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The Elka Panther 300, also known as the Capri, is a classic Italian combo organ of the 60s. The instrument produces bold, rich organ sounds and has a wide range of tonal variations. The Panthers 16', 8', 4' Stops and Mixture voice levels are adjustable.

The Panther had a stereo output and sent the bass keys to a separate destination than the rest of the organ. Those bass notes spanned an octave range that was visualised on the keyboard in black. Optionally, the bass range was extendable by a switch that provided an extra octave of low-end. This range was signified by the keys coloured in grey.

Tone Decay adds percussive effect to Mixture voices. The Panther has powerful vibrato with speed and intensity control.

The 106P’s were produced around the same time as the 200 era pianos and were sold to classrooms in a set of eight pianos mounted onto a single folding frame that allowed them to be stored without taking up too much floor space. All of the controls were mounted in the middle of the folding frame where a single “mother” amplifier that distributed the power and other controls for the individual pianos. On their own, the pianos cannot be simply removed from the set without expert modification to make them work properly.

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."

The Yamaha GX-1, first released as Electone GX-707, is an analog polyphonic synthesizer organ developed by Yamaha as a test bed for later consumer synths and Electone series organs for stage and home use. The GX-1 has four synthesizer "ranks" or three manuals, called Solo, Upper, and Lower, plus Pedal, and an analog rhythm machine.

The GX-1 cost $60,000 (equivalent to $396,000 today) and premiered in the US at the 1973 NAMM Convention. The exact production number is unknown, but thought to total fewer than 100. At least 13 GX-1s are known to exist outside Japan, the remainder are presumed to have stayed in Japan.

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."

The Hohner Clavinet is an electrically amplified clavichord invented by Ernst Zacharias and manufactured by Hohner. The instrument uses a hammer action which strikes a string against a metal surface to produce a tone.

The Clavinet D6, introduced in 1971, was the most popular Clavinet model. Following the popularity of the Clavinet C, the D6 featured a similar case design but with a black vinyl leathercloth exterior and a teak veneer top. The D6 allowed a more versatile sound election, which could be selected by six rocker switches to the left of the keyboard. The left four switches are concerned with tone; "Brilliant" and "Treble" activate a high-pass filter, while "Medium" and "Soft" activate a low-pass filter. The two right switches are marked "AB" and "CD" and control which pickups are selected. On the right was a mechanical mute slider.

Manufactured from 1974 to 1983, the Wurlitzer 200A electric piano provided an update to the original model 200 with a new and improved amplifier.

In 1968, Wurlitzer released the Wurlitzer 200, a complete redesign of their electronic piano. Its lightweight plastic top, solid state amplifier, and iconic chrome legs made it highly portable and more reliable than ever before. Although the mechanical action had pretty much been finalized by 1964, the amplifier in the 200 was a new design that incorporated the latest in consumer technology.

Throughout the 200’s run, Wurlitzer continued to make adjustments to the design of the keyboard, mostly with respect to the electronics. There are at least three schematics for the 200 detailing minor changes to component values. But at the same time, Wurlitzer was working on a more extensive overhaul of the keyboard’s amplifier. The revised version would be the 200a, released in 1974.

The Wurlitzer 140b was released in 1964. Although the differences between the 140b and the 140a are minor, they seriously improve the keyboard’s playability.

First, the reeds are identical to those in the Wurlitzer 200 and 200a. This is of course very convenient today, since 200-style reeds are much more common than earlier types. The reed screws were also revised, since those in the 140a were prone to breaking. The second difference is the amplifier. The preamp transistors in the 140b are silicon, not germanium, which are much easier to source. This makes the 140b amplifier more reliable and serviceable than the previous version. But since it has germanium power transistors, the 140b still has a unique tube-like warmth.

The Wurlitzer 140 & 140a were released between 1962 and 1963. These keyboards are extremely rare, and represent a significant departure from the 120. Both the amplifier and the mechanical assembly are very different.

The 140’s revised mechanical action is much easier to regulate and maintain. In fact, it’s the same mechanical action as the 200-series. It worked so well that Wurlitzer reused it, with only slight modifications, until the electronic piano was discontinued in 1979. The 140 is also the first Wurlitzer with a solid state amplifier. Since it is composed entirely of hard-to-find germanium transistors, it is challenging to repair. If you can find one in working condition, however, the vintage transistors have a beautiful tube-like warmth.

Considering its extremely short production run, germanium transistors, and one-of-a-kind reeds, the Wurlitzer 140 is one of the rarest and most unique Wurlitzer electronic pianos.

The Wurlitzer 112 was the first widely available model of Wurlitzer. Its one-of-a-kind tone can be attributed to its unique early reeds and powerful tube amplifier. The 112’s amp is one of the best Wurlitzer amplifiers: more like a Fender 5E3 than the minimalist single-gain-stage 120 amplifier that followed. Because all of the controls are mounted on the side, the 112 also lacks the (arguably tone-sucking) wiring harness of later 100-series Wurlitzers.

The downside is that the 112 has the most primitive mechanical action, so it is more difficult to maintain than later models. But if you can get over the clunky feel, this Wurlitzer is an amazing addition to any studio.

The Vox Jaguar was introduced in 1966 as a more affordable version of the Continental. Only fundamental frequencies can be produced on the Jaguar, as it lacks the circuitry to generate additional harmonics like the Continental. The rocker tabs allow a choice of "flute", "bright", "brass" and "mellow," a "bass chords" option, and the vibrato as found on the Continental. The bottom octave can be switched to a monophonic sub-octave bass section, which is routed to a separate audio jack. Though the Jaguar superficially resembles the Continental, the sound is significantly different; however, it was still popular — particularly in the US.

The Jaguar was also sold in a DIY kit form by Heathkit, allowing musicians to save money by finishing certain aspects of the assembly on their own.

The Corinthian Organ was introduced into the Vox product line in 1969. The Corinthian wasn’t much more than a rebadged Vox Jaguar Organ, but named after the bank that was currently holding Vox in receivership. Being a very short-lived transitionary model, the Vox Corinthian is a rare piece of Vox history. Like the Jaguar, it features three octaves of treble tones and one octave of bass tones. A "Bass Chords" rocker switch on the control panel allowed the treble tones to be extended into the lowest octave.

The Corinthian Organ was introduced into the Vox product line in 1969. The Corinthian was practically a rebadged Vox Jaguar, but named after the bank that was currently holding Vox in receivership. Being a very short-lived transitionary model, the Vox Corinthian is a rare piece of Vox history. Like the Jaguar, it features three octaves of treble tones and one octave of bass tones. A "Bass Chords" rocker switch on the control panel allowed the treble tones to be extended into the lowest octave.

The Corinthian Organ was introduced into the Vox product line in 1969. The Corinthian wasn’t much more than a rebadged Vox Jaguar Organ, but named after the bank that was currently holding Vox in receivership. Being a very short-lived transitionary model, the Vox Corinthian is a rare piece of Vox history. Like the Jaguar, it features three octaves of treble tones and one octave of bass tones. A "Bass Chords" rocker switch on the control panel allowed the treble tones to be extended into the lowest octave.

The Mellotron MK II was the second version of the Mellotron, an iconic analog sampling instrument immortalized in The Beatles hit "Strawberry Fields Forever." As with the first model, pressing a key on the MKII keyboard triggered playback of a sound sample on a reel of magnetic tape, which might be strings, brass or flute, among others; however, the Mark II was more portable and used extensively in live contexts, allowing bands to employ a single person to produce a multitude of different sounds. The Mellotron’s popularity decreased significantly throughout the 1980s, with the rise of digital samplers that were smaller and more reliable, but it continues to hold favour with artists interested in recreating the specific sound aesthetic of the 1960s and '70s.