My Podcast: The Holmes Archive of Electronic Music
My blog for the Bob Moog Foundation.
I’ve been fascinated by home organs all my life. My mother played a Wurlitzer back in the day and when it came time for me to take some keyboard lessons, I took them on the organ. But that’s another story.
In this episode, I want to share with you recordings dating from 1963 to 1991 of the Yamaha Electone organ. The Electone began as a home organ back in the fifties to compete with the likes of Hammond, Thomas, Wurlitzer, Conn, Baldwin, Lowrey, Farfisa and others. By the 1970s, with the introduction of synthesizers, many of these companies found their organ sales withering and dropped out of the market. Yamaha, on the other hand, engineered a way to transform their Electone home organ into several more advanced stage and theater models. By the mid-1970s, Yamaha had as many as sixteen models available at the same time, each with a particular tweak for the targeted market. Some of these models incorporated features of synthesizers, while some did not. One thing was certain, no matter what the particular model, the Electone became one of the world’s leading organs, sitting alongside Hammond. But the sound was different than the Hammond and was not produced using the classic tone-wheel, electromechanical methods. From its beginning, the Yamaha always used electronic oscillators. That shouldn’t be surprising because all makers were producing organs with integrated circuit boards by that time. What seemed to work for Yamaha was its development of hybrid machines that were partly home organ and partly synthesizer.
How is the technology of a home organ different than that of a synthesizer? Home Organs generally have all preset voices, they are polyphonic, include limited audio filtering of the overall sounds, and usually have built-in speakers in their cabinets. Home organs are less versatile for modifying the preset voices, usually creating a new sound by filtering out other parts of the preset sound—something called divide-down circuitry.
Synthesizers, on the other hand, create the basic waveforms such as sine, square, sawtooth, triangle, pulse, and white noise that are then manipulated to create an infinite variety of sounds, often unique to person who programs the patches. Of course, most synthesizers come with an abundance of preset sounds as well, but unlike the voice on an organ, you can tweak every aspect of the sound on a synthesizer. Synthesizers also provide different methods of sound synthesis, such as subtractive synthesis, FM synthesis, wavetable, and granular synthesis, allowing for much more flexibility in creating both natural and abstract sounds.
In the case of Yamaha, in 1977 they introduced what was called the Pulse Analog Synthesis System, commonly referred to as PASS. This was way to bridge the gap from home organ technology to synthesizers while actually preserving both product lines, using PASS as needed for home or stage organs. Their models began to have a synthesizer section that could be called upon, or even one or two keyboard manuals dedicated to those features. They used this technology to bridge the gap from pure analog synthesizers to synthesizers using digital control of analog sounds, to fully digital instruments in the 1980s. We will hear examples of most of these transitional products in this episode. One that you won’t hear is the Yamaha GX-1, the space age looking 800-pound stage organ used by a few notable artists, including Led Zeppelin. But we will hear from some lesser known Yamaha artists who were experts on these hybrid organs, the EX-42 with its similar space age design plus Electone models E-70, E-75, the CS-80, and 7000, all making an appearance from about 1970 to 1982. I tried to pick selections that either showcased the home organ or synth features of the given model of Electone. I hope you will be surprised by some of what you’ll hear.
For more history about the Electone, and there is plenty, I’ve provided a couple of links on the podcast website under the playlist that you might like to explore.
Episode 134
From Organ to Synthesizer: The Evolution of the Yamaha Electone
Playlist
Track Time | Start | |
Introduction –Thom Holmes | 06:56 | 00:00 |
Electone E-1, home style cabinet, transistorized oscillators, analog, two manuals, pedalboard, two built-in speakers. |
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1.Hidemi Saito, Tadashi Yoshida, “Kiriko No Tango” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. | 03:32 | 07:14 |
2.Hidemi Saito, Tadashi Yoshida, “Furare Jyozu Ni Hore Jyozu” from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by, Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1 The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962. | 02:54 | 10:42 |
Electone B-6, home style cabinet, transistorized oscillators, analog, two manuals (44 notes each), pedalboard, two built-in speakers. |
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3.Koichi Oki, “September In The Rain” from Swingin' Electone! (1967 Takt). Arranged by, Electone organ, Koichi Oki; Bass, Masanaga Harada; Drums, George Otsuka, Akira Ishikawa; Guitar, Masaaki Fujita; Tenor Saxophone, Yasushi Ashida. The Electone model is not specified but it had two manuals and is likely a model A-3. | 03:22 | 13:38 |
Electone EX-42, space age cabinet, like the GX-1, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, portamento strip, pedalboard. |
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4.Shiro Michi, “Hey Jude” from Let's Learn Electone/Shiro Michi Electone Course Vol. 5/ "All About The Rhythm" (1970 CBS/Sony). Drums, Takeshi Inomata; Electone, Yuri Tashiro; Percussion – Tokyo Cuban Boys Percussion Group. Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. | 03:29 | 16:56 |
5.Shiro Michi, “Summertime” from Let's Learn Electone/Shiro Michi Electone Course Vol. 6 Jazz Standards and New Hits (1971 CBS/Sony).1970 — EX-42. Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. Famous Electone players such as Shigeo Sekito used this instrument to make the "Special Sound Series.” Used the EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It is likely that less than 200 of these were built. | 02:17 | 20:20 |
6.Koichi Oki, “Light My Fire” from Yamaha Superstar! (1972 Universal Summit). Oki was known as the “world’s leading Yamaha Electone player” in the liner notes. Uses the Yamaha Electone EX-42. | 02:59 | 22:32 |
7.Koichi Oki, “Spring” and “Summer” (side 1) from Exciting Keyboards - Four Seasons (1973 CBS/Sony). Arranged by, ARP Synthesizer, Electone [Electone Koichi Oki;Drums, Akira Ishikawa; Guitar, Ken Yajima. Music by Vivaldi, Koichi Oki. This release was dated 1978 but the recordings were made in 1973. Oki was a musician working for Yamaha in the early seventies, providing demonstrations of their Electone organ. The model used here was an EX-42, Yamaha's first commercially available stage model Electone, and the commercial successor to the EX-21. It was the first Electone to use integrated circuits, although it was still based on analogue technology. | 21:34 | 25:30 |
8.Yuri Tashiro, “Summertime” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. | 04:00 | 47:16 |
9.Yuri Tashiro, “Jazz Samba” from Beautiful Electone (1973 Polydor). Japanese jazz organist, pianist, and Electone artist from the 1970s. She also made some albums with the Hammond and its influence on her jazz playing is illustrated here in these Electone tracks. The side musicians are uncredited. | 04:35 | 52:28 |
10. Archie Ulm, “Popcorn” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. The classic Gershon Kingsley Moog tune played on the Electone EX-42. Percussion by Paul Hergert. | 03:55 | 55:48 |
11. Archie Ulm, “Harlem Nocturne” from At The Yamaha EX-42 (1976 Private release). Ulm was another American lounge player equipped with the “electronic marvel” of the Yamaha EX-42. Percussion by Paul Hergert. | 05:20 | 59:42 |
Electone E-70, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, built-in speakers. Same circuit board as used in the Yamaha CS-80 synthesizer. |
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12. Denny Hinman, “How Deep is Your Love?” from Denny Plays The Yamaha Electone E-70 (1980 Yamaha). Ued the E-70 One of the first home-based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet. The E-70's architecture resembled the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000. | 02:46 | 01:04:58 |
Electone D-80, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, three manuals, pedalboard, built-in speakers. |
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13. Bob Hacker, “Rocky Top” "One Man Opry" Bob Hacker Plays The Yamaha Electone D-80 (1980 Yamaha). Used the three-manual Yamaha Electone D-80. | 04:01 | 01:07:46 |
Electone FX-1, space age cabinet, like the GX-1, integrated circuits, program cartridges, three manuals, pedalboard. |
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14. Claude Dupras, “Pulstar” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. An interesting rendition of a Vangelis song. | 03:22 | 01:11:44 |
15. Claude Dupras, “The Spring” from Interface Yamaha FX-1 (1983 Yamaha). Arranged for the Yamaha Electone FX-1 by Claude Dupras. A little bit of Vivaldi. | 03:32 | 01:15:06 |
Electone 7000, home style cabinet, integrated circuits, Pulse Analog Synth (PASS) technology, two manuals, pedalboard, two speakers. |
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16. Jim Levesque, “Moonlight Sonata/Night and Day” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) was a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. | 03:49 | 01:18:36 |
17. Tracy Hammer, “Top Banana” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). Used the Electone 7000 (aka E-75 in Europe/Japan), a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. | 01:43 | 01:22:22 |
18. Debbie Culbertson, “Ice Castles” from Record Breaking Performances Featuring The Yamaha Electone 7000. (1981 Yamaha). The Electone 7000 (aka E-75 in Europe/Japan) is a synthesizer-based electric organ produced by Yamaha in 1981. It featured two keyboards and a foot pedal board with a total of 28 voices of polyphony. | 04:09 | 01:23:58 |
Electone EL-90, home style cabinet, integrated circuits, disc recording of programming, two manuals, pedalboard, two built-in speakers. Introduced new synthesizers, filtering, and expression technologies that made instrument voices on the Electone closer to digital samples. |
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19. Unknown Artist, “Prime Time,” Yamaha Electone EL-90 the Demonstrations (1991 Yamaha). A cassette demonstration tape showcasing the Electone EL-90 in various musical settings. | 03:50 | 01:28:04 |
Opening background music: Hidemi Saito, Tadashi Yoshida, side 1 from Enchanting Mood (Electone Sound) (1963 Nivico). Composed by Tadashi Yoshida; Electone organ, Hidemi Saito. Used the Electone E-1.
Introduction to the podcast voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
