Conference napalm::commusic_v1

    I don't know how the Allen works, but my guess is that if they wanted
    to be accepted as an instrument for use by prefssional organists,
    it would have to have most of the characteristics of a traditional
    pipe organ.  Namely, a large selection of stops that can be used
    in arbitrary combinations.  This would mean ALL the samples were
    very quickly accessable (none of this popping a floppy disk into
    the drive in the middle of a performance).  Now, a regular pipe
    organ and its electronic imitators have LOTS of stops (voices),
    and that means lots of pipes, or pitch wheels, or whatever the tone
    generation technology is.  So I would guess it means lots of samples,
    which in turn means lots of bucks.  While we could probably ballpark
    the cost of a keyboard's worth of samples (say one per octave for
    8 ocatves worth) for one voice, I have no idea how that compares
    with the cost of a set of pipes for a stop.  My guess is that the
    latter has become quite expensive, and that a "real" acoustic pipe
    organ has become an in-excess-of-$100K instrument, so a good sampled
    version could still be exorbitantly expensive by our standards and
    be a good value.
    
    len.
    

    Allen goes specifically after the pipe organ market.  They used
    to have a subsidiary called ROCKY MOUNT or something for the ROCK
    market, but I think they gave it up.  The simplest Allen consists
    of one "computer" board which contains a digital tone generator.Most
    of the sounds (stops) are programmed in ROM (usually about 36 sounds)
    with 16 sampling points for a 7 bit A/D.  Allen introduced the
    technology around 1970 using LSI from Lockheed (derivative of tech
    from space program).  However, they added a lot of their own stuff
    to simulate the irregularities found in the sounds pipe organs actually
    generate - uneven wind pressure, sudden decompression when large
    numbers of notes are played, etc.  In addition, the wave forms are
    modified by general algorithm based on frequency so the high end
    is not too squeaky, and the low end, not too bland.  In addition
    they have stops called mixtures on their classical models which
    actually consist of several notes played simultaneously (harmonic
    sets) but whose composition change depending on the note being played
    once again to accentuate the low end to provide clarity in contrupuntal
    work.  On base models there are three keying systems - 2 61 note
    keyboards and a 32 note pedal board.  The keyboard keying circuits
    control their own independent stops, random wind motion, and FM
    modulation for tremulant.  These are input to the tone generator.
    The tone generator outputs to 2 channels which are independent -
    certain stops come from one channel while the balance come from
    the other channel.  Each output channel has analog circuitry for
    various effects, the predominant one being FM and AM modulation
    for theatre organ type sound.
    
    Some models, even on the low end, have 4 programmable stops which
    are set using IBM punch cards passed through a manual card reader.
    Each computer can play 12 notes at once! (10 fingers plus 2 feet
    covers most classical organ literature).
    
    Engineering of the instruments is impeccable - reliability is high.
    Repair is a snap.  The consoles are heavy duty - fine furniture.
    The whole console, from the smallest to the largest "opens up" easily
    to reveal a neat packaging job - cables and all.  As an example,
    the pedal board (32 notes) is built like a battle ship and is a
    separate piece from the console.  It "couples" to the console
    magnetically  - no cables - and is very reliable.
    
    Some of their special effects (there are very few) allow playing
    BACH in real time reminiscent of Carlos' Switched On Bach.
    
    Their larger models add computers, keyboards, etc.  I have played
    one in Pennsy that has 4 keyboards and 12 computers (all in the
    console - a real work of art) and had cassette loadable RAM.  In
    addition that one plus many of their small ones have "capture" systems
    which allow automatic storage and retrieval of programs - but the
    stop tabs actually move - usually allow a minimum of 30 or so programs
    even on the smallest.
    
    Allen doesn't do much in the way of special effects.  They believe
    that for most of their market, natural acoustics of the building
    should dominate - imagine an organ sounding like it's in Notre Dame
    in Paris in a New England Meeting House.  Their goal is for people
    to say - Gee, what a nice sounding pipe organ.
    
    So for ROCK, etc., Allen, at least now, is probably not "there",
    but they could be if they wanted to be.  But for a musician seeking
    an excellent live performance machine (you got it all - 2 hands
    and 2 feet) and who wants to explore all types of literature - get
    your wallet ready and see an Allen by all means!  To see/hear one
    - check the Yellow pages and ask a dealer for references.  Anything
    of interest - please post it here.

    One of these "digital" Allen Organs is currently in use at the
    Evangelical (Congregational) Church on West Main Street in Westborough,
    MA.  They don't have a recital program, per se, but do occasionally
    have concerts and the like in addition to its regular use during
    scheduled services. 
    
    If I hear of any organ recital-ish events there, I'll post it here
    in case you'd like to give it a listen.
    
    - John -

    RE: .2
    
    That description made me drool.  Do you work for Allen?  You should.
     Frankly, I always thought organs should be modular like (REAL :-)
    synthesizers.  That way, you could add the stops you want and avoid
    gimmicks.  Of course, if you *wanted* gimmicks, you could always
    add them.
    
    JOHN M.

    My $.02
    
         Hi there, being new to this file, and an organist, this note
    naturally piqued my interest. I have had the opportunity to do a
    few services on a Three manual Allen, and I believe they are a joy
    to play. I have had the opportunity to play a lot of organs, since
    I tend to do substitute organ playing for several churches during
    the summer. 
         I had the opportunity to hear the afforementioned Allen organ
    really put to the test by a real organist (Berj Zamkochian former(?)
    organist for the BSO) He played a program of some obligatory BACH
    fugues, and a few really involved French pieces (Vierne's Symph
    1 Finale, and Widor Symph 5 Finale, for the organ fanatics) The
    organ really kept up with him, and never left you feeling as though
    you were listening to a really good immitation. What I always enjoy
    about organ concerts is the feeling one gets when the pedal sections
    sing out, and you  f e e l  the notes rumbling. The same feeling
    was to be had with the Allen, and I was duely impressed. 
    
                                                             -David
    

    
    I was in a music store in the great metropolis of Littleton N.H. while
    on vacation and happened across their magazine rack (of course).  They
    don't carry Keyboard Player magazine, but still had a copy of a mmm_'79
    issue of Contemporary Keyboard, the cover story of which was Virgil
    Fox's touring Allen organ.  Don't know why I didn't buy it, they were
    offering their old mags for 50c, anyway being a speed reader (7,000
    wpm, and a tooter of a different kind of horn) I got through all I
    wanted to right there in the store, interesting instrument for
    $100K *THEN* 

    	Reg
    

    My mom has recently come into possesion of an Allen Theatre Compact
    organ, circa 1969.  She got it *free*, just for hauling it away.
    
    What have we got here ?  It has two manuals, and a 1� octave pedal
    board.  I popped the top and saw lots of relays clicking away and
    some kind of wild-looking matrix switching system.
    
    Most of the accompaniment stops don't work; probably baked relays
    or dirty contacts.  This thing had been out in a damp barn for years.
    But some of the solo stops sound great, especially the chimes and
    xylophone.  Very realistic-sounding.  The organ also has a leslie-type
    vibrato speaker.  
    
    I haven't called them yet, but FWIW, Allen organ has an office in
    Framingham center.  Their number there is 626-0900.
    
    Any information whatsoever about this machine would be appreciated.
    
    Thanks,
    							-Jeff
    

    I just talked to someone at Allen, and the one we've got is a 
    "pre-computer" model.  Now I'm looking for a service manual..