electronic organ

electronic organ, keyboard musical instrument in which tone is generated by electronic circuits and radiated by loudspeaker. This instrument, which emerged in the early 20th century, was designed as an economical and compact substitute for the much larger and more complex pipe organ.

The electronic organ resembles a spinet, or upright, piano in size and general shape. Most instruments of this general type rely upon electronic oscillators (circuits carrying an alternating current at a specific frequency) to produce their sound. Each oscillator is capable of frequency variation for different pitches and is capable of reproducing a single melodic line. The instrument’s multiple oscillators make it capable of reproducing music having multiple parts, such as a fugue by Johann Sebastian Bach.

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The 200-ton, keyboard-operated telharmonium, which used rotating electromagnetic tone-wheels to generate sound, was an important precursor to the electronic organ. Made in 1904 by the American inventor Thaddeus Cahill, it was exhibited in Massachusetts and New York in 1906 but lapsed into obscurity by World War I. The first successful electronic organ was developed in 1928 in France by Edouard Coupleux and Armand Givelet. It used electronic oscillators in place of the pipes of a conventional organ and was operated with keyboards and a pedal board. Another notable early electronic organ was the Rangertone (1931), invented by Richard H. Ranger of the United States. In 1934 the Orgatron was introduced by Frederick Albert Hoschke; in this organ, tone was generated by reeds that vibrated by electrically fan-blown air, with the vibrations picked up electrostatically and amplified.

One of the most important and well known of the electronic organs is the Hammond organ, a sophisticated instrument having two manuals, or keyboards, and a set of pedals operated by the feet. It was patented by its American inventor Laurens Hammond in 1934. Unlike most other instruments of its type, it produces its sound through a complex set of rotary, motor-driven generators. By means of a series of controls affecting the harmonics, or component tones, of the sound, a great variety of timbres (tone colours) can be reproduced that to some degree imitate the sound of other instruments, such as the violin, the flute, the oboe, and the orchestral percussion instruments.

By the 1960s organ manufacturers had expanded their technology, supplanting vacuum tubes with transistors and solid-state circuitry. Circuits and components designed to operate television and radio receivers and high-fidelity phonographs were adapted to produce music. In the 1970s digital microcircuitry was used to operate a computer organ. In this device, sounds are not created internally but have been prerecorded (sampled) and stored in the computer from which they can later be retrieved. Musical tones or shapes—recorded from conventional windblown pipe organs—are coded into digital form and may be re-created by a special computer at the touch of the keys and stops. Other devices have been used to control reverberation, pitch, and the attack or delay of a note.