Allen Digital Organ Stop Cards Procedures

1. Introduction.
The Allen Digital Organs utilize a simple IBM 80-column card reader to input data for additional voices (stops !e"ond those provided as standard #ith the instrument$ These cards esta!lish values for %& of '( points specif"ing the electronic #aveform to !e replicated at the appropriate fre)uencies *e"ed to esta!lish the pitch and tim!re of the voices$ Although each c"cle of the #aveform is divided into '( e)ual points+ onl" the first %& of those values are input from the ,top -ard.the remaining %& are provided !" internal circuitr" to !e inverted and in reverse order+ completing a #aveform #ith point s"mmetr"$ Man" additional voices are availa!le from the Allen Organ -ompan"+ of course+ !ut sometimes an organist desires or needs a stop that is not e/actl" one of those #hich can !e !ought$ This document addresses the need of those organists to produce digital ,top -ards of their o#n design$ The procedures #ill !e discussed in three main areas0 1e-scaling2 3eneration2 and Ad4ustment$ These procedures reference the attached 5/cel spreadsheet$

2. Re-scaling.
,ometimes the onl" complaint a!out an e/isting ,top -ard voice is that it is either too loud or too soft to #or* properl" #ith the other stops to !e invo*ed #ith it$ If the voice tim!re is satisfactor" !ut the loudness is unsatisfactor"+ all that need !e done is to re-scale the #aveform to have more or less amplitude #ithout altering its harmonic structure$ 6oo* at the ,top -ard$ ,everal things #ill !e apparent0 a$ Along the !ottom of the card #ill !e a pattern of punches in the 8- and 7-ro#s.%& sets of these punch pairs$ These are the 8cloc*ing9 punches and are used !" the input mechanism to discern #hich columns of the card contain data for entr" into the voice memor"$ All cards must have this pattern of 8 and 7 punches$ The 8 punches go in columns :+ %0+ %'+ %&+ %7+ ((+ (;+ (8+ '%+ '<+ ':+ <0+ <'+ <&+ <7+ and ;(2 the 7 punches go in columns &+ 7+ %(+ %;+ %8+ (%+ (<+ (:+ '0+ ''+ '&+ '7+ <(+ <;+ <8+ and ;%$ !$ A!ove the cloc*ing punches is an area containing punches that provide the data for the voice #aveform (%=( c"cle $ This area includes the ro#s 0+ %+ (+ '+ <+ ;+ and & #ith punches in columns &+ 7+ %(+ %;+ %8+ (%+ (<+ (:+ '0+ ''+ '&+ '7+ <(+ <;+ <8+ and ;% (%& specific columns $ The punches in this area are #hat #e are interested in$ >o# reference ,heet ( of the 5/cel spreadsheet 8-onverting Bet#een -olumn Binar" ?ormat and Decimal9$ In one of the data columns+ note the ro#s #ith punches (8%9 values in order from ro# & to ro# 0 (zero $ ?or each of the data columns (even if it has no punches perform the follo#ing prodecure0 a$ Match the pattern of punches to those in the ,heet ( chart and o!tain the corresponding decimal value from the matching cell$ >ote that punch patterns #ith a punch in ro# & (the sign !it #ill have negative values and #ill !e found in the right half of the chart$ !$ 5nter the found decimal value (#ith sign into the "ello# cell in ,heet % ro# '& under the proper card column (la!eled in ro# (( $ Alternativel"+ use the lo#er field on ,heet ' to decode the !inar" values !" using %s and 0s (ones and zeroes to represent the punches and non-punches on the card$ The cells that #ill accept input are colored "ello#$ 5nter the appropriate value (% or 0 into each of the cells !" card ro# and column2 note that zero (809 entries displa" as !lan*s in this field$ The decoded decimal values are sho#n directl" !elo# each card data column+ and are graphed on -hart ; in green$ These values are #hat are to !e transferred to ,heet % ro# '& (as in !$ immediatel" a!ove $ I@m sorr"+ !ut these values have to !e transferred !" hand !ecause those ro# '& cells are not used onl" for this purpose$

Ma*e sure that all the values in the ,heet % column D "ello# cells (ro#s ; through (0 85nter ,trength ?actor9 are 0 (zero + then chec* -hart ;$ The red curve is the graph of the voice #aveform (full c"cle ta*en from the card$ On ,heet %+ place a 8%9 in the salmon-colored cell D'&2 this #ill cause the data entered in the "ello# cells 5'& through T'& (#hich "ou t"ped in to !e used as the input to the scaling formulas instead of the harmonic s"nthesis factors (#hich "ou zeroed out $ -hart ; #ill no# also displa" in !lue the #aveform curve ad4usted to !e ma/imum possi!le amplitude (largest value is &' $ The t#o curves should !e the same shape !ut pro!a!l" #ill not sho# the same amplitude$ >o# enter into the "ello# cell at D(7 a value to !e used to scale do#n the ma/imum amplitude (volume to #hat is desired for the ne# ,top -ard$ This #ill cause the !lue curve on -hart ; to ta*e on a ne# level either a!ove or !elo# the red curve (original values $ Ahen this ad4ustment is appro/imatel" #hat is #anted+ use the red values in ,heet % columns 5(7 through T(7 to punch a ne# ,top -ard !" the procedure descri!ed later in this document$ (The upper field of ,heet ' no# depicts #here the re)uired punches go to achieve this design$

3. Generation.
Another #a" of defining a ne# voice ,top -ard is to specif" the harmonic content desired in the tim!re$ The nature of the card input procedure onl" permits values for the first %& harmonics (fundamental plus %; overtones to !e involved+ !ecause %& data points for a half-c"cle can onl" specif" unam!iguousl" a fre)uenc" of %& times the fundamental or less$ Aaveforms #ith higher harmonics are+ of course+ possi!le+ !ut not !" using the harmonic s"nthesis approach$ Barmonic s"nthesis is also the method used !" the Bammond Organ dra#!ars C and the ,heet % spreadsheet is annotated to indicate ho# those dra#!ars relate to the harmonics2 the standard organ pitch register notations (8@ for the fundamental+ up to %=(@ for the highest harmonic are also included so that additional voices at other than unison pitch can also !e specified$ ?irst insure that the value in the salmon-colored cell at ,heet % D'& is e)ual to 0 (zero 2 this #ill prevent an" values in that ro# from !eing erroneousl" added into the computations to follo#$ >o# onl" the "ello# cells D; through D(0 (to specif" the relative strengths of the different harmonics and D(7 (to ma*e the ad4ustment for loudness #ill have an effect$ 5nter values for the relative strengths of the various harmonics f through %&f into the "ello# cells D; through D(0$ There are t#o #a"s that these values can !e estimated0 a$ B" using Bammond dra#!ar values$ If "ou have a Bammond voice specification that "ou #ant to transcri!e to the Allen Digital Organ+ the dra#!ar settings can !e directl" used to do this using the Barmonic ,"nthesis methodolog"$ On ,heet % of the 5/cel spreadsheet+ note that column - in ro#s ; through %( sho#s B%+ B(+ A%+ B'+ A(+ A'+ (none + and B<.these correspond to the !lac* (8B9 and #hite (8A9 dra#!ars+ from left to right$ The !ro#n dra#!ars cannot !e simulated !" this procedure+ as the" represent su!-harmonics #hich cannot !e encoded$ A dra#!ar all the #a" in represents a factor of 0 (zero 2 pulling the dra#!ar out produces factors of 0$%(;+ 0$(;+ 0$':;+ 0$;+ 0$&(;+ 0$:;+ 0$8:;+ and %$0 (all the #a" out $ Dust enter the corresponding factor values in each dra#!ar ro#$ Once all the dra#!ar position factors are in place+ the resultant #aveform #ill !e displa"ed in !lue on -hart '2 ad4ust the loudness !" entering a value in "ello# cell D(7 on ,heet % (a value of %$0 #ill produce the ma/imum loudness possi!le $ The red values in !lue cells 5(7 through T(7 can then !e used to punch a ne# ,top -ard using the procedure descri!ed later in this document$ !$ Eno#ledge+ 3uessing+ or Ahatever$ ,ome organists ma" have a good understanding of the true harmonic content of various organ stops+ #hereas others ma" onl" have a passing *no#ledge of this topic$ There are a fe# principles #hich can !e applied to ma*ing guesses a!out #hat harmonic factors ma" !e appropriate0 (% Diapasons (Frincipals nearl" all have a ver" strong fundamental in #hatever pitch register is !eing generated+ plus a strong second harmonic (t#ice the fundamental pitch $ 8Flump9 diapasons (5nglish #ill have little additional harmonic structure+ !ut 8string"9 diapasons #ill have more$ In pro!a!l" no case

should an" of those higher harmonics !e factored !" more than a!out 0$( or the diapason nature of the stop #ill !e lost$ A fe# diapasons #ill have a strong 'rd harmonic (' times the fundamental pitch + !ut again this factor #ill not !e ver" large$ (( ?lutes have a strong fundamental in their pitch register #ith ver" small factors for all the higher harmonics$ ,topped flutes #ill have zero (or nearl" zero factors for the 8even9 harmonics ((f+ <f+ &f+ 8f+ etc$ for an 8@ stop2 <f+ 8f+ %(f and %&f for a <@ stop2 and &f and %(f for a ( (='@ stop 2 open flutes #ill have non-zero factors for all harmonics+ !ut the" #ill all !e small$ B" comparison+ a Theater Organ Ti!ia stop #ould have mostl" the fundamental fre)uenc" represented.all other harmonic factors #ould !e near zero$ ,uch a specification #ill produce a nearl" perfect sine #ave for the #aveform and a ver" dull tim!re (the dullest possi!le #ould !e a pure sine #ave.all harmonics G zero e/cept the fundamental $ (' 1eeds #ill have strong contri!utions !" the first several harmonics+ some of #hich ma" even !e more present than the fundamental$ ,pecification of a reed stop is highl" speculative and #ill re)uire some e/perimentation$ Modification of an e/isting reed voice !" the procedures of the ne/t section ma" !e more useful$ (< ,trings cannot !e #ell simulated !" the harmonic s"nthesis process !ecause the" need harmonics #ell a!ove those availa!le in this procedure$ Once a set of harmonic factors have !een entered and a loudness factor decided upon+ the red values in !lue cells 5(7 through T(7 can !e used to punch a ne# ,top -ard using the procedures detailed later in this document$

4. Adjust

ent.

The process of Ad4ustment can !e used to alter an e/isting ,top -ard specification to ma*e minor changes in its tim!re$ This process might !e useful to put a more 8)uint"9 sound to an e/isting flute+ for e/ample$ ?ollo# the procedure for doing a re-scaling of the e/isting stop+ !ut then add non-zero factors for certain of the harmonics using the "ello# cells in D; through D(0$ These factors #ill onl" !e )uite small+ and can !e either positive or negative (add harmonics to ma*e the stop !righter+ su!tract them to ma*e it duller $ The original stop !eing ad4usted #ill !e depicted in -hart ; as the red line2 the ad4usted version #ill !e sho#n !" the !lue line$ This process can !e repeated until the #aveform graph indicates #hat alterations in the tone are desired0 a$ A 8fattening9 of the ma4or lo!e #ill usuall" indicate a 8plumper9 sound2 a 8thinning9 #ill ma*e the sound 8stringier9$ !$ Displacement of the ma4or lo!e #ill indicate that the voice #ill !e more 8open9 (purel" 8stopped9 voices are perfectl" s"mmetrical left to right $ c$ -hanges in the num!er of lo!es (humps indicate more or less of the 8odd9 harmonics (more or less 8)uint"9 $ It is also possi!le to !egin #ith a 8stra# man9 voice specification instead of an actual ,top -ard as the starting point for ma*ing ad4ustments0 a$ The most 8!uzz"9 sound possi!le is a pure sa#tooth #aveform and #ould !e o!tained !" entering the values &(+ ;8+ ;<+ ;0+ <&+ <(+ '8+ '<+ '0+ (&+ ((+ %8+ %<+ %0+ &+ and ( into the -omparison ,top -ard "ello# cells in 5'& through T'& (for an 8@ reed and putting 8%9 into salmon-colored !o/ D'&$ ?or a <@ reed+ enter the values &0+ ;(+ <<+ '&+ (8+ (0+ %(+ <+ -<+ -%(+ -(0+ -(8+ -'&+ -<<+ -;(+ and -&0$ >ote that this set of constants #ill produce a red curve that has ( complete c"cles of sa#tooth+ #hich is #hat #ould !e e/pected of a <@ stop (t#ice the fre)uenc" of an 8@ stop $ Other constant sets can !e found to produce a sa#tooth #ave at higher pitch registers$

!$ If the desire is to produce #ood#ind tones+ a s"mmetrical #aveform such as a s)uare #ave is the proper starting point$ ?or an 8@ s)uare #ave+ enter the values &' into all %& columns2 for a <@ s)uare #ave+ enter &' into the first 8 columns and -&' into the last 82 for a (@ s)uare #ave+ enter &' into the first < columns+ -&' into the ne/t <+ !ac* to &' for < more+ and finish #ith -&' in the last <$ A s)uare #ave unmodified #ill sound li*e a 8zizz"9 o!oe$ Enoc*ing the s)uare corners off !" using smaller values at the transitions #ill ma*e the tone less screech"$ c$ Because %& is not divisi!le !" '+ ;+ or :evenl" it is not possi!le to produce sa#tooth or s)uare #aves at the mutation pitches ( (='@+ % '=;@+ % %='@+ or % %=:@$ Once the chart sho#s #aveform changes that appear desira!le+ use the loudness factor in D(7 to ad4ust the loudness and the procedures later in this document to punch the ne# ,top -ard$

!. Producing t"e ne# Stop Card.

Once a pattern of red values in ,heet % cells 5(7 through T(7 has !een produced+ it is time to transfer these values to the ne# ,top -ard$ This is a relativel" simple process$ 1efer to ,heet ( of the 5/cel spreadsheet$ ?or each of the %& card columns+ perform the follo#ing steps0 a$ 6oo* up the red value for the column in the 8-onverting Bet#een -olumn Binar" ?ormat and Decimal9 ta!les matching it to the 8Decimal Halue9 column of the ta!le$ 1emem!er that negative values are in the right half of the ta!le and positive values are in the left half$ !$ >ote the pattern of punches associated #ith that decimal value$ The 8I9 characters mar* the ro#s to !e punched in that particular column$ It is possi!le that all : ro#s (0 through & could !e punched (a value of -% or none might !e (a value of zero $ All other com!inations of punches and !lan*s are possi!le$ c$ Be sure that the pattern of 8- and 7-ro# punches is also present on the card$ If the" are not there (!" using a pre-punched s*eleton card + "ou #ill also have to punch those$ The" must !e punched e/actl" as found on a standard ,top -ard$ Do not s*ip an" 4ust !ecause that column might not have an" other punches (the cloc*ing punches are #hat allo# that zero value to !e entered $ Alternativel"+ !eginning #ith version IH of this spreadsheet+ there is a ne# ,heet ' that visuall" depicts the IBM card la"out and indicates #hich columns and ro#s are to !e punched !" !lac* mar*s in them$ The upper field of this ,heet represents an IBM card and specificall" depicts the ro# and column #here ever" punch must !e made (#here the mar*s are $ The ,heet ' data is created automaticall" from the values in cells 5(7 through T(7$ There are man" different devices for punching IBM 80-column cards and the" all operate some#hat differentl"$ This document does not attempt to cover all the different #a"s that multiple punches in a single column might !e done.it #ill !e necessar" for the organist to learn ho# to do this #ith the machine availa!le$ There #ill usuall" !e a !utton called a 8multiple punch9 !utton+ and this must !e depressed and *ept depressed #hile all punches in that column are made+ then released (at #hich time the card #ill !e advanced one position $ ,ome practice in producing correctl"-punched cards #ill pro!a!l" !e re)uired$

$. A%ter#ord.
I have tried to ma*e this process as simple and straightfor#ard as possi!le$ The original document I produced "ears ago #as ver" arithmetic-intensive and re)uired a lot of manual calculator activit"$ In this more modern version I have incorporated the capa!ilities of the 5/cel spreadsheet facilit" to significantl" reduce the amount of arithmetic re)uired and to produce graphical displa"s of the resultant #aveforms$ I hope that the procedures descri!ed a!ove are sufficientl" detailed and uncomplicated to !e useful$ If "ou have an" )uestions+ please direct them to me$ I do recommend a lot of 8pla"ing around9 #ith the various features

of the spreadsheet #ith chec*ing of the -hart ; displa" each time to get a feel for ho# the various control entries interact$ Bere are three overall considerations0 a$ ?or a simple re-scaling of an e/isting stop+ set all the ,trength ?actor "ello# cells (D; through D(0 on ,heet % to 0 (zero + set the salmon-colored !o/ D'& to %$0+ and enter the data from the e/isting card into "ello# cells 5'& through T'&$ The values to !e entered into these cells can !e o!tained either !" using ,heet ( to manuall" convert the !inar" codes or !" using the ne# field of ,heet '$ -hart ; #ill sho# the original ,top -ard curve in red and the loudness-ad4usted (!" value in D(7 curve in !lue$ !$ Ahen using the ,"nthesis process+ either using Bammond dra#!ar C settings or !" *no#ledge of the desired harmonic content+ use the ,trength ?actor "ello# cells (D; through D(0 for input and set the salmon-colored !o/ D'& to 0 (zero $ Although this prevents the entries in "ello# cells 5'& through T'& from having an effect on the resultant #aveform+ values in those columns #ill produce a red curve in -hart ;+ and this might !e confusing$ I recommend that those "ello# cells !e set to 0 (zero also$ c$ Jsing the ,"nthesis process to modif" an e/isting (or 8stra# man9 #aveform+ all the "ello# cells ma" have values in them and the salmon-colored !o/ #ill !e set to %$0$ The use of the distinct processes together simplifies ma*ing minor changes in tim!re to e/isting ,top -ard voices$

C"ange &og.
Hersion III corrected an error in the harmonic-s"nthesis procedure that erroneousl" e/cluded the upper half of the availa!le harmonics and mis-la!eled the K@ line as %@$ -harts < and ; #ere also added as improvements of -harts % and '+ respectivel" (end-c"cle zero-crossings handled $ The references in this document have !een changed to reflect the added ro#s re)uired for the fi/ to the harmonics$ This document should not !e used for earlier versions$ Hersion IH incorporated the ,heet ' capa!ilit" of displa"ing #hat the punched IBM card #ould loo* li*e$ It also added cell protection to prevent inadvertent destruction of necessar" values !" over#riting$ Hersion H 4ust made some minor cosmetic changes to Hersion IH$ Hersion HI added a ne# card-image field to ,heet ' !elo# the original one$ This ne# field allo#s entr" of zeroes or ones into the "ello# cells to replicate #here holes are punched in ro#s 0 through & on the Tone -ard$ Ahen this has !een done+ the larger cells !elo# each data column sho# the computed decimal values of the !inar" data that had !een encoded on the card$ These values are also plotted on -hart ; as a green line$ (If this is confusing+ t"pe zeroes into all the "ello# cells on ,heet ' and the green line #ill then lie on the /-a/is and !e out of the #a"$