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Four types of sound-sets are built into the C-30: French-type harpsichord, Flemish-type harpsichord, Fortepiano and Dynamic harpsichord. Each has four stop variations: 8’I (back), 8’II (front), 4’ and Lute. It also has two positive small-pipe organ sounds, and a choice of five temperaments with Baroque pitch support.

Not only does the C-30 look and sound wonderful, it’s a joy for the fingers as well. Roland’s newly developed “click action” F-scale keyboard provides the perfect, authentic harpsichord experience.

The Lowrey T-1 was produced from 1964 to 1966.

The T-1 was the first combo organ introduced by Lowrey, who was more known for their home organs at the time. A total of 1,985 T-1s were produced between 1964 and 1965.

The Gibson G-201 organ was a two-manual combo organ manufactured by Lowrey in the late 1960s. Lowrey already had experience in the combo organ market with the Lowrey T-1 (introduced in 1964) and the Lowrey T-2 (introduced in 1966) when it began producing the G-201 for Gibson in 1967. The design for the Gibson G-201 was almost an exact copy of the T-2, with the primary difference being a few additional bass voices on the G-201.

The Gibson G-201 was the predecessor to Gibson's much more successful Gibson G-101, which was introduced later in 1967. Only 489 organs were built during the G-201's production run from 1967 to 1969.

The Gibson G-201 organ was a two-manual combo organ manufactured by the Lowrey Organ Company in the late 1960s. Lowrey already had experience in the combo organ market with the Lowrey T-1 (introduced in 1964) and the Lowrey T-2 (introduced in 1966) when it began producing the G-201 for Gibson in 1967. The design for the Gibson G-201 was almost an exact copy of the T-2, with the primary difference being a few additional bass voices on the G-201.

The Gibson G-201 was the predecessor to Gibson's much more successful Gibson G-101, which was introduced later in 1967. Only 489 organs were built during the G-201's production run from 1967 to 1969.

The Lowrey T-1 was produced from 1964 to 1966.

The Gibson G-201 organ was manufactured for Gibson by Lowrey starting in 1967. This model actually predates the more successful Gibson G-101, which was introduced later that same year. Aside from a few additional bass voices, the G-201 is almost a clone of the Lowrey T-2 organ. The G-201 was produced until 1969, and only 489 organs were built.

The Gibson G-201 organ was a two-manual combo organ manufactured by Lowrey in the late 1960s. Lowrey already had experience in the combo organ market with the Lowrey T-1 (introduced in 1964) and the Lowrey T-2 (introduced in 1966) when it began producing the G-201 for Gibson in 1967. The design for the Gibson G-201 was almost an exact copy of the T-2, with the primary difference being a few additional bass voices on the G-201.

The Gibson G-201 was the predecessor to Gibson's much more successful Gibson G-101, which was introduced later in 1967. Only 489 organs were built during the G-201's production run from 1967 to 1969.

The Gibson G-201 organ was manufactured for Gibson by Lowrey starting in 1967. This model actually predates the more successful Gibson G-101, which was introduced later that same year. Aside from a few additional bass voices, the G-201 is almost a clone of the Lowrey T-2 organ. The G-201 was produced until 1969, and only 489 organs were built.

Introduced in 1967, the Rheem Kee Bass was one of the first monophonic string bass emulators. The Kee Bass makes a variety of tones through its two main modes. Firstly, there is the “Sustain” mode which sounds a continuous note with a fast release, like an organ. By switching to the second mode, “Percuss,” the Kee Bass takes on the characteristics of a piano. Notes tail off as you press and hold them, just like a hammer hitting a string inside a piano. In this mode, you can control the note decay, setting it to a fast or slow release. It also has a unique bass booster lever which increases low-end frequencies. Extra grit and intensity can be further achieved through the fuzz and mellow-to-bright switches.

The Kee Bass is a high-note priority, monophonic instrument. Therefore, when two notes are pressed at once only the higher note will sound. This makes it difficult to play a legato phrase because if two notes are played at the same time, you will lose the lower one. However, this feature makes for powerful staccato basslines.

Introduced in 1968 and built in Italy by EME, the Baroque added even more unusual features to the Vox lineup. The lower keyboard is set up just like on the Super Continental, but the upper keyboard, which was designed by the Thomas Organ company, offers a selection of percussive voices. In addition, the Baroque featured Bass Sustain (like the Super) and Bass Chords (like the Jaguar) on the lower keyboard, plus a knee lever that can be switched to function as either a pitch-bend or wah-wah effect. It also has a built-in amp and speakers — quite an unusual feature on an organ of this caliber (typically, only small, inexpensive combo's have amps and speakers built-in).

This line of Fender Rhodes pianos, identified by their sparkly silver harp cover, was manufactured from 1965 to 1969. They are much rarer and considered more collectable than later Rhodes models like the Mark 1 Stage Piano. The 73-key piano featured a 50W amplifier base and built-in EQ (treble/bass) and tremolo effects. 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, though they are less common today because of some design flaws. The suggested retail price of a seventy-three-key sparkle-top Rhodes piano in 1965 was $895.

This line of Fender Rhodes pianos, identified by their sparkly silver harp cover, was manufactured from 1965 to 1969. They are much rarer and considered more collectable than later Rhodes models like the Mark 1 Stage Piano.

The piano featured 73 keys, a 50W amplifier base, and built-in EQ (treble/bass) and tremolo effects. 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 many records from the era.

The suggested retail price of a seventy-three-key sparkle-top Rhodes piano was $895 in 1967.

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.

This line of Fender Rhodes pianos, identified by their sparkly silver harp cover, was manufactured from 1965 to 1969. They are much rarer and considered more collectable than later Rhodes models like the Mark 1 Stage Piano. The 73-key piano featured a 50W amplifier base and built-in EQ (treble/bass) and tremolo effects. 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, though they are less common today because of some design flaws. The suggested retail price of a seventy-three-key sparkle-top Rhodes piano in 1965 was $895.