the Antiphonal
controls are not engaged, the organ will not sound.
Swell To Antiphonal Causes the organ to speak from the Antiphonal speakers. The organ
(Gt/Pd, Choir, Solo) will speak from both Antiphonal and Main speakers. When the
divisional specific Main Off control is also drawn, the Antiphonal
speakers will sound alone.

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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.
4’ Swell to Pedal Connects all Swell Division voices to the pedalboard an octave higher
in pitch than the Swell stop indicates.
16’ Swell to Great Intermanual coupler connecting most Swell stops to the Great manual
at an octave lower than indicated.
8’ Swell to Great Intermanual coupler connecting most Swell stops to the Great manual
at the Swell stop’s indicated pitch.
4’ Swell to Great Intermanual coupler connecting most Swell stops to the Great manual
at an octave higher than indicated.
16’ Swell to Swell This is the Swell Division Sub-Octave Coupler. It makes Swell
voices speak one octave lower than the pitch indicated.
4’ Swell to Swell This is the Swell Division Octave Coupler. It makes Swell voices
speak one octave higher than the pitch indicated.
8’ Choir to Great Intermanual coupler connecting all Choir stops to the Great manual at
the Choir stop’s indicated pitch.
16’ Swell to Choir Intermanual coupler connecting most Swell stops to the Choir manual
at an octave lower than indicated.
8’ Swell to Choir Intermanual coupler connecting most Swell stops to the Choir manual
at the Swell stop’s indicated pitch.
4’ Swell to Choir Intermanual coupler connecting most Swell stops to the Choir manual
on octave higher than indicated.
Choir Unison Off Turns off all Choir stops on the Choir manual. Stops coupled into the
Choir from other divisions continue to sound from the Choir manual.
Also, Choir Division stops coupled to other manuals or the pedalboard
continue to sound.
Manual Transfer Gt>Ch Exchanges stops and Divisional Pistons in the Great and Choir
Divisions so the stops from the Great Division are played from the
bottom Choir Manual and the stops from the Choir 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 Divisions.
The next shoe expresses the Choir Division (this shoe is not included in all four-manual
models, in which case the Gt/Pd shoe will express the Choir Division)
The next shoe expresses the Swell Division.

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The next shoe expresses the Solo Division (this shoe will express the String Division in larger
four manual models).
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.
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 16.
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 “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.

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SETTING DIVISIONAL PISTONS
If your Allen Organ has 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.
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

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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: Bourdon 8’ or Voix Celeste 8’, Salicional 8’
Great: Chimes
Choir: Viole 8’ and Viole Celeste 8’, Swell to Choir 8’
Pedal: Bourdon doux (Sw) 16’, Swell to Pedal 8’
Play solo on Great and accompaniment on Swell or Choir
SOLO CORNET COMBINATION
Swell: Bourdon 8’, Traverse Flute 4’, Nasard 2-2/3’, Piccolo 2’, Tierce 1-3/5’
Great: Gamba 8’
Choir: Viole 8’
Pedal: Bourdon doux 16’, Gedacktflöte 8’
Play solo melody on Swell and accompaniment on Great or Choir.
TRUMPET SOLO
Swell: Salicional 8’, Bourdon 8’, Traverse Flute 4’,
Choir: Trompetta Real 8’
Great: Diapason 8’, Gamba 8’, Octave 4’, Swell to Great 8’
Pedal: Contre Bourdon 32’, Bourdon 16’, Violone 16’, Octave 8’, 8’ Swell to Pedal
Play melody on Choir and accompaniment on Great.
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.

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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.
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

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SWELL
1. Gedackt 8’, Viola 8’
2. Gedackt 8’, Viola 8’, Flute 4’
3. Gedackt 8’, Viola 8’, Flute 4’, Piccolo 2’
4. Gedackt 8’, Viola 8’, Spitzprinzipal 4’, Flute 4’, Piccolo 2’
5. Gedackt 8’, Viola 8’, Spitzprinzipal 4’, Flute 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola 8’, Spitzprinzipal 4’, Flute 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.
CHOIR
1. Viole 8’, Holzgedackt 8’
2. Viole 8’, Holzgedackt 8’, Koppelflöte 4’
3. Viole 8’, Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’
4. Viole 8’, Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’, Oktav 2’
5. Viole 8’, Holzgedackt 8’, Koppelflöte 4’, Prinzipal 4’, Oktav 2’, Cymbale III
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 knob, found on the face of
the Console Controller™. Neutral (no transposition) position for the knob is marked “z.” To
shift the music to a higher key, rotate the knob counter-clockwise. 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 KNOB IS
MOVED FROM THE NEUTRAL (“z”) 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 using impulse responses that
measure an actual room’s acoustic properties. These measurements are then stored in the organ's
computer memory. Through an advanced real-time mathematical process called convolution, the
acoustics of the sampled room actually become an integral part of the organ’s sound, producing a
noticeably smoother, more natural result than synthetic reverb. Allen engineers have recorded the
acoustics of cathedrals and other acoustically desirable buildings throughout the world. With
advanced processors (DSP) and patented low-latency convolution algorithms, Acoustic Portrait™
reproduces the true acoustic response of each original room with stunning realism! Each
Quantum™ organ features 10 different Acoustic Portraits™, ranging from intimate rooms to
cavernous cathedrals.
The switch labeled ACOUSTIC PORTRAIT™ in the Console Controller™ must be ON to hear
the selected Acoustic Portrait™. The 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.

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IX. QUAD SUITE
QuadSuite™ provides the versatility of four separate and distinct organs in one console. Choose
from American Classic, English Cathedral, French Romantic, or Neo-Baroque 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! An Orchestral specification, perfect for blended
worship, is available as an alternative to the English Cathedral specification, at time of purchase
only! 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.
A display in the organ's center section indicates which specification is active.
X. 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.
BATTERY BACKUP SYSTEM
A Lithium battery sustains the memory for the capture system on your Allen Organ. This allows
capture settings and related items to be retained in memory when the organ is switched off or
unplugged. Under normal circumstances, the Lithium battery should last for several years. A
built-in warning system alerts you when the battery becomes weak and needs to be replaced. You
need to have the Console Controller™ drawer open before the organ is turned on. If there is a
problem, the window displays:
This message displays for only six seconds or so after the organ is switched on; so, this is why the
Console Controller™ drawer should be opened before turning the organ ON. Should the battery
in your organ require replacement, contact your local authorized Allen Organ service
representative.
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.
WARNING
REPLACE BATTERY

Software Version 3.02x 13
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!
XI. 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.

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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.

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XII. 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................................................................................................16
1. START-UP SEQUENCE................................................................................................................................................................... 16
2. ADVANCING THROUGH THE WINDOWS ................................................................................................................................. 17
3. SELECTING THE CAPTURE MEMORIES.................................................................................................................................... 18
4. SAVING REGISTRATIONS USING PISTONS AND TOE STUDS ............................................................................................. 18
5. LOCKING CAPTURE MEMORIES ................................................................................................................................................ 19
6. UNLOCKING MEMORIES USING YOUR CODE ........................................................................................................................ 20
7. UNLOCKING ALL MEMORIES IF YOU FORGET YOUR CODE.............................................................................................. 20
8. SETTING THE CLOCK.................................................................................................................................................................... 20
9. STOP ACTION and CAPTURE SELF CHECK............................................................................................................................... 21
10. QUAD SUITE™................................................................................................................................................................................. 21
11. ACOUSTIC PORTRAIT™SETTINGS ............................................................................................................................................ 22
B. ADVANCED OPERATION .....................................................................................23
1. SELECTING AN ALTERNATE TUNING ...................................................................................................................................... 23
2. CONFIGURING DIVISIONAL PISTONS and GENERAL PISTONS........................................................................................... 24
3. MODIFYING THE CRESCENDO AND TUTTIS........................................................................................................................... 25
4. RESTORING ORIGINAL FACTORY SETTINGS ......................................................................................................................... 28
5. SOSTENUTO .................................................................................................................................................................................... 28
6. GLOBAL TUNING ........................................................................................................................................................................... 29
7. PISTON SEQUENCER ..................................................................................................................................................................... 29
C. MIDI FUNCTIONS...................................................................................................34
1. STANDARD MIDI CHANNEL ASSIGNMENTS .......................................................................................................................... 34
2. SELECTING PROGRAM CHANGE MODES, VIEWING PROGRAM NUMBERS or GENERAL MIDI SOUND NAMES... 35
3. GENERAL MIDI SOUND NAMES or PROGRAM NUMBERS ................................................................................................... 35
4. ASSIGNING MIDI PROGRAM CHANGES TO ORGAN PISTONS ............................................................................................ 37
5. MIDI BANK SELECTING ............................................................................................................................................................... 37
6. CHANGING the MIDI BASE CHANNEL....................................................................................................................................... 40
7. MIDI EXPRESSION SETTINGS ..................................................................................................................................................... 40
8. MIDI SUSTAIN KICK SWITCH...................................................................................................................................................... 41
9. TRANSFERRING and SAVING CAPTURE MEMORY DATA TO A SEQUENCER................................................................. 41
10. RETURN CAPTURE MEMORY DATA FROM A SEQUENCER TO THE ORGAN.................................................................. 42
11. TRANSMITTING STOP DATA....................................................................................................................................................... 42
D. PERFORMANCE RECORDER™ OPERATING INSTRUCTIONS..................42
1. SELECTING RECORD/PLAY-BACK MODES ............................................................................................................................. 43
2. START RECORDING....................................................................................................................................................................... 43
3. PLAYING BACK A RECORDING.................................................................................................................................................. 43
4. POSITIONING THE COUNTER NUMBER ................................................................................................................................... 44
5. CHANGING PLAYBACK SPEED .................................................................................................................................................. 44
6. RECORDING AN EXTERNAL MIDI DEVICE ............................................................................................................................. 44
7. RETURNING TO THE MAIN WINDOW ....................................................................................................................................... 44
E. QUICK REFERENCE GUIDE ................................................................................45
1. BASIC OPERATIONS REVIEW ..................................................................................................................................................... 45
2. ADVANCED OPERATIONS REVIEW........................................................................................................................................... 45
F. MIDI GUIDE..............................................................................................................46
1. MIDI FOR ORGANISTS .................................................................................................................................................................. 46
2. CONNECTING ALLEN ORGANS TO OTHER MIDI DEVICES ................................................................................................. 47
3. MIDI................................................................................................................................................................................................... 48
4. MIDI TRANSMISSION CHANNELS.............................................................................................................................................. 48
5. GENERAL MIDI SOUND SET ........................................................................................................................................................ 50

Software Version 3.02x 16
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 two rows of buttons used to make selections. Each window
function is described in this booklet.
A. BASIC OPERATION
1. START-UP SEQUENCE
Open the Console Controller drawer before turning the organ on. Now turn on the organ's main
power switch. The window in the drawer will display:
Next it will display:
RENAISSANCE
BY ALLEN
VERSION X.XXX
Please wait...

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Then finally the Main window function is displayed:
The symbol "U", "P", or "N" in the window's lower right corner indicates the organ's mode (See
Section C-2).
WARNING: If a warning is displayed in this sequence, you should contact your Allen authorized
representative immediately!
The Allen Organ includes several self-testing features. Here are examples of what WARNING
displays might look like when viewing the Console Controller display:
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 and hold the organ’s SET piston. While holding SET, press the Rpiston. Each
time you press and release R, the display will advance to the next window function.
Repeat this procedure to advance through all of the windows until the last window function is
displayed. The last window function will display:
The displays will only advance. To return to any previous window function, you must return to
the main window function and start the sequence over. To return to the Main Window function at
any time, press and hold the SET piston. While holding SET, press the CANCEL piston, and
then release both pistons.
MEM: 1
00:00:00 am P
Warning: Replace
Clock Module
Power Failure
REPLACE Battery
UNLOCK ALL
CAPTURE MEMORIES

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3. SELECTING THE CAPTURE MEMORIES
The main window function must be displayed (see Section A-2). Then, locate the two buttons
marked "▲" and "▼" in the Console Controller™. Press one of these buttons to move through the
memories, forward or backward. The memories move sequentially forward from MEM 1 to MEM
2 to MEM 3, ...or backwards MEM 1 to MEM 16 to MEM 15, etc. as you press either the "▲" and
"▼" button. The number of available memories is dependent on the Allen Organ model you have.
There may be 16 or less memories in an organ.
The 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: On most Allen Organs (excluding customized organs) a factory set of registration examples
is stored on each piston of the last available capture memory. You may change these registrations;
however, they can then be restored to the original factory settings. Please see, RESTORING
FACTORY SETTINGS in Section B-4, of this manual.
4. SAVING REGISTRATIONS USING PISTONS AND TOE STUDS
A registration is any combination of stoptabs 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 and drawknobs 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-2, MEM-3, ... MEM-16, etc.); however, for this example
use MEM-1. (Press the "▲" and "▼" buttons, if necessary.) 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.

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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.) using the "▲" and "▼" buttons. Select the division stops/drawknobs you want the
associated Divisional piston to remember. While holding the SET piston, press and release the
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 also control Intermanual couplers. These pistons reverse the condition or
"toggle" the related intermanual coupler. If an intermanual coupler is ON when the associated
Reversible piston is pressed, that coupler will turn OFF. If the coupler is OFF when pressed, it
will turn ON.
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 the memory to lock by "▲" and "▼".
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 digit. 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.
MEM: 2L
00:00:00 am P