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Theatre Owner's Manual
TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 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. -
The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’ -
Equalizing and Voicing Understanding the Power of the Inspire Menus
EQUALIZING AND VOICING UNDERSTANDING THE POWER OF THE INSPIRE MENUS RODGERS INSTRUMENTS US LLC TABLE OF CONTENTS INTRODUCTION ..........................................................................................................................2 PREPARING THE ORGAN FOR EQUALIZING ....................................................................3 Quick Menu User and Service Menu .........................................................................................3 Speaker Setup ............................................................................................................................5 Channel Volumes .......................................................................................................................6 Audio Test ..................................................................................................................................7 Master Volume ...........................................................................................................................7 Matrix Mixer ..............................................................................................................................8 Room Type and Reverb Volume ................................................................................................9 Default Voices ..........................................................................................................................10 Save Settings ............................................................................................................................12 -
Protégé™ LD-34 Owner's Manual
Protégé™ LD-34 Owner’s Manual Copyright © 2012 Allen Organ Company LLC All Rights Reserved AOC P/N 033-00169 Revised 04/2012 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. -
The Village Church Organ 2010
The Village Church Organ 2010 PEDAL Pipes SWELL Pipes 64 Resultant 16 Bourdon Doux 16 Flute Bouchee 32 Contre Bourdon 8 Geigen Diapason 16 Montre +12 32 Contra Violone 8 Bourdon 8 Flute a Cheminee 16 Diapason 16 Pedal Diapason 8 Flute Celeste II 8 Flute Conique/8 Flute 16 Bourdon 16 Bourdon Celeste t.c. 16 Bourdon Doux 16 Flute Bouchee 8 Salicional 8 Viole de Gamba 16 Violone 16 Viole Conique 8 Voix Celeste 8 Voix Celeste t.c. 16 Contra Gamba (Solo) 4 Octave Geigen 4 Prestant 8 Octave 16 Pedal Diapason 4 Traverse Flute 16 Flute Bouchee +24 8 Gedacktflote 16 Bourdon +12 2 2/3 Nazard 2 2/3 Nazard 8 Gamba (Solo) 2 Piccolo 8 Flute a Conique +24, 4 Choralbass 8 Diapason +12 50-61 Flute Bouch 4 Flute 16 Bourdon+ 24 1 3/5 Tierce 1 3/5 Tierce t.c. IV Mixture 4 Octave-8-12-19-22 IV Fourniture 1 1/3 Swell Mixture III no breaks 16 Contre Trompette 16 Trompette 32 Contre Bombarde 8 Trompette 16 Trompette +12 32 Contra Double Trumpet 8 Hautbois 8 Hautbois 16 Bombarde 16 Trompette 8 Vox Humana 8 Vox Humana 16 Double Trumpet (Great) 4 Clarion 16 Trompette +24 8 Trompette 16 Trompette +12 Tremulant (3 stop actions) 4 Clarion 16 Trompette +24 Shades 16 actions hot when OPEN GREAT Pipes CHOIR Pipes 16 Double Diapason 16 Montre (Sw) 16 Centre Viole 16 Viole Conique 16 Bourdon 16 Bourdon 8 Hotegedadd 8 Cor de Chamois 8 Diapason 8 Diapason 8 Viole 16 Viole Conique + 12 8 Harmonic Flute 4 Harmonic Flute, 1-12=16 8 Viote Celeste 8 Viote Celeste tc. -
Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen. -
Organ Study at Wheaton College
ORGAN STUDY AT WHEATON COLLEGE Program The goal of our organ program is to prepare students for rewarding careers in organ performance and church music. Not only do students study great organ literature, but also the arts of improvisation and service playing, continuo playing, and conducting. Students are offered courses in Church Music and Hymnody, Bible and Theology, as well as Music Pedagogy, thus training well-rounded musicians, fully equipped to take their places as a leaders in music ministry, and prepared to enter the best graduate schools in the nation. We also take advantage of the rich musical culture in the greater Chicago area, with field trips and concerts. Our website: www.wheaton.edu/Conservatory/ Faculty Professor of Organ and College Organist, Dr. Edward Zimmerman, heads our organ program. He holds the Doctor of Musical Arts degree from the Eastman School of Music, and has presented concerts and lectures throughout the United States and Europe. His research on the liturgical organ music of Alexandre Guilmant is published in the anthology French Organ Music since the Revolution to Franck and Widor, by the University of Rochester Press, and his double CD of rare nineteenth century organ music, Germania, is now available. He is enthusiastic about teaching, and has built a strong and exciting organ program at Wheaton. CONTACT HIM at [email protected] The Instruments Students have available to them a wide range of organs, including the spectacular Casavant organ in Edman Chapel. Comprising 50 stops and 70 ranks, four manuals and pedal, mechanical key action with electric stop action, plus double consoles, the organ is the largest of its type in the metropolitan area, and singular among colleges and universities across the nation. -
The Great Organ
THE GREAT ORGAN METHUEN MEMORIAL MUSIC HALL METHUEN, MASSACHUSETTS E. F. WALCKER AND COMPANY, OPUS 200, 1863 AEOLIAN-SKINNER ORGAN COMPANY, INC., OPUS 1103, 1947 4 manuals, 5 divisions, 85 stops, 116 ranks, 6,088 pipes GREAT (24 stops, 38 ranks, 2,302 pipes) POSITIV (13 stops, 17 ranks, 1,037 pipes) Swell to Positiv 4' 16' Principal Choir to Positiv 16' 8' Gedeckt 16' Viola Major Choir to Positiv 8' 8' Quintaten 16' Bourdon Choir to Positiv 4' 4' Principal 8' Principal Great to Pedal 8' 4' Nachthorn 8' Gamba Great to Pedal 4' 2 2/3' Nazard 8' Gemshorn Swell to Pedal 8' 2' Oktav 8' Gedeckt Swell to Pedal 4' 2' Blockflöte 5 1/3' Gross Quint Choir to Pedal 8' 1 3/5' Tierce 4' Octave Choir to Pedal 4' 1 1/3' Quinta 4' Spitzflöte Positiv to Pedal 8' 1' Super Octave 4' Koppel Flöte Positiv to Pedal 4' III Scharff 4' Flute d'Amour Swell Unison Off III Zimbel 3 1/5' Gross Terz Choir Unison Off 8' Krummhorn 2 2/3' Quint Great on Positiv / Tremulant 2' Super Octave Positiv on Great PEDAL (22 stops, 30 ranks, 900 pipes) 2' Waldflöte CHIMES 32' Principal 1 3/5' Terz 20 tubes (Mayland) 16' Principal IV-VI Cornet Playable on any division 16' Contre Basse IV Fourniture 2 A through e ; 8' on manuals, 4' on pedal 16' Bourdon IV Scharff Adjustable strike intensity (5 levels) 16' Quintaten IV Kleine Mixtur 16' Lieblich Gedeckt COMBINATION ACTION 16' Trumpet 8' Octave 128 Memory Levels 8' Trumpet 8' Cello Great 1-7 4' Clarion 8' Spitzflöte Swell 1-7 Tremulant 5 1/3' Quint Choir 1-7 SWELL (16 stops, 19 ranks, 1,147 pipes) 4' Super Octave Positiv 1-7 8' Principal -
Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010)
Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010) . portions used for ALCM Conference workshop, “This, That, Neither, or Both,” June 2012, Bethlehem, PA, So, this all started when a student asked me questions about Spanish music about which I had not a clue . just think what would happen if they asked me about something really complicated!! _________________ 12 th century Theophilus, a monk, documented an organ that contained an ensemble of pipes speaking in octaves and fifths known as a Blockwerk , literally a ‘block of sound’ from which individual ranks could not be separated. 14 th and 15 th centuries – Late Medieval Organs Multiple manuals and split-chest systems enabled separating the Principal ranks from the higher Mixture sounds. By the 14 th century, there were pedals, fully chromatic keyboards, and tripartite façade arrangements accommodating large ‘bourdon’ or ‘tenor’ pipes. By the 2 nd half of the 14 th century, there was the addition of secondary manual and pedals on separate actions and wind chests. For organs built c. 1350-1400 (which can be translated to modern organs): >simple organ would be a Blockwerk of Mixtures, probably based on 4-foot pitch >double organ would add an octave lower at 8-foot pitch >RH would probably feature a decorative treble voice on the Blockwerk sound, while the LH on the ten lowest keys would sound the tenor on sustained Principals >the organ could be played so that only the ten tenor keys of the main manual were doubled an octave lower >4-foot Principal stops on a separate manual is an option >8-foot plenum for the tenor on one keyboard with other voices on the 4’ plenum Organ built in 1361, renovated in 1498, described by Praetorius: >two upper manuals were called Diskant with 22-note chromatic compass >third manual or Bassklavier had 12 keys from B to b >pedal had the same one-octave compass The Principal chorus of inseparable registers is the most heavily documented type of late- medieval organ. -
An Explanation of the Organ Stops
PREFACE TO THE ENGL ISH EDITION. M" O Sto s n for paper on rgan p , origi ally written a course o f of lectmures to organists, was published by the desire of a com ittee teachers . In altering and enlarging the o for riginal work the press , I was struck by the number of on con struc and excellence literary works the organ , its o ti n, preservation , and pitch . It is evident, however, that in these on ly a limited space cou ld be devoted to the o f n -five . o rgan stops During a practice twe ty years , inter - o spersed with numerous concert tours, and ccasional calls o o s upon me as an expert, I have made rgan st p , their ff o d . peculiarity and ac ustic e ects, my special stu y u o In working p this material, extending as it does vmer o v of divers pr inces musical science, I secured the welco e co - o i u perat on of several highly experienced colleag es . B fo all ff P o Dr A o of f. e re others, I o er to r F rster, B h for hi s erne, my warmest t anks kindness in stimulating and facilitating my studies by the loan of books on physical an d t . a acoustics, by highly interes ing experiments I lso W ish to offer my best thanks to the organ - builders wh o have thoroughly revised that portion of my work treatin g on - n the technicalities of organ buildi g . -
EM Skinner Organ Company – Boston, Massachusetts Opus 517, 1925
THE EPISCOPAL CHURCH OF ST. LUKE & ST. SIMON CYRENE 17 SOUTH FITZHUGH STREET ROCHESTER, NY E.M. Skinner Organ Company – Boston, Massachusetts Opus 517, 1925 PEDAL GREAT – II ECHO – I (enclosed) 32’ Resultant 16’ Bourdon (Ped.) 8’ Echo Flute 16’ Diapason 8’ First Diapason 8’ Viola Atheria 16’ First Bourdon 8’ Second Diapason 8’ Vox Humana 16’ Second Bourdon (Sw.) 8’ Gedeckt Tremolo 8’ Octave 4’ Octave 8’ Octave Bourdon Cathedral Chimes 8’ Soft Flute (Sw.) 16’ Trombone SWELL – III (enclosed) 8’ Tromba 16’ Bourdon Manual compass: 61 notes 8’ Diapason Pedal compass: 32 notes COUPLERS 8’ Stopped Flute Electro-pneumatic action Swell to Great 16’ 8’ Salicionale Swell to Great 8’ Voix Celeste ACCESSORIES Swell to Great 4’ 8’ Spire Flute 2 General Pistons (thumb and 8’ Flute Celeste toe) Choir to Great 16’ 4’ Traverse Flute Choir to Great 2’ Piccolo 5 Great Pistons (Ped. Comb.) Chorus Mixture 6 Swell Pistons (Ped. Comb.) Swell to Choir 8’ Harmonic Trumpet 4 Choir Pistons (Ped. Comb.) 8’ Oboe 4 Pedal Toe Studs Great to Pedal 8’ Vox Humana Swell to Pedal 4’ Clarion Great to Pedal Reversible Toe Swell to Pedal 4’ Tremolo Stud Choir to Pedal Swell to Pedal Reversible Toe CHOIR – I (enclosed) Stud Great to Great 4’ 8’ Concert Flute Sfz Piston and Toe Stud 8’ Dulciana Swell to Swell 16’ 4’ Flute General Cancel Swell to Swell 4’ 8’ Clarinet 8’ French Horn Swell Expression Pedal Choir to Choir 16’ Tremolo Choir/Echo Expression Pedal Choir to Choir 4’ 8’ Tuba Mirabilis Crescendo Pedal In 1925, the organ was donated to the church by the Rochester Rogers family. -
Specifications for the Great Organ
Washington National Cathedral The Great Organ Four manuals — 189 ranks Ernest M. Skinner & Son Organ Company, 1938 Revisions and enlargements, 1963, 1970–1975 ]] GREAT SWELL PEDAL BRUSTWERK First bay north triforium First bay south triforium First through fourth bays south First bay north gallery 16’ Diapason 16’ Violoncelle (ext.) triforium 8’ Spitz Prinzipal 16’ Violon (ext.) 8’ Montre 32’ Subbass (ext.) 4’ Praestant 16’ Bourdon 8’ Violoncelle Céleste II 32’ Kontra Violon (ext.) 2-2/3’ Koppel Nasat 8’ Prinzipal 4’ Prestant 16’ Contre Basse 2’ Lieblich Prinzipal 8’ Spitz Prinzipal V Plein Jeu 16’ Principal IV–VI Mixtur 8’ Waldföte IV Cymbale 16’ Diapason (Gt) 8’ Rankett 8’ Holz Bordun 16’ Bombarde 16’ Bourdon 8’ Salicional 8’ Trompette 16’ Violon (Gt) POSITIV 8’ Violon 4’ Clairon 16’ Violoncelle (Sw) First bay south gallery 8’ Erzähler 16’ Gemshorn (Ch) 8’ Nason Gedackt 4’ Oktav Second bay north triforium 16’ Flûte Courte (Sw) 4’ Rohrflöte 4’ Spitzoktav 16’ Flûte Courte 10-2/3’ Quinte (from Gr. Kornett) 2’ Nachthorn 4’ Koppel Flöte 8’ Bourdon 8’ Octave 1-3/5’ Terz 2-2/3’ Quinte 8’ Flûte à Fuseau 8’ Diapason (Gt) 1-1/3’ Larigot 2’ Super Oktav 8’ Viole de Gambe 8’ Spitzflöte 1’ Sifflöte 2’ Blockflöte 8’ Viole Céleste 8’ Gedackt IV Zymbel II Sesquialtera 8’ Voix Céleste II 8’ Violoncelle Céleste II (Sw) 4’ Rankett (Brustwerk) IV Klein Mixtur 8’ Flute Celeste II 8’ Flûte Courte (Sw) Tremulant IV–V Mixtur 4’ Octave 5-1/3’ Quinte IV Scharf 4’ Flûte Travesière 4’ Choralbass GALLERY PEDAL VI–X Terzzymbel 2-2/3’ Nasard 4’ Cor de Nuit First bays