The beastly beast Allen Organ C-3
Nice. This is an Allen Organ 75. Another beast.
I worked on these and I have a thread here: https://audiokarma.org/forums/index.php?threads/the-mighty-allen-organ-75.840989/
I worked on these and I have a thread here: https://audiokarma.org/forums/index.php?threads/the-mighty-allen-organ-75.840989/
Yup. One of the reasons I've been seeking them out.
Somehow I missed most of this thread. Are you sure the amp was designated as "C-3", and isn't instead an Allen 60 that was built for a C-3 organ?
Allen produced a series of console organs for large churches and recital halls in the very early 1950's. These were the B-2, B-3 and B-4. The numerical designation described the number of voices the organ contained. These earliest organs used (to the best of my knowledge) Webster amps, and are rare. By the mid-1950s Allen had established itself as the premier supplier of these larger console organs. They introduced their C-series, C-2, C-3, C-4, and larger (I have seen custom C-6 and C-8 models).
Again, the numerical value relate to the number of discrete voices the organ contained. And the tone cabinets for each voice were gold mines of 12AU7 tubes. Allen used so many that they ultimately had a special tube designation, PN-11, for 12AU7 tubes with the best microphonics. Given that Allen labelled other amps for the organ model they were installed in, my thought is that the C-3 designation was not the model number of the amp.
In the mid-50s Allen was trying to bring their Webster amps in-house, and was already demanding audiophile OPTs. This is what ultimately led to the 20, the Stereo 40, the 75 and the 90. Each of the tube amps that Allen used from the late 50's thru the mid 60's. The idea of naming consoles on the amplifiers is reinforced by many of my Allen 20's being labeled "Rondo", which was another Allen organ model.
I am wondering if these 60 watt amps were a high power bridge until the 75's and 90's sounded they way Allen wanted them to. I know the 20's and the 75's had predecessor Webster PA amps, and I even have a pair of the 75's (along with a pair of Allen's later 75 offering). So I wonder if Webster (or Webcor) had a standard offering 60 watt amplifier (perhaps for a PA application, where Webster dominated) that Allen adapted for a time.
As for Allen's Gyrophonic speaker, it was the only Doppler effect offering of the 50's and 60's that didn't violate the Leslie patents. Every organ company wanted their electric organs to sound like traditional forced air organs. Most companies kept the speaker fixed and moved a baffle. Leslie did it first and successfully sued all the other organ companies for patent infringement. Which is why every Hammond, Baldwin, Conn and Wurlitzer tone cabinet with a Doppler effect was made or licensed by Leslie (or ElectroVoice). All except Allen, which had moving speakers and did not violate Leslie's patents.
Anyway. Allen had numerous Gyrophonic speaker configurations which used different size amplifiers depending upon the intended application. The small local church might get one or more units with 20 watt amps. Carnegie Hall might get one or more units with 60 or 75 or 90 watt amps.
Allen produced a series of console organs for large churches and recital halls in the very early 1950's. These were the B-2, B-3 and B-4. The numerical designation described the number of voices the organ contained. These earliest organs used (to the best of my knowledge) Webster amps, and are rare. By the mid-1950s Allen had established itself as the premier supplier of these larger console organs. They introduced their C-series, C-2, C-3, C-4, and larger (I have seen custom C-6 and C-8 models).
Again, the numerical value relate to the number of discrete voices the organ contained. And the tone cabinets for each voice were gold mines of 12AU7 tubes. Allen used so many that they ultimately had a special tube designation, PN-11, for 12AU7 tubes with the best microphonics. Given that Allen labelled other amps for the organ model they were installed in, my thought is that the C-3 designation was not the model number of the amp.
In the mid-50s Allen was trying to bring their Webster amps in-house, and was already demanding audiophile OPTs. This is what ultimately led to the 20, the Stereo 40, the 75 and the 90. Each of the tube amps that Allen used from the late 50's thru the mid 60's. The idea of naming consoles on the amplifiers is reinforced by many of my Allen 20's being labeled "Rondo", which was another Allen organ model.
I am wondering if these 60 watt amps were a high power bridge until the 75's and 90's sounded they way Allen wanted them to. I know the 20's and the 75's had predecessor Webster PA amps, and I even have a pair of the 75's (along with a pair of Allen's later 75 offering). So I wonder if Webster (or Webcor) had a standard offering 60 watt amplifier (perhaps for a PA application, where Webster dominated) that Allen adapted for a time.
As for Allen's Gyrophonic speaker, it was the only Doppler effect offering of the 50's and 60's that didn't violate the Leslie patents. Every organ company wanted their electric organs to sound like traditional forced air organs. Most companies kept the speaker fixed and moved a baffle. Leslie did it first and successfully sued all the other organ companies for patent infringement. Which is why every Hammond, Baldwin, Conn and Wurlitzer tone cabinet with a Doppler effect was made or licensed by Leslie (or ElectroVoice). All except Allen, which had moving speakers and did not violate Leslie's patents.
Anyway. Allen had numerous Gyrophonic speaker configurations which used different size amplifiers depending upon the intended application. The small local church might get one or more units with 20 watt amps. Carnegie Hall might get one or more units with 60 or 75 or 90 watt amps.
Hello hammr7,
I believe the C-3 and the Allen 60 are the same thing.
Quad 6L6 amp, fix bias with 2 tube rectifiers, 6AU6 AF, 6SN7 concertina, 6SN7 driver for the 6L6 DC. The OT is a interesting as each 6L6 has its own independent coil, and dedicated feedback winding, quite strong actually.
All the irons on this amp were designed by a company by the name of Air Design based in PA.
The little info I found on it was this small company was doing audio military equipment up to WWII, and disappear some years after.
I wish I knew more on this Air Design company.
Brice.
Thank you for sharing your historical knowledge on Allen and organs from that era.I believe the C-3 and the Allen 60 are the same thing.
Quad 6L6 amp, fix bias with 2 tube rectifiers, 6AU6 AF, 6SN7 concertina, 6SN7 driver for the 6L6 DC. The OT is a interesting as each 6L6 has its own independent coil, and dedicated feedback winding, quite strong actually.
All the irons on this amp were designed by a company by the name of Air Design based in PA.
The little info I found on it was this small company was doing audio military equipment up to WWII, and disappear some years after.
I wish I knew more on this Air Design company.
Brice.