Allen Organ Company LLC TH-317e User manual

TH-317e
Theatre Model w/GeniSys Display
IMPORTA T!OrganswhichcontainGeniSys™technologynolongerincludetheGeniSys
OverviewGuidewithinthemodelspecificOwner’sManual.TheGeniSysOverviewGuidemust
bedownloadedand/orprintedseparately.
opyright©2020AllenOrgan ompany
AllRightsReserved
AO P/N033-00266Revised02/2020

ALLENORGAN OMPANY
For  more  than  sixty  years--practically  the  entire  history  of  electronic  organs--  Allen  Organ
ompany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GeniSysTM technologyaretheproductofyearsofadvancementsindigitalsoundandcontrol
techniquesbyAllenOrgan ompany.GeniSysTM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. RANKS................................................................................................................................2
III. GENISYSVOI ESTM..........................................................................................................4
IV. EXPRESSIONSHOES........................................................................................................4
V. SETTINGPISTONS............................................................................................................5
VI. ARTISTI REGISTRATION..............................................................................................7
VII. TRANSPOSER....................................................................................................................8
VIII. A OUSTI PORTRAIT™.................................................................................................8
IX.  LASSI ALVOI ING......................................................................................................9
X. REALXPRESSION™.........................................................................................................9
XI. INSTALLATION,VOI ING,AND AREOFTHEORGAN.......................................10
XII. SAFETYINFORMATION................................................................................................11
APPENDIXA:(Audio,Voicing harts)............................................................................13
APPENDIXB:(AdvancedMIDIInformation–MIDIEventData)..................................18
APPENDIX :(AdvancedMIDIInformation–NRPNStopData)...................................22
APPENDIXD:MIDIIMPLEMENTATION HART.......................................................25
APPENDIXE:GENISYS™VOI ESSOUNDLIST.......................................................26
APPENDIXF:VISUALKEYRANGE HART...............................................................28
APPENDIXG:GNUPUBLI LI ENSEINFORMATION.............................................29
i

I. ORGA 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 isdepressed,thepitchheard
isMiddle .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.
TO AL 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. ompound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.
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:
YourAllenOrganprovidesauthentic,digitallysampledvoices.Theyareprotectedbycopyrights
ownedbytheAllenOrgan ompanyandarestoredinmemorydevices,eachhavingaffixedtoita
copyrightnotice;e.g.,©2003AO O,©2001AO O,etc.,pursuanttoTitle17oftheUnited
States ode,Section101etseq.
U IFICATIO
InTheatreorgans,andoccasionallyinclassicalorgans,thesystemof“unification”wasused.This
allowed  the  same  “rank”  of  pipes  to  be  used  at  multiple  pitches  and  on  several  manuals.
UnificationwasthesystemTheatreorgansusedtohavelargenumbersofstopsontheconsole
withrelativelyfewranksofpipesascomparedtoaclassicalorgan.Forexample,aTibia lausa
rankmaybedrawnat16’,8’,51/3’,4’,22/3’,2’,and13/5’onagivenmanualandthenstill
havesomeorallofthosepitchesduplicatedonothermanuals.Inmostclassicalorgans,onerank
wouldhaveonestopkeyontheconsole;however,inaTheatreorganonerankcouldhavemany
stopkeyscontrollingit.AllenTheatreOrgansareunifiedintheauthenticTheatreorganstyle.
1

II. RA KS
Note: This Section includes a eneral listin of Ranks found on Theatre or ans. Not all of these
Ranks are included in every Theatre or an model.
TubaMirabilis VerypowerfulTubasound.16’stopusuallycalledBombarde.
EnglishPostHorn Bright,brassyreedstop.Sometimesnamed“PostHorn”or“English
Horn”onaTheatreorgan.
Ophicleide Loud,brassyreedsoundwiththatcontainsbothfundamentaland
overtones(similartothatofaPosaune).
Diaphone Similartoareed,butinaclassbyitself.TheDiaphoneemploysa
beatingpallettohelpproduceitsuniquetone. TheDiaphoneisa
full,smoothandweightytypetone.Usedonlyin16’pedalrank.
BrassTrumpet Usefulasasmoothsolovoiceorchorusreed.
TubaHorn A  mellow  solo  reed  that  is  also  useful  in  providing  ensemble
developmentwithoutbeingoverpowering. Noticehowthebottom
octave  of  the  16’  Ophicleide  becomes  more  powerful  as  you
approachbottom‘ .’
Dolce Soft“hybrid”stop–partstringandpartdiapasonsounding.Very
effectiveforthesoftestcombinations.(E.M.Skinner)
Dolce eleste ThematchingcelestefortheDolce.
OpenDiapason Foundationstopthataddsfullnesstotheensemble.The16’stopis
usuallycalled“Diaphone”becausethebottomoctaveofthe16’isa
metalDiaphonesound.Thislendspowerandagoodpitchsenseto
thepedal.
Tibia lausa The“foundation”rankoftheTheatreorgan.Thisrank,coupled
withitsdistinctivetremulant,isoneofthemainingredientsofa
Theatreorgan.
larinet Imitativesoloreedthatcanalsobeusedasanensemblestop.
Saxophone MoredevelopedversionoftheVoxHumanathatworkswellwhen
usedincombinationwithTibiastops.
Violin(2rks) Imitativestringandcelesteinthesolochamber.Thesewerespecial
stringstoGeorgeWright.TheywereveryearlyWurlitzer,andvery
bright.
OrchestralOboe Soloreed with a pungent nasal timbre somewhat  imitative ofits
orchestralcounterpart.
VoxHumana Voiceoriginallyintendedtoimitatethehumansingingvoice,but
reallysoundsmorelikeagoat!UsedwiththeTibia lausaforthe
traditionalTheatreorgansound.
oncertFlute Typicalwoodopenfluteofthe1920’s.
TrapsandPercussionsareimitativeoftheirorchestralcounterparts.
2

COUPLERS
ouplerscoupleonemanualtoanother,orinothercases(dependingonmodel)couplersmayalso
couplewithinamanualatoctaverelatedpitches.Thisenlargestheuseoftheorgan.
Note: This Section includes a eneral listin of controls found on Theatre or ans. Not all of these
controls are included in every Theatre or an model.
Acc.TrapsOnPedal ouplestheAccompanimenttrapstoPedal.
Acc.Violins>Dolces hangestheAccompanimentViolinstoDolces.
hrysoglott>WoodHarp hangesthe hrysoglottintoaWoodHarp.
Melody oupler Whenusedwithanappropriatesolostop,suchasaSoloreed,this
featurewillautomaticallykeythehighestnoteplayedontheGreat
keyboardallowingaccentuationofthemelody.
ACCOMPA IME T 2nd TOUCH
TheAccompanimentmanualcontainsafeaturecalled“2ndTouch”.2ndTouchaddsasecondsetof
keycontactstoanorgan’skeyboard.Thefirstkeycontactsetisactuatedduringnormalplayingof
thekeyboard.Thesecondkeycontactsetisactuatedwhenakeyispressedtoaseconddeeper
position.Thetouch/feelisaccomplishedbyhavinganadditionalspringunderneaththekey.The
keywillphysicallygodownfurtherinthestrokewhenadditionalpressureisappliedtothekey.
ThisdesignallowstheAccompanimentkeyboardtoplayasanormalmanual,butalsoenablesthe
abilityformanynewsoundsoreffectswhen2ndTouchisutilized.Forexample,countermelodies,
rhythm,accents,andothereffectscanbeaddedtoanarrangementmakingthesongmuchmore
dynamic.
MIDI
MIDIcouplersareavailableonallmanuals.ThesecouplersopenaMIDIchanneltothespecific
division.
DIVISIO MIDI Channel
Great 1
Accompaniment 2
Pedal 3
Solo 4
Accompaniment2ndTouch 5
GeneralPistons 8
Traps 10
3

TREMULA TS
AllenTheatreorganshavethemostadvancedauthenticsoundingtremulantsystemintheworld
today.   In  addition  to  digitally  sampling  the  individual  ranks  without  tremulant,  Allen  also
sampledindividualrankswithtremulantson.Whenmorethanonerankisonthesametremulant
systemina pipeorgan,the tremulantsound thatresults fromtheplayingofthepipes isnot
identical  from  rank  to  rank.   Each  rank  “reacts”  to  the  varying  supply  of  wind  (tremulant)
differently. Withthisinmind,Allensampledeachrankwithtremulant“on”toreproducethe
authentictremulantsoundyouhear. Asaresult,evenstopsthatare“ganged”togetheronone
tremulantstoportremulantmotorwillhaveadifferenttremulantsound.ThisSampledWaveform
Tremulant™technologycontributestothehugeensemblesound.
III. GE ISYS VOICESTM
GeniSys™Voicesisasetofover260classicalandcontemporarystylevoices,includingeight
drumkitsandvariousspecialeffectvoices,whichcanbeassignedandactivatedbydesignated
stopcontrolswithineachdivisionoftheorgan. EachdivisioncontainstwoGeniSys™Voices
stopcontrols. OntheTH317e,theGeniSys™Voicesstopcontrolsarepistonbuttonslocated
withintherightsideconsoledrawerwithGeniSys™Display.Thestopcontrolsareprogrammed
within  the  GeniSys™  Voices  selection  window  within  GeniSys™  Display.   In  addition  to
selectingavoiceforastopcontrol'sposition,thevoice'sgain(volume),tuning,pitchandkey
rangeorsplitmayalsobeadjusted.Allvoicesettingsareretainedwhentheorganisturnedoff.
GeniSys™Voicesexpandstheorgan’ssoundcapabilitiesbyofferingliterallydozensofmany
differentandcreativesoundconfigurationsandisalldependentontherequirementsofthemusic
andthecreativityoftheorganist.
For more detailed  instructions on howto use GeniSys™ Voices,please refer to theGeniSys
OverviewGuide.
IV. EXPRESSIO SHOES
Theorgan’sexpressionpedals(called“shoes”)controlstheoverallexpressionoftheorgan.The
Soloexpressionshoeisalsoequippedwithafootswitch(rightsidemounted)tocontrolMIDI
SustainandSostenuto.ReferencetheGeniSys™OverviewGuideforadditionalinformationon
theadjustmentsandsettingsfortheMIDISustainandSostenutofunctions.
TheTH317econtainsastopcalled“MasterExpression”.Whenturnedon,theMasterExpression
stopcontrolcausesalldivisionalexpressionstobetransferredtotheSoloexpressionshoe.
4

V. SETTI G PISTO S
SETTI G GE ERAL PISTO S
Your Allen Organ’s capture systemlets  youset stop registration  combinations in each of its
availablememories.EachAllenOrganmodelhasdifferentpistonlayoutstoaccommodateorgan
size.ThemaximumnumberofavailablecapturememoriesontheTH317eis128.
Tosetacapturecombination:
First,selectthestopsyouwishtosave.
PressandholdtheSETPiston.
PressandreleasethedesiredGENERALpiston.
Finally,releasetheSETPiston.
Usually,  the  General  pistons  are  customarily  set  from  soft  to  loud  using  graduated  stop
combinations.  The  pistons you have  set “remember”  the registration combinations  you have
assignedtoeachofthem.EachtimeaGeneralpistonispressed,theregistrationassignedtoitis
activated.
Youmaychangestopregistrationcombinationsatanytimebyrepeatingtheaboveprocedures.
Formoreadvancedinformationonsettingcapturecombinationsinmultiplememoriespleaserefer
totheGeniSysOverviewGuide.
SETTI G DIVISIO AL PISTO S
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.However,
onlydivisionallyrelatedstopscanbeseton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.RefertotheGeniSysOverviewGuideforadditionalinformationrelatingtore-configuring
pistons.
SETTI G TOE PISTO S (STUDS)
Stopregistrationcombinationsmaybesetanddrawnbytoestuds,aswellasbypistons. Toe
Studs,locatedoneachsideoftheexpressionshoes,aresetinthesamemannerasthumbpistons.
Thetoestudstotheleftoftheexpressionshoe(s)areduplicatesoftheGeneralpistons,whilethe
toestudstotherightoftheexpressionshoe(s)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number.
Finally,releasetheSETbutton.
ote: Generalpistontoestuds,willrecallregistrationcombinationsofthesameGeneralpiston
number.Thatis,settingGeneralpiston#3alsoplacesitscombinationonGeneraltoestud#3.
5

RECALL PISTO
The  “R”  or  Recall  piston  recalls  the  last  registration  setting  prior  to  using  any  General  or
Divisionalpiston.Forexample;
PressaGeneralorDivisionalpiston/toestud.Thestopregistrationprogrammedonthat
particularpiston/toestudwillappear.
Manuallyregisteradditionalstopstothecurrentstopregistration.
Now,  press  a  different  General  or  Divisional  piston/toe  stud.   The  stop  registration
programmedonthatparticularpiston/toestudwillappear.
Press  the “R”  piston.   The previous  stop registration,  including  those  stops  registered
manually,willre-appear.
Whathappensisthatthecapturesystemtakesa“snapshot”ofthecurrentstopregistrationand
storesitwithintheRecallpistonmemorybeforeitactuallychangestothenewstopregistration
selected.   Then,  when  the  “R”  piston  is  pressed,  the  capture  system  “recalls”  the  previous
registrationstoredbeforethelastpiston/toestudselectionwasmade.
TRAPS (T1/T2) PISTO S
TwoTrapspistonsareincludedandlabeledT1andT2.OnlyTrapsstopscanbeassignedtothese
pistons.However,Trapsstopsfromwithinanydivisioncanbeassigned.Ofcourse,thesetwo
pistonscanalsobere-configuredtoallowotherstopstobeassignedtothemusingthe onfigure
PistonfunctionwithinGeniSys™ Display. ReferencetheGeniSysOverviewGuideformore
information.
SOU D EFFECT PISTO S
Inadditiontoplayingtheirrespective sounds,these pistonswill outputonMIDI  hannel10
(GeneralMIDIDrumsets)withaparticularkey(triggernote).
6

VI. ARTISTIC REGISTRATIO
(Trained or anists mi ht 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’TibiaoraTibiamutation(e.g.,TwelfthorTierce)toalightreedsuch
asthe larinetorOrchestralOboecolorsthesoundfurtherandincreasesitsvolumeslightly.
Addingan8’Tibiatoareedwilladdbodytothesound.
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)
hooseasolowhosecharacterisappropriatetothespecificpiece.
E SEMBLE REGISTRATIO S
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tonalgroupingsor“choruses”:
The  Tibia  lausa  chorus  is  the  most  fully  developed  with  representation  in  various
divisionsoftheorganandateverypitchfrom16’(Tibia)through1’(Fife).Lighterstops
canbeaddedtothebasic8’and4’TibiacombinationsandthentheDiapasons,Stringsand
Tubascanbeaddedtofilloutanensembleregistration.
TheReedstopsincludethosereedtonesdesignedtobeusedintheensemblebuildup.Not
allreedvoicesareensembletones. AnOboe,forexample,isusuallyasolostop. The
various  Trumpets,  Horns,  and  Vox  Humana’s  are  usually  ensemble  voices  that  add
brilliance,power,andincisivenesstothesound. Ifyouhavequestionsastowhethera
specificreedisasoloorensemblestop,refertothestopglossaryintheprecedingsection.
ThePedalensembleiscreatedinmuchthesamewayasthemanualensembles,withthePedal
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.Manytimesinmorerhythmicpiecesyouwillwanttohaveapredominantly
8’soundinthepedal.
7

Thisshorttreatmentbarelyscratchesthesurfaceofthefascinatingsubjectoforganregistration.
Forthoseinterestedingainingfurtherinsightintothisvitalareaoforganplaying,werecommend
thefollowingtexts:
Theatre Organ Registration:
Strony,Walter.Theatre Or an Re istration
Classical/General Organ Registration:
Audsley,GeorgeAshdown.OrganStopsandtheirArtisticRegistration.
Hialeah,FL: .P.P.Belwin,1985.
Irwin,Stevens.DictionaryofPipeOrganStops.2nded.
NewYork:MacmillanBooks,1983.
VII. TRA SPOSER
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fromwithintheGeniSys™Display(refer to
the GeniSys Overview Guide for Transposer operation instructions). Thekeycanberaiseda
maximumoffivehalfstepsandloweredatotalofsevenhalfsteps.
ThecoloroftheTransposerbuttonwithinGeniSys™DisplaywillchangetoREDwheneverthe
Transposer  is not  within  the  neutral or  “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or“0”position.
WhyTranspose?
Becauseasong’srangedoesnotalwayssuitthevocalrangeofaparticularsinger. By
adjustingtheTransposer,thepiececanbesungmorecomfortablyandeffectively.
Becausesomeinstrumentsarenon-concertpitch.AtrumpetinBb,forexample,canplay
thesamemusicastheorganist,iftheTransposerknobissettwohalfstepslower.
Becausehymnsingingcansometimesbeimprovedbyamorefavorablekeyselection.
VIII. ACOUSTIC PORTRAIT™
AllenOrganis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!AllenTheatre
organs  feature  10  different  Acoustic  Portraits™  selections,  ranging  from  intimate  rooms  to
cavernouscathedrals.
8

AvailableReverbSelections
1.Pipe hamber
2.SmallTheatre
3.Small hurch
4.MediumRoom1
5.MediumRoom2
6.MediumRoom3
7.LargeRoom1
8.LargeRoom2
9. athedral
10.Large athedral
AcousticPortrait™iscontrolledwithintheGeniSys™DisplayandmustbeturnedONtohearthe
selected  reverb  selection.   The  Acoustic  Portrait™ selection  as  well  as  the  gain  (volume),
measured  in  dB  (decibels),  can  be  accessed  and  adjusted  within  the  GeniSys™  Display.
Reference the GeniSys™ Display tutorial (mentioned later in this manual) for instructions on the
Acoustic Portrait™ adjustments.
IX. CLASSICAL VOICI G
AllenTheatreorgansincludeasetof lassicalvoicesinadditiontothethreestandardTheatrical
voicingsuites(Wurlitzer,BartonandMorton).The lassicalspecificationiscomprisedofpipe
samplesfromtheworld’sfinestexamplesoforgan-building.Thetouchofabuttonchangesthe
entireTheatreorganspecificationtoa lassicalvoicingspecification.
ote:Someofthestopsontheorganmaycontainasecondaryengraving,inredcolor,indicating
achangeinthefunctionofthatparticularstopwhenthe lassicalVoicingsuiteisloaded.
For more information on chan in /switchin between the different voicin suites, reference the
GeniSys Overview uide.
X. REAL XPRESSIO ™
YourAllenOrganisequippedwithRealXpression™. RealXpression™notonlychangesthe
organ’svolume,butalsoitsresponse.Thisisthesamethrillingfeelingyougetwhenyouheara
pipeorganreallyopenup.RealXpression™faithfullyrecreateshowexpressionshuttersaffecta
pipeorgan’ssound.
9

XI. I STALLATIO , VOICI G, A D CARE OF THE ORGA
I STALLATIO
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.
VOICI G
AllenOrganspresentunprecedentedaccuracyinthescalingandvoicingofeachnoteofevery
stop.Finaladjustmentsinscalingandvoicinginvolveproceduresthatarebestlefttoanexpert.
Theseadjustmentsarenormallyapartoftheinstallation,andoncedone,shouldnotrequireany
changes.Iftheorganismovedtoanewlocationormajorchanges/renovationsaremadetothe
acousticalpropertiesoftheroomtheorganresidesin,theinstrumentmayneedtobetonally
finishedagain.PleasecontactyourlocalAllenOrganrepresentativeformoredetails.
SOPHISTICATED FLASH MEMORY TECH OLOGY
VoicingandscalingsettingsarestoredwithintheAllenorgan'sinternalFlashMemorysystem.
Organ'sequippedwithFlashMemoryTechnologyeliminatestheneedforbatteries.
CARE OF THE ORGA
YourAllenOrganconstitutesamajoradvanceinlong-termmaintenance-freeoperation.Thereare
noregularmaintenanceproceduresrequiredand,therefore,noperiodicmaintenanceschedulesto
beobserved.
Reasonablecarewillkeeptheinstrumentlookingbeautifulforyearstocome.Thewoodsurfaces
maybecleanedusingasoftclothdampenedwithlukewarmwater.Amildsolutionoflukewarm
wateranddishdetergentmaybeusedtoremovefingerprints,etc.Polishdrywithasoftcloth.Do
not  use wax,  sprays or  oils on the  finish.  Satin  finished surfaces  will  take  on  a semi-gloss
appearancewhenwaxedandwilleventuallybecomeyellowed.
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.
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!!
10

XII. SAFETY I FORMATIO
USA O LY
CAUTIO
Neverplugtheinstrumentintoanycurrentsourceotherthan110to120volts,50/60Hertz
alternatingcurrent(A ).Averifiedgroundedoutletisessentialtoproperoperationand
protection  of  the  instrument.   Proper  polarity  should  be  checked  with  an  A  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A 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.
I TER ATIO AL O LY
CAUTIO
Donotplugtheinstrumentintoanycurrentsourceotherthanthatstatedbytheselling
dealer.ProperpolarityshouldbecheckedwithanA 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A 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.
11

Warnin :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  lass  B  omputing  Device  in  accordance  with  the
specificationsinSubpartJofPart15ofF 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.
EmarkshowscompliancewiththeEM Directive.
12

APPE DIX A: (Audio, Voicing Charts)
Rank – TH317e Wurlitzer Slot Rank Audio
EnglishPosthorn 1 8 S-3/4
TubaHorn 1 13 S-4/3
OpenDiapason 1 21 M-1/2
16'Diaphone(1-12) 1 11 S-4
Tibia lausa 1 1 S-3/4
16'Tibia lausa(1-24)(Notes1-12- h4) 1 6 S-3/4
Tibia lausaPizz. 1 24 S-3/4
larinet 1 18 M-1/2
OrchestralOboe 1 9 S-4/3
Kinura 1 29 S-4/3
Violin 1 25 M-1/2
Violin eleste 1 32 M-2/1
Dolce 1 26 M-1/2
Dolce eleste 1 30 M-2/1
oncertFlute 1 17 M-2/1
Quintadena 1 12 S-4/3
VoxHumana 1 5 S-4/3
PedViolone16(Both hannels) 1 23 M-1/2
hrysoglott(Both hannels) 1 14 M-1/2
WoodHarp(Both hannels) 1 15 S-3/4
Xylophone(Both hannels) 1 22 S-3/4
Glockenspiel(Both hannels) 1 10 S-3/4
himes(Both hannels) 1 16 M-1/2
Persian ymbal(Both hannels) 1 2 M-1/2
SnareDrum(Both hannels) 1 19 M-1/2
HiHat/Tambourine(Both hannels) 1 31 M-1/2
WoodBlock/ owBell(Both hannels) 1 28 M-1/2
BassDrum(Both hannels) 1 3 M-1/2
Tap/Brush ymbal(Both hannels) 1 7 M-1/2
TomTom/ astanets(Both hannels) 1 20 M-1/2
13

Rank – TH317e Classic Slot Rank Audio
FrenchTrompette 1 8 S-3/4
Tromba 1 13 S-4/3
Principal8/16 1 21 M-1/2
PdDiapason/Mix 1 11 S-4
Gedackt 1 1 S-3/4
16'Tibia lausa(1-24)(Notes1-12- h4) 1 6 S-3/4
Tibia lausaPizz. 1 24 S-3/4
romorne 1 18 M-1/2
Hautbois 1 9 S-4/3
EnglishHorn 1 29 S-3/4
ViolaPomposa 1 25 M-1/2
Viola eleste 1 32 M-2/1
Dolce 1 26 M-1/2
Dolce eleste 1 30 M-2/1
HarmonicFlute 1 17 M-2/1
Quintadena 1 12 S-4/3
Eng.VoxHumana 1 5 S-4/3
PedViolone16(Both hannels) 1 23 M-1/2
hrysoglott(Both hannels) 1 14 M-1/2
MixtureIV(Both hannels) 1 22 M-1/2
WoodHarp(Both hannels) 1 15 S-3/4
MixtureIII(Both hannels)–NoTremulant 1 10 S-3/4
arillon(Both hannels) 1 16 M-1/2
Persian ymbal(Both hannels) 1 2 M-1/2
SnareDrum(Both hannels) 1 19 M-1/2
HiHat/Tambourine(Both hannels) 1 31 M-1/2
WoodBlock/ owBell(Both hannels) 1 28 M-1/2
PedalMixtureIII(Both hannels) 1 11 S-3/4
Tap/Brush ymbal(Both hannels) 1 7 M-1/2
TomTom/ astanets(Both hannels) 1 20 M-1/2
14

Rank – TH317e Morton Slot Rank Audio
EnglishPosthorn 1 8 S-3/4
Tuba 1 13 S-4/3
OpenDiapason 1 21 M-1/2
16'Diaphone(1-12) 1 11 S-4
SoloTibia lausa 1 1 S-3/4
16'Tibia lausa(1-24)(Notes1-12- h4) 1 6 S-3/4
Tibia lausaPizz. 1 24 S-3/4
larinet 1 18 M-1/2
Krumet(OrchOboeStopTab) 1 29 M-2/1
Kinura 1 9 S-3/4
Violin 1 25 M-1/2
Violin eleste 1 32 M-2/1
Dolce 1 26 M-1/2
Dolce eleste 1 30 M-2/1
Flute 1 17 M-2/1
Quintadena 1 12 S-4/3
VoxHumana 1 5 S-4/3
PedViolone16(Both hannels) 1 23 M-1/2
hrysoglott(Both hannels) 1 14 M-1/2
WoodHarp(Both hannels) 1 10 S-3/4
Xylophone(Both hannels) 1 7 S-3/4
Glockenspiel(Both hannels) 1 19 S-3/4
himes(Both hannels) 1 16 M-1/2
Persian ymbal(Both hannels) 1 2 M-1/2
SnareDrum(Both hannels) 1 28 M-1/2
HiHat/Tambourine(Both hannels) 1 31 M-1/2
WoodBlock/ owBell(Both hannels) 1 15 M-1/2
BassDrum(Both hannels) 1 3 M-1/2
Tap/Brush ymbal(Both hannels) 1 22 M-1/2
TomTom/ astanets(Both hannels) 1 20 M-1/2
15

Rank – TH317e Barton Slot Rank Audio
EnglishPosthorn 1 8 S-3/4
Tuba 1 13 S-4/3
OpenDiapason 1 21 M-1/2
16'Diaphone(1-12) 1 21 S-4
MainTibia lausa 1 1 S-3/4
16'Tibia lausa(1-24)(Notes1-12- h4) 1 6 S-3/4
Tibia lausaPizz. 1 24 S-3/4
larinet 1 18 M-1/2
OrchestralOboe 1 9 S-4/3
Kinura 1 29 S-3/4
Violin 1 25 M-1/2
Violin eleste 1 32 M-2/1
Dolce 1 26 M-1/2
Dolce eleste 1 30 M-2/1
Flute 1 17 M-2/1
Quintadena 1 12 S-4/3
VoxHumanaMain 1 5 S-4/3
PedViolone16(Both hannels) 1 23 M-1/2
hrysoglott(Both hannels) 1 14 M-1/2
WoodHarp(Both hannels) 1 10 S-3/4
Xylophone(Both hannels) 1 7 S-3/4
Glockenspiel(Both hannels) 1 19 S-3/4
himes(Both hannels) 1 16 M-1/2
Persian ymbal(Both hannels) 1 2 M-1/2
SnareDrum(Both hannels) 1 28 M-1/2
HiHat/Tambourine(Both hannels) 1 31 M-1/2
WoodBlock/ owBell(Both hannels) 1 15 M-1/2
BassDrum(Both hannels) 1 3 M-1/2
Tap/Brush ymbal(Both hannels) 1 22 M-1/2
TomTom/ astanets(Both hannels) 1 11 M-1/2
16

Sound Effects Slot Rank Audio
Siren- h3/Train- h4 1 4 S-3/4
Bird- h1/Horn- h2/BellTree- h2 1 27 M-1/2
Audio Channels
Channel 1 Main
Channel 2 Main
Channel 3 Solo
Channel 4 Solo
BassBoost PedTibia,Ophicleide,Diaphone,Violone
Tremulant Motor List
Rank
Stop Control
1.Violin,Violin eleste,Dolce,Dolce eleste
MAIN
2.OpenDiapason
MAIN
3.TubaHorn
TUBA
4.-----
5. oncertFlute, larinet
MAIN
6.Tibia lausa
TIBIA/VOX
7.VoxHumana
TIBIA/VOX
8.-----
9.-----
10.Krumet(Morton)
MAIN
11.OrchestralOboe,Kinura,Quintadena
SOLO
17

APPE DIX B: (Advanced MIDI Information – MIDI Event Data)
ThisappendixsectionisforthoseadvancedinusingMIDI.
KEYBOARDS:ThekeyboardsutilizedontheTH-317ewilltransmitkey“velocity”valuesother
thanastaticvalueof‘64’.Keyvelocityvaluesaredeterminedbyhowhardthekeysareplayed.
Thisissimilartotheeffectofapiano.Validvelocityvaluesofbetween1-127maybetransmitted
dependingonhowhardakeyisplayed.
ote:Avelocityvalueof‘0’isconsideredanoteoffevent.
MA UAL DIVISIO S:
Manual MIDI Channel
Great 1
Accompaniment 2
Pedal 3
Solo 4
Accompaniment2ndTouch 5
GeneralPistons 8
TriggerandTrapsPistons 10
MIDInoteeventscontainthreepiecesofdata:1)MIDI hannel,2)NoteNumber,and3)Velocity
(listedhereasavalue).UseofyourfavoritesequencerprogramwilllisttheMIDIdataas“MIDI
Events”.   The  data  can be  displayed  within a  "view  MIDI  event"  window of  the  sequencer
program.Forexample:
TRACK TIME CHA EL EVE T VALUE DURATIO
1 XX:XXX:XX 1 NOTEG5 64 100
ThisexampleillustratesthatTrack1containsaNote-OneventtobetransmittedviaMIDIfor
MIDIchannel#1toplaynote"G5"withavelocityvalueof"64"foradurationof"100"ticks(a
lengthmeasurementusedbymostsequencerprograms).
ote:  The  length  measurement  value  is  dependent  on the note  resolution setting  within  the
sequencerprogramandMIDISongFile. Thenoteresolutionsettingdeterminesthenumberof
TI KSperquarternote.
PISTO S:Thesearegenerallylistedas"MIDIProgram hanges"or"Patch hanges"inMIDI
speakandusuallycorrespondtothemanualtheyareattachedto."Patch"eventsinMIDIbeginat
"0",butnotethefirstpistonineachdivisionis"1". Therefore,bysubtracting“1”fromeach
pistonnumberwillequaltheequivalentMIDIprogramchangenumber.
Example:
TRACK TIME CHA EL EVE T VALUE DURATIO
1 XX:XXX:XX 1 P 0
1 XX:XXX:XX 8 P 9
ThefirstMIDIeventindicatespiston#1waspressedonMIDIchannel#1.
ThesecondMIDIeventindicatesGeneralpiston#10waspressed.
ote:TherearenodurationvaluestransmittedforMIDIProgram hangeevents.
18