View allAll Photos Tagged preamplifier
1979
High End Preamp from the late 70's. It's the improved "B" version of the Model 3250. Very fine phono section.
The model 3250B incorporates a built-in MC (Moving Coil) phono preamp, a feature rarely seen in vintage audio pieces. Exceptional user comfort with all sounded controller options.
Sounds and looks good in mint shape.
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Der 3250B Vorverstärker markierte Ende der 70er den High End Stand der Dinge bei Marantz. Das Modell mit ausgezeichnetem Phonoeingangsmodul und war bereits für MC-Tonabnehmer vorbereitet, eine zu dieser Zeit noch selten gesehene Ausstattung. Der Bedienungskomfort einschliesslich der Klangregeloptionen ist überragend. Die "B" Version markierte den Nachfolger den Modells 3250. Dieser Klassiker im Mint-Zustand sieht so gut aus, wie er klingt.
1978
The C-4 preamplifiers characterized by the use of high quality components. The properties are responsible for the Yamaha "Natural Sound" at its time and until today.
The phono section fexible was already at that time a selling reason. Two MM and one MC input with variable sensitivity / impedance matching standard until today. The tone control with transition selection offers plenty of options for sound adjustment. 2 amp outputs make it a universal preamplifier. The sale price was very reasonable at 1.000 USD.
I like the clear independent Yamaha design with fine workmanship, such as haptics to enjoy the “Natural Sound”.
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Der C-4 Vorverstärker zeichnet sich durch die Verwendung hochwertiger Bauteile aus. Die Eigenschaften sind verantwortlich für den Yamaha „Natural Sound“ seinerzeit und bis heute.
Die flexible Phono Section war bereits seinerzeit ein Kaufargument. Zwei MM- und ein MC-Eingang mit variabler Empfindlichkeit/Impedanz Anpassung setzt noch heute einen Standard. Die Tonregelung mit Übergangswahl bietet ausreichend Möglichkeiten zur Klanganpassung. 2 Endstufenausgänge machen ihn zum universellen Vorverstärker. Der Verkaufpreis lag bei bei sehr günstigen DM1.250.
Mir gefällt das eigenständige klare Yamaha Design bei edler Verarbeitung wie Haptik.
TV is gone, deeper stand to accommodate the Audio Note Oto Line SE amplifier (and coming Audio Note M1 RIAA phono stage) with my lounger in the middle of the room while I await the new sofa and coffee table I ordered. The Harbeth M30.1s like being closer together as well, the soundstage has deepened in the 3D Z-axis considerably.
1978
The C-4 preamplifiers characterized by the use of high quality components. The properties are responsible for the Yamaha "Natural Sound" at its time and until today.
The phono section fexible was already at that time a selling reason. Two MM and one MC input with variable sensitivity / impedance matching standard until today. The tone control with transition selection offers plenty of options for sound adjustment. 2 amp outputs make it a universal preamplifier. The sale price was very reasonable at USD 1.000.
I like the clear independent Yamaha design with fine workmanship, such as haptics to enjoy the “Natural Sound”.
-
Der C-4 Vorverstärker zeichnet sich durch die Verwendung hochwertiger Bauteile aus. Die Eigenschaften sind verantwortlich für den Yamaha „Natural Sound“ seinerzeit und bis heute.
Die flexible Phono Section war bereits seinerzeit ein Kaufargument. Zwei MM- und ein MC-Eingang mit variabler Empfindlichkeit/Impedanz Anpassung setzt noch heute einen Standard. Die Tonregelung mit Übergangswahl bietet ausreichend Möglichkeiten zur Klanganpassung. 2 Endstufenausgänge machen ihn zum universellen Vorverstärker. Der Verkaufpreis lag bei bei sehr günstigen DM 1.250.
Mir gefällt das eigenständige klare Yamaha Design bei edler Verarbeitung wie Haptik.
About 9 years ago I bought this NAP110 power amplifier together with a NAC42XO preamplifier. The preamplifier turned out to be in working order, but the power amplifier was not. I tried to fix it myself, but my skills were not good enough. In the end I converted it into a power supply for a NAC12 preamplifier, using an Avondale TPR2 module. That's how it's been working all these 9 years. However, recently a hi-fi audio designer unexpectedly offered me his services to repair this amplifier. It took him about an hour to make the repair, and some more time to reassemble the unit and order and install new capacitors in the power supply. And now the unit is back in business.
Thank you, Anton!
If you're interested, here's a link to the website of this audio equipment designer. You might like some of their products:
So yeah, these are most of the speakers I had in my apartment by this summer...
So the total list of equipment...
Speakers:
Infinity Renaissance 90
Infinity Kappa 8
Polk Monitor 7
Klipsch KG 2
Infinity RS-5 (1987) (visible in TV reflection)
Amps:
Carver C-11 pre-amp
Carver TFM-15CB x3 (one not shown)
Adcom GFA-555
Marantz 1040 integrated
Sources:
NAD 5325 CD player w/ upgraded caps
Carver TX-11 tuner
Dual CS 505-1 turntable (not shown)
My main system now is the Renaissance 90s (R90s for short) bi-amped with the Adcom (325 wpc rms at 4 ohms, stable to 1 ohm) on bottom and one of the Carver TFM-15CBs (150 wpc rms at 4 ohms) on top (the Carver C-11 as the pre). The R90s are so power hungry that when I tried just the Adcom, as I used the Kappa 8s, there was almost no bass whatsoever. With them biamped (90% of the time biamping is useless, especially with receivers) and utilizing the gain control on the Carver, they outperform the Kappas in every way imaginable.
Here's Floorstanding Speakers by Rating on audioreview.com. Note what is first with the most unanimous 5-star ratings out of any speaker....
Technical specs for the here.
Unfortunately the NAD CD player seems to be dead after moving - I may be able to resurrect it, but I'm really due for a CD player with a remote anyway. Actually, after ripping all of my CDs to FLAC I may just go the music server route...
Anyway, all of this is in storage while I'm in Sweden - except the Polks which my brother Eric is using, and the Klipsch & Marantz, which my dad is buying off me.
You can see a small portion of my CDs and records to the left of the Marantz. Oh, and there's a few DVD players that I don't have anymore either. The Sony there had analog 5.1 outs, so I had a HT system set up for a little while. I'm really a stereo guy though...
1979
High End Preamp from the late 70's. It's the improved "B" version of the Model 3250. Very fine phono section.
The model 3250B incorporates a built-in MC (Moving Coil) phono preamp, a feature rarely seen in vintage audio pieces. Exceptional user comfort with all sounded controller options.
Sounds and looks good in mint shape.
-
Der 3250B Vorverstärker markierte Ende der 70er den High End Stand der Dinge bei Marantz. Das Modell mit ausgezeichnetem Phonoeingangsmodul und war bereits für MC-Tonabnehmer vorbereitet, eine zu dieser Zeit noch selten gesehene Ausstattung. Der Bedienungskomfort einschliesslich der Klangregeloptionen ist überragend. Die "B" Version markierte den Nachfolger den Modells 3250. Dieser Klassiker im Mint-Zustand sieht so gut aus, wie er klingt.
1976
The state of the art preamp from the Sansui "Definition Series" CA-3000. Massive construction and selected components made this unit to legend. It sounds superb until today.
I'm so happy to got this dream amp in a good condition
-
Dieser State of the Art Vorverstärker CA-3000 war das Topmodell aus der Sansui "Definition Serie"
Der professionelle Aufbau mit selektierten Elementen und die massive Haptik hat den Vorverstärker zur Legende gemacht.
Der Verstärker ist in sehr gutem technischen und optischen Zustand - und so klingt er auch.
Mit viel Glück konnte ich mir diesen Traum erfüllen.
1976
The state of the art preamp from the Sansui "Definition Series" CA-3000. Massive construction and selected components made this unit to legend. It sounds superb until today.
I'm so happy to got this dream amp in a good condition
-
Dieser State of the Art Vorverstärker CA-3000 war das Topmodell aus der Sansui "Definition Serie"
Der professionelle Aufbau mit selektierten Elementen und die massive Haptik hat den Vorverstärker zur Legende gemacht.
Der Verstärker ist in sehr gutem technischen und optischen Zustand - und so klingt er auch.
Mit viel Glück konnte ich mir diesen Traum erfüllen.
Toshiba ST-335 Stereo Tuner
Toshiba SY-335 Stereo Preamplifier
Toshiba SC-335 Stereo Ampliifer
1982 Toshiba PC-G2 Cassette Deck See it here: flic.kr/p/iKL96R
1987 Toshiba XR-9057 6 Disc Magazine Plus One Tray CD player
About 9 years ago I bought this NAP110 power amplifier together with a NAC42XO preamplifier. The preamplifier turned out to be in working order, but the power amplifier was not. I tried to fix it myself, but my skills were not good enough. In the end I converted it into a power supply for a NAC12 preamplifier, using an Avondale TPR2 module. That's how it's been working all these 9 years. However, recently a hi-fi audio designer unexpectedly offered me his services to repair this amplifier. It took him about an hour to make the repair, and some more time to reassemble the unit and order and install new capacitors in the power supply. And now the unit is back in business.
Thank you, Anton!
If you're interested, here's a link to the website of this audio equipment designer. You might like some of their products:
1976
The state of the art preamp from the Sansui "Definition Series" CA-3000. Massive construction and selected components made this unit to legend. It sounds superb until today.
I'm so happy to got this dream amp in a good condition
-
Dieser State of the Art Vorverstärker CA-3000 war das Topmodell aus der Sansui "Definition Serie"
Der professionelle Aufbau mit selektierten Elementen und die massive Haptik hat den Vorverstärker zur Legende gemacht.
Der Verstärker ist in sehr gutem technischen und optischen Zustand - und so klingt er auch.
Mit viel Glück konnte ich mir diesen Traum erfüllen.
I decided to put together a new MM phono preamp to run my AT-440MLa cartridge. The preamp has adjustable gain and input load, so it should be a good match for most MM cartridges.
DIY phono preamp with Tungsram tubes
6x4 rectifier, ECC85 (1962), ECC85 (1957) and MM electrolytic capacitors (1968)
Changed things up a bit to open-up my living room area as I wait for my Audio Note Oto SE Line to be finished being built and shipped.
1976
The state of the art preamp from the Sansui "Definition Series" CA-3000. Massive construction and selected components made this unit to legend. It sounds superb until today.
I'm so happy to got this dream amp in a good condition
-
Dieser State of the Art Vorverstärker CA-3000 war das Topmodell aus der Sansui "Definition Serie"
Der professionelle Aufbau mit selektierten Elementen und die massive Haptik hat den Vorverstärker zur Legende gemacht.
Der Verstärker ist in sehr gutem technischen und optischen Zustand - und so klingt er auch.
Mit viel Glück konnte ich mir diesen Traum erfüllen.
My finished laser-cut chassis. I'm happy with how it turned out.
This is the LCDuino audio preamp that I designed and built (working with Ti Kan of AMB labs for pcb design and fab).
This device is a remote-controlled audio preamplifier that includes input/output line selection, motorized volume control knob (control element, only), a relay-based R2R style precise analog attenuator, low-noise linear discrete (for analog) power supplies and line-buffer amps and using hitachi standard 2x16 LCD displays, all controlled by my open-source Arduino code.
On the left, you'll see a board with a row of relays. That is the attenuator or volume-control part. Below it is a mating board that uses much of the same control logic but it's relays switch inputs and outputs.
On the right are two power supplies; an analog discrete dual tracking 12v (sigma22) and a small linear 7805 style 5v.
In the middle are 2 small alpha20 discrete analog line buffer/drivers.
Front of chassis is the LCD display with the LCDuino mounted behind it 'backpack style'. The LCDuino runs Arduino application code that gives this hardware all the remote control and user interface functions. The firmware is open-source and end-users can easily modify it if needed.
More info on the A10 preamp project at:
Another new toy :-)
Never owned any CJ gear so when this baby came up at a good price I thought I'd give it a go. Initial impressions are good. A full bodied sound which errs towards the natural / rounded rather than the analytical / thin. It pairs very well with the Puresound A30 which I am currently using it with. (Running the A30 as a power amplifier with the volume turned all the way up).
KT
JE Labs stereo preamp dressed in Harana Audio woodwork - loktal 7F7s in the phono stage + 6F8Gs line level
Sony ES 2 Channel system with a (top) TA-E80ES Preamplifier and TA-N80ES Power Amplifier. The TA-N80ES delivers 200 watts per channel into 8 ohms or 600 watts bridged mono into 8 ohms continuous with 0.004% THD
1976
The state of the art preamp from the Sansui "Definition Series" CA-3000. Massive construction and selected components made this unit to legend. It sounds superb until today.
I'm so happy to got this dream amp in a good condition
-
Dieser State of the Art Vorverstärker CA-3000 war das Topmodell aus der Sansui "Definition Serie"
Der professionelle Aufbau mit selektierten Elementen und die massive Haptik hat den Vorverstärker zur Legende gemacht.
Der Verstärker ist in sehr gutem technischen und optischen Zustand - und so klingt er auch.
Mit viel Glück konnte ich mir diesen Traum erfüllen.
Little Dot Mk3 Headphone amplifier & preamplifier.
The best for the money as long as you put some nice tubes.
Voshkod lamps/tubes preamplify, Mullard tubes, Gold lion tubes
Japanese market
Specifications :
Year 1976
Display 3-Digit Mechanical Counter
Analog Needle Meters
Transport Sìngle Capsŧan
Transport Belt Drive (Capsŧan)
Direct Loading Auto Shut off
Tape Manual Tape Equalization
Chrome Tape Capability Ferro-Chrome Tape Capability Normal Tape Capability Manual Tape Type Selection
Head Configuration 2 Head Design 4 Track / 2 Channel
Connectivity 2 Mono Microphone Inputs RCA Input/Output Connectors Headphones
Preamplifier
Output-Level Control
Individual Input Level Controls
Individual Output Level Controls
Operation Mechanical Transport Control
Memory StopTimer Recording/PlaybackLine / Mic Input Select Indicators
Cassette Back Lighting
Peak Indicator
Record Noise Reduction Dolby-B Noise Reduction
Exterior
Front Loading Orientation Left
Silver Finish
Speed1⅞ ips - 4.76 cm/s
General
Stereo
Source :
please visit
for more details
Pioneer SA 810 (SA 81 for Japan domestic market) the last integrated tube amplifier from Pioneer
www.youtube.com/user/sakamatra1
Year 1966 − 1969
Specifications
Amplifier parts
Tubes
4x 12 AX7
4x 7868
2x 6AN8
Frequency response 20 to 26,000 Hz
+/- 1 dB
Total Harmonic Distortion less than 0,5% (continuos power output)
Spurious Response rejection
better than 70 dB
Power output 66 Watts
Rated power output 30 Watts x 2
Speakers impedance 8 ohms, 16 ohms (switchable)
Preamplifier parts
Input Sensitivity/Impedance (1KHz for rated output)
TAPE HEAD 2.3 mV
PHONO (MAG / CERAMIC) 5.2 mV
MIC 1.3 mV
AUX 1.7 mV
MONITOR 170 mV
REC 170 mV
TAPE REC / PB 170 mV
Miscellaneous
Power Requirements 110v, 120v, 130v, 220v, 240v
Dimensions
390 x 147 x 327 mm / 15.4 x 5.8 x 12.9 inch
Weight 15 kg
Electronics hobby
Designing and building a high power amplifier capable of driving low impedance (as low as 2 Ohm’s @ 50 Vpp) loads.
www.diyaudio.com/ see alias FdW
History of DIY audio
Audio DIY came to prominence in the 50s to 60s, as audio reproduction was relatively new and the technology "complex," audio reproduction equipment, and in particular high performance equipment, was not offered at the retail level. Kits and designs were available for consumers to build their own equipment. Famous vacuum tube kits from Dynaco, Heathkit, and McIntosh, as well as solid state (transistor) kits from Hafler allowed for consumers to build their own hi fidelity systems. Books and magazines were published which explained new concepts regarding the design and operation of vacuum tube and (later) transistor circuits.
While audio equipment has become easily accessible in the current day and age, there still exists an interest in building one's own equipment, including amplifiers, speakers, preamplifiers, and even CD players and turntables. Today, a network of companies, parts vendors, and on-line communities exist to foster this interest. DIY is especially active in loudspeaker and in tube amplification. Both are relatively simple to design and fabricate without access to sophisticated industrial equipment. Both enable the builder to pick and choose between various available parts, on matters of price as well as quality, allow for extensive experimentation, and offer the chance to use exotic or highly labor-intensive solutions, which would be expensive for a manufacturer to implement, but only require personal labor by the DIYer, which is a source of satisfaction to them.
Simaudio MOON CD5.3 RS (Canada, 2007)
Hitachi HMA-6500 (Japan, 1979)
Sony TA-E86B (Japan, 1978)
.
.
.
We sail through endless skies
Stars shine like eyes
The black night sighs
The Moon in silver dreams
Falls down in beams
Light of the night
The Earth, a purple blaze
Of sapphire haze
In orbit always
While down below
The trees
Bathed in cool breeze
Silver starlight
Breaks dawn from night
And so we pass on by
The crimson eye of great god Mars
As we travel the universe
After a wait of just over four months, my M1 RIAA has arrived, along with another set of 1m AN UK Lexus interconnects!
My Audio Note AN-E/SPe HEs have finally arrived after being ordered this spring and I'm blown away at what they are capable of straight out of the box. Just incredible.
My audio set, including my "new" Pre- and Power-Amplifier form 1983.
Yes, the turntable it's level is straight. No, the table under it isn't.
Luxman PD272 (Direct-Drive Turntable)
Denon DL-103R
Sony MDS-JA30ES
Luxman C-02 (Stereo Preamplifier)
Luxman M-02 (Stereo Power Amplifier)
Edit April 2011:
This is an outdated photo by now
Digitally controlled 5.1 channel audio preamplifier system to increase the gain of the multi-channel PC sound cards.
This preamplifier is an open hardware project. All source codes, KiCAD design files, and compiled binaries are available on the jayakody2000lk.blogspot.com/2021/11/51-channel-preamplifi...
Simaudio MOON CD5.3 RS (Canada, 2007)
Hitachi HMA-6500 (Japan, 1979)
Onkyo P-303 (Japan, 1977)
.
.
.
I see the bad MOON a-rising
I see trouble on the way
I see earthquakes and lightning
I see bad times today
Don't go 'round tonight
Well, it's bound to take your life
There's a bad MOON on the rise
I hear hurricanes a-blowing
I know the end is coming soon
I fear rivers over flowing
I hear the voice of rage and ruin
Don't go 'round tonight
Well, it's bound to take your life
There's a bad MOON on the rise
In music, the organ is a keyboard instrument of one or more pipe divisions or other means for producing tones. The organs have usually two or three, up to five, manuals for playing with the hands and a pedalboard for playing with the feet. With the use of registers, several groups of pipes can be connected to one manual.
Overview
Pipe organs, which use air moving through pipes to produce sounds. The air is supplied by bellows, an electric motor or water (water organ). Since the 16th century, pipe organs have used various materials for pipes, which can vary widely in timbre and volume. Increasingly hybrid organs are appearing in which pipes are augmented with electric additions;
Non-piped organs, which include:
pump organs, also known as reed organs or harmoniums, which like the accordion and mouth organs (both Eastern and Western), notably the harmonica, use air to excite free reeds;
electronic organs (both analog and digital), notably the Hammond organ, which generate electronically produced sound through one or more loudspeakers;
Mechanical organs, which include the barrel organ and Orchestrion. These are controlled by mechanical means such as pinned barrels or book music. Little barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by an organ grinder or today by other means such as an electric motor.
History
Predecessors to the organ include:
Panpipes, pan flute, syrinx, and nai, etc., are considered as ancestor of the pipe organ.
Aulos, an ancient double reed instrument with two pipes, is the origin of the word Hydr-aulis (water-aerophone).
Origins
Depiction of an organ in the Utrecht Psalter
The organ is a relatively old musical instrument, dating from the time of Ctesibius of Alexandria (285–222 BC), who invented the water organ. It was played throughout the Ancient Greek and Ancient Roman world, particularly during races and games. During the early medieval period it spread from the Byzantine Empire, where it continued to be used in secular (non-religious) and imperial court music, to Western Europe, where it gradually assumed a prominent place in the liturgy of the Catholic Church. Subsequently, it re-emerged as a secular and recital instrument in the Classical music tradition.
Early organs
3rd century BC: the Hydraulis, ancient Greek water-powered organ played by valves.
1st century (at least): the Ptera and the Pteron, an ancient Roman organ similar in appearance to the portative organs
2nd century: the Magrepha, ancient Hebrew organ of ten pipes played by a keyboard
8th century: Pippin's organ of 757 (Carolingian dynasty) was sent as a gift to the West by the Byzantine emperor Constantine V
9th century: the automatic flute player (and possibly automatic hydropowered organ), a mechanical organ by the Banū Mūsā brothers[citation needed]
Medieval organs
Medieval organs include:
Portative organ: a small portable medieval instrument
Positive organ: a somewhat larger though still portable instrument
Regal: a portable late-medieval instrument with reed pipes and bellows; forerunner of the harmonium and reed organ
Pipe organs
The pipe organ is the largest musical instrument. These instruments vary greatly in size, ranging from a cubic meter to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called "positive" (easily placed in different locations) or "portative" (small enough to carry while playing).
The pipes are divided into ranks and controlled by the use of hand stops and combination pistons. Although the keyboard is not expressive as on a piano and does not affect dynamics (it is binary; pressing a key only turns the sound on or off), some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some organs are totally enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive.
It has existed in its current form since the 14th century, though similar designs were common in the Eastern Mediterranean from the early Byzantine period (from the 4th century AD) and precursors, such as the hydraulic organ, have been found dating to the late Hellenistic period (1st century BC). Along with the clock, it was considered one of the most complex human-made mechanical creations before the Industrial Revolution. Pipe organs range in size from a single short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards (manuals) with five octaves (61 notes) each, and a two-and-a-half octave (32-note) pedal board.
Wolfgang Amadeus Mozart called the organ the "King of instruments". Some of the biggest instruments have 64-foot pipes (a foot here means "sonic-foot", a measure quite close to the English measurement unit)[citation needed] and it sounds to an 8 Hz frequency fundamental tone. Perhaps the most distinctive feature is the ability to range from the slightest sound to the most powerful, plein-jeu impressive sonic discharge, which can be sustained in time indefinitely by the organist. For instance, the Wanamaker organ, located in Philadelphia, US, has sonic resources comparable with three simultaneous symphony orchestras. Another interesting feature lies in its intrinsic "polyphony" approach: each set of pipes can be played simultaneously with others, and the sounds mixed and interspersed in the environment, not in the instrument itself.
Church
Most organs in Europe, the Americas, and Australasia can be found in Christian churches.
The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its simultaneous ability to provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above the vocal register, the organ is ideally suited to accompany human voices, whether a congregation, a choir, or a cantor or soloist.
Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service.
Today this organ may be a pipe organ (see above), a digital or electronic organ that generates the sound with digital signal processing (DSP) chips, or a combination of pipes and electronics. It may be called a church organ or classical organ to differentiate it from the theatre organ, which is a different style of instrument. However, as classical organ repertoire was developed for the pipe organ and in turn influenced its development, the line between a church and a concert organ became harder to draw.
Concert hall
In the late 19th century and early 20th century, symphonic organs flourished in secular venues in the United States and the United Kingdom, designed to replace symphony orchestras by playing transcriptions of orchestral pieces. Symphonic and orchestral organs largely fell out of favor as the orgelbewegung (organ reform movement) took hold in the middle of the 20th century, and organ builders began to look to historical models for inspiration in constructing new instruments. Today, modern builders construct organs in a variety of styles for both secular and sacred applications.
Theatre and cinema
The theatre organ or cinema organ was designed to accompany silent movies. Like a symphonic organ, it is made to replace an orchestra. However, it includes many more gadgets, such as mechanical percussion accessories and other imitative sounds useful in creating movie sound accompaniments such as auto horns, doorbells, and bird whistles. It typically features the Tibia pipe family as its foundation stops and the regular use of a tremulant possessing a depth greater than that on a classical organ.
Theatre organs tend not to take nearly as much space as standard organs, relying on extension (sometimes called unification) and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes. Unification gives a smaller instrument the capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ.
In the US the American Theater Organ Society (ATOS) has been instrumental in programs to preserve examples of such instruments.
Chamber organ
A chamber organ is a small pipe organ, often with only one manual, and sometimes without separate pedal pipes that is placed in a small room, that this diminutive organ can fill with sound. It is often confined to chamber organ repertoire, as often the organs have too few voice capabilities to rival the grand pipe organs in the performance of the classics. The sound and touch are unique to the instrument, sounding nothing like a large organ with few stops drawn out, but rather much more intimate. They are usually tracker instruments, although the modern builders are often building electropneumatic chamber organs.
Pre-Beethoven keyboard music may usually be as easily played on a chamber organ as on a piano or harpsichord, and a chamber organ is sometimes preferable to a harpsichord for continuo playing as it is more suitable for producing a sustained tone.
Non-piped organs
Reed or pump organ
The pump organ, reed organ or harmonium, was the other main type of organ before the development of the electronic organ. It generated its sounds using reeds similar to those of an accordion. Smaller, cheaper and more portable than the corresponding pipe instrument, these were widely used in smaller churches and in private homes, but their volume and tonal range was extremely limited. They were generally limited to one or two manuals; they seldom had a pedalboard.
Harmonium or parlor organ: a reed instrument, usually with several stops and two foot-operated bellows.
American reed organ: similar to the Harmonium, but that works on negative pressure, sucking air through the reeds.
Melodeon: a reed instrument with an air reservoir and a foot-operated bellows. It was popular in the US in the mid-19th century. (This is not to be confused with the diatonic button accordion which is also known as the melodeon.)
The chord organ was invented by Laurens Hammond in 1950. It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs, most notably Magnus from 1958 to the late 1970s.
Electronic organs
Since the 1930s, pipeless electric instruments have been available to produce similar sounds and perform similar roles to pipe organs. Many of these have been bought both by houses of worship and other potential pipe organ customers, and also by many musicians both professional and amateur for whom a pipe organ would not be a possibility. Far smaller and cheaper to buy than a corresponding pipe instrument, and in many cases portable, they have taken organ music into private homes and into dance bands and other new environments, and have almost completely replaced the reed organ.
Hammond
The Hammond organ was the first successful electric organ, released in the 1930s. It used mechanical, rotating tonewheels to produce the sound waveforms. Its system of drawbars allowed for setting volumes for specific sounds, and it provided vibrato-like effects. The drawbars allow the player to choose volume levels. By emphasizing certain harmonics from the overtone series, desired sounds (such as 'brass' or 'string') can be imitated. Generally, the older Hammond drawbar organs had only preamplifiers and were connected to an external, amplified speaker. The Leslie speaker, which rotates to create a distinctive tremolo, became the most popular.
Though originally produced to replace organs in the church, the Hammond organ, especially the model B-3, became popular in jazz, particularly soul jazz, and in gospel music. Since these were the roots of rock and roll, the Hammond organ became a part of the rock and roll sound. It was widely used in rock and popular music during the 1960s and 1970s by bands like Emerson, Lake and Palmer, Procol Harum, Santana and Deep Purple. Its popularity resurged in pop music around 2000, in part due to the availability of clonewheel organs that were light enough for one person to carry.
Allen
In contrast to Hammond's electro-mechanical design, Allen Organ Company introduced the first totally electronic organ in 1938, based on the stable oscillator designed and patented by the company's founder, Jerome Markowitz. Allen continued to advance analog tone generation through the 1960s with additional patents. In 1971, in collaboration with North American Rockwell, Allen introduced the world's first commercially available digital musical instrument. The first Allen Digital Organ is now in the Smithsonian Institution.
Other analogue electronic
Frequency divider organs used oscillators instead of mechanical parts to make sound. These were even cheaper and more portable than the Hammond. They featured an ability to bend pitches.
From the 1940s up until the 1970s, small organs were sold that simplified traditional organ stops. These instruments can be considered the predecessor to modern portable keyboards, as they included one-touch chords, rhythm and accompaniment devices, and other electronically assisted gadgets. Lowrey was the leading manufacturer of this type of organs in the smaller (spinet) instruments.
In the 1960s and 1970s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop, Ska (in the late 1970s and early 1980s) and rock bands, and was a signature sound in the rock music of the period, such as The Doors and Iron Butterfly. The most popular combo organs were manufactured by Farfisa and Vox.
Conn-Selmer and Rodgers, dominant in the market for larger instruments, also made electronic organs that used separate oscillators for each note rather than frequency dividers, giving them a richer sound, closer to a pipe organ, due to the slight imperfections in tuning.
Hybrids, starting in the early 20th century, incorporate a few ranks of pipes to produce some sounds, and use electronic circuits or digital samples for other sounds and to resolve borrowing collisions. Major manufacturers include Allen, Walker, Compton, Wicks, Marshall & Ogletree, Phoenix, Makin Organs, Wyvern Organs and Rodgers.
Digital
The development of the integrated circuit enabled another revolution in electronic keyboard instruments. Digital organs sold since the 1970s utilize additive synthesis, then sampling technology (1980s) and physical modelling synthesis (1990s) are also utilized to produce the sound.
Virtual pipe organs use MIDI to access samples of real pipe organs stored on a computer, as opposed to digital organs that use DSP and processor hardware inside a console to produce the sounds or deliver the sound samples. Touch screen monitors allows the user to control the virtual organ console; a traditional console and its physical stop and coupler controls is not required. In such a basic form, a virtual organ can be obtained at a much lower cost than other digital classical organs.
Mechanical organs
Barrel organ: made famous by organ grinders in its portable form, the larger form often equipped with keyboards for human performance
Organette: small, accordion-like instrument manufactured in New York in the late 1800s
Novelty instruments or various types that operate on the same principles. These pipe organs use a piano roll player or other mechanical means instead of a keyboard to play a prepared song:
Orchestrion
Fairground organ (or band organ in the USA)
Dutch street organ
Dance organ
The wind can also be created by using pressurized steam instead of air. The steam organ, or calliope, was invented in the United States in the 19th century. Calliopes usually have very loud and clean sound. Calliopes are used as outdoors instruments, and many have been built on wheeled platforms.