Protégé AP-2, -3, -4, -6, & -8 Copyright © 1998 Allen Organ Company All Rights Reserved AOC P/N 033-0105 7-98
ALLEN ORGAN COMPANY Congratulations on the purchase of your new Allen Protégé organ! You have acquired a most advanced electronic organ, one that harnesses a modern computer to create and control beautiful organ tones. Familiarize yourself with the instrument by reading through this booklet. The sections on stop description and organ registration are intended for immediate use as well as for future reference.
Contents I. II. Description of Stops....................................................................................... 1 Stoplists AP-2, -3, -4..................................................................................................... 3 AP-6 ............................................................................................................... 6 AP-8 ............................................................................................................... 9 III.
DESCRIPTION OF STOPS PITCH FOOTAGE The number appearing on each stop along with its name indicates the “pitch” or “register” of the particular stop. It is characteristic of the organ that notes of different pitches may be sounded from a single playing key. When this sound corresponds to the actual pitch of the playing key, the note (or stop) is referred to as being of 8’ pitch; therefore, when an 8’ stop is selected and middle C is depressed, the pitch heard will be middle C.
Flute Voices Open: Harmonic Flute Koppelflöte Flute mutation stops Stopped: Gedackt Bourdon Rohrflöte String Voices Viola Viola Céleste Compound Voices Mixture Cornet Hybrid Voices Erzähler Spitzflöte Voices of lesser harmonic development than Principal. Open flutes somewhat imitative; stopped flutes not. Present at all pitch levels and in all divisions. Mildly imitative voices of brighter harmonic development than Principal. Usually appear at 8’ pitch. Voices produced simultaneously.
AP-2, -3, & -4 STOPLISTS NOTES: (3,4) = AP-3 & -4 only. (4) = AP-4 only. Reverb on AP-2 is permanently wired on. PEDAL ORGAN Bourdon 16’ Lieblichgedackt 16’ (Swell expression) Octave 8’ Gedacktflöte 8’ Choralbass 4’ Stopped flute tone of weight and solidity. Softer stopped flute of delicacy and definition. Useful where a soft 16’ pitch is required. 8’ member of the Pedal principal chorus.
SWELL ORGAN: continued Nasat 2-2/3’ Blockflöte 2’ Terz 1-3/5’ Fourniture IV Basson 16’ Trompette 8’ MIDI on Swell Tremulant (3,4) Diapason 8’ Rohrflöte 8’ Flute Celeste 8’ (Sw Exp.) (3,4) Octave 4’ Spitzflöte 4’ Superoctave 2’ Mixture IV Chimes Swell to Great MIDI on Great Tremulant (3,4) AP-2, -3,-4,-6, & -8 Flute mutation that sounds one octave and a fifth above keys played. Always used with other stops, usually beginning with 8’ for coloration. A delicate, clear open flute at 2’ pitch.
GREAT ORGAN: continued Tremulant General (AP-2) Use of this stop provides vibrato effect, natural in the human voice and wind instruments, when used with Swell or Great stops. Bass Coupler When drawn, 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.
AP-6 STOPLIST Choralbass 4’ Mixture IV PEDAL ORGAN Stopped flute tone of weight and solidity. Softer stopped flute of delicacy and definition. Useful where a soft 16’ pitch is required. 8’ member of the Pedal principal chorus. Stopped flute tone of 8’ pitch, useful in adding clarity to a pedal line in combination with the Bourdon 16’ or Lieblichgedackt 16’. Pedal 4’ principal tone. A compound stop of principal tones. Used to add brilliance and pitch. Posaune 16’ (Sw Exp.
SWELL ORGAN: continued Mixture IV Basson 16’ Trompette 8’ Clairon 4’ Tremulant MIDI on Swell Compound stop comprised of principal tone. Each note produces four distinct pitches at octave and fifth relationships to key pressed. This stop should never be used without lower pitched stops and is typically added to diapason or flute ensembles, or the reed chorus. Chorus reed tone at the 16’ pitch level, designed to supplement the other chorus reeds. Also usable as a distinctive solo reed.
GENERALS Melody Coupler When playing on the Great manual, the highest key played on the Great will automatically play all stops drawn on the Swell in addition to those drawn on the Great. By choosing a Swell stop such as the Festival Trumpet, the melody played by the top note on the Great is accentuated. Bass Coupler Similar to the Melody coupler in operation. In this case, however, the lowest note played on the Great will also play all stops drawn in the Pedal Division.
AP-8 STOPLIST Contra Violone 32’ Diapason 16’ Bourdon 16’ Lieblichgedackt 16’ (Swell expression) Octave 8’ Gedacktflöte 8’ Viola 8’ (Sw Exp.) PEDAL ORGAN Rich string tone. The lowest pitch in the Pedal division. The 16’ member of Pedal principal chorus. Strongest pedal flue stop. Stopped flute tone of weight and solidity. Softer stopped flute of delicacy and definition. Useful where a soft 16’ pitch is required. 8’ member of the Pedal principal chorus.
SWELL ORGAN: continued Fourniture IV Contre Trompette 16’ Trompette 8’ Hautbois 8’ Tremulant MIDI on Swell Lieblichgedackt 16’ Diapason 8’ Harmonic Flute 8’ Viola 8’ (Sw Exp.) Octave 4’ Spitzflöte 4’ Superoctave 2’ Mixture IV Chimes Tremulant MIDI on Great AP-2, -3,-4,-6, & -8 Compound stop, or mixture comprised of principal tone. Each note produces four distinct pitches at octave and fifth relationships. It should never be used without stops of lower pitch.
POSITIV Holzgedackt 8’ Chiffing, stopped wood flute. Provides the 8’ member of the Positiv flute chorus and is useful by itself or with other flutes or mutations in creating solo voices. Quintadena 8’ Stopped flute tone characterized by an extremely strong third harmonic that sounds an octave and a fifth above note played. Prinzipal 4’ Bright classical principal. Koppelflöte 4’ Distinctive stopped flute voice that works well in ensembles of flutes or strings, or as a solo voice.
tremulants. Useful for Gospel music, and other situations where the effect of a theatre organ is desired. EXPRESSION PEDALS The AP-8 has two expression pedals. The pedal on the left expresses the Great, Positiv, and Pedal divisions. The center pedal affects the Swell. Indicator lights on the right end of the center panel show the relative position of each pedal. CRESCENDO PEDAL The Crescendo Pedal, on the far right, gradually draws stops in all divisions as the pedal is opened.
ARTISTIC REGISTRATION 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. The pedal provides the 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.
SOLO CORNET COMBINATION Swell: Gedackt 8’ or Harmonic Flute 8’, Koppelflöte 4’, Nasat 2-2/3’, Blockflöte 2’, Terz 1-3/5’ Great: Rohrflöte 8’, Spitzflöte 4’ Pedal: Lieblichgedackt 16’, Gedacktflöte 8’ Play solo on Swell. FLUTE SOLO [Play solo on Great.] Swell: Great: Pedal: Viola 8’, Viola Celeste 8 Rohrflöte 8’ or Harmonic Flute 8’ Lieblichgedackt 16’, Swell to Pedal TRUMPET SOLO [Play solo on Swell.
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. Volumes have been written on the subject of ensemble registration. Following is a summary of the major points. Ensembles are created by combining stops.
Here are typical ensemble registrations. (AP-2, -3, -4, & -6) GREAT 1. 2. 3. 4. 5. 6. Rohrflöte 8’, Spitzflöte 4’ Rohrflöte 8’, Spitzflöte 4’, Superoctave 2’ Diapason 8’, Octave 4’ Diapason 8’, Octave 4’, Superoctave 2’ Diapason 8’, Octave 4’, Superoctave 2’, Mixture IV Diapason 8’, Rohrflöte 8’, Octave 4’, Spitzflöte 4’, Superoctave 2’, Mixture IV SWELL 1. 2. 3. 4. 5. 6.
POSITIV 1. 2. 3. Holzgedacket 8’,Koppelflöte Holzgedackt 8’, Koppelflöte, Oktave 2’ Holzgedackt 8’, Prinzipal 4’, Koppelflöte 4’, Oktave 2’, Cymbal III The use of the Swell to Great and Positiv to Great couplers allows these separate ensembles to be combined on the Great manual. For example, the Great #5 and Swell #3 coupled together and played on the Great produce a nice round hymn combination. A brighter, more robust sound can be obtained by coupling Swell #5 and Positiv #3 to Great #5.
TRANSPOSER Vast computer capability makes it possible to perform the sometimes difficult task of transposing, while allowing the organist to play in the notated key. Operation of the Transposer is controlled by the Transposer knob, found to the left side of the console (AP-2 through -4) or in the Console Controller™ drawer (AP-6 and -8). Neutral (no transposition) position for the knob is marked “N.” To shift the music to a higher key, move the knob counter-clockwise.
SETTING GENERAL PISTONS ON THE AP-2, -3, & -4 The General pistons are in the center of the console under the Swell manual Draw the stops you wish to save. Press and hold the Set Piston; then press and release the desired General piston. Release the Set Piston. Remember that General pistons are customarily set from soft to loud using graduated stop combinations. The pistons you have set will remember the combinations you have assigned and draw them each time a General Piston is pressed.
MIDI GUIDE NOTE for AP-2 Only: Optional kit must be added by your Allen Organ dealer for MIDI to be implemented. I. MIDI FOR ORGANISTS A. WHAT IS MIDI? The term MIDI is an acronym for Musical Instrument Digital Interface. MIDI has been adopted by the music industry as a standard means of communication between digital musical devices. This enables devices of different types and manufacturers to communicate with ease.
MIDI GUIDE: continued Multi-tracking can also be used in teaching and learning new organ works. The teacher may record each hand or pedal part on a different track, allowing the student to “mute” or turn off any part being practiced while still being able to hear the sequencer play the rest of the composition.
from the organ to the sound module. Devices such as MIDI sequencers should be connected to the unswitched MIDI port labeled MIDI OUT 1, eliminating the necessity of having to draw the MIDI stop controls before recording a digital sequence.
INSTALLATION, VOICING, AND CARE OF THE ORGAN INSTALLATION Wherever your Protégé™ organ may be situated, careful installation is a prerequisite to successful results. Your Allen representative is well qualified to guide you in planning for this. VOICING The Protégé™ organ enjoys unprecedented accuracy in scaling and voicing of each note of every stop. Final adjustments in scaling and voicing involve controls within the console and are best left to an expert.
CARE OF THE ORGAN: continued 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.
CAUTION Do not plug the instrument into any current source other than 105-128 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 twopole adapter. If you are in doubt about your electrical connection, consult your local electrician or power company.
