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The Fender Rhodes sparkle-top electric pianos were manufactured from 1965 to 1969, and are much rarer than later Rhodes models like the Mark 1 Stage Piano. The 73-key piano featured a built-in 50W amplifier base, built-in EQ (treble/bass) and tremolo effects, and a silver glitter-top harp cover. These pianos had felt hammer tips that were darker and mellower in attack than the later pianos. When you dig in, it has a bark that’s entirely different from the later 1970’s models because of the differences in the hammer tips and most importantly the Raymac tines. This gave them a wonderful and unique tone that’s featured on a lot of records from the era, but because of some of the design flaws of these early pianos, we unfortunately don’t hear many of them on professional recordings of today.

The RMI Band Organ was introduced in June of 1966, and has the distinction of being the first musical instrument to be manufactured at the RMI plant in North Carolina. It was available in kit form or factory built.

The instrument consisted of a 37-note keyboard, 19 electronic oscillators and had the authentic sound of a calliope. Its purpose was to add life to a party, or add the sound of the calliope to a band. It was intended to be fun to play, and it was very successful. With "Wind" control, and a "Toot" button, the novelty factor is through the roof.

As stated above, the instrument was available in kit form or factory built. In kit form the instrument could be purchased with or with out the undecorated plywood cabinet. The kit without the cabinet sold for $180, the kit with a put together cabinet sold for $225. The unit, completely factory assembled, and decorated sold for $395.

This extremely rare and unusual combo organ was made by Allen Organ’s Rocky Mountain Instrument (RMI) division in the late 1960s. This is a transistor based keyboard with an oscillator for each key and unique flying hammer system for asynchronous tremolo and delay like effects. Preset sounds include: Trumpet, Post Horn, Clarinet, Gamba, Flute, Mandolin, and Banjo. Effects include: Short Sustain, Long Sustain, Strum, String Speech Accenter, Echo, and Tremolo.

Most famous for the the haunting arpeggio in the Beatles' song, "Because," the Baldwin Solid Body Harpsichord was developed in the early 1960s by the Cannon Guild and marketed by Baldwin from 1966 into the early 1970s. In addition to its use in many '60s and '70s pop and rock recordings, it made regular television appearances on "The Monkees" and "The Partridge Family."

Each key causes a plectrum to pluck one string per note. Its sound is amplified by electric guitar-style pickups – one near the plectra and the other near the strings' halfway-point. The plexiglass cover allows you to see the inner works, showing off the characteristic, bright red Formica "sounddeck" and it was made to be easy to break down and transport.

Yamaha introduced YC Series Combo Organs to satisfy the growing interest in portable organs created by the rise of the Beatles and other bands. The YC-10 was the series' debut model. The YC-10 featured 49 keys on a single keyboard, and came in four different colors. The ability to store the organ in a compact suitcase is one of its standout features. The reverse-colored keys can be converted into bass keys through the flip of a switch.

The Electone was the result of research directed at creating lively, natural tones close to that of musical instruments rather than cold, electronic sound. It can also be said to represent Yamaha's first step into synthesizer development, featuring tone generator that offered polyphony equivalent to that of 36 conventional synthesizers, using group controlled voltage that allowed temporal change of pitch, tone, and volume. The GX-1 is also well known as the synthesizer of choice for Keith Emerson and Stevie Wonder, and was acclaimed as a "dream machine."

Electric grand piano

The CP-70 was an electric grand piano developed to deliver the depth of expression of an acoustic instrument while holding its own when performing on stage with electric guitars played at full volume through an amplifier and speakers.

Very similar to a cut-down acoustic grand piano, the CP-70 features the same frame action and frame construction as an acoustic piano, but can be split into two cases for storage, and utilizes an electric guitar-style pickup system to pick up the sound for amplification via an amplifier.

Its characteristic bright, edgy sound swept the music scene, with the CP-70 seeing extensive use in both live performance and recording scenarios.

Wurlitzer 120 The Wurlitzer 120 was released in 1956, succeeding the Wurlitzer 112. The 120 is smaller and somewhat lighter, with a revised mechanical action that is relatively easier to maintain. The amplifier also shrunk, eliminating a preamp tube in order to occupy a smaller chassis. For shielding purposes, the lid of the 120 is now metal instead of wood. The keyboard still has a vintage speckled finish and an iconic Wurlitzer tone.

The Wurlitzer 120 was released in 1956, succeeding the Wurlitzer 112. The 120 is smaller and somewhat lighter with a revised mechanical action that is relatively easier to maintain. The amplifier also shrunk, eliminating a preamp tube in order to occupy a smaller chassis. For shielding purposes, the lid of the 120 is now metal instead of wood. The keyboard still has a vintage speckled finish and an iconic Wurlitzer tone.

As distinctive in look and sound today as when it was introduced in 1962, the Vox Continental Organ is a combo classic. Recognizable for its reverse-color keyboard and reddish-orange hood, the Continental employed six drawbars controlling the voicing (reed or flute) and octave range for a streamlined answer to the bulky stop-tab systems on other organs of the time. Ethereal and breathy, this is the machine that gave the Doors' "Light My Fire" and The Animals' "House of the Rising Sun" their signature otherworldly sound.

Recognizable for its reverse-colored keys and red-orange top, the Vox Continental is as distinctive in look and sound today as when it was introduced in 1962. The organ was a breakthrough in practicality, as its small size and light weight provided touring musicians with a much more practical alternative to the Hammond organ. The Continental had 49 keys and employed a streamlined control panel—just six drawbars, a pilot light, and two small switches.

RMI's first electric piano model was the "Model 100 Rock-Si-Chord" in 1967. Retailing for $695, it contained two sounds (string and lute) but was later updated as the "Model 100A" which contained additional sounds (harpsichord, cembalo, lute, and two guitars). The "Model 200 Rock-Si-Chord" cost $995 and added an additional 4' voice, which required an additional set of tone generator boards for each key. The Rock-Si-Chord was discontinued in 1968.

RMI's first electric piano was the Model 100 Rock-Si-Chord in 1967. Retailing for $695, it contained two sounds (string and lute) but was later updated as the Model 100A which contained additional sounds (harpsichord, cembalo, lute, and two guitars). The "Model 200 Rock-Si-Chord" cost $995 and added an additional 4' voice, which required an additional set of tone generator boards for each key. The keyboard was discontinued in 1968 as the company introduced the Rock-Si-Chord’s successor, the RMI Electra-piano and Harpsichord.

RMI's first electric piano model was the "Model 100 Rock-Si-Chord" in 1967. Retailing for $695, it contained two sounds (string and lute) but was later updated as the "Model 100A" which contained additional sounds (harpsichord, cembalo, lute, and two guitars). The "Model 200 Rock-Si-Chord" cost $995 and added an additional 4' voice, which required an additional set of tone generator boards for each key. The Rock-Si-Chord was discontinued in 1968.

The Hohner Pianet is a type of electro-mechanical piano built by the Hohner company of Trossingen, West Germany and designed by Ernst Zacharias.

The Pianet follows an earlier Zacharias designed instrument for Hohner, the Cembalet, an instrument whose mechanism is closely related to the harsichord (that uses a keyboard mechanism which plucks a tuned metal reed). Whereas the Hohner Pianet action has a lever with a sticky end resting on the reed which when the key is struck lifts and releases the reed to freely vibrate.

The Pianet N is the most commonly found version. The sound is consistent for any Pianet from 1963 onward.

The Rhodes Piano Bass was essentially an electric piano containing the same pitch range as the most widely-used notes on an electric bass (or the double bass), which could be used to perform bass lines. It could be placed on top of a piano or organ, or mounted on a stand. Keyboard players such as The Doors' Ray Manzarek placed his Fender Rhodes piano bass on top of his Vox Continental or Gibson G-101 organ to play bass lines.

The Fender Rhodes Piano Bass instrument was used by keyboard players in the absence of a dedicated bass player. It produces a deep bass sound using the same technology later employed in the Rhodes electric pianos.

The Piano Bass had one very proficient devotee who teased the best out of it live and used it in the recording studio alongside actual bass players: Ray Manzarek of The Doors. Manzarek placed his Fender Rhodes piano bass on top of his Vox Continental or Gibson G-101 organ to play bass lines.

The Rhodes Piano Bass was essentially an electric piano containing the same pitch range as the most widely-used notes on an electric bass (or the double bass), which could be used to perform bass lines. It could be placed on top of a piano or organ, or mounted on a stand. Keyboard players such as The Doors' Ray Manzarek placed his Fender Rhodes piano bass on top of his Vox Continental or Gibson G-101 organ to play bass lines.

The A-100 Series was one of Hammond's earliest models. The organ was produced from 1959 to 1965 and came in a variety of wood finishes including mahogany, cherry, and walnut.

Since its introduction in 1950s, the Hammond organ has been one of the most popular keyboard instruments in popular music. Around two million organs have been manufactured. Hammond organs were originally marketed to churches as a lower-cost alternative to the wind-driven pipe organ, however, they quickly became popular with jazz and rock musicians. The model B-3 was, and still is, the most sought-after model.

Despite the availability of relatively lower-cost, reliable digital "clones" and emulation devices, there is still a strong interest in vintage Hammond organs today. Original electromechanical Hammond organs are prized by musicians from jazz, blues, rock, gospel, and other musical styles for the look and feel of their varnished wooden cabinets and "waterfall"-style keyboards, and their vintage, traditional sound. Although the last electromechanical Hammond organ came off the assembly line in the mid-1970s, it is a testament to their over-engineered design and high-caliber construction that thousands are still in daily use.

As distinctive in look and sound today as when it was introduced in 1962, the Vox Continental Organ is a combo classic. Recognizable for its reverse-color keyboard and reddish-orange hood, the Continental employed six drawbars controlling the voicing (reed or flute) and octave range for a streamlined answer to the bulky stop-tab systems on other organs of the time. Ethereal and breathy, this is the machine that gave the Doors' "Light My Fire" and The Animals' "House of the Rising Sun" their signature otherworldly sound.

The Compact Deluxe was part of Farfisa’s Compact line, which included the Combo Compact, Mini Compact, Compact Deluxe, and Compact Duo.

The Compact Deluxe features similar controls to the Compact I, with additional voices such as the 2-2/3' footage with an independent "brilliant" tab. Later models, such as the Combo Deluxe Compact I, also include a rhythm section (drum machine) of brush cymbal and drum.

The final Compact models were manufactured in 1969.

Rocky Mount Instruments (RMI), a subsidiary of the Allen Organ Company, was established in the mid 1960s to design, manufacture, and market electronic instruments. The first RMI product was released in 1967. It was revolutionary in its abandonment of technologies employed by other electronic keyboards; strings, reeds, or tines were replaced entirely by electronics. Although not entirely convincing in its replication of a natural piano, RMI instruments' distinctively clear, percussive, and bright voice appealed to rock, pop, and jazz players.

Better known for their water heaters, Rheem also sold two keyboard instruments in the 1960s — the Mark VII and the Kee Bass. The Rheem Mark VII was also sold under the "Barclay" name, with the only difference being the nameplates on the front and back of the instrument.