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The C-80-AK Digital Harpsichord improves upon the original C-80 by adding a gorgeous satin oak cabinet with an improved side panel joint and wood grain direction. This authentic instrument reproduces five acoustic harpsichord timbres and other Baroque orchestra sounds like celesta and two continuo organ timbres. "Early music" enthusiasts can revel in a period-authentic instrument with all of the advantages of digital technology—no tuning required and no maintenance costs. The C-80's historical temperaments, Baroque tunings and authentic key action provide a powerful instrument for the discriminating Baroque musician.

The C-80 authentically reproduces five realistic timbres of an acoustic harpsichord and other Baroque orchestra sounds, celesta and two continuo organ timbres. "Early music" enthusiasts can revel in a period-authentic instrument with all of the advantages of digital technology—no tuning required and no maintenance costs. The C-80's historical temperaments, Baroque tunings and authentic key action provide a powerful instrument for the discriminating Baroque musician.

The Allen Harpsichord (or Allen Electronic Harpsichord) was introduced around 1961 by the Allen Organ Company. The instrument had no strings, as it produced sound purely electronically. This technology would become the basis for another instrument, the Rock-Si-Chord, which was produced by Allen's subsidiary, Rocky Mount Instruments, starting in 1967.

The Allen Harpsichord originally came in two different designs: (1) a rectangular case resembling that of a square piano, or (2) a more traditional harpsichord-style case like the one seen on The Lawrence Welk Show. Additionally, a more compact model also surfaced in recent years; its three-tiered green case design is nearly identical to those seen on early RMI Rock-Si-Chords. It is unknown if this model went into production under the Allen name, or if it was purely a prototype.

The RMI Electra-piano and Harpsichord was introduced in 1967 as a practical gigging instrument for rock and jazz pianists. The instrument is fully electronic and produces a sound using oscillators (similarly to a combo organ). The signal is run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

There were several different models within the the 300-series:

300A: introduced in 1967, 61 keys (F to F), wooden case covered in blue and black vinyl 300B: introduced in 1969, 61 keys (F to F), wooden case covered in black vinyl, new optional "warbler" vibrato feature 368: introduced in 1972, 68 keys (F to C), wooden case covered in black vinyl, added bass and volume sliders on control panel 368X: introduced in 1974, 68 keys (F to C), plastic case (most were black, a few were brown) 68X: made to order only, 68 keys (F to C), plastic case (brown), added touch-sensitive keys, very few produced

Other variations of the Electra-piano included the 400-series Electra-piano and Harpsichord, which were walnut-veneer console versions of the 300-series pianos, and the 600-series Electra-piano and Rock-Si-Chord, which combined the sounds of the Electra-piano and the RMI Rock-Si-Chord.

The RMI Electra-piano and Harpsichord was introduced in 1967 as a practical gigging instrument for rock and jazz pianists. The instrument is fully electronic and produces a sound using oscillators (similarly to a combo organ). The signal is run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

There were several different models within the the 300-series:

300A: introduced in 1967, 61 keys (F to F), wooden case covered in blue and black vinyl

300B: introduced in 1969, 61 keys (F to F), wooden case covered in black vinyl, new optional "warbler" vibrato feature

368: introduced in 1972, 68 keys (F to C), wooden case covered in black vinyl, added bass and volume sliders on control panel

368X: introduced in 1974, 68 keys (F to C), plastic case (most were black, a few were brown)

68X: made to order only, 68 keys (F to C), plastic case (brown), added touch-sensitive keys, very few produced

Other variations of the Electra-piano included the 400-series Electra-piano and Harpsichord, which were walnut-veneer console versions of the 300-series pianos, and the 600-series Electra-piano and Rock-Si-Chord, which combined the sounds of the Electra-piano and the RMI Rock-Si-Chord.

The RMI Electra-piano and Harpsichord was introduced in 1967 as a practical gigging instrument for rock and jazz pianists. The instrument is fully electronic and produces a sound using oscillators (similarly to a combo organ). The signal is run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

There were several different models within the the 300-series: 300A: introduced in 1967, 61 keys (F to F), wooden case covered in blue and black vinyl 300B: introduced in 1969, 61 keys (F to F), wooden case covered in black vinyl, new optional "warbler" vibrato feature 368: introduced in 1972, 68 keys (F to C), wooden case covered in black vinyl, added bass and volume sliders on control panel 368X: introduced in 1974, 68 keys (F to C), plastic case (most were black, a few were brown) 68X: made to order only, 68 keys (F to C), plastic case (brown), added touch-sensitive keys, very few produced

Other variations of the Electra-piano included the 400-series Electra-piano and Harpsichord, which were walnut-veneer console versions of the 300-series pianos, and the 600-series Electra-piano and Rock-Si-Chord, which combined the sounds of the Electra-piano and the RMI Rock-Si-Chord.

The RMI Electra-piano and Harpsichord was introduced in 1967 as a practical gigging instrument for rock and jazz pianists. The instrument is fully electronic and produces a sound using oscillators (similarly to a combo organ). The signal is run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

There were several different models within the the 300-series:

300A: introduced in 1967, 61 keys (F to F), wooden case covered in blue and black vinyl 300B: introduced in 1969, 61 keys (F to F), wooden case covered in black vinyl, new optional "warbler" vibrato feature 368: introduced in 1972, 68 keys (F to C), wooden case covered in black vinyl, added bass and volume sliders on control panel 368X: introduced in 1974, 68 keys (F to C), plastic case (most were black, a few were brown) 68X: made to order only, 68 keys (F to C), plastic case (brown), added touch-sensitive keys, very few produced

Other variations of the Electra-piano included the 400-series Electra-piano and Harpsichord, which were walnut-veneer console versions of the 300-series pianos, and the 600-series Electra-piano and Rock-Si-Chord, which combined the sounds of the Electra-piano and the RMI Rock-Si-Chord.

Rocky Mount Instruments (RMI), a subsidiary of the Allen Organ Company, began producing the 300 Series Electra-piano and Harpsichord in 1967. As with earlier RMI instruments, the Electra-piano featured an oscillator for each key. It uses an LC oscillator to generate the sound, as it produced a stable frequency that was not prone to drift. The signal is then run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

The original 300A (1967) and B (1969) models had 61 keys (G to C). The 300A featured a two tone blue-over-black vinyl exterior, while the 300B was all black. The 368 was introduced in 1972 and offered 68 keys, extending the bass end of the keyboard by more than half an octave. It was the best-selling Electra-piano. The 368X (1974) was a 368 housed in a molded plastic case instead of the previously used tolex-covered plywood. The 68D was a touch sensitive version of the 368X; it was made to order and few were produced.

The RMI Electra-piano and Harpsichord was introduced in 1967 as a practical gigging instrument for rock and jazz pianists. The instrument is fully electronic and produces a sound using oscillators (similarly to a combo organ). The signal is run through a series of filters in order to produce an envelope resembling that of a piano. The Electra-piano also had an "organ mode" that allowed each note to sustain indefinitely instead of decay like a piano, and an "accenter" that added a percussion effect to the start of each note being played.

There were several different models within the the 300-series: 300A: introduced in 1967, 61 keys (F to F), wooden case covered in blue and black vinyl 300B: introduced in 1969, 61 keys (F to F), wooden case covered in black vinyl, new optional "warbler" vibrato feature 368: introduced in 1972, 68 keys (F to C), wooden case covered in black vinyl, added bass and volume sliders on control panel 368X: introduced in 1974, 68 keys (F to C), plastic case (most were black, a few were brown) 68X: made to order only, 68 keys (F to C), plastic case (brown), added touch-sensitive keys, very few produced

Other variations of the Electra-piano included the 400-series Electra-piano and Harpsichord, which were walnut-veneer console versions of the 300-series pianos, and the 600-series Electra-piano and Rock-Si-Chord, which combined the sounds of the Electra-piano and the RMI Rock-Si-Chord.

The Acoustic 261 was an amplifier cabinet manufactured by the Acoustic Control Corporation. It was the first amplifier to be produced by the company. It was usually used in conjunction with the Acoustic 260 amplifier head.

The Acoustic 260 was the first amplifier head manufactured by the Acoustic Control Corporation. It was often paired with the Acoustic 261 cabinet.

The RMI DK-20, or Digital Keyboard 20, was the last musical instrument designed and marketed under the RMI name. It was introduced in June 1979 and was manufactured through July 1982. It was designed to replace the RMI Electra-piano using the latest digital technology available. It was housed in the familiar RMI case and consisted of 68 keys, volume pedal, sostenuto toe stud, and sustain pedal. Control of decay curves, timing, and release characteristics were features of the instrument, along with mixers, phasers, and modifiers. The retail cost of the unit was $2295.

RMI introduced it's first and only synthesizer, the RMI Harmonic Synthesizer, in 1974. Although it was housed in the familiar RMI case, it was totally different than any previous RMI keyboard. The instrument was monophonic, with two independent digital harmonic generators. Each generator's waveform could be modified independently, effectively like having two synthesizers by depressing one key.

The KR-117M Intelligent Grand Piano combines all the realism of a fine acoustic piano with functionality available only from the world's best digital pianos. From its exquisite polished ebony cabinet to its expressive grand piano sound, powerful speaker system, and assortment of vocal and instrument sounds, this instrument combines a grand piano with modern, flexible features.

Fende Contempo years of production 1966 - 1968 Bass Voices: Diaphone 16', Boost 16' f/ff/fff, String Bass 8', Boost 8' f/ff/fff, Horn 4', Boost 4' f/ff/fff Normal/Solo Switch: Switches the bass section between Bass and Solo voices Treble Voices: Cello 16, Diaphone 16, Boost 16 f/ff/fff, Diaphone 8, String 8, Clarinet 8', Boost 8' f/ff/fff, Quint 5-1/3', Boost 5-1/3' f/ff/fff, String 4', Principal 4', Boost 4' f/ff/fff, Effects: Solo Timbre, Vibrato Slow/Fast, Vibrato On, Solo Tremolo

The Fender Contempo was a single-manual, sixty-one-note combo organ introduced in 1966. It featured a bright red lid and an eye-catching chrome stand that could tilt backwards for musicians who played standing. The instrument was somewhat late to the combo organ craze of the 1960s, and it struggled to catch on with many top rock acts. It was produced for roughly three years.

The Farfisa Combo Compact debuted in the mid-1960s and made a splash on the scene immediately. Boasting loud colors, a rough sound, and a price the touring musician could afford, the Compact Combo quickly became one of the prominent combo organs of the ‘60s.

The organ came in two color choices, red or gray, with red being more common.

The Elka Panther 300, also known as the Capri, is an Italian combo organ produced from around 1966 to 1972.

The Elka Panther 300, also known as the Capri, is an Italian combo organ produced from around 1966 to 1972.

The organ came in several different colors, including red, white, and black.

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 Combo Compact, with additional voices such as the 2-2/3' footage with an independent "brilliant" tab. Later models also include a rhythm section (drum machine) of brush cymbal and drum. The final Compact models were manufactured in 1969.

The Compact Deluxe was part of Farfisa’s Compact line. It features similar controls to the Combo Compact, but with additional voices such as the 2-2/3' footage and an independent "brilliant" tab. Later models also include a rhythm section (drum machine) of brush cymbal and drum. The final Compact models were manufactured in 1969.