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They were easier to transport, and less expensive, these being particularly important attributes for rock bands in the mid-1960s. Most combo organs were limited timbrally compared to larger console organs, but they were far smaller and lighter, dispensing with the console wookwork for lightweight molded plastic cases. In the 1960s, the combo organ became a widely used instrument in popular music. Most other brands used a form of divide-down or top octave division. Baldwin organs used neon lamp oscillators, several in combination for each note, in order to produce the various timbres. With the notable exception of Hammond, which used the tone wheel system, most of these were fully electronic.
Kimball organ have Patch#
Some also had "pistons" or other mechanisms for selecting combinations of stops - a form of patch memory. Many models had dual manuals, and a few top-end models came equipped with three manuals. There were usually built into consoles resembling the consoles of pipe organs, and using the same types of controls such as "tab" switches to control timbre selections. Generally, they were fully polyphonic, having a set of voice circuitry for each key in the keyboard's span. The market for electric organs grew rapidly after World War II, and brought about a number of manufacturers including Hammond, Lowrey, Baldwin, Thomas, Kimball, Allen, and Wurlitzer (the latter two being pipe organ manufacturers who went into electronics) in the USA Jennings and Microvox in the UK, Viscount in Italy, Eminent in The Netherlands, and Yamaha in Japan. Electric organs were the first popular electronic instruments, beginning in the 1930s when Hammond marketed their Model A. An organ that produces sound using electronic circuits, as opposed to a traditional pipe organ which produces sound using pneumatics.