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Allen AP-2 Voicing

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  • Allen AP-2 Voicing

    Can anyone tell me what each of the voicing adjustments effects? I need to do a little tweaking.

  • #2
    Here's a copy of the voice chart. You can see that there are two channels for the swell, two for the great/pedal. These are the internal channels, of course, and these are mixed down to only two actual amplifier/speaker channels.

    Each channel has B (bass), T (treble), G (gain), and W ("wind") controls via miniature pots. A complete factory-style voicing includes setting the W controls completely off, the other three at their mid-point of travel, and the two amplifier volume knobs at "8" (this is my personal way to do it, as I can turn the whole organ up or down a bit from "8" once I'm done without having to go back through the whole process).

    If you haven't already done the "exercise" routine for the pots and the "Vaseline" on the RCA connectors, do that first, as well as snugging up all the plugs in the system. You want everything to be stabilized and working smoothly before you waste time on voicing only to find out at some point that one of the channels is affected by a faulty audio cable.

    Set the volume and B and T controls of the Diapason 8 first, setting that single stop at a very conservative level, not too loud. Similar to the level you'd expect from a single rank of pipes playing in the room. When adjusting the B and T pots, consider the other stops on the same channel and try them out before you leave that channel.

    Then go to the channel with the Octave 4, which you want to set at about the same level as the Diapason 8. Adjust the B and T controls as above, carefully noting the brilliance of the mixture stop, and the heaviness of the Bourdon 16 in the pedal, which is in the same channel.

    Step three -- adjust the channel with the Spitzprincipal 4 of the Swell division so that this stop is very close in volume to the Octave 4 in the Great. As always, tinker with the B and T, observing their effects upon all the stops in that channel.

    Step four -- adjust the remaining channel by comparing the Viola to the Viola Celeste. They need to sound about the same level and tone color. Using the G, B, and T controls on the Viola Celeste's channel to make it match the Viola (which you will already have adjusted when you were adusting the Spitzprincipal).

    Now, adjust the other parameter such as the tuning slug, the tremulant rate, and any other controls that are available.

    After getting everything else set to suit you, play with the "W" control in each channel. Notice on the chart that there are only one or two stops in each channel that have "Wind" in them -- the ones indicated by an * in the list. Have someone playing the selected stop while you add a touch of wind. How much of it you need is a matter of taste and opinion.

    With that all done, you will need to make some careful comparisons to be sure everything balances. The 16' Bourdon in the pedal should be a pretty loud and deep bass stop, while the 16' Lieblich Gedeckt should be considerably softer, so you can have a secondary pedal tone to use against your celestes and softer registrations. If this is not the case, tinker with the Bass pots in the two channels.
    Attached Files
    *** Please post your questions about technical service or repair matters ON THE FORUM. Do not send your questions to me or another member by private message. Information shared is for the benefit of the entire organ community, but other folks will not be helped by information we exchange in private messages!


    • #3
      Thanks John! This is exactly what I need.