OWN E R S
MAN U A L
J
0 H ANN U S
o
PUS
1 200
EXTERNAL CONNECTIONS . . . . . . • • . . . •
MIDI CONNECTION . . . . . . . .
AUX •• ••••••••• •••
ACOUSTIC CONNECTION . • • •
JOHANNUS ORGELBOUW
A SHORT HISTORY REVIEW
Although JOHANNUSOrgelbouw b.v. is a relatively young company, it has an
extensive experience in building classical electronic organs. It started in a
cellar with the building o-f church organs, o-f whichthe -first was completed on
March 4th, 1971. Soon a-fterwards study organs were included in the assort-
ment.
There were many reCJ..lests -for this new instrument that allowed many organ
enthousiasts to study classical and lithurgic music (not everyone had the
possibility to play regularly in a church). Due to the increasing production
the manu-facturing area was soon too small; conseCJ..lentlythe -factory moved
to a building in Veenendaal. Here the study organs type 8, HlIand HIlI, as well
as the church organs type KlI, KlIB,KIICand KIlICwere built.
In 1976 their ownspecialized companywas started, which -fuHilled the demands
o-f both artistic and production oriented people. Inside o-f the company a
complete concert hall was built, being multi-functional according modern
standards. This hall was to be used -for concerts, demonstrating church
organs and -for voicing o-f the organs. This implies that church organs were
tonetechnically adjusted to a large room, there-fore saving hours o-f voicing
workupon installation o-f the organ within the church itseH.
The new company's inauguration in Ede was on March 12th, 1976, by world-
-famous Dutch organist FEIKEASMA,according to whomthe concert hall was
namedto his ownsurprise as gratitude -for the valuable advice he contributed
to Johannus Orgelbouw b.v., which was the base -for the characteristic
Johannus sound.
Upto nowadays we are building with a lot o-f pleasure and dedication extensive
series o-f "large" and "small"organs meanwhilst being -famousall over the world.
Youare nowthe proud owner o~ an original JOHANNUSOrgan, an instrument with
a well chosen and splendidly balanced selection o-f stops, making a great
variety o~ sound combinations possible. This manual will assist you to make
use o~ the almost unlimited possibillities o-f~ered by this JOHANNUSorgan.
The manual provides technical speci-fications, together with a brie~ discussi-
on o~ registration. Please spend a -fewminutes reading this important in-for-
mation, then experience the wonder~ul potential o~ your neworgan.
It is important that you -first check the current voltage with the voltage o-f
the organ. The voltage o-f the organ is printed on the serial numberplate.,
whichis situated on the le-ft side underneath the manuals.
The On/ O~-fswitch is situated on the right side o-f the manuals
The switch lights up when the organ is switched on, a~ter a -fewseconds the
amplHiers will be switched on automatically.
The pedalboard o-f your organ has been equipped with magnetic reed switches.
The magnetic reed switches are invisibly mounted behind the black pedal lath
o-f the organ. The magnets are mounted within the ~ront o~ the pedal sticks.
As soon as a pedal note is being played, the reeds switch behind the pedal
lath is being activated by the magnet.
It is there-fore utmostly important to shove the oedalboard straight under
the organ, in order to prevent drop outs o-f pedal tones.
The volume o~ the entire organ is adjustable with the VOLUMEcontrol. This
volume control is situated on the right side o-f the manuals. This volume
control operates independantly -fromthe Swell oedals.
The TRANSPOSER,situated on the rig,t side 01=the manuals, allows you to
change the key in whichyou are playing, i.e. changing the voicing 01=the organ
by three half-tones up or down. The O-position is the normal key
(440 Hz).
Uponaccompanying several instruments or singers whopreTer singing higher or
lower than the original key oT the music the transposer proves itseH.
The digital cathedral eTTect issues accoustic properties associated with
resonances oT certain buildings, and aims to give as wide a level and range 01=
resonance as possible to enhance the tonal quality 01=sound produced 1=rom
the organ. This eT1=ect is adjustable by both a volume control and programm
control, situated on the le1=tside 01=the manuals. With the programmcontrol
1-2-3-4-5-6 you can chose one oT six dH1=erent cathedral lengths. Upon
turning the volume control totally counterclockwise you can turn oTT the
cathedral e1=Tect.
Every manual has its owntremulants.
Uponusing the couplers the tremulant 01=the relating manual is even being
coupled to the Great organ and/or the pedalboard.
The organ is provided with two pedal- and one manual coupler.
Which means, that upon using the/one pedalcoupler(s) you can play the
registers OTrespectively Great and/or Swell on the pedalboard too. By means
01=the manual coupler the Swell can be coupled to the Great. Thus the
registers oT the Swell can be used on the Great manual.
The melodic bass is being switched on by the MBcontrol switch situated next
to the control oT the capture system.
Uponpressing the control switch the pedalboard can be coupled to the Great
org. In contrary to the "normal couplers" the melodic bass is no complete
coupler: only the lowest tone oT the accord being played on the Great manual
is being coupled Tromthe pedalboard to the Great organ by using the Melodic
bass.
The le-ft Expression Pedal controls the volume o-f the Great manual as well as
the Pedalboard. The rig,t Expression Pedal controls the volume o-f the Swell
manual.
The preset pistons allowing you to chose a -fixed combination are located
directly below the Great manual.
These presets are : PP - P - MF- F - FF - T - HR- HR+- RO.
Fixed combinations are groups o-f use-ful registrations, being preselected
according to musical standards -fromP (Pianissimo) to T <Tutti)
Pressing the HR-switch enables you to change -froma preset to Hand Regist-
ration.
Pressing the HR+switch o-f-fers the possibility to add stops yourseH to the
registration activated by a -fixedcombination or -free combination (pIs. re-fer
to Capture system).
With the Reeds O-fSwitch (RO>you are able to switch o-f-f the reeds at any
time. This applies to Handregistration, Fixed Combinations, and Free Kombina-
tions. Reeds are the voices with red coloured stop tabs.
The pistons -for controling the Capture system are located on the le-ft side
below the Great manual, i.e. the pistons 1-2-3-4-5-6-0 and SET. (For specHi-
cation o-f MB-functions (Melodic Bass) please -find explanation under title
Melodic bass).
The capture system enables you to store 6 sel-f chosen combinations o-f
registrations in a memory. These combinations can be read out or changed at
any time you want.
"Storing" a combination works as -follows:
1. Choose the registration you wish to store.
2. Press the piston in which you want to store the Registration,
-f.ex. M1.
3. Press the SET-piston shortly. Your chosen Registration is now
being stored within Memory1.
By means o-f the above instructions 5 more registrations can be stored,
whereby you should use the pistons 2 - 6.
Upon'storage" o-f a combination the old combination within the I""elatingmemol""y
will be automatically cancelled.
Upon pressing the O-piston the activation o-f the capture system can be
changed into HandRegistration.
The memory o-f the capture system is such protected, that the stol""edFl""ee
combinations are not being cancelled or el""asedupon switching o-f-fthe ol""gan
I""espectively removal o-f the supply cord.
The headphone jack is located on the le-ft side below the manuals, (next to the
serial number plate).
The headphone jack is a stereo connection socket, which is sui table -for any
headphone with an impedance up to 2000 Ohm. Upon using a low-impedance
headphone (8 Ohm)volume could increase too much. This volume is then to be
controlled by VOLUMECONTROLswitch.
Uponusing a headphone the internal loudspeakers o-f the organ will be automa-
tically silenced. The various channels are nowequally spread on both channels
o-f the headphone.
Registrating is essential to the art o-f organ playing. It mic;;tltas well be one
o-f the most di-f-ficult expressions to be explained, as it mostly depends o-f
the organist's owntaste.
Should you not yet be experienced in registrating, you might need some time
to discover the possibilities o-f your organ. On the reverse o-f this owners
manual you will -find some registration samples. You will -f.ex. note, that a 16
-foot voice within the pedalboard (-f.ex. Subbass 16') mostly -forms the base,
whereas on the manuals these are respectively 8' voices (-f.ex. RohrHute 8').
Taking this as a basic rule the registration can nowbe -further built up.
Wewould like to recommend to combine as much as possible within a "Regist-
ration Group" or a "Choir". APrincipal Choir exist a.o. o-f: PRINCIPAL8, OCTAVE
4', TWELFTH2
2/3'
OCTAVE2' ANDMIXTURE.A Flute Choir mostly contains:
ROHRFLUTE8', FLUTE4' and WALDFLUTE2'.
Excellent combinations o-f registers are -f.ex.: PRINCIPAL8' with an OCTAVE4'
or ROHRFLUTE8' with a FLUTE4'.
"Mutation stops", (all voices without entire -footages), may then be used as
coronation on top o-f the combination o-f 8', 4' und 2' registers.
Reeds are Solovoices, nevertheless they can be used as completion within the
-full organ play. Again, your own taste is your best consultant. Practice and
experimentation will provide you with manyexciting options and new combinati-
ons all the time. The -function o-f the expression pedals as well as the tremu-
lants are not to be -forgot ten.
At the rearside o-f your organ (rearview : ricj1t side below) various so-called
DIN-connections are located. The -functions o-f these connections are being
explained as -follows:
MIDIis an abbreviation o-f: Musical Inter-face -for Digital Instru-
ments. This means, that by means o-f the MIDIconnection you can
connect di-f-ferent instruments to each other, i.e. you can play
-f.ex. various instruments (provided with MIDI-connections) at a
time.
Uponusing MIDIIN you can have the JOHANNUSorgan play through
another instrument.
MIDITHRUenables you to connect various instruments in "chain-
-form"to each other.
MIDIOUTenables you to to join another instrument at the same
time whilst playing the Johannus organ.
This In/Output is ment -for connecting your JOHANNUSorgan to
another Audio instrument (-f.ex. cassette tape recorders). You
will now have the possibility to record your organ per-formance
directl y, and even reproduce it again via the organ.
This connection is in order to connect JOHANNUS4-channel
digital acoustic system.
This system creates an accoustical situation within (-for instan-
ce) your living room along electronic channels which are very
close to those o-f a cathedral or concert hall.
The cabinet o-f Johannus organs partially consists o-f -finished, partially o-f
massive wood. It should be cleaned either with a so-ft polishing cloth or a
humidchamois leather.
Wedo not recommendusage o-f any Wax,Teakoil etc., as these cleaning com-
pounds might cause damageo-f the lacgier o-f the organ cabinet.
Direct Sunlight might cause slight discolouring o-f the cabinet, especially
light oak ones. The keyboards, stop tabs and name plates can be cleaned
similar to the cabinet. Little scratches, which might show up on the keys
during playing the instrument can easily be removed by car polish.
NEVERUSEABRASIVE,CAUSTICORCORROSIVECLEANINGCOMPOUNDS.THESEDAMAGE
YOURINSTRUMENTBEYONDRECALL.
REGISTRATIOI'J EXAMPLES CJF>US
1200
PPP SOLO ON GREAT
PP SOLO ON SWELL
PTRIO I
I
MF
I
TRIO II
1
F
1
ROMANTIC
!FF PLENUM
!
T
!
PEDAL
!
Ff
L:.
DOUBLE BASS 16'
•
•
SUBBASS 16'
•
•
•
• •
•
•
•
•• • • •
OCTAVE
8'
•
• •
•
•
GEDACKT
8'
•
•••
• •
• •
• • • •
CHORAL BASS
4'
• • •
•
•
BASSFLUTE
4'
•••
•
•
•
OPEN FLUTE
2'
•
MIXTURE III
•
BOMBARDE
32'
CONTRA TRUMPET 16'
•
TRUMPET
8'
•
•
•
CLARION
4'
•
•
GREAT
A
BC
0
E
F
G
H
I
J
KLM
BOURDON 16'
•
OPEN DIAPASON
8'
•
•
•
•
•
• •
•
RoHRFLUTE
8'
•
•
•
• •
••
•
• •
GAMBA
8'
•
••
•
•
•
•
• •
OCTAVE
4'
•
• •
••
SALICIONAL
4'
•• •
OPEN FLUTE
4'
••••
••
•
TWELFTH
2
2/3'
• •
•
• •
SUPEROCTAVE
2'
• •
•
FLUTE
2'
• •
••
•
•
LARIGOT 11/3'
•
•
•
•
CORNET IV
SESQUIALTER II
•
MIXTURE V-VI I
•
•
CONTRA TRUMPET 16'
•
TROMPET
8'
•
•
•
SWELL
A
BC
0
E
F
G
H
I
J
l<
L
M
QUINTATON 16'
•
•
OPEN DIAPASON
8'
•
• •
•
•
• •
STOPPED FLUTE
8'
•
••••
•
•
•
•
•
VIOLA
8'
•
••
• • • •
CELESTE
8'
•
•
OCTAVE
4'
• • • •
•
•
VIOLON
4'
•
•
•
•
•
RoHRFLUTE
4'
• •
•
• •
•
•
FLUTE TWELFTH
2
2/3'
• •
•• •
WALDFLUTE
2'
•••
•
•
•
TIERCE 13/5'
NAZARD 11/3'
• • •
SIFFLUTE 1'
•
RAUSCHPFEIFE III-V
•
•
CYMBAL II-III
••
CROMORNE
8'
• •
•
VOX HUMANA
8'
•
OBOE
8'
••
ACCES~IES
A
BC
0
E
F
G
H
I
J
l<
L
M
SWELL TO GREAT
•••
• •
•
•
GREAT TO PEDAL
••
•
•
SWELL TO PEDAL
••••
•
•••
•
TREMULANT GREAT
•
•
•
TREMULANT SWELL
• •
•
CHORUS
•
•
••••
I
I
I
PEDAL
A
BC
0
E
F
G
H I
J
KLMN
0
DOUBLE BASS 16'
000000000 0 0 0 0 0 0
SUBBASS 16'
00000000000000 0
OCTAVE
S'
0 0 0000000000000
GEDACKT
S'
0 0 0 0 0000000000 0
CHORAL BASS
4'
0 0 0 0 0 0 0 00000000
BASSFLUTE
4'
000000000000 0
0
0
OPEN FLUTE
2'
00000000 0 0
0
000 0
MIXTURE III
000 0 0 0
0
0 0 0
0 0 0
0 0
BOMBARDE
32'
0
0000000 0 0 0 000 0
CONTRA TRUMPET 16'
000 0 0 0
0
0 0 0
0
0
0
0 0
TRUMPET
S'
0 0 000000 0
0
0000 0
GREAT
A
BC
0
E
F
G
H I
J
KLMN
0
BOURDON 16'
0 0 00000000000 0
0
OPEN DIAPASON
S'
0 0 0 0 00 0 0000000 0
RoHRFLUTE
S'
000 0 0 0
0
0 0 0 000
0
0
GAMBA
S'
0 0 00 0
0
00000000 0
OCTAVE
4'
0 0 00000
0
0000
00
0
SALICIONAL
4'
0 0 0000
0
000
00 0
0 0
OPEN FLUTE
4'
0 0 000
0
00000000
0
TWELFTH
2
2/3'
0 0 0000000 0
0
000 0
SUPEROCTAVE
2'
0 0 000 0 00 0
0
0000 0
FLUTE
2'
0 0 000000 0
0 0
000 0
LARIGOT 11/3'
0 0 0000000000000
CORNET IV
0000000000
0
0
0
0 0
SESQUIALTER II
00000000 0 0
0 0 0
0 0
MIXTURE V-VI I
0000000000 0 0
0
0 0
CONTRA TRUMPET 16'
000 0 0 0
00
000000 0
TRUMPET
S'
00000000000000 0
SWELL
A
BC
0
E
F
G
HI
J
KLMN
0
QUINTATON 16'
00000000000
00
0 0
OPEN DIAPASON
8'
0 0 000000 0 0 0
0
0
0 0
STOPPED FLUTE
S'
0 0 00000000000
0
0
VIOLA
8'
000000000000000
CELESTE
S'
0 0 0 0
0
0 0 00000000
OCTAVE
4'
0 0 0 0 0 0 0
0
0 0
0
0 0
0
0
VIOLON
4'
000000 0 0000000 0
RoHRFLUTE
4'
0
0
0000 0 000
0000
0
FLUTE TWELFTH
2
2/3'
00000000000000
0
WALDFLUTE
2'
0 0 000000 0 0 0 0
00
0
TIERCE 13/5'
0 0 000000000
0
00 0
NAZARD 11/3'
000 0 0
0
0
0
0
0
0000
0
SIFFLUTE 1'
0 0 0 0 0 0
0
0000000 0
RAUSCHPFEIFE III-V
0 0 000000000000 0
CYMBAL II-III
0 0 000000
0
0 0 0 0 0 0
CROMORNE
8'
0 0 000000
0
00000 0
VOX HUMANA
8'
00000000000000 0
OBOE
8'
0 0 0 0 0 0
0
0
0
00000 0
ACCESSORIES
A
BC
0
E
F
G
H I
J
KLMN
0
SWELL TO GREAT
0 0
0
00000 0 00000 0
GREAT TO PEDAL
0 0 000000000000 0
SWELL TO PEDAL
000 0 0 0
00
0 0 0 0 0
0 0
TREMULANT GREAT
0
0
0
00000 0 0 0 0 0 0 0
TREMULANT SWELL
0 0 000000 0 0 0 0 0 0
0
CHORUS
0 0 0 0
0000
0
0
0 0 0 0
0
- Manual compass
- Pedalboard
- Touch
- Couplers
- Tremulants
- Tone generation
- AmpliHcation
- Volume
- Attack
- Chorus
- Pedalboard
- Mixtures
- Transposer
- Fixed Combinations
- Capture system
- MB(Manual Bass)
- Expression Pedals
C-c"" (5 octaves).
C--f' (32-note radiating and concave, AGO>.
Church organ touch.
complete set o-f manual and pedal couplers.
independant tremulant generator voor Great and Swell
organ.
D.S.R. <Digital-Sampling-Reproduktion) system.
6 ampliHers o-f 40 watts each, with 9 speakers.
The volume oT the organ is externally adjustable.
original sample ot attack eT-fects.
The JOHANNUSchorus eT-fect creates a wide tonal quality
spectrum.
The overall reverberation is digitally reproduced, and adjus-
table with 1volume control <Continue).
Choise o-f 6 diT-ferent programs.
wireless magnetic reed switches.
Repeating mixtures on Great, Swell and Pedal.
3 hal-ftones up and down.
PP - P - MF- F - FF - T - RO- HR- HR+.
6 Tree programmable registration-combinations.
The lowest tone o-f a chord repeats within pedalboard.
1Expression pedal -for volumecontrol oT Great and Pedal.
1Expression pedal Tor volumecontrol oT Swell.
*
HEADPHONES
*
AUXIN/OUT
*
JOHANNUS4-CHANNEL
ACOUSTICS.
*
MIDIIN/THRU/OUT.
- For stereo headphones, with an impedance up to 2 kOhm.
stereo audio in- and output.
- Capture system with 24 Tree programmable registration
combinations (with illuminated stops).
- Harpsichord/Chimes.
-Light or dark oak -finish with locking woodenroll top
cover.
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