Viscount UNICO 800, UNICO 400, UNICO 300, UNICO CL8, UNICO CLV8 Reference Manual

viscount

Reference Manual

- English

Ver. USA - 1.10

Physis Organs

Schalmei

4'

8'

Trompete

16'

Posaune

Contra
Bombarde

32'

Clarine

4'

8'

Trompete

Fagott
16'

IV

Mixture

4'

bass

Choral-

Oktav­bass

8'

Choir

to

Pedal

8'

Gedackt

16'

Gedackt

8'

Dulciana

Prinzipal

16'

Vox Humana

8’

Tremolo

Clarion

4’

V

Cornet

V

Mixture

2
3

Quinte

Super­oktave

2'

4'

Oktave

Spitzflöte

4'

Unda
Maris
8'

8'

Gedackt

Prinzipal

8'

Hohlflöte

8'

4'

Rohrflöte

2
3

Nasard

2'

Blockflöte

3
5

Terz

Tremolo

4'

Gemshorn

Oktave

4'

Gamba

8'

Prinzipal

8'

Vox
Celeste
8'

Tremolo

II

Sesquialtera

1'

Sifflöte

1
3

Larigot

4'

Offenflöte

Prinzipal

8'

4'

Prestant

Doublette

2'

Mixture

IV

Humana

Vox

8'

Oboe
8'

Trompete

8'

16'

Contra
Trompete

Regal
16'

8'

Spanische
Trompete

8'

Krumm-

horn

Swell Swell Great GreatPedal

Cello Chimes Oboe Harps Strings

Choir
Piano

Choir
Harpsich.

On

Reed Mixtur Pedal Swell Great Choir

Console

On

Speaker

Ext.

CRESCENDO

M. BANK

PEDAL SWELL

POWER

0

1

AMPLIFICAT. CANCEL MIDI

SEQUENC.

VOLUMES

FIELD

EXIT

ENTER

FIELD VALUE VALUE

ORCHESTRA

GREAT CHOIR

UNICO 500

viscount

CHOIR SWELL CRESCENDO

MASTER
VOLUME

THRU OUT

MIDI

IN REVERB

VOLUME

USB PHONES

MEM.
BANK

MEM.
BANK

S

HR 1 2 3 4

7 8 9 10

HR 1 2 3 4

5 6

HR 1 2 53 4 6SW/P

HR 1 2 53 4 6G/P

HR 1 2 53 4 65 6 C/P C

T

SWS

A.P

SW/C

SW/G C/G

M.SOLO

M.SOLO

M.SOLO

O.SOLO

PREV NEXT

+-

Great

to

Pedal

Swell

to

Pedal

Swell

to

Great

Choir
to

Great

Swell

to

Choir

Contra
Violone

32'

Open
Wood

16'

Sub

Bass

16'

16'

Double
Diapason

Erzahler

8'

Concert
Flute

8'

1

Viscount Physis OrgansReference Manual

INDEX

1. Important notes .............................................................................................................................. 3

1.1 Looking after the product .............................................................................................................................. 3

1.2 Notes about the manual.................................................................................................................................. 3

2. Introduction.................................................................................................................................... 5

3. General description ........................................................................................................................ 6

4. Programming section and main screen ........................................................................................ 19

5. Setting the volumes (Volumes function) .......................................................................................20

6. Tuning the instrument (Tuning menu) ........................................................................................ 21

7. The organ styles (Styles menu) ..................................................................................................... 22

8. Selecting and regulating the voices (Voices menu) ......................................................................23

8.1 Regulating the volume (Volume Level function) ....................................................................................... 24

8.2 Regulating the audio parameters (Edit Parameters function) ..................................................................24

8.3 Selecting the alternative voices (Alternative Voice function)................................................................... 26

8.4 Selecting and adjusting the orchestral voices ............................................................................................. 27

8.5 Saving different orchestral voices and parameters in the combinations ................................................ 29

9. Instrument general settings .......................................................................................................... 30

9.1 Adjusting the tremolos (1st Tremolo and 2nd Tremolo functions) ....................................................... 30

9.2 Selecting the reverberation style (Reverberation function) ...................................................................... 31

9.3 Adjusting the internal equalizer (Int. Ampl. Equalizer function) ........................................................... 32

9.4 Arranging the voices in the internal amplification (Int. Amp. Panning function) ................................ 33

9.5 Stereophonic balance of the side speakers (Int. Amp. Tune-Up function)........................................... 37

9.6 Options of the combinations, the Cancel function, the Crescendo and Volume control

(Programmable functions) ............................................................................................................................ 38

9.7 Programming the [SWS] piston function (Sws Programming function) ............................................... 41

9.8 Regulating the rear outputs equalizer (Ext. Out Equalizer function)..................................................... 42

9.9 Regulating the rear output [GEN. SUB] equalizer (Ext. Sub Equalizer function) ............................... 43

9.10 Setting the routing of the voices on the rear audio outputs (Ext. Out Router function) ................ 44

9.11 Regulating the volume of the rear outputs (Ext. Out Volume function) ............................................ 47

9.12 Configuration of the external audio outputs (Ext. Out Config function) .......................................... 48

9.13 Automatic resize of External Routers (Ext. Out Resize function) ...................................................... 49

10. Utilities and MIDI functions (Util. & MIDI menu) ..................................................................50

10.1 Regulating the internal clock (Set Date & Time function) .................................................................... 51

10.2 Controlling the access to the organ settings (Lock Organ function) .................................................. 52

10.3 Restoring factory settings (Restore Fact. Sett. function) ........................................................................ 53

10.4 Upgrading the operating system (Op. Sys. Upgrade function) ............................................................ 55

10.5 MIDI functions............................................................................................................................................ 55

11. File managements functions (File Manag. menu) ......................................................................58

11.1 File management (Dir function) ................................................................................................................ 59

11.2 Loading organ combinations and/or settings (Load function)............................................................. 60

2

Viscount Physis Organs Reference Manual

11.3 Saving as file of organ combinations and/or settings (Save function) ................................................ 62

11.4 Copying and duplicating a file (Copy function) ...................................................................................... 63

11.5 Renaming files (Rename function) ............................................................................................................ 65

11.6 Deleting files (Delete funcion)................................................................................................................... 66

11.7 Editing of lists of songs (Songlist function) ........................................................................................... 67

11.8 Operating system version (O. S. Info function) ...................................................................................... 68

11.9 Error messages – File management functions ........................................................................................ 69

12. Playing and recording of musical sequences (Sequencer)......................................................... 71

12.1 Playing back a piece (Play mode)............................................................................................................... 71

12.2 Recording a piece (Record mode) ............................................................................................................. 73

12.3 Play options of the sequencer (Play Options menu) .............................................................................. 78

12.4 Error messages – Sequencer ...................................................................................................................... 78

13. Stop Local Off ..............................................................................................................................80

14. Appendix ......................................................................................................................................80

14.1 Temperament ............................................................................................................................................... 80

14.2 Temperaments in the Physis organs.......................................................................................................... 83

14.3 The windchest in the pipe organs ............................................................................................................. 92

14.4 Content of the .set, .sty, .cmb and .all files .............................................................................................. 94

14.5 What is MIDI ............................................................................................................................................... 96

14.6 Detailed MIDI implementation ................................................................................................................. 98

3

Viscount Physis OrgansReference Manual

1. IMPORTANT NOTES

1.1 LOOKING AFTER THE PRODUCT

• Do not apply excessive force to the organ’s structures or the controls (knobs, stops, push-buttons, etc.).

• When possible, do not place the instrument close to units which generate strong interference, such as

radios, TVs, computer videos, etc.

• Do not place the organ close to heat sources, in damp or dusty places or in the vicinity of strong magnetic
fields.

• Do not expose the instrument to direct sunlight.

• Never insert foreign bodies inside the instrument or pour liquids of any kind into it.

• For cleaning, use only a soft brush or compressed air; never use detergents, solvents or alcohol.

• Always use good quality screened cables for connection to amplification or diffusion systems. When

disconnecting cables from sockets, always take hold of the connector and not the cable itself; when
winding cables, do not knot or twist them.

• Before making the connections ensure that the other units (especially amplification and diffusion systems)
you are about to connect are switched off. This will prevent noisy or even dangerous signal peaks.

• Connect the net cable to an earthed socket.

• Check that the voltage corresponds to the voltage shown on the serial number plate of the organ.

• If the organ is to be out of use for lengthy periods, disconnect the plug from the power socket.

1.2 NOTES ABOUT THE MANUAL

• Take good care of this manual.

• This manual is an integral part of the instrument. The descriptions and illustrations in this publication

are not binding.

• While the instrument’s essential characteristics remain the same, the manufacturer reserves the right to
make any modifications to parts, details or accessories considered appropriate to improve the product or
for requirements of a constructional or commercial nature, at any time and without undertaking to
update this publication immediately.

• All rights reserved; the reproduction of any part of this manual, in any form, without the manufacturer’s
specific written permission is forbidden.

• All the trademarks referred to in this manual are the property of the respective manufacturers.

4

Viscount Physis Organs Reference Manual

• Read all the information carefully in order to obtain the best performances from your product and waste
no time.

• The codes or numbers in square brackets ([]) indicate the names of the buttons, sliders, trimmers and
connectors on the instrument. For example, [ENTER] refers to the ENTER button.

• Illustrations and screens showed are for information purposes only and may differ from your product.

• The instructions provided in this manual only concern the instrument's operating system version that

was up to date when the document was released. Therefore, such instructions might not describe faithfully
your current operating system release. Please, visit the website http://www.physisorgans.com/
download.asp to check for the newest operating system release and manual.

5

Viscount Physis OrgansReference Manual

2. INTRODUCTION

Dear Customer,

Thank you for choosing the organ Viscount.
The Company, a world leader in the construction
of fine classical organs, has installed in this
instrument the latest and most sophisticated
technology dedicated to the high fidelity
reproduction of pipe organ sounds, with
impressive flexibility and remakable quality of
timbre.

After years of research exploring musical synthesis
techniques, our Research and Development unit,
is the FIRST in the world to create the sounds of
a pipe organ by using the “physical modeling
technology” upon which the Physis is based.

Instead of using “sound samples” from pipe
organs (previously the standard method) this
revolutionary sound generation system involves the
real-time calculation of the waveform generated
by a precise mathematical model based on the
sound emission physics of a pipe organ,
incorporating the principal physical parameters ie. construction geometry, materials used, and pertaining air
pressure, etc.

The fact that the simple reproduction of memorized “sound” has been disregarded, permits the achievement
of unimaginable realism, with the level of detail previously only created by a traditional pipe organ.
For example, the mathematical model allows the production of a different sound for each key since it provides
the virtual reproduction of the original instrument by assigning a different pipe to each note, similar to a pipe
organ. Furthermore, it will generate a different sound for each consecutive pressure of the same note, thus
simulating the precise condition of the air volume inside the pipe as it is pressed.

The organ also permits the “physical” editing of the sounds produced, by adjusting the parameters - just as
the organ builder constructs the pipes. If however, “editing” is not your forte, you may choose your sound
from a big library of pre-programmed pipe organ voices already in the instrument’s memory.

To conclude we suggest that you visit our web-sites www.viscount-organs.com and www.physisorgans.com
where you will find information, updates, documents and news about our unique range of instruments.

6

Viscount Physis Organs Reference Manual

3. GENERAL DESCRIPTION

UNICO 500

Schalmei

4'

8'

Trompete

16'

Posaune

Contra

Bombarde

32'

Clarine

4'

8'

Trompete

Fagott

16'

IV

Mixture

4'

bass

Choral-

Oktav-

bass

8'

Choir

to

Pedal

8'

Gedackt

16'

Gedackt

8'

Dulciana

Prinzipal

16'

VoxHumana

8’

Tremolo

Clarion

4’

V

Cornet

V

Mixture

2
3

Quinte

Super-

oktave

2'

4'

Oktave

Spitzflöte

4'

Unda

Maris

8'

8'

Gedackt

Prinzipal

8'

Hohlflöte

8'

4'

Rohrflöte

2
3

Nasard

2'

Blockflöte

3
5

Terz

Tremolo

4'

Gemshorn

Oktave

4'

Gamba

8'

Prinzipal

8'

Vox

Celeste

8'

Tremolo

II

Sesquialtera

1'

Sifflöte

1
3

Larigot

4'

Offenflöte

Prinzipal

8'

4'

Prestant

Doublette

2'

Mixture

IV

Humana

Vox

8'

Oboe

8'

Trompete

8'

16'

Contra

Trompete

Regal

16'

8'

Spanische

Trompete

8'

Krumm-

horn

Swell Swell Great GreatPedal

Cello Chimes Oboe Harps Strings

Choir

Piano

Choir

Harpsich.

On

Reed Mixtur Pedal Swell Great Choir

Console

On

Speaker

Ext.

CRESCENDO

M.BANK

PEDAL SWELL

POWER

0

1

AMPLIFICAT. CANCEL MIDI

SEQUENC.

VOLUMES

FIELD

EXIT

ENTER

FIELD VALUE VALUE

ORCHESTRA

GREAT CHOIR

UNICO 500

viscount

CHOIR SWELL CRESCENDO

56789101112

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

PROG.OUT

PROG.OUT INPUTOUT

MASTER

VOLUME

THRU OUT

MIDI

IN REVERB

VOLUME

USB PHONES

MEM.

BANK

MEM.

BANK

S

HR1234

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HR1234

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HR 1 2 534 6SW/P

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HR 1 2 534 656 C/P C

T

SWS

A.P

SW/C

SW/G C/G

M.SOLO

M.SOLO

M.SOLO

O.SOLO

PREV NEXT

+-

1 2

6

20

18

13

7

8 10 3 4

21

14 18 1915 16 19 17

23

22

26

25

9 11 12

-

+

EXT.

+12VDC

300mA

-

+

EXT.

+12VDC

300mA

19

13

5

24

Great

to

Pedal

Swell

to

Pedal

Swell

to

Great

Choir

to

Great

Swell

to

Choir

Contra

Violone

32'

Open

Wood

16'

Sub

Bass

16'

16'

Double

Diapason

Erzahler

8'

Concert

Flute

8'

7

Viscount Physis OrgansReference Manual

UNICO 400

GT/PD

SW/PD

CHR/PD

TUTTI

SW/CHR

SW/GT

CHR/GT

6

7

8

1

2

3

4

5

NEXT

PREV

10

9

On

Reed Mixtur Pedal Swell Great Choir

Console

On

Speaker

Ext.

CRESCENDO

M.BANK

AMPLIFICAT. CANCEL MIDI

SEQUENC.

VOLUMES

FIELD

EXIT

ENTER

FIELD VALUE VALUE

ORCHESTRA

MASTER

VOLUME

THRU OUT

MIDI

IN REVERB

VOLUME

USB PHONES

Fluit

Celeste

8’

SWELL

Prestant

16’

Prestant

8’

Holpijp

8’

Quint

1/

1

3

Octaaf

4’

Roerfluit

4’

Quint

2/

2

3

Super

Octaaf

2’

Cornet

V

Prestant

16’

Fagot

16’

Trumpet

8’

Vox

Humana

8’

TremoloClarion

4’

PEDAL

Contra

Bourdon

32’

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Gedekt

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bas

8’

Gedekt

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Quint

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3

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4’

Contra

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32’

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8’

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to

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POWER

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1

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V

Prestant

8’

Quintadeen

8’

Bourdon

8’

Prestant

4’

Open

Fluit

4’

Octaaf

2’

Terts

1/

3

5

Larigot

1/

1

3

Sifflet

1’

Sesquialter

II

Mixtuur

IV

Chamade

Trompete

8’

Tremolo

Swell

to

Choir

UNICO 400

UNICO 400

viscount

CHOIR

CHOIR SWELL CRESCENDO

MIDI

REVERS.

32’FLUTE

REVERS.

32’REED

REVERS.

GREAT

Bourdon

16’

Prestant

8’

Roerfluit

8’

Gamba

8’

Vox

Celeste

8’

Octaaf

4’

Koppel-

fluit

4’

Quint

2/

2

3

Woudfluit

2’

Terts

1/

3

5

Cymbal

III

Regal

16’

Trompet

8’

Hobo

8’

Kromhorn

8’

Tremolo

MEM.

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HR1234

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GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

PROG.OUT

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300mA

1

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18 14 1915 16 19 17176

13

7

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4

3

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Cello Chimes Oboe Harps Strings

Choir

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Harpsich.

Swell

to

Great

Choir

to

Great

8

Viscount Physis Organs Reference Manual

UNICO 300

GT/ PD

SW/ PD

SW/ GT

TUTTI

1

2

3

4

5

6

MASTER

VOLUME

THRU OUT

MIDI

IN REVERB

VOLUME

USB PHONES

Fluit

Celeste

8’

SWELL

Prestant

16’

Prestant

8’

Holpijp

8’

Quint

1/

1

3

Octaaf

4’

Roerfluit

4’

Quint

2/

2

3

Super

Octaaf

2’

Cornet

V

Prestant

16’

Fagot

16’

Trumpet

8’

Vox

Humana

8’

TremoloClarion

8’

PEDAL

Contra

Bourdon

32’

Subbas

16’

Gedekt

16’

Octaaf-

bas

8’

Gedekt

8’

Quint

1/

1
3

Koraal-

bas

4’

Fluit

4’

Contra

Bombarde

32’

Bombarde

16’

Trumpet

8’

Swell

to

Pedal

Mixtuur

V

Clarion

8’

Clarion

4’

Clarion

4’

GREAT

Bourdon

16’

Prestant

8’

Roerfluit

8’

Gamba

8’

Vox

Celeste

8’

Octaaf

4’

Koppel-

fluit

4’

Quint

2/

2

3

Woudfluit

2’

Terts

1/

3
5

Cymbal

III

Regal

16’

Trompet

8’

Hobo

8’

Kromhorn

8’

Swell

to

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Console

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AMPLIFICAT. CANCEL

SEQUENC.

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FIELD

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ORCHESTRA MIDI

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9

Viscount Physis OrgansReference Manual

UNICO CL / CLV 8

PROG.OUT INPUTOUT

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

-

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300mA

10

25

1

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20

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3 4

21

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26

19

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to

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to

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CHOIR

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to

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GT/PD

SW/PD

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CH/GT

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to

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to

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MEM.

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Tremolo Tremolo Tremolo

PREV

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MIDI

REVERS.

32’FLUTE

REVERS.

32’REED

REVERS.

10

Viscount Physis Organs Reference Manual

UNICO CL / CLV 7

PROG.OUT INPUTOUT

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

-

+

EXT.

+12VDC
300mA

25

1 2 5

SEQUENC.

VOLUMES

FIELD

EXIT

ENTER

FIELD VALUE VALUE

24 28 10 8 9 12 3 11

viscount

22

19

21

23

24

13

6

20

27

SWELL

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to

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to

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HR 1 2 3 4 5 6

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15 16

13

19

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TREMOLO

GT/PD

11

Viscount Physis OrgansReference Manual

UNICO CL / CLV 6

CL

6

UNICO

viscount

PROG.OUT INPUTOUT

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

-

+

EXT.

+12VDC

300mA

MASTER

VOLUME

REVERB

VOLUME

1 2 3 125

6

27

20

21

10

25

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to

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to

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to

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2

3

4

5

6

SWELL CRESCENDO

13

24

22

19

23

12

Viscount Physis Organs Reference Manual

UNICO CL / CLV 4

viscount

CL

4

UNICO

MASTER

VOLUME

REVERB

VOLUME

PROG.OUT INPUTOUT

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

-

+

EXT.

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300mA

25

5

6

1 2 3 12

21

10

30

20

13 1918

23

SWELL

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Tremolo

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to

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SWELL

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SWS

13

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UNICO CL / CLV 2

CL

2

UNICO

MASTER

VOLUME

REVERB

VOLUME

viscount

PROG.OUT INPUTOUT

GEN.SUB 1 2 3 4 L(+R) R MIC GAIN

-

+

EXT.

+12VDC

300mA

25

6

27

20

21

10

1 12

13

1918

23

SWELL

GREAT/PEDAL

2

SWELL

Tremolo

3

GREAT

Tremolo

Swell

to

Great

SWS

Great

to

Pedal

Swell

to

Pedal

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Viscount Physis Organs Reference Manual

1. PEDAL Section

Contains pedal stops and manual-pedal couplers. The couplers available are:

- Great to Pedal

- Swell to Pedal

- Choir to Pedal

2. SWELL section

Contains stops, couplers and tremolos of Swell.

3. GREAT Section

Contains stops, couplers and tremolos of Great. The couplers available are:

- Swell to Great

- Choir to Great (only three-manual models)

4. CHOIR section.

Stops, manual couplers and tremolos for Swell. The coupler available is:

- Swell to Choir

For each rocker switch a different voice can be selected. You can also adjust the main sound-generation
parameters. Further information can be found on chapter 8.
Two tremolos are available for each section, and both can be activated through the [TREMOLO] stop or
draw-stop. Speed and depth of both tremolos can be adjusted. Further information can be found on paragraph

9.1.

For some models, these sections also contain a [MIDI] control, to transmit MIDI-note codes to the MIDI
[OUT] port. It is also possible to play one or two orchestral voices. To do so, activate the desired voice
through the functions described on chapt. 8.3 and 8.5. The list of stops available to play orchestral voices
may change, according to the sound configuration of the organ. Check the web page www.physisorgans.com/
download.asp for further information.

5. Light switch

On-off button for the music stand and manuals lights.

6. Power switch

Instrument on/off switch.

7. AMPLIFICATION section

Amplification controls.

- [CONSOLE ON] switches on the instrument’s internal amplification system.

- [EXT. SPEAKER ON]: this command activates the PROG.OUT and GEN. SUB outputs, in the rear
panel (point 25), in order to link external speakers to the instrument and use them to diffuse the
sound around the ambience.

8. CANCEL section

Cancel buttons which allow disabling of all the Reed voices ([REEDS] tab) and the Plenum
voices ([MIXTURE] tab). However, when a stop is deactivated through this control, the stop light is still
on.

9. MIDI section.

These controls, provided for each manual and the pedal board, allow transmission of the note MIDIcodes
on the MIDI [OUT] port to be enabled and disabled. All the instrument’s other MIDI messages will
continue to be transmitted, even with the MIDI control off.

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N.B.

When the organ is switched on, it selects automatically the memory bank n.1.

10. Control and programming section.

The buttons and the display in this sections allow the user to program and set up the instrument and the
sequencer. This section is described in chapter 4 and following.

11. ORCHESTRA section.

Contains the orchestral voices. It is possible to select the voice activated by each rocker-switch, and adjust
the main sound generation parameters of each voice. For further information read par. 8.4.

12. Additional displays

- [CRESCENDO]: shows the step currently reached by the [CRESCENDO] pedal (point 24).

- [M. BANK]: displays the memory bank of the combinations (general and divisional), selected using
the [MEM. BANK +] and [MEM. BANK -] pistons, or by holding the [S] piston (p. 18) and using the
[PREV] and [NEXT] buttons (p. 13).

13. General combinations.

- [1] / [10] or [8] or [6]: pistons and (in some models only) toe pistons to recall the combinations saved
in the selected memory bank (several memory banks are available, and can be chosen by pressing
[MEM- BANK +] and [MEM. BANK -]). These combinations can be modified. To do so, follow the
procedure described at point 18.

- [HR]: restores the voice setup prepared in manual mode before a memory was recalled.

- [PREV.] / [NEXT]: general combinations sequencers. [PREV.] displays them in descending order,
[NEXT] in ascending order.

14. Pedal pistons.

- [1] / [6]: pedal divisional combinations. These combinations can be modified. To do so, follow the
procedure described at point 20.

- [HR] (only available for some models): restores the voice setup prepared in manual mode before a
memory was recalled, when the piston is on.

15. Swell pistons

- [1] / [6]: Swell divisional combinations. These combinations can be modified. To do so, follow the
procedure described at point 18.

- [HR] (only available for some models): restores the voice setup prepared in manual mode before a
Swell memory was recalled, when the piston itself is on.

- [SW/P]: Swell to Pedal coupling.

- [M.SOLO] (only available for some models): activates the MIDI SOLO function, which allows mono
transmission of the notes played on this manual on the MIDI [OUT] output, with priority to the
highest note.

16. Great pistons.

- [1] / [6]: Great divisional combinations. These combinations can be modified. To do so, follow the
procedure described at point 18.

- [HR] (only available for some models): restores the voice setup prepared in manual mode before a
Great memory was recalled, when the piston itself is on.

- [G/P]: Great to Pedal coupling.

- [SW/G]: Swell to Great coupling.

- [C/G] (only available for 3-manual models): Choir to Great coupling.

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N.B.

If the [S] piston LED light is off, this means that the Lock Organ (see cap. 11.2) function is active.
In this case, saving combinations and visualizing the programming functions will be impossible.

- [M.SOLO] (only available for some models): activates the MIDI SOLO function, which allows mono
transmission of the notes played on this manual on the MIDI [OUT] output, with priority to the
highest note.

- [O.SOLO] (only in certain models): activates the Organ Solo function. By default, you can play the
melody with Swell stops when the Swell to Great coupling is active. Therefore, all the while the
function is active, notes are played with monophonic Swell voices. However the melody can be played
also on other manuals. To do so, access the corresponding options under the PROGRAMMABLE
FUNCTIONS menu (see par. 9.5).

17. Choir pistons.

- [1] / [6]: Choir divisional combinations. These combinations can be modified. To do so, follow the
procedure described at point 18.

- [HR] (only available for some models): restores the voice setup prepared in manual mode before a
memory for Choir was recalled.

- [C/P]: Choir to Pedal coupling.

- [SW/C]: Swell to Choir coupling.

- [M.SOLO] (only available for some models): Activates the MIDI SOLO function, which allows mono
transmission of the notes played on this manual on the MIDI [OUT] output, with priority to the
highest note.

18. [S] piston: piston that saves general and divisional combinations, Tutti and Crescendo steps.
To save a combination or the Tutti, after setting up the voices, press and hold the [S] piston; then press
the piston/toe piston corresponding to the combination you wish to save.
To save a Crescendo step, select it through the Crescendo pedal, press and hold [S], and then press the
general memories [HR] piston. To copy the content of one step to another, first select the step you wish
to copy, then press and hold the [S] piston, select the step in which you wish to paste the content, and
finally press the general memories [HR].

19. General organ controls.

These are the controls that are not dedicated to a single section, but affect the whole instrument.

- [MEM. BANK +] and [MEM. BANK - ]: select the memory bank shown on the additional display

[MEM. BANK] (point 12).

- [SWS]: when the All Swells in Swell or Solo function is active, the main volume can be controlled

through the expression pedal [SWELL].

- [A.P.]:

activates the Automatic Pedal or Pedal Automatic Piano functions. Select the mode of the

piston among the PROGRAMMABLE FUNCTIONS under the SET-UP menu (see par. 9.5).

- [T] or [TUTTI]: piston or toe piston (where available) that recalls Tutti. The Tutti can be modified,

for further information read point 18.

- [C]: cancel piston. Turns off all stops, tremolos, couplers, MIDI controls, and other pistons on the

manuals (except when differently set through the PROGRAMMABLE FUNCTIONS, described in
par. 9.5), then deletes and reboots the general and division HR .

20. Forward connection panel.

In this panel you can find the most frequently used connections and controls.

- [MASTER VOLUME]: regulates the main volume.

- [REVERB VOLUME] regulates the volume of the reverb effect.

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N.B.

- For further information about the MIDI interface of the Physis organs, read chapters 10.5, 14.5
and 14.6.

- For further information about the USB devices and internal memory, read chapter 11.

21. Roll top lock.

22. Coupler controls.

Pistons, tabs and stops to enable and disable the couplers.

23. Expression pedals.
The expression pedals control at every time the volume of one or more sections, and can be used to
obtain the most diverse dynamic effects.
The number of the pedals depends on the model and its number of manuals:

- [SWELL]: continuous control of Swell volume.

- [CHOIR]: continuous control of Choir volume.

- [GREAT / PEDAL]: continuous control of Great and pedalboard volume at the same time.

The [GREAT / PEDAL] pedal works also as Crescendo pedal. For further information about this function
read par. 9.5.
One of the pedals is actually equipped with a leverage system and can be used to control the sustain effect
for Orchestral voices.

24. [CRESCENDO] pedal.

With this pedal you can select the Crescendo level. These levels activate a fixed set of stops, linked with
an equal number of loudness, from pianissimo to fortissimo. The current level is shown on the additional
[CRESCENDO] display (see point 13). The Crescendo controls all the registers, and modifies the stops
configuration. Each level of the crescendo can be programmed. To save the Crescendo configuration,
see point 18.

25. Rear connections.

On the rear of the organ, there are various sockets to connect it to an external speaker systems, together
with line and microphone input.

- [EXT. +12V DC] connectors: +12 Volt can be obtained from these connectors to switch-on any

VISCOUNT speaker connected to the PROG. OUT. outputs.

- OUT [GEN. SUB] (General Sub-Woofer): dedicated output for the connection with low-frequency

speakers (sub-woofers).

- PROG. OUT (Programmable Outputs): the instrument’s general line outputs, allowing simulation of

the wind-chests of pipe organs. The signals are distributed over the outputs on the basis of the
EXTERNAL OUTPUT ROUTER settings (see par. 9.8). These settings allow you to select the type
of wind-chest, its size and the position in space of the speakers. Each output also has dedicated level
and equalization controls (see par. 9.9 and 9.6).

- MIDI [IN]: MIDI input port.

- MIDI [OUT]: MIDI output port.

- MIDI [THRU]: sends out the MIDI data received from the [IN] port to additional MIDI units.

- [USB]: two USB ports. The right port links the organ to a computer, in order to run the computer

program “Physis – The Editor”. The left port is dedicated to USB pen drive (not included with the
organ) to use as memory disk, instead of the internal memory.

- [PHONES]: plug for a headphone set.

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WARNING!

This group of rear connections is not visible from the outside and the organ’s wooden rear panel has
to be removed to access it. Contact qualified staff for this procedure.

26. Reverse Pistons.

Each of these pistons, when active, deactivates several functions and stops, without acting on the normal
pistons dedicated to these functions and stops. Thanks to the reverse pistons it is possible to switch on/
off several stops and functions quickly and at the same time. When the reverse pistons are deactivated,
the functions will be re-activated.

- [MIDI REVERS.]: turns off all the MIDI controls (see points 9, 1, 2 , 3 ,4).
However, even when MIDI REVERS. is active, it is still possible to program the MIDI controls.

- [32’ FLUTE REVERS.]: deactivates all 32’ flutes.

- [32’ REED REVERS.]: deactivates all 32’ reeds.

27. Power switch for the [EXT +12V DC] connector.

This connector is situated on the rear panel.

28. [TREMULANTS] section: here you will find the Tremolos for both manuals.

- INPUT [L(+R)] / [R]: line inputs which allow other instruments to be played using the
organ’s internal amplification. If the source is monophonic use the [L+(R)] connector only.

- INPUT [MIC]: microphone input allowing amplification of the signal from a microphone.

- [GAIN]: trimmer for regulating the gain of the input signal received at the [MIC] connector.

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4. PROGRAMMING SECTION AND MAIN SCREEN

When the instrument is turned on, it needs a few second to actually start working. In this stage, the lights on
the manual pistons glow in sequence and the display shows the introduction screen.
When the display shows the main screen, the organ is ready to play.

Models equipped with

divisional combinations

Models not equipped with

divisional combinations

The top of the screen shows the following fields to access the configuration sub-menus:

o TUNING: instrument tuning parameters (chap. 6).
o VOICES: functions relating to all the organ’s voices (chap. 8).
o STYLE: style selection (chap. 7).
o SET-UP: organ general set-up functions (chap. 9).
o UTIL. & MIDI (Utility & MIDI): utility and MIDI functions (chap.10).
o FILE MANAG. (File Manager): management of the files saved in the internal memory or the USB

device (chap.11).

To display the contents of a menu, simply locate the cursor (in reverse mode) on the field required using the
[FIELD S] and [FIELD T] buttons and press [ENTER]. [EXIT] quits the menu and returns to the main
screen.

The bottom of this screen displays the instrument parameters, which are always useful to know:

o [box on top left]: (“Equal” in the screen shown above) displays the temperament currently in use,

selected in the TUNING menu.

o ENSEMBLE: the ENSEMBLE value set in the TUNING menu.
o AIR PRESS: the AIR PRESSURE parameter value set in the TUNING menu.
o A: the instrument’s tuning, expressed as the frequency of A4, set in the TUNING menu.
o [box in top right-hand corner]: (User2 or Baroque in the screen above) contains the style selected (see

STYLE menu).

o P. COMB (in the models equipped with divisional memories): the status of the PISTON COMBINE

function as set in the UTILITY & MIDI menu.

o T. TOUCH (in the models not equipped with divisional memories): the status of the TRACKER TOUCH

function as set in the UTILITY & MIDI menu.

o K. INV: the status of the KEYBOARD INVERSION function (see UTILITY & MIDI menu).
o TRANSP: the transposition set in TUNING.

These are only information fields and cannot be selected or modified. To set the function they describe, enter
the menus listed above.

The buttons to visualize and navigate through all the display screens are located near the display.

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- [SEQUENC]: screens for use of the instrument’s internal sequencer.

- [VOLUMES]: screen containing all the instrument’s volumes.

- [FIELD S] and [FIELD T]: buttons used to move the cursor, identified by the field in reverse.
[FIELD

S] moves it in the field above or the previous field, [FIELD T] in the field below or the next

field.

- [VALUE +] and [VALUE -]: buttons which regulate the values of the parameters, whether they are
numerical or alphanumerical. [VALUE +] increases, [VALUE -] decreases.

- [EXIT] and [ENTER]: access and quit the display screens and menus, or confirm or cancel
prompts made by the system. [ENTER] accesses menus/screens and confirms, [EXIT] quits menus/
screens and cancels.

4.1 ERROR MESSAGES - MAIN SCREEN

USB PORT MALFUNCTION - USB PEN IS INACTIVE, PLEASE CALL FOR SERVICE

The USB port is malfunctioning, please contact the technical assistance at the e-mail address
[e-mail].
This error message might also appear when accessing the FILE MANAGEMENT functions, the Sequencer
or launching an operating system update.

5. SETTING THE VOLUMES
(VOLUMES function)

3 manuals models

2 manuals models

The Physis organs allow the user to adjust all the volumes, in order to obtain a perfect sound balance among
the sections and between internal and external amplifications. To visualize the volume screen, press the
[VOLUMES] button:

o MST (Master): the organ’s overall volume, which can also be adjusted with the [MASTER VOLUME]

trimmer underneath the manuals.

o REV (Reverb): reverb effect, which can also be adjusted with the [REVERB VOLUME] trimmer

underneath the manuals.

models equipped with

front and side speakers

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6. TUNING THE INSTRUMENT

(TUNING menu)

Selecting the TUNING field on the main video page gives access to all the instrument’s tuning parameters.

o TRANSPOSER: transposer with a range of -6 to +5 semitones. When switched on, the organ’s

transposition is always zero.

o [second field on the display]: (Equal in the screen shown) selector for setting historical temperaments

of various periods and countries of origin.

o BASE KEY: the note on which the chain of 12 fifths that make up the temperament starts.
o ENSEMBLE: level of tiny natural differences in pitch between one organ pipe and another, simulating

the tuning error that occurs in the organ’s pipes due to wear over time and variations in temperature.
The values range from – (pipes perfectly tuned) to 8 (maximum pitch instability).

o AIR PRESSURE: simulates the drop in air pressure when a large quantity of air is requested in a short

time (e.g. when large chords are played with the Tutti). This is reflected in a temporary, gradual drop in
pitch, more evident in the longest, widest pipes (flutes, bourdons, principals).

o PITCH (A): fine tuning of the pitch, indicated as the frequency of A4 (an 8’ pipe).

To quit the video page press [EXIT].

NOTES

- When the instrument is switched on, its transposition value is set to zero

- Transposition does not have any effect on playback of pieces with the internal sequencer (unlike

recording, where the notes are acquired with the current transposition). A specific transposer
is provided for this purpose (see point 12.3).

o SUR (Surround): volume of the side speakers expands the sound stage, giving the feeling of being in a

bigger environment. Not present in the organs without side speakers.

o PRS (Presence): volume of the front side speakers makes the sound more natural and detailed, emphasizing

on the dynamic evolution of the pipes sound. Not present in the organs without front speakers.

o PHO (Phones): level of the output signal at the headphone [PHONES] connector underneath the manuals.
o EXT (External outputs): general volume of the PROG. OUT connectors on the rear panel.
o PED (Pedal): pedal board divisional volume.
o GRT (Great): Great divisional volume.
o SWL (Swell): Swell divisional volume.
o CHR (Choir): Choir divisional volume.
o ORC (Orchestra): volume of the orchestra section. Not present in the models without orchestral voices.

Press [EXIT] or wait about 4 seconds to quit the screen and return to the previous video page.

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7. THE ORGAN STYLES
(STYLES menu)

The Style identifies the setup of the organ stops, meaning the voice and the relative parameters of each stop,
allowing the use of sounds appropriate to the repertoire to be performed.
The many organ styles allow the musician to use several sound configurations, as if several different instruments
were present at the same time in the same place.
The organ has eight Styles, meaning eight sound setups, in the same console. The first four of them, which
from now on we will also call the Presets or preset styles, are programmed by our laboratories on the basis of
the appropriate organ schools, and cannot be modified by the user. The other four Styles, called User styles,
can be freely modified and customised to personal taste, making the organ extremely flexible. Select the
STYLE field on the main page for the Style selection:

As we have already stated, the styles contain the information regarding each register: that is, which stops to
activate and the sound parameters. Again, the first four Styles cannot be modified, so accessing to the VOICES
function the display shows the following warning message:

However it is possible to display and check the settings of these Styles, to continue press any display button
or wait about three seconds.

NOTE

Please note that in general and divisional combinations, only the state of the stops is saved, and
NOT which voice they activate. Selecting a style might change the voices recalled by the stops, and
therefore a combination may activate stops which were not saved as ‘active’. It is a good practice to
always remember which style was active when saving a combination.

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8. SELECTING AND REGULATING THE VOICES
(VOICES menu)

One of the main features of the new Physis synthesis technology used by the organ for sound generation
is that it offers the user a wide array of options for customising the instrument with a very large number of
organ timbres, and also makes available several parameters which can be adjusted to further increase the
setup potential.
The VOICES menu contains all the functions for selecting and regulating the voices’ audio parameters.

NOTES

- The functions described below cannot be edited when a Preset style is selected. Select a User
style to regulate these parameters.

- The voices selected for each rocker switch or draw-stop, and the sound generation parameters
and volume, are automatically saved in the current Style. This means that when another style is
recalled, the voices will be reset with new parameters taken from the last style recalled. The
changes made earlier are not lost, and will be made available when the style in which they were
made is selected again.

- While programming this functions, in order to assign a voice to a rocker switch and to adjust it,
we advice to select the desired voice first and then to adjust its generation parameters. Please
do so, as when a new voice is selected, its parameters are reset to default.

The first video page displayed allows selection of the function to be accessed:

o VOLUME LEVEL: regulation of the volume of each individual voice (par 8.1).
o EDIT PARAMETERS: regulation of the sound generation parameters for each individual voice (par.

8.2).

o ALTERNATIVE VOICES: selection of alterative voices (par. 8.3).

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8.1 REGULATING THE VOLUME (VOLUME LEVEL function)

The volumes for each single stop can be adjusted in a range of -9 dB to +6 dB, and allows a perfect balance
of the overall sound of the organ.
Select the VOLUME LEVEL field, in the VOICES menu. The display will show the organ sections, select
the section that contains the voice you wish to adjust:

3 manuals models 2 manuals models

As usual, use the [FIELD S] and [FIELD T] and [ENTER] buttons to select the field on the display.
Another way of displaying and adjusting the volume immediately is to hold out the draw-stop (NOT in
models with electromechanical draw-stops) or hold down the rocker tab for a few moments in the voice on
position, while the cursor is on the VOLUME LEVEL field in the VOICES menu, or in the function itself.

The LED of the stop the volume of which is being adjusted will flash to prevent modification errors; the
stop will be on and can be played for better, quicker adjustment. Other stops can also be switched on to
assess the overall effect of the changes.
To quit the function and save the values press [EXIT]. The changes made will be automatically saved in the
current organ style.

8.2 REGULATING THE AUDIO PARAMETERS (EDIT PARAMETERS function)

Each organ voice can be customized with the sound generation parameters, that control the tone colour.
To view the screens containing the sound generation parameters of each individual voice, select the EDIT
PARAMETERS field in the VOICES menu:

3 manuals models 2 manuals models

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the display shows the organ’s sections, allowing selection of the one containing the voice to be modified:

after which the voice the parameters of which are to be viewed can be displayed.
Another way of viewing the setting screen directly is to hold out the draw-stop or hold down the rocker tab
(except in the models with electromechanical draw-stops) for a few moments in the voice on position
with the cursor on the EDIT PARAMETERS field in the VOICES menu, or in the function itself.

The LED of the stop being modified will flash to prevent modification errors; the stop will be on and can be
played for better, quicker adjustment. Other stops can also be switched on to assess the overall effect of the
changes.
The parameters displayed are not the same for every voice, since some families have specific setting parameters
not required for other types of voice.
The settings which can be made are:

o CHARACTER: harmonic richness.
o AIR NOISE: noise of the air blowing through the pipe.
o REED NOISE: imperfect synchronisation of the reed throb period.
o ATTACK: attack time the sound takes to reach the maximum volume.
o REL. DETUNE: (Release Detune) detuning in the release phase.
o FREQ. SKEW: gradual change in the air’s pitch during the attack and release phases.
o DETUNE: detuning to produce the throb effect in the voices concerned.
o KEYB. LO LEV.: (Keyboard Low Level) gain (positive values) or attenuation (negative values) of the

volume in the low part of the manual.

o KEYB. LO LEV.: (Keyboard High Level) gain (positive values) or attenuation (negative values) of the

volume in the high part of the manual.

o TREMOLO: select the first (1st) or second (2nd) tremolo. The selected tremolo will be applied to the

register when activated through the dedicated stop or draw-stop (see also chap. 9.1).

To quit the function and save the values press [EXIT].

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8.3 SELECTING THE ALTERNATIVE VOICES (ALTERNATIVE VOICE
function)

Each stop on the panel has a set of voices, the default voice set by the current Style and the alternative voices,
which are variants on the original. To select an alternative voice, the ALTERNATIVE VOICES function has
to be recalled:

3 manuals models 2 manuals models

As for the other VOICES menu functions, the next step is to select the section of the organ containing the
voice to be modified: this displays the list of the voices present in the chosen section.

Here again, there is the option of displaying the alternative voices screen directly by holding out the draw­stop (except in the models with electromechanical draw-stops) or holding down the rocker tab for a few
moments in the voice on position, while the cursor is on the ALTERNATIVE VOICES field in the VOICES
menu, or in the function itself.
The LED of the stop being replaced will flash to prevent modification errors; the stop will be on and can be
played for better, quicker adjustment. The display now shows the list of the alternative voices:

identified as “CURRENT VOICE” in the bottom of the screen.
It should also be remembered that the top of the screen always contains the name screen-printed on the
draw-stop or tab, so that the stop the voice of which is being changed can be identified at all times.
When the [FIELD S] and [FIELD T] buttons are used to move the cursor to other voices, the prompt
changes to “ENTER TO REPLACE”.

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instructing you to press [ENTER] to confirm the new voice and render it usable. The voice on which the
cursor is located is available and can be played even before [ENTER] is pressed, allowing the modification
required to be evaluated immediately. Other stops can also be switched on to assess the overall effect of the
changes.
Press [EXIT] to replace other voices or exit the function. The changes made are automatically saved into the
current organ style.

NOTE

When an alternative voice is selected, the sound generation parameters in the EDIT PARAMETERS
function are automatically reset to the default values of the new voice. The volume setting (in the
VOLUME LEVEL function) remains unchanged.

8.4 SELECTING AND ADJUSTING THE ORCHESTRAL VOICES

The same operations described in the chapter above can be performed also with orchestral voices, with a
single exception: the list of alternative voices and audio parameters are the same, regardless of which register
is selected at the moment.
To see the list of alternative voices, access the ALTERNATIVE VOICES function, then press and hold for
a few seconds the ORCHESTRA stop (or the normal organ stop which has orchestral alternative voices as
well) of the desired section, or move the cursor on the orchestral voice that you wish to replace and then
press [ENTER]:

As you may notice, there are three types of orchestral stops:

- Single: a single stop played on the whole manual / pedalboard. This kind of voice is shown with the
name of the single stop.

Orchestral timbre

- Split: two stops (named Left and Right) played in two different halves of the manual / pedalboard.
The split point can be changed. This kind of voice is shown as the names of the two stops hyphenated.

Left orchestral timbre Right orchestral timbre

Split key

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- Layer: two stops (named 1 and 2) overlapped along the whole manual / pedalboard. This kind of voice
is shown as the names of the two stops with a “+” in between.

Orchestral timbre 2

Orchestral timbre 1

Use the buttons [FIELD S] and [FIELD T] to move the cursor. The stops is immediately active and ready
to play. To confirm the change and save it in the current organ style, press [ENTER].
Press [EXIT] to cancel the changes and leave the screen.

To adjust the audio parameters instead, select the EDIT PARAMETERS function from the VOICES menu.
To see and then adjust the sound parameters of an orchestral voice, push and hold the stop for a few seconds
or move the cursor on the desired orchestral voice and then press [ENTER].

The sound parameters that can be modified are shown in a different manner, according to the kind of voice.
Parameters of the Single voices clearly relate to the single stop.
Parameters of the Split voices identified by an “L” relate to the stop active on the left of the split point, while
parameters identified with an “R” relate to the stop active on the right half of the manual / pedalboard.
Parameters of the Layer voices identified with “1” relate to the first stop of the voice (the one before the
“+” symbol). Parameters identified with “2” relate to the second stop, after the “+” symbol.

o BRILLIANCE: decrease (negative values) or increase (positive values) the brilliance of the stop.
o OCTAVE SHIFT: shift the notes played with the stop one octave higher or lower.
o VOLUME: decrease (negative) or increase (positive) the volume of the stop.
o SUST. PED. (sustain pedal): sets the status of the sustain pedal. This function is useful for those orchestral

voices for which applying a sustain effect is unrealistic. Select NO to prevent the sustain effect from
affecting the stop.

o SPLIT KEY (only for Split voices): modifies the position of the split point.

Once again, press [ENTER] to save the setting into the current organ style or [EXIT] to cancel the operation.