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Electone is the trademark used for electronic organs produced by Yamaha. With the exception of the top end performance models, most Electones are based on the design of the spinet electronic organ. Current models are completely digital and contain a variety of sounds, effects, and accompaniments, on top of the ability to store programming data onto memory devices.[1][2][3]

History

[edit]

After Hammond pioneered the electronic organ in the 1930s, other manufacturers began to market their own versions of the instrument. By the end of the 1950s, familiar brand names of home organs in addition to Hammond included Conn, Kimball, Lowrey, and others, while companies such as Allen and Rodgers manufactured large electronic organs designed for church and other public settings.

What would later become the Yamaha Electone emerged as a prototype concept in 1958, then named "E-T". The Electone series finally made its commercial debut in 1959 with the D-1, a home instrument. By 1980, with the market waning sharply, and some manufacturers ceasing production, the Electone line embraced digital technology. This allowed Electone's survival as the traditional home electronic organ market dried up. The product name "Electone", coined from the word "Electronic" and "Tone", would become so popular in Japan that in later years, it would become a way to refer to electronic organs in general in the country.

Electones built until 1983 were often similar in specifications to a small theatre organ, with a main flute group analogous to the Tibia Clausa, strings (usually at 8' and 4'), and multiple reeds at 16' and 8' pitches.

Starting with the D-3, Electones featured theatre organ-style color coding for the tone levers, which followed as: white for flutes and diapasons, red for reeds (brass and woodwinds), yellow for string voices (including piano and guitar), and green for percussion voices.

Unlike theatre organs however, the tone levers could be gradually made louder, similar to a drawbar organ, and had 4 click positions (one "off" position followed by 3 progressively loud "on" levels),[4] although they could be adjusted between them.

By the 1980s, many of the most famous names had ceased home production, but the Electone had successfully transitioned into the modern world of digital synthesizers [citation needed].

The FE, and FX lines introduced in 1983, marked a transition from Theater organ styled instruments, with push buttons being used for selecting sounds, instead of tone levers, which would be carried over to future models and lines afterwards.

It would come to compete with new products from Moog Music, Wersi, and later Kurzweil. Electones were to be found not only in homes, especially in Japan and elsewhere in the East Asia, but also in bands and other solo and group public performances.[citation needed]

Notable former models

[edit]
D-1 (1959) First Electone model from 1959
A-2 (1960) Electone model with single keyboard
E-3 (1968) Firstly known as the first Electone stage model
EX-42 (1970) First stage model with space-age design as Electone product
GX-1 (1975) First polyphonic synthesizer in Electone form
EX-1 (1977) Third stage model
EL-900m (2000) a high-grade model comparable with ELX-1m
See also: List of Yamaha products § Electone

Yamaha began exporting Electones to the United States starting with the D-2B in 1967.

1958 — E-T Prototype
The E-T was a prototype concept by Nippon Gakki (known today as Yamaha). It consisted of one console, four oscillators, a tone-forming part widening device, and three speakers. The consoles consisted of a three-stage keyboard, a 32-key pedal keyboard, and 171 switches of sounds and other functions.[5]
1959 — Prototype ET-5 and EM-6
In May 1959, the prototype ET-5 was manufactured, along with the prototype EM-6, a single-stage keyboard utilizing transistor technology.[6]
1959 — D-1
The first model of Electone that was launched by Yamaha, starting with the price around ¥350.000 at that time.
1960 — A-2
The first Electone model with a single keyboard and a single octave pedal. With the price of ¥128.000, it was mostly used for students. Discontinued in 1963.
1962 — E-1
The highest-end Electone model at that time, with a starting price of ¥647.000 in 1962.
1964 — F-1
Electone's first "pipe organ" model. It was built for 15 years, from 1964 to 1979, despite this it has remained in relative obscurity. With a launch price of around ¥2,200,000, it was the most expensive Electone model of its era.[7]
1966 — A-3
Electone's first combo organ, it was only equipped with a single keyboard and an expression pedal.
1966 — F-2
Another "pipe organ" model similar to the F-1, released with an initial price of around ¥1,350,000. It was discontinued in 1975.
1967 — D-2B
The first Electone Model that was imported by Nippon Gakki to the United States.
1968 — E-3
Yamaha's top model at that time, commonly used for stage purposes. Its original price tag was ¥800,000.
1968 — EX-21 Prototype
The EX-21 was a prototype intended to illustrate the upcoming futuristic, space-age style stage organ models of the future. Unlike prior Electones, it was expressly designed for stage performances. Named for "21st century" technology, it can be heard on the "Electone Fantastic!" album.[8]
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", known as "華麗なるエレクトーン" (1975-1977). It was built from 1970 until 1977, launching in 1970 in Japan for ¥2,800,000. In the US, the EX-42 had a $32,000 price tag or $200,000 when adjusted for inflation. It is likely that less than 200 of these were built.[9]
1972 — D-3R
Another top model of Electone, mostly used for homes.
1974 — Designing of Electones around synthesisers, instead of organs
1974 — CSY-1
Based on the SY-1 synthesizer.
1975 — GX-1 (a.k.a. GX-707)
The first polyphonic synthesizer in Electone form, bridging the gap between synthesizer and organ. It used velocity-sensitive keyboards and the solo keyboard was even after-touch sensitive. The original price tag at that time was around ¥7,000,000. Some notable users of the GX-1 include Richard D. James,[citation needed]. Stevie Wonder, Keith Emerson, John Paul Jones, and Benny Andersson of ABBA.[10]
1977 — EX-1, EX-2
The third generation of space-age stage Electone models. The EX-1 and EX-2 sold for ¥3,600,000 and ¥2,600,000, respectively.[11]
1977 — 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 resembles the famous CS-80 synthesizer, though it lacked analog VCOs. Its original price tag was ¥1,800,000.
1979 — CN-70
A single-keyboard model marketed to music schools.
1980 — D-700
A more advanced and upgraded version of its predecessor models.
1983 — FS and FX series (FC/FE/FS/FX)
It featured frequency modulation tone generators, with the FX series featuring the company's first digitally sampled sounds for the onboard percussion/rhythm units. The F series Electones were the first to allow users to digitally save registrations via pistons and then save them to RAM packs or an external disk drive unit with the MDR-1. It is also known as the fourth generation of the space-age stage models, costing around ¥4,500,000. While the lower version of the FX-1, the FX-3, cost around ¥2,000,000. Along with the FS-30m, cost around ¥1,100,000. The FX-10 cost around ¥1,900,000, while the FX-20 cost around ¥2,200,000. The FE-30m retailed for ¥490,000.
1983 — CN-1000
A single chord organ model.
1985 — ME series
A smaller and more compact Electone series, starting with the ME-15 and ending at the ME-600. It was discontinued in 1989. The ME-600 retailed for around ¥580,000, while the ME-15 launched with a price of ¥204,000.
1987 — HS and HX series (HA/HC/HE/HK/HS/HX)
The HS and HX series represented a transition to more digital technology for the Electone line. Integrated circuit technology resulted in vastly smaller components, leading to a sleeker design. The HX/HS series was the first to use AWM (Advanced Wave Memory) sampling technology for both voices and rhythms, and also featured 16-operator FM voices. AWM voice expansion was also possible via sound packs. Even smaller versions were also available as the HK-10 and HA-1. The HK-10 had the same design as the HC series devices, but sported a bigger cover. The HA-1 was a chord organ version and is rarely seen today, despite being manufactured from 1988 to 2001. The original price for the HS-8 was ¥835,000, while the HX-1 cost around ¥3,321,000.
1991 — EL series
This series included an attached Music Disk Recorder which enabled players to record their registrations and performances, thus eliminating the need for extensive programming before each performance. The EL series introduced new synthesisers, filtering, and expression technologies that made instrument voices on the Electone even more realistic. Voice technology continued to be based on AWM and FM technologies. The EL-90 cost around ¥1,250,000, while the ELX-1 cost twice the EL-90 at around ¥2,700,000.
1996 — AR series
The AR100 and its junior model the AR80 (released in 1997), were designed for the US and European market and reverted to the more traditional cabinet design. Using purely AWM voices, the most distinctive feature of the series was its 384 preset registrations, a huge increase compared to only 5 presets on the EL series.
1998 — EL-900 (Second version of EL series)
Visually similar to the EL90 model from 1991, but with more voices, rhythms and effects, the most significant change of this model is the inclusion of VA (Virtual Acoustic) voices. These voices, or preset sounds, do not use sampling technology but are instead based on modeling, providing an enhanced degree of authenticity.
2000 — ELX-1m
Visually similar to the EL90 model from 1991, but with more voices, rhythms and effects, the most significant change of this model is the inclusion of VA (Virtual Acoustic) voices. These voices, or preset sounds, do not use sampling technology but are instead based on modeling, providing an enhanced degree of authenticity.
2004 — Stagea Series
This brand new Electone line-up series added around 415 voices and sounds in the standard model (ELS-01), including "articulation voices". These models were only sold in the Asian Pacific region due to low demand from Europe and America.
2005 — ELS-01C and ELS-01X
The ELS-01X had 2 61-key keyboards and 25 pedalboard keys. Both this version and its custom model variant the ELS-01C had around 509 voices with articulation.
2006 — ELB-01
A Stagea line-up product mainly used for children and students in Electone courses. The ELB-01K version came out later in 2006.
2007 — D-Deck (DDK-7)
Another Stagea line-up product, but more compact, and mostly used for concerts. It was designed as a combo organ, similar to the Hammond Portable B-3.
2009 — ELS-01U / ELS-01CU / ELS-01XU
A minor upgrade for first generation stagea models.
2014 — "02" Stagea series.
The new make-over of 2nd generation of Stagea series. It consisted of three main models: the standard model (ELS-02), custom model (ELS-02C), and professional model (ELS-02X). It sported super-articulation voices, more registration banks, and double the voices and sounds included in the second generation model. The ELS-02 had around 986 voices and sounds. The ELS-02C and ELS-02X had around 1.080 voices and sounds. The basic model (ELS-02) started with a price of ¥715.000, while custom models (ELS-02C) started at ¥1.078.000. The professional model (ELS-02X) started at ¥1.738.000.
2016 — ELB-02
Like its predecessor the ELB-02, but with more advanced sounds and major updates. The original price with tax started around ¥198.000.
2016 — ELC-02
Another Stagea line-up product, and the successor of the Stagea D-DECK, designed as a combo organ. It is similar in design to the Hammond Portable B-3, and launched at ¥539.000, including tax.

Glossary

[edit]
ABC
Auto Bass Chord. Auto accompaniment function, in the form of backing chords and effects, activated when the lower keyboard is held while rhythms are playing.
Advanced Wave Memory
Yamaha's sound sampling technology introduced in the 90s. As of 2014, AWM has evolved to generation two and is usually termed AWM2 or AWMII.
Frequency Modulation
Yamaha's sound modelling technology used in Electones from the 70s to 90s. The final model to feature FM technology is the EL900 and all its variants.
Keyboard Percussion
Drums and percussion sounds that can be assigned to both keyboards and the pedalboard. Also used to create custom drum rhythms.
Lead Voice
The solo voice typically used for the melody line. Lead voices are monophonic on all Electone models.
Lower Keyboard Voice
General term referring to sounds selected and assigned to the lower keyboard. Polyphonic by preset.
Music Data Recorder (MDR, before Electone Stagea named Music Disc Recorder)
Memory storage device installed to, or part of Electone models from the HS series onwards. Allows storage and quick call up of complex sound and rhythm settings.
Melody On Chord (MOC)
Harmonizing effect activated on the lower keyboard based on note played on the upper keyboard.
Pedal Voice
General term referring to sounds selected and assigned to the pedalboard. Monophonic by preset except on the latest ELS-02 series.
Registration
Electone term referring to sounds selected for each keyboard and the pedal board. Includes also rhythm pattern selected. Also refers to user memory slots available on the Electone itself.
Rhythm
Drum patterns available on the Electone. Comes with different accompaniments.
Rhythm Sequence Program (RSP)
Sequencing function used to string different rhythm patterns together. When activated, the entire sequence plays by itself regardless of sound or memory changes on the Electone, thus allowing the player to concentrate on performance. Also allows for auto changing of registrations.
Rhythm Pattern Program (RPP)
Programming function for designing custom drum patterns and accompaniments.
Upper Keyboard Voice
General term referring to sounds selected and assigned to the upper keyboard. Polyphonic by preset.
Virtual Acoustic
Yamaha's sound modelling technology introduced with the EL900 in 1998. Features higher realism compared to Frequency Modulation. Continues to be available in top end models as of 2014.
Voices
General term referring to sounds on the Electone.

Stagea series

[edit]
Yamaha Electone Stagea ELS 01

In 2004, Yamaha launched the Stagea series.[3] This series uses all AWM (Advanced Wave Memory) voices and features over 180 digital effects, built-in registration menus, VA (Virtual Acoustic) voices, and a Style-File compatible expanded rhythm and accompaniment section. AWM is the proprietary sound sampling technology of Yamaha.

Models in this series are:

ELS-01: The standard model

ELS-01C: The custom model, carrying the ability to use the VA voices, Pitch and Tempo Bends, After touch on the pedal keyboard, horizontal touch and after pitch, along with other features, and lastly,

ELS-01X: The professional model - taking the ELS-01C, it adds 61-note keyboards, a 25-note pedal board and XLR external audio jacks.

The Stagea ELS-01 series was officially distributed only in Asian countries.

Electone Stagea mini ELB-01

In 2006, Yamaha added the ELB-01 model to the lineup.[12] This is a students' model, with 245 AWM voices and 133 accompaniment rhythms, but without voice or rhythm editing capabilities.

In 2008, Yamaha added The D-Deck (DDK-7 in some markets), which is the portable version of the ELS-01 with a more compact body, 61 keys on the lower keyboard and an optional pedalboard. The D-Deck comes with all the features of the ELS-01, with the additions also of Organ Flute voices and a second expression pedal.[13]

In 2009, the Stagea typeU series was launched, with only hardware differences between them and their original counterparts. The typeU version omitted the floppy drive UD-FD01 and the Smart-Media card slot.

In April 2014, Yamaha launched the Stagea ELS-02 series. This series features Super Articulation voices, on top of over 900 AWM sounds, 96 VA voices, pedalboard polyphony, effects, and 566 accompaniment rhythms. The ELS-01, ELS-01C and ELS-01X can also be upgraded to the current series by the use of a "Vitalize" unit.[14]

The Stagea ELS-02 series currently has three models:[15]

ELS-02: The standard model, with 506 AWM voices including Super Articulation voices, 506 accompaniment rhythms, and hundreds of audio effects.

ELS-02C: The custom model. Other than all the features of the ELS-02, it has an additional 60 AWM voices, VA voices, Organ Flutes voices (with digital drawbars), a second expression pedal, horizontal keyboard touch, and pedal board aftertouch.

ELS-02X: The professional model, which contains all the features of the ELS-02C but with both keyboards expanded to 61 keys and the pedalboard expanded to 25 full pedals.

Unlike the first Stagea series, the Stagea ELS-02 series is distributed in both Asia and Mexico.[16]

In May 2016, the ELB-02 model was launched as a revamp of the ELB-01 model with more voices and rhythms added as well as the "after touch" feature on the upper and lower keyboards.

Stagea ELC-02 (top view)

ELC-02: In 2016, Yamaha launched the Stagea ELC-02. This model is a replacement for the Stagea D-Deck (DDK-7), this model contains most of the features of the ELS-02 such as Super Articulation voices. Unlike the previous D-Deck model, the ELC-02 does not contain a 61 note lower keyboard instead a standard 49 note keyboard resides in its place. Existing owners of the D-Deck can upgrade the main unit to the ELC-02 and use their current stand, expression pedals and speakers as is.

In 2022, Yamaha launched a new Electone, the ELA-1. This model is not part of the Stagea series, and is currently sold in China and Malaysia. This Electone shares the architecture of the Yamaha PSR SX600 portable keyboard and features 3 keyboards (upper, lower and bass pedals).

Finalists on stage at the Paris Convention Centre, December 2, 1988, for the International Electone Festival Final

Competition

[edit]

The International Electone Festival (IEF)/International Electone Concours (IEC) is an Electone Organ competition organized by Yamaha which has its beginnings in the 1960s. The first edition of the competition initiated in 1964 as a Japanese national contest to promote and market the Electone as a viable creative and professional musical outlet, and featured both the solo performer and the Electone instrument with no other accompaniment present - a format that lasts till this day. The first purposefully branded international edition complete with a broader roster of contestants representing countries such as USA, Canada, Mexico, United Kingdom, Australia, South Africa, as well as European, Asian and South American countries, is noted as being held in October 1971. However, as earlier as 1969[17] and 1970,[18] a small number of international entrants were invited to compete at the 'Electone Concours Grand Prix' event against a predominantly Japanese contingent of competitors in Tokyo. The IEF finals from these early editions were then held in Japan every year until 1984 when it was held in Los Angeles to mirror the city's Olympic Games hosting duties. Afterwards, Yamaha began holding subsequent IEF finals in other cities around the world including Hamburg, Toronto, Paris, Hong Kong, Mexico and Singapore before returning to Japan.

Notable musicians who were invited to be part of the adjudication panel included Jerry Goldsmith, Raymond Lefèvre and Keith Emerson of Emerson, Lake & Palmer.[citation needed] Participants in the IEF finals had to be at least 16 years of age and competed for medal awards and cash prizes. On almost every occasion, there was one "Grand Prize" recipient who would receive a gold medal and cash prize which in its last years totalled $10,000US. Before 1982, a selection of participants were also presented with special Winner's prizes and the number of recipients of this award varied from year to year. After 1982, "Most Outstanding Performance" awards were presented to two (or in some instances three or four) participants who would receive a silver medal and cash prize, and "Outstanding Performance" awards were usually presented to three participants who would receive a bronze medal and cash prize. On rare occasions at IEF finals, a special President's award may also have been presented to one performer. Known as the "Kawakami Prize" it was named after renowned Yamaha Music Corporation President Genichi Kawakami and consisted of a special bronze medal and cash prize very similar to the "Outstanding Performance" award. By the mid to late 1990s Yamaha ceased to sponsor the event as the broader international competition it once was, keeping it a solely Japanese and Asian region contest by the turn of the new millennium. This change, which reflected the company's decision to decrease its global Electone market to these territories exclusively, continues to this day as the Yamaha Electone Concours .[19][20]

International Electone Festival Finals

Anniversary Year City, Country Venue, Instrument model(s) Grand Prix award Most Outstanding Award Outstanding Award Special Jury or 'Kawakami' Prize Finalist (Country) - Selection
8th 1971 Nemu-no-sato, Japan EX-42, E-3, E-3R, E-5, D-7, D-2B *Tomoko Watanabe (Japan) - Hoedown, *Leslie Strand (U.S.A) - ? *Keiko Ohta (Japan) - ? *Yaeko Sakamoto (Japan) - Tarkus, *Daniel Hetu (Canada) - Fidor Fador More, *Kurumi Shibihara (Japan) - Introduction, *Haruo Inoue (Venezuela) - ? N/A *Hesiquio Ramos (Mexico) - West Side Story, *Yoshitaka Yasumoto (Japan) - Love Duet, *Noriyasu Inoue (Japan) - Black Magic Woman, *Aiko Hirano (Japan) - Light My Fire, *Kunio Ohta (Japan) - フォレスト・フラワー, Setsuko Shimizu (Japan) - いそしぎ, *Kaisaku Ashizawa (Japan) - 大漁うたいこみの調, *Yumiko Tashibana (Japan) - Love Story, *Sumiko Ohashi (Japan) - Naomi's Dream, *Noriko Honda (Japan) - You'd Be So Nice To Come To, *Malcolm Ross (Australia) - Scarborough Fair, *Tilly Lam (Hong Kong) - Spy Operation, *Andiono Arie (Indonesia) - Ode To Billy Joe, *Asbjorn Valaker (Norway) - Going Out Of My Head, *Kazuko Kamasuto (Japan) - 枯葉, *Antonio Cuyugan (Philippines) - Cry Me A River, *Helen Lowe (South Africa) - African Kuvella, *Dorothy Wang (Singapore) - Graduation, *Ming Cheng Huang (Taiwan) - My Funny Valentine, *Raht Ketusingha (Thailand) - Promise Promise
9th 1972 Nemu-no-sato, Japan EX-42, E-3, E-5 *Claude Dupras (Canada) - Raindrops, *Rocco Ferrante Jr (U.S.) - Yesterday and Night, *Tomoyo Miyama (Japan) - Rhapsody *Akira ("Masa") Matsuda (Japan) - The Closed World, *Mutsuko Okumura (Japan) - In Berlin, *唯井 明代 Shibahara (Japan) - C Sharp Minor Waltz, *Sebastian Cacabelos Soutullo (Venezuela) - Garcia Rhapsody, *Georges Fleury - (Switzerland) - Love You N/A *芝原 くるみ (Japan) - Theme from Ironside, *Greg Moeser (Australia) - Jesus Christ Superstar, *Gordon Griffiths (United Kingdom) - Beatles Medley, *Henk Balijon (Netherlands) - Love You, *Billy Tsong (Hong Kong) - Wind Whisper, *Andy Alley Ono (Indonesia) - Beatles Medley, *Carmen Tamés Mejiá (Mexico) - Son de la Negra, *Francisco ("Toti") Fuentes (Philippines) - From Bach to Bacharach, *Ludolff Smuts Wium (South Africa) - Black Orpheus, *Teresa Filmer (Singapore) - Jesus Christ Superstar, *Inn Shien Huang (Taiwan) - Mr Lucky, *M.L.Pratintip Devakula (Thailand) - Trish Trash Polka, *Lyman E. Strong (U.S.) - Bacharach Medley, *Michael Schau (West Germany) - Love You, *照井 栞 (Japan) - Wife and Girlfriend, *Reiko Kashiwagi (Japan) - Pictures at an Exhibition,.
10th 1973 Nemu-no sato, Japan EX-42, E-5 *Bobby Lyle (U.S.) - Dance of Love and Peace, *Akira ("Masa") Matsuda (Japan) - Mysterious Dimension, *唯井 明代 Shibahara (Japan) - Eruption *Yoshi Osamu Nakagawa (Japan) - Alice caught in the Looking Glass, *Maritess Salientes (Philippines) - Passacaglia in C Minor, *Raimund Pranschke (West Germany) - Borikuito, *Hendra Widjaja (Indonesia) - Days of Wine and Roses N/A *Martha Patricia Morales Barrera (Mexico) - Uapango *Dirk Leonard (Australia) - George Gershwin Medley, *Julio Camargo Carone (Brazil) - Bebe, *Rodger Niznik (Canada) - Goldfinger, *Robert Jansen (Netherlands) - Burt Bacharach Medley, *Leandro Bautista (Hong Kong) - Lullaby of Birdland, *Hoon Kim Huat (Malaysia) - Wan Chu Chin, *Ove Hetland (Norway) - Dry Leaves, *Theuns Van Rensburg (South Africa) - Work Song, *Cheng Tau Sin (Singapore) - Valley of the Evening Twilight, *Jose Villacanas (Spain) - People, *Huang Ming Cheng (China) - Cabaret, *Raht Ketusingha (Thailand) - PROMISES! PROMISES! PROMISES!', *James Friemark (U.S.) - Wizard of Oz, *Jose Garcia Guinot (Venezuela) - My System.
11th 1974 Nemu-no Sato, Japan EX-42, E-5 *Socorro De Castro (U.S.) - Theme from The Mod Squad, *Reiko Kashiwagi (Japan) - Prelude *Kenriyou Yoshimoto (Japan) - Freedom Jazz Dance, *Hiromi Sato (Japan) - Invitation to the 21st Century, *Yayoi Yoshida (Japan) - Apple Pie, *Claude Lander (Switzerland) - Cathedral, *Alvin Kwok (Hong Kong) - Abrupt End N/A *James Levesque (U.S.) - George Gershwin Medley, *Russell Finch (Australia) - One Note Samba, *Jacqueline Reggio (Brazil) - Mojave, *Fabio Valente (Brazil) - A Espera, *Relly Coloma (Canada) - I Got Rhythm, *Hugo Alvarado (Mexico) - La Malaguena, *Carolyn Kleiner (Philippines) - Taghoy ng Lupa, *Dorothy Shaw (Singapore) - Dawn,.
12th 1975 Nemu-no Sato, Japan GX-1 *Yayoi Hirabe (Japan) - Rhapsody on GX *Manuel Panta (Philippines) - Bach/Tchaikovsky Medley, *Summer Kei Horiba (Japan) - Sinfonia, *Width 滋美 (Japan) - Police Woman, *Tamam Hoesein (Indonesia) - Es Lilin, *Tito Enriquez (Mexico) - Fantasia Latin America N/A N/A *Julie-Ann Hanlon (Australia) - Wind Blues "Pictures at an Exhibition" *Günter Schwarz (Austria) - September, *Nilson Zago (Brazil) - Bruno de Jekibau Baranso, *Antonio Macedo (Brazil) - Samba Samba Samba, *Darcy Naife (Canada) - Eleanor Rigby, *Louis Tortora (France) - Soleado, *Gilbert Lo (Hong Kong) - Motion Pictures, *Larry Keenan (U.S.) - Space, *John Modrowsky (U.S.) - Beatles Medley.
13th 1976 Nemu-no Sato, Japan GX-1 *Yumiko Tanaka (Japan) - Divertimento *Ito 由実子 (Japan) - Autumn in Sofia, *Sensho Hayashi (Japan) - Waves Of Light, *Raht Ketusingha (Australia) - Australia, *David Smith (United Kingdom) - 1812 Overture, *Gilbert Lo (Hong Kong) - Fantasy on GX, *Bupha Dhamabuttr (Thailand) - Ashanji N/A *Hiromi Sato (Japan) - Meditation on 25 O'Clock *Guy Tassé (Canada) - All You, *Ruud Jansen (Netherlands) - Love Confessions, *Luis Carlos González (Mexico) - Latin Dawn, *Omar Guzmán (Mexico) - Tarkus, *Miriam Uyboco (Philippines) - Music Moments, *Frank Loch (U.S.) - Chopin Impressions, *Paul Doerrfeld (U.S.) - An American in Paris, *Luis Jose Arias (Venezuela) - Concerto for Voice.
14th 1977 Nemu-no sato, Japan GX-1 *Oshima Michiru (Japan) - Gloria *Width 滋美 (Japan) - Dancing "18", *南部 昌江 (Japan) - Sunrise, *Danny Baker (U.S.) - Christine's Samba, *Rodger William Niznik (Canada) - Manipulation, *Louie J. Ocampo (Philippines) - Moods of Tina N/A *Jenny Tjahjono (Indonesia) - Sunset *Bryan William Roberts (Australia) - Impressions of the Ionosphere, *Cèlio Balona Passos (Brazil) - Kantika, *Raul Castaño Escobar (Columbia) - Latin Landscapes, *José Alberto González (Costa Rica) - Diary of a Computer, *Louis Tortora (France) - Revolution, *Skip Van Rooy (Netherlands) - Nature *Leong Wai Meng (Singapore) - August 2nd, *Kumiko Kodera (Japan) - Tip-Top-Fly.
15th 1978 Nemu-no sato, Japan GX-1 *Skip Van Rooy (Netherlands) - Relationships *Rosy Chua (Malaysia) - Elite, *Michael Gundlach (West Germany) - Final Four Times, *Masashi Huzita (Japan) - Symphonic Rhapsody, *Yumiko Santon (Japan) - Airship Marshmallows, *Ito Yumiko (Japan) - Steps of September N/A *Jeannette G.R.Casuga (Philippines) - Neptune's Chamber *Fernando Cruz (Mexico) - Toreador Banquet, *Fu-Mei Ma (China) - The Sea of Happiness, *Raimund Pranschke (West Germany) - Love Dance, *Isaac S. Rosenthal (U.S.) - Portrait of America, *Cheryl M.Smith (Australia) - Voyage to Peace, *Julia H.P.Wee (Singapore) - Piper Dreams, *Yasuo Miyauti (Japan) - Hamlet Overture, *大野 三知代 (Japan) - Let's Dance a Waltz.
16th 1979 Nemu-no-sato, Japan GX-1 *Nozomi Moroi (Japan) - Windward Passage *Hiroko Kawata (Japan) - Musica?, *Sensho Hayashi (Japan) - Eternal Sea, *Michael Behymer (U.S.) - Two Variations of One Theme, *Eileen Ng Ai Ling (Singapore) - Reflections of You, Yumi Nakata (Japan) - Bright Future N/A N/A *Phillip K. Keveren (U.S.) - Portrait, *Paul August Li (Indonesia) - The Grey Shadow, *Tzer-Shiun Lin (China) - Mental Anguish, *Mark D.Matthews (Australia) - Corroboree on a Summer Day, *Maria Corazon Perez (Philippines) - Lost In A Dream.
17th 1980 Nemu-no-sato, Japan GX-1 *Yasuyuki Kasori (Japan) - Grand Sinfonia No.2 *Hiroko Kawata (Japan) - Cosmic Rhapsody, *Akira Kobayashi (Japan) - Fiesta: One Two, *Yoshiko Doi (Japan) - Summer Dreaming '80, *Michael Gundlach (West Germany) - Workshop N/A N/A *Juan Carlos de Martini (Argentina) - El Maltrecho, *Lynda Hulford (Australia) - Tracy, *Mervin Mauthe (Canada) - Oceanic Suite, *Yongyos Saengphaibul (Thailand) - New Breath of the New City, *Roberto Fuentes (Uruguay) - Imagenes de Montevideo, *Phillip Keveren (U.S.) - Cascade Suite, *Eleonora Paolino (Venezuela) - En Busca de una Esperanza, .
18th 1981 Nemu-no-sato, Japan GX-1 *Reiko Matsumoto (Japan) - Daiwa Maharoba, *Natsue Enda (Japan) - Fantasia Alpha *Tatsuko Torii (Japan) - Pure, *Noriaki Rin (Japan) - Autumn Door N/A *Eduardo Tadeu Montoro (Brazil) - Soldier Boy Luis Fernando Luna Guarneros (Mexico) - Maniixni, *Yung Man Leng (Singapore) - Horizon, *Staffan Hedman (Sweden) - Aiolos, *Dan Rodowicz (U.S.) - Comme Le Jour
19th 1982 Tokyo, Japan GX-1/EX-1/D-85 Yasuo Miyauchi (Japan) - 荒城の月変奏曲 *Kiyoko Koyama (Japan) - The Sphinx, *Yukie Tsunokuma (Japan) - Quincy Quincy, *Piergiorgio Marotti (Italy) - Model F, *Tomoko Yoshida (Japan) - Appassionata, *Tohru Yoshizawa (Japan) - African Symphony, *Walter Stowasser (West Germany) - The Barber of Seville N/A *Deanna MacDonald (Canada) - Armageddon, *Ian Sell (Australia) - Transition, *Miho Kodama (Japan) - Dark Eyes, *Enrique Ordoñez Martinez (Mexico) - Barada Mehikana, *Alberto Vicente Santos (Philippines) - Ulilang Bituin, *Stanley Koyama (U.S.) - Cheek to Cheek/I've Got Rhythm, *Sandra Aparecida Ribeiro (Brazil) - Sintonia, *Soh Wee Tee (Singapore) - Forgotten Empire
20th 1983 Tokyo, Japan Kan'i Hoken Hall/FX-1 Keiko Tanimura (Japan) - Come Glorious Light Again (K.Tanimura) *John Teare Corlett (Australia) - Switched on Sonatas, *Lupita Romero Ponce (Mexico) - Flight of the Bumblebee, *Mizuno Yoshiko (Japan) - Phoenix, *Katsuse Truth (Japan) - Creation, *Lennart Palm (Sweden) - Endless Pain,, *Yuki Huzihara (Japan) - Pioneer Pulse, *Ishizaki Miyuki (Japan) - Hymn Republic, *Hiroko Muta (Japan) - Departure, N/A *Lennie Campbell (Canada) - Eurasia, *Carlton Liu (Hong Kong) - Variations in C Major, *Didier Montellier (France) - Hallelujah, *Hidebrand Brasil Bordi (Brazil) - Railroad, *Norman Adviento Agatep (Philippines) - Likha, *Marcel Josef Himbert (West Germany) - Sinfonia, *Edward M. Goldfarb (U.S.) - Excerpts from the Suite for Violin and Jazz Piano,.[21][vague]
21st 1984 Los Angeles, U.S. /FX-1 Tatsuko Torii (Japan) - The Skyscraper (T.Torii) *Thomas Folenta (U.S.) - Tomarbar, *Toshinori Suzuki (Japan) - Eternal Sea *Luis Estrella (Spain) - Rhapsody In Blue, *Ya-Hui Wang (Singapore) - Toccata, *Hanson Tan (Philippines) - Bursting Out N/A *Joan Misako Nakanmoto (Canada) - Tarkus, *Greg Norrod (U.S.) - Journey To Perfection, - Gasto Alberto Marsanich (Italy) - Toccata, *Mark Wyer (Australia) - War Of The Worlds, *Hector Manuel Islas Licona (Mexico) - Luzarkana, * Ronald H.Van Barele (Netherlands) - Musica Esperanto, *Erik Holsten (Norway) - Progressive Tension.
22nd 1985 Hamburg, West Germany (Congress Centre Hamburg) /FX-1 Toshio Mori (Japan) - 流火(Ryuuka) *Sueko Tsunoda (Japan) - Bright Times, *Ya-Hui Wang (Singapore) - Eternal Sea *Jan Veenje (Netherlands) - Symphony Historique, *Mei-Li Pai (Taiwan) - Tropical Isle Emerald, *Gregory Brian Mackintosh (U.S.) - Baroque, Be-Bop, Ballad, Brass N/A *Andrew Leonard Campbell (Canada) - Scenescape, *Stela Jizar Orfano Caldeira (Brazil) - Baiao Brásil, *Stefan Flemmerer (West Germany) - Ever Changing Moods, *Bruno Yamasaki Matsumoto (Mexico) - La Fuerza de los Imperios, *Ferruccio Premici (Italy) - Il Vole del Calabrene, *Nicklas Sivelöw (Sweden) - Finding the Way, *Deone Lee Wilson (Australia) - Creation, the Sixth Day,
23rd 1986 Toronto, Canada /FX-1 Chihiro Yamashita (Japan) - 華麗なるファンタジー(A Fantasia) *Louis Tortora (France) - Variations from Suspiria, *Norikazu Kawano (Japan) - 時経(Picturesque Time) *Mary Ueda Ritsuko (Canada) - Petrouchka, *Stephen Kurniawan Tamadji (Indonesia) - Sunset In Bali, *Stefan Flemmerer (West Germany) - Barock N/A *John Gregory Matas Aquias (Philippines) - Likha, *John Donald Bates (U.K) - Touch, *Paul Joseph Doerrfeld (U.S.) - Chorale and Fantasy on "Simple Gifts, *George Charles Heldt (Canada) - Riches to Rage, *Shane Michael Parker (Australia) - Scheherazade (The Festival at Baghdad), *Nicklas Lars Sivelöw (Sweden) - Into a New World, *Jorge Raul Suarez (Argentina) - Juana Azurduy, *Ricardo Uma (Costa Rica) - Carmina Burana.
24th 1987 Tokyo, Japan Kan'i Hoken Hall/FX-1 Yukio Nakamura (Japan) - Somewhere In The Night (Y.Nakamura) *Risa Funaki (Japan) - Rise Of Spring, *Arturo Sánchez Guzzi (Mexico) - Grados Indigenas *Jason Nyberg (U.S.) - Strike It Up, *Warwick Dunham (Australia) - Excerpts from Bernstein's 'Mass', *Racquel Ayeras Rañola (Philippines) - Silver Screen. *Risa Funaki (Japan) - Rise of Spring *Kaon Koo (Canada) - Rain Walk, *Terence Swee-Seng Teo (Singapore) - Olympia, *Roberto Cedeño Laya (Venezuela) - Sonata Venezolana, *Lena Sannerstig (Sweden) - Die Fledermaus Overture, *Martin Harris (United Kingdom) - Contrasts, *Rainer Georg Dittrich (West Germany) - The Eternal Stream, *Gabriel Huynh (France) - Si, C'etait Demain,.
25th 1988 Paris, France /HX-1 Jason Geh (Malaysia) - Hallucination (J.Geh) *Tatsuki Watanabe Atsushi (Japan) - And The Sun Shines!, *Mia Soetanto (Indonesia) - Evening In Bali *Valérie Boggio (France) - La Confession d'Uranus, *Paul Wei Chung Liang (Singapore) - Festive Overture (Shostakovich), *Adelmo Listorti (West Germany) - City Movements N/A *Hector Islas (Mexico) - Centuria, *Linda Eckert (U.S.) - Jupiter from The Planets, *Jason Klein (Canada) - Conversations, *Marcelo Maranghello (Argentina) - Mosaico Latino, *Lena Sannerstig (Sweden) - Overture from "Pastoral Suite" Op.19, *Rodney Pooley (U.K) - American Patrol, *Fabrizio Brezzo (Italy) - La Forza del Destino - Overture, *Anthony Kenney (Australia) - A Fairytale Relived, *Mayumi Takane (Japan) - Au Coin De Montmatre.
26th 1989 Hong Kong Hong Kong Convention & Exhibition Centre/HX-1 Saori Iwauchi (Japan) - Symphonic Rhapsody No.2 (S.Iwauchi) *Ng Chai Li (Malaysia) - GEM, *Enrique Arturo Escalante Lujan (Mexico) - Raices *Hitoshi Kotani (Japan) - Hibari-Twilight Scenery, *Stéphane Criado (France) - Comme Dans Un Songe, *Ferdinand Marsa (Indonesia) - Panji Semirang N/A Sandy DiGirolamo (U.S.) - On The Waterfront, *Ruth Bernardine Varney (Australia) - Xenophobia, *Robert Messier (Canada) - Powerful People, *Jaana Marja Peltonen (Finland) - From Dream To Reality, *Alex Wong Wai Chung (Hong Kong) - Silhouette, *Smith Bandithaya (Thailand) - Living Float, *Stephen John Selwood (United Kingdom) - A Woodpecker's Anecdote*José L. Souto Colina (Venezuela) - "Fantasia Criolla".
27th 1990 Mexico City, Mexico The City Theater/HX-1 Chinami Taki (Japan) - Humpty Dumpty (C.Taki) *Bruno Yamasaki Matsumoto (Mexico) - El Niño Colibrí, *Joachim Wolf (Germany) - El Avispa *Goh Chee Seng (Malaysia) - Midnight Dream, *Hiromi Suzuki (Japan) - Rhapsody Espagnole, *Teh- Chiang Yuang (Taiwan) Time Passing. N/A *Philip George Newns (Canada) - Rhapsody in Blue, *Tony Matthew Austin (Australia) - Squib Cakes, *Omar Arroyo Garcia (Costa Rica) - Danza del Sable, *Debra Fleming (U.S.) - West Side Story, *Sirpa Ojala (Finland) - Take Five, *Syilvia Dewi Estiningrum (Indonesia) - Sunset In Bali, *Gaston Marsonich (Italy) - Toccata, *Miriam Teresa González Hernández (Mexico) - Herencia IndeÏgena, *Kerry Jayne Stanton (United Kingdom) - Fantasy,.
28th 1991 Tokyo, Japan Kan'i Hoken Hall/HX-1 Chinami Kawasaki (Japan) - A Scene - Time For Sowing (C.Kawasaki) *Yuki Toda (Japan) - Rhapsody, *Carsten Jarocki (Germany) - Fairytale *Stephen Tromans (U.K) - Great Expectations, *Raussel Renata Cedeño Laya (Venezuela) - Orinoquia, *Danny Lim Teong Chin (Malaysia) - Kingdom Of Black Panther *Tanya Hulbert (Australia) - Tianenmen, June 4th, 1989 *Roberto Mistichelli (Italy) - War from Rocky IV, *Arnaud Fabien Fourniguet (France) The Sorcerer's Apprentice, *Albert Lawrence Villaruz (Canada) - War from Rocky IV, *Clarice Marie Weathers (U.S.) - Ballet Mechanique, *Rene Monterosa Sanchez (Mexico) - Final Night, *Chun Chun Yang (Taiwan) - Moments Musicaux, *Ching I Lu (Taiwan) - Fantastic Festival.
29th 1992 Kyoto, Japan Kyoto Kaikan Hall/ELX-1, EL-90, HX-1 Kaon Koo (Canada) - Alice In Shanghai (E.Corpus) *Kaoru Ono (Japan) - Sensitivity, *Emi Saiki (Netherlands) - Voyage to the Far East, *Ohta Mayumi (Japan) - Symphonic Dances, *Ken Lee Ming Yi (Malaysia) - Joy Of Spring, *Ruben Martorell Y Bayon (Spain) - William Tell Overture. N/A *Chiemi Colleen Middleton (U.S.) - Sleeping Beauty Waltz, *Darren Grech (Australia) - Arion, *Anabel Rosales Casco (Mexico) - Dreams, *Jose Luis Souto (Venezuela) - Taurepana, *Thio Kah Shiu Ernest Zhang (Singapore) - Promised Land, *Gianluca Bertolo (Italy) - Mirror, *Robin Yann (France) - Anastasia, *Dominicus Levi Gunardi (Indonesia) - スミランの旗.
30th 1993 Singapore World Trade Centre, Harbour Pavilion/ELX-1, EL-90 Daiju Kurasawa (Japan) - Well You Needn't (T.Monk) *Hitoshi Utsumi Hazime (Japan) - Piano Concerto in F, *Eric Leong (Singapore) - Feline(Alley Cats), *Elver Sohrab C. Perez (Philippines) - Talinhaga *Tricia Ann S. Villareal (Philippines) - Seascapes, *Yani Danuwidjaya (Indonesia) - Seven-Eighth N/A *Leigh Robert Harrold (Australia) - Little Man Tate, *Jeff James Blake (Canada) - Back To The Future, *Brent William Mills (U.S.) - Festive Overture, *Carlos Alberto Gonzáles (Argentina) - Alma De Milonga, *Celso Gusben Marfil Simon (Mexico) - En La Ciudad De Los Dioses, *Anna Gerasi (Greece) - Auforderung Zum Tanz, *Andrea Gorini (Italy) - Impressions in the Park, *David Claire (France) - Dead Zone, *Paul Dingle (United Kingdom) - Joyrider,.
31st 1994 Tokyo, Japan Kan'i Hoken Hall/ELX-1 *Jun'ichi Matsumoto (Japan), *Thomas Karcher (Germany), *Carlton Liu (U.S.) N/A *Stephane Eliot (France) Edward Chan (Hong Kong), Alfred Chan (United Kingdom), Brent William Mills (USA), Tomomi Takahashi (Australia), Pauline Ng (Canada), Wataru Fujimura (Japan), Clement Shaw (Malaysia), Bayornpat Jyntaprasert (Thailand).
32nd 1996 Tokyo, Japan Kan'i Hoken Hall/ELX-1 *Yoshihiro Andoh (Japan) *Zhu Lei (China) *Linda Harjono (Indonesia) *Joachim Wolf (Germany) Roberto Marasciuolo (Italy), Tomoko Minemura (Japan), Sheila Vandikas (Canada), Yuen Siu Mun (Malaysia), Shinobu Karaki (Japan), Brent William Mills (USA), Rene Monte Rosa Sanchez (Mexico), Martial Illien (France).
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The Electone HX model appears briefly in the 1987 science fiction film The Running Man. When Ben Richards is in Amber's apartment (18 minutes into the film), he chases her around the Electone. Two scenes later (at the 20 minute mark), Richards, while standing over it, asks her what it is. Amber calls it her "synthesizer setup" and reveals that she wrote the ICS network jingle.[22] (starting at 5:45 and 9:30 in this clip)

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Electone

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The Electone is a trademarked line of electronic organs manufactured by , featuring multiple keyboards, a broad palette of synthesized sounds, rhythms, and effects that enable performers to emulate orchestral arrangements on a single instrument. Yamaha introduced the Electone in with the D-1 model, which was Japan's first electronic organ to utilize transistors rather than vacuum tubes, allowing for more compact and reliable operation compared to earlier designs. This stemmed from Yamaha's research into electronic instruments starting in 1952, including collaborations with and to develop sound circuits and oscillation methods. Over the following decades, the series progressed from basic home organs to sophisticated performance models, incorporating analog synthesis in the and digital technologies in later iterations, such as the GX-1 concert model in that influenced early synthesizers. Key features of Electone organs include up to three keyboards for upper, lower, and pedal divisions, individual voice assignments, USB connectivity for , and high-fidelity audio processing suitable for beginners through professionals across genres like classical, pop, and . Modern models, such as the Stagea ELS-02 and portable ELA-1, build on this legacy with compact designs for live use and practice, while maintaining the instrument's emphasis on expressive, full-body performance. The Electone has achieved particular prominence in , where it is widely used in homes, educational settings, churches, and public performances, fostering a dedicated community through Yamaha's Electone Festival competitions that highlight emerging talents annually. The series marked its 60th anniversary in 2019 and its 65th in 2025 with special events, underscoring its enduring role in electronic and entertainment.

Introduction

Definition and Origins

The Electone is a trademarked brand of electronic organs developed by , primarily designed for home use while also suitable for live performances, and it simulates the sounds of traditional pipe organs through electronic means. These instruments combine the words "electronic" and "tone" to reflect their core function of generating organ-like timbres via electrical circuits rather than mechanical pipes or reeds. The origins of the Electone trace back to the 1950s in , where Yamaha initiated research into electronic musical instruments in 1952 amid the burgeoning electronic age following , driven by rising demand for accessible home entertainment options. This development positioned the Electone as an affordable alternative to conventional pipe organs, with the first model, the D-1, released in 1959 as Japan's inaugural transistor-based organ, marking a shift from technology. Prior to Yamaha's entry, electronic organs had emerged in the West, exemplified by the invented in 1935, which used rotating tone wheels to produce sounds and influenced the broader evolution of keyboard instruments. Initially targeted at amateur musicians and families in before expanding globally, the Electone emphasized user-friendly operation and a compact design, contrasting with the larger, more complex church organs and appealing to households seeking musical enjoyment without extensive space or expertise. This market focus helped Yamaha foster domestic interest in keyboard instruments during the second half of the twentieth century, establishing the Electone as a staple for personal and educational music-making.

Role in Home and Professional Music

The Electone series was primarily designed for home use, targeting non-professional musicians and families with features that simplified organ playing, such as preset voices, automatic rhythm accompaniment, and chord support systems. The debut D-1 model in 1959, as Japan's first all-transistor electronic organ, offered compact size and reliability suitable for household settings, enabling easy integration into living spaces without the need for complex setup. These attributes contributed to its appeal in Japanese homes during the 1960s through 1980s, where it functioned as an accessible "family instrument" akin to pianos, fostering casual music-making and shared enjoyment among household members. In professional contexts, the Electone serves as a versatile instrument for organists in live performances, recordings, and theater productions, allowing for dynamic, full-bodied expressions through multiple keyboards and pedalboards. It integrates effectively with bands for support or stands alone in variety shows, where its automatic and customizable sounds enable soloists to simulate orchestral arrangements. Professional artists leverage its high-fidelity sampled voices and rhythm patterns to adapt across genres, from classical to contemporary, enhancing stage presence and audio quality in both studio and live environments. Educationally, the Electone is integral to music training programs worldwide, particularly in Yamaha Music Schools, where it forms the core of organ instruction for developing technical skills, , and . Courses like the Junior Electone Course for ages 6-8 emphasize , , and playing through group or individual lessons, culminating in performances at annual festivals and grade examinations. Yamaha's Grade Examination provides structured certifications for Electone , evaluating , technique, and to promote ongoing skill advancement among students. By drastically reducing the size, cost, and maintenance requirements compared to traditional pipe organs, the Electone democratized access to organ playing, allowing broader participation beyond churches and concert halls. Its technological advancements, including the shift to and later digital synthesis, influenced the evolution of home keyboards, paving the way for modern synthesizers and portable electronic instruments.

Historical Development

Early Models and Launch

Yamaha initiated on electronic musical instruments in the early , aiming to expand beyond traditional acoustic products like pianos. By 1958, the company collaborated with & Research Laboratories and to analyze musical sounds, develop sound circuits, and explore oscillation methods for tone generation. This effort culminated in the creation of prototypes that year, focusing on electronic sound sources and marking a shift toward solid-state technology to improve reliability over the vacuum tubes prevalent in contemporary organs. The first commercial Electone model, the D-1, debuted in 1959 as a compact spinet-style home organ under the Electone brand, which combines "electronic" and "tone." Representing Japan's inaugural all-transistor electronic organ, the D-1 replaced vacuum tube circuitry with transistors for enhanced stability and performance, positioning it as an innovative entry into the global market dominated by established brands. Initial sales targeted the Japanese domestic market, where it served as a foundational product for Yamaha's growing electronic instrument lineup. In the early 1960s, Yamaha continued refining transistor-based designs across subsequent Electone models, building on the D-1's solid-state foundation to boost portability and durability. Exports began reaching international markets, including the and , by the mid-1960s, with models like the D-2B introduced abroad in 1967 to broaden adoption. The Electone line gained traction particularly in , where its positioning as an accessible yet advanced home music tool addressed challenges like high costs and competition from traditional organs, fostering rapid uptake through targeted .

Technological Evolution

The 1970s marked a pivotal shift in Electone technology, transitioning from discrete transistor-based designs to more compact electronics through the adoption of integrated circuits. The EX-42, released in , was the first model to incorporate integrated circuits while retaining analog tone generation, significantly reducing size and weight compared to predecessors. This model also introduced auto-rhythm functionality with 13 preset patterns, enabling automated rhythmic accompaniment that foreshadowed later auto-accompaniment systems. Entering the 1980s, Electone instruments embraced the digital revolution, with introduced in 1981 with models like the F-70. The EL-20, launched in 1980, offered over 100 voices through a combination of digital and analog elements using hybrid systems like PASS (Pulse Analog Synthesis System). By the mid-1980s, models in the EL and HX series gained compatibility, allowing seamless integration with external devices and sequencers for enhanced performance and recording capabilities. The 1990s and 2000s focused on advanced sampling and user interfaces, with the introduction of Advanced Wave Memory (AWM) tone generation providing more realistic instrument simulations via high-fidelity waveforms. Stagea series models pioneered interfaces for intuitive control of voices, effects, and registrations, streamlining operation during live performances. Voice expanded to 128 notes or more across multiple parts, supporting complex multi-layered arrangements without note dropout. From the onward, Electone evolution emphasized connectivity and simulation technologies, incorporating USB and expanded interfaces for direct computer integration and data transfer. Modeling synthesis techniques enabled accurate simulations of traditional organ sounds, including drawbar emulations and rotary speaker effects. The Stagea ELS-02 series (released in 2014) introduced enhanced app connectivity via USB LAN adapters, allowing remote control and customization through devices, while overall designs became more compact and portable without sacrificing power. In 2022, Yamaha released the portable ELA-1 model, expanding options for live performance and practice.

Technical Specifications

Sound Generation and Synthesis

Early Electone models employed analog synthesis techniques to generate organ sounds, including simulations of pipe organs through . This involved multiple oscillators producing fundamental and harmonic frequencies, which could be mixed to create basic voices such as and trumpets, mimicking the harmonic structure of traditional pipe organs. The Pulse Analog Synthesis System (PASS) was a key component, using generators to synthesize smooth flute tones and other wind-like sounds via analog circuits combined with digital control for precision. Subsequent developments introduced digital frequency modulation (FM) synthesis for more complex and evolving timbres in Electone organs. FM synthesis operates by modulating the frequency of a with one or more modulator waves, producing rich harmonics through sidebands. The basic FM equation is given by: y(t)=Acsin⁡(2πfct+Isin⁡(2πfmt))y(t) = A_c \sin(2\pi f_c t + I \sin(2\pi f_m t)) where y(t)y(t) is the output signal, AcA_c is the carrier amplitude, fcf_c is the carrier frequency, II is the , and fmf_m is the modulator frequency; this allows for metallic, bell-like, or percussive sounds beyond simple waveforms. In Electone implementations, FM tone generators enabled polyphonic voices with dynamic envelopes and filtering, expanding the palette for orchestral and synthetic textures. Modern Electones primarily utilize sampling-based synthesis through Yamaha's Advanced Wave Memory (AWM) technology, which employs (PCM) waveforms derived from real acoustic instruments. AWM supports high-fidelity reproduction by layering and processing these samples in real time, with voice layering capabilities allowing up to eight simultaneous tones across keyboards for orchestral depth. The advanced variant, Articulation Element Modeling (AEM), enhances this by dynamically selecting and blending optimal sampled elements based on performance nuances, such as or articulation, to achieve greater expressiveness while maintaining limits that support complex arrangements (e.g., 128-note and 986 preset voices in models like the ELS-02). Drawbar registrations in Electones facilitate additive by adjusting the balance of harmonic components, emulating classic organ timbres. (DSP) integrates effects like emulation, which simulates the rotating baffle and horn of a rotary speaker cabinet to add Doppler-induced modulation and depth to organ voices. Additional real-time effects, including reverb and chorus, are applied via DSP to enhance spatial and textural qualities without latency. Yamaha's Super Articulation technology further refines synthesis by incorporating performance-responsive elements, such as breath noises in winds or string slides, to capture the idiomatic techniques of acoustic instruments. These voices leverage AWM/AEM samples modulated by key touch and , enabling nuanced, lifelike interpretations independent of hardware controls.

Controls, Keyboards, and Interface

The keyboards of the Yamaha Electone are divided into three main sections: the upper manual, lower manual, and pedalboard, allowing performers to play melodies, chords, and bass lines simultaneously in a manner reminiscent of traditional pipe organs. Early models, such as the D-1 from 1959, featured a single 36-key upper keyboard with basic polyphonic capabilities, but subsequent designs standardized to two manuals with 49 to 61 keys each (typically spanning C to C) and a 20-key pedalboard (C to G) for monophonic or limited polyphonic bass. Later models, including the EL-37 () and ELS-01 series (), incorporate sensitivity across all keyboards, responding to playing dynamics for expressive , with advanced variants like the ELS-01C adding initial touch, aftertouch, and horizontal touch for nuanced control over volume, , and effects. Controls on the Electone emphasize hands-on adjustment for real-time customization, with the upper and lower keyboards dedicated to lead voices and chordal , respectively, while the pedalboard handles bass. Traditional drawbars, inspired by theater organs, appear in models like the EL-900 () and ELS-01C, offering nine settings (e.g., 16', 8', 4') to shape organ flute timbres by adjusting harmonic overtones. Sliders provide precise control over volume (coarse and fine settings from 0 to 24), reverb depth, and brilliance, alongside an for overall dynamic swell and a secondary pedal for pitch bend or in advanced units. Foot pedals and switches enhance accessibility, including left/right footswitches for start/stop, glide effects, or registration shifts, and a lever for sustain or melody-on-chord (M.O.C.) activation, enabling performers to maintain flow without interrupting manual play. The interface has evolved significantly from analog to digital paradigms, prioritizing ergonomic functionality for both home and stage use. In the and , such as with the SY-1 (1974), controls relied on physical knobs, preset levers, and sliders for attack and sustain envelopes, offering direct, menu-free access without displays. By the , models like the EL-37 introduced LCD screens (e.g., 20x2 characters) for voice selection and basic status, alongside buttons for rhythm patterns and registration memory (up to 8 slots, expandable via disk). Modern Electones, including the Stagea ELS-01 series (discontinued in 2025, with a successor anticipated) and the portable ELA-1, feature a color TFT-LCD for intuitive navigation of voice libraries, rhythm styles (e.g., , rock), and settings, complemented by dedicated buttons and USB connectivity for external controllers like joysticks or devices. The ELA-1 employs a 61-key keyboard with integrated pedals, maintaining AWM/AEM synthesis in a compact . The Auto Bass/Chord (A.B.C.) system, standard since early digital models, automates bass and chord accompaniment in modes like Single Finger (for simplified playing) or Fingered/Custom (for complex harmonies), with registration memory now supporting hundreds of presets savable to USB for quick recall during performances. This progression enhances , reducing reliance on manual adjustments while preserving tactile feedback.

Model Series and Variants

Notable Pre-Stagea Models

The pre-Stagea era of Yamaha Electone models spanned from the late through the , evolving from basic transistor-based organs to sophisticated digital instruments with synthesis and connectivity features. The D-series laid the foundation in the 1960s, emphasizing reliability and foundational organ sounds. The D-1, introduced in 1959, was Yamaha's inaugural Electone model and the first Japanese electronic organ to use transistors rather than vacuum tubes, enabling more compact and stable operation with 12 voices including and reed simulations. Subsequent D-series models like the D-3 incorporated solid-state circuitry, a 49-key manual, tone levers for voice selection, 4' and 2 2/3' percussive attacks, and a Natural Sound speaker system for enhanced tonal projection. These early instruments typically featured around 24 voices and basic rhythm sections, prioritizing home use with analog warmth derived from divide-down oscillator technology. In the , the EX-series advanced toward hybrid analog-digital synthesis, appealing to both home and stage performers. The EX-1 and EX-2, released in 1977, were among the first to integrate the Analog Synthesis System (PASS), which combined analog filters and voltage-controlled elements for dynamic, expressive tones beyond traditional organ sounds. These models offered dual keyboards, an orchestra section with button-selectable voices, and effects like , glide, and wah-wah, marking an innovation in polyphonic sound layering with up to 12 voices per section. The 1980s EL-series shifted focus to digital integration and expandability, incorporating VLSI chips for efficient processing and for external connectivity starting in 1983. The EL-37, launched in 1994, exemplified this with 150 voices across organ, orchestral, and synth categories, a built-in multi-disk recorder (MDR) for performance capture, FM synthesis for lead voices, and implementation for synchronization with other instruments. It featured 49-note keyboards, a 20-note pedalboard, 8 preset memories, and a rhythm sequencer, enabling complex arrangements in professional settings. Complementing this, the HX-1 in 1986 introduced a portable, for stage use, with 73 keys, FM and AWM (Advanced Wave Memory) synthesis supporting 90 polyphonic presets (8-operator FM), 54 monophonic presets (16-operator FM), and 16 sampled voices, alongside assignable percussion and effects. This model's compact footprint—featuring optional pedalboards and tiltable controls—reduced the size of traditional console Electones while maintaining high . Entering the 1990s, the E-series (often denoted as EL models) emphasized advanced recording and voice realism, bridging analog heritage with full digital modeling. The EL-90, released in 1991, provided 213 voices using AWM and FM synthesis, a option for extended recording beyond floppy-based MDR, and enhanced auto-accompaniment styles for versatile home and ensemble play. Building on this, the EL-900 in 1998 refined the lineup with 207 high-quality AWM/FM voices, storage for registrations, and improved capabilities in OMNI mode for multi-instrument integration. These models saw peak popularity in during the and , though production phased out by the mid-1990s amid a market shift to fully digital Stagea variants and declining interest in analog-heavy designs. Vintage pre-Stagea Electones remain collectible for their warm analog tones from PASS and early FM sections, often prized by enthusiasts for restoration projects involving replacements and switch cleaning to preserve original character. Challenges include sourcing rare parts like tone generators, but their polyphonic capabilities continue to inspire modular synth integrations.

Stagea Series and Modern Variants

The Stagea series, Yamaha's flagship line of Electone organs, originated with the ELX-1 model launched in 1991 as an advanced fully digital iteration, marking a shift from earlier hybrid designs to memory and multitrack sequencing for more expressive performances. This series evolved into the modern Stagea branding in 2000, targeting both professional stage use and home enthusiasts with enhanced portability and futuristic aesthetics, such as the disassemblable design introduced in the ELS-01 of 2004. Models like the ELS-01C, released in 2004, feature 509 voices, 3 upper manuals, and a lower keyboard for comprehensive organ emulation. Key innovations in the Stagea series include Custom Voice creation, enabling users to edit and synthesize personalized instrument sounds from built-in waveforms, and Voice Harmony, an intelligent processing tool that automatically adds chordal harmonies and articulations to solo lines based on detected key and . Expandability is supported through dedicated PC software like the Electone Editor, which allows integration of additional voices, styles, and data for customized setups. Variants such as the EDE (Encore Digital Electone) series offer entry-level access with simplified interfaces and fewer voices, aimed at educational and casual users while maintaining core Stagea technology. In , Yamaha introduced the portable ELA-1 model, a compact variant sharing architecture with the PSR-SX600 portable keyboard, featuring 919 voices and designed for live performances. Some entry-level lines faced discontinuation in the 2010s amid rising competition from versatile digital synthesizers, streamlining focus on high-end offerings. As of October 2025, the ELS-02 and ELC-02 models were discontinued, with Yamaha teasing a successor for release in January 2026. The series maintains dominance in Japan and Asia, where cultural affinity for organ music sustains demand, with pricing typically ranging from $5,000 to $20,000 USD depending on configuration and accessories as of 2025.

Cultural and Competitive Aspects

The Electone has made notable appearances in Western film, exemplified by its feature in the 1987 dystopian action movie The Running Man, where the Yamaha Electone HX-1 is prominently displayed in the apartment of the character Amber Mendez, portrayed as a , underscoring the instrument's futuristic aesthetic even in a near-future setting. In music, the Electone has influenced niche genres, particularly in Japan's underground hip-hop scene through DJ Tucker, who gained international attention in the mid-2000s by blending punk, pop, and hip-hop on the instrument, including viral performances like playing upside down or incorporating pyrotechnics, which elevated its status from a perceived "mom instrument" to a hipster staple. Similarly, Canadian indie musician employs a modified Yamaha D-85 Electone in his recordings, valuing its orchestral versatility and analog warmth for creating immersive, noisy soundscapes reminiscent of film scores by composers like and . Electone performances blending classical covers with modern genres have gained popularity on platforms like and in Yamaha's Electone Festivals, where participants perform popular songs and originals. In , the Electone symbolizes post-war innovation in accessible home entertainment and , with Yamaha's courses since the fostering widespread adoption among children and adults, embedding it in family-oriented cultural practices.

Electone Competitions and Events

The Yamaha Electone Festival, an annual competition organized by Yamaha since its inception in 1964 as a national event in , serves as a primary platform for Electone performers to showcase their skills and creativity. Divided into junior and senior categories to accommodate participants of varying ages and experience levels, the festival emphasizes original arrangements and live performances, often held at Yamaha-affiliated venues to encourage musical growth and peer interaction. Winners typically advance to regional or national finals, where they perform for audiences and judges, fostering a competitive yet educational environment that highlights the instrument's versatility in contemporary music. The festival expanded internationally in the 1970s, with the first International Electone Festival held in 1970, drawing participants from multiple countries to promote global exchange among Electone enthusiasts. By the 1980s, competitions had reached the and , building on earlier national events like the U.S. finals established in 1971, which selected top performers from hundreds of entrants to compete in showcase concerts. The International Electone Festival continued irregularly until the mid-1990s, after which Yamaha shifted focus to regional and national events. More recent iterations, such as the Yamaha International Highlight Concert since 2019, integrate Electone segments from over 40 countries, unifying regional festivals into a premier showcase for advanced student performers. As of 2025, annual national finals continue in countries including , , and , engaging young talents. Complementing the competitive focus, Yamaha hosts educational events tailored for students, including regional Electone festivals that emphasize skill development through group performances and . These gatherings often incorporate workshops on techniques such as multi-track recording and , enabling participants to explore the Electone's advanced features in a supportive setting. Such initiatives align with Yamaha's broader philosophy, originating from the 1972 Junior Original Concert framework, which prioritizes creative expression and has influenced Electone programming worldwide. The cumulative impact of these competitions and events has been substantial, engaging thousands of participants historically and providing opportunities for scholarships, performance slots at major halls like Yamaha Hall in , and instrument upgrades as prizes to support emerging talents. By promoting Electone proficiency and , they have launched careers for many winners, reinforcing the instrument's role in both amateur and semi- music communities despite shifts toward digital keyboards in the . Post-2020 adaptations, including online streaming of finals and virtual workshops, have sustained engagement amid global challenges, ensuring continued accessibility for international competitors. Notable alumni, such as performers advancing to international stages through early victories, exemplify how these events bridge educational training and pathways.

Terminology

Core Concepts and Components

The term "Electone" is a portmanteau derived from "electronic" and "tone," reflecting its identity as an electronic organ designed to produce musical tones through electronic means. In Electone operation, a registration refers to a preset combination of voices, effects, and other settings that can be stored and recalled instantly to suit different musical styles or sections of a . These registrations are managed via dedicated memory buttons or menus, allowing performers to switch configurations seamlessly during play. A voice denotes an individual synthesized or sampled instrument sound, such as the flute-like tibia (a classic organ stop emulating a wooden pipe) or the reed-based oboe, which are assignable to specific sections of the instrument for melodic or harmonic roles. Voices are categorized by sections like upper, lower, lead, and pedal, enabling layered arrangements that mimic orchestral textures. Key physical components include the manuals, which are the multi-octave keyboards—typically the upper and lower manuals, each spanning 49 keys from C to C—for hand-played voices and melodies. The pedalboard, a specialized foot-operated keyboard with 20 keys from C to G, controls bass lines and sustains lower frequencies, often using voices like contrabass or organ bass. A tremulant, also known as tremolo in Electone terminology, applies a vibrato effect to selected voices, with adjustable speed to add expressive modulation and depth, controllable via buttons or footswitches. Playing techniques incorporate adaptations like glissando, achieved through a glide function or legato playing on keys, particularly in Super Articulation voices such as saxophone or trumpet, where it simulates smooth pitch slides; this is adjustable for speed (e.g., time settings from 1 to 5) and triggered via footswitches for dynamic expression. Auto accompaniment supports harmonic backing through modes like Single Finger (simplified chord triggering with one finger) or Fingered Chord (full chord input on the lower manual), generating bass, chords, and rhythms automatically to enhance solo performances. Underlying technologies include AWM (Advanced Wave Memory), Yamaha's proprietary tone generation method that uses sampled waveforms of real instruments to create realistic voices, often layered up to eight elements per sound for polyphonic output. DSP (Digital Signal Processing) handles effects processing, applying over 300 types such as reverb, delay, chorus, and flanger to voices and overall output, enhancing spatial and timbral qualities.

Model-Specific Terms

Model-specific terms in Electone organs vary across series, reflecting advancements in synthesis technologies and features tailored to particular models. In pre-Stagea models like the B-series (e.g., B-35N from the ), terminology emphasized traditional organ emulation, with terms such as "" referring to electronic volume vibrations for chorus-like effects, and "Symphonic" denoting enhanced spatial depth in sound production to simulate orchestral ambiance. These models also used " Footages" (e.g., 16', 8', 4') to describe pitch ranges mimicking ranks, adjustable via drawbars for variation. Manuals were designated as "Upper Manual" and "Lower Manual," with the pedalboard simply termed "Pedals," highlighting a focus on console organ layout without advanced digital layering. The GX-1 (1975), a pre-Stagea model, introduced synthesizer-oriented terms derived from its hybrid design combining divide-down organ tones with FM synthesis. Key terms included "Synthesizer Ranks," referring to four independent polyphonic sections assignable to keyboards, and "Voice Cartridges," matchbox-sized modules with programmable parameters (e.g., 26 rotary controls per cartridge) for custom timbres. The instrument featured a pressure-sensitive "Solo Keyboard" (37 notes, monophonic) alongside polyphonic "Upper" and "Lower" manuals (61 notes each), with "Pedalboard" supporting bass voices; these terms underscored the GX-1's integration of organ and synth paradigms, enabling layered up to 8 voices per rank. Subsequent pre-Stagea models like the FX-series (e.g., from 1983) shifted toward full FM synthesis, employing terms such as "FM Voices" for operator-based tones generated via Yamaha's proprietary chips, supporting 18 discrete audio channels for panned, multi-layered sounds. Controls included "Operator Levels" for adjusting individual FM operators and "Algorithm Select" for voice routing configurations, distinguishing the FX-1's digital from analog predecessors. In the Stagea series, introduced in 2004, terminology evolved with digital advancements, prominently featuring "AWM Voices" (Advanced Wave Memory) in models like the ELS-01, where up to 415 sampled-based tones (ELS-01) or 509 (ELS-01C) are organized into elements editable for level, filter, and pan; these support multi-keyboard assignment (Upper, Lower, Pedal). Exclusive to ELS-01C and ELS-01X, "VA Voices" (Virtual Acoustic) employ physical modeling for 94 lead voices simulating instrument behaviors like string resonance, with "VA Custom Voices" allowing user edits for timbre and volume. "Organ Flute Voices," unique to these variants, use adjustable footage (0-8) and attack parameters to replicate drawbar organs, often paired with "Rotary Speaker" effects simulating Leslie cabinets at variable speeds (2.69-39.7 Hz). Later Stagea models, such as the ELB-02 (2016), incorporate "Super Articulation Voices" (prefixed "S-," e.g., S-Violin), leveraging "AEM" (Articulation Element Modeling) technology for realistic techniques like , , and release noise, integrated with pitch bend and grace notes for expressive play. These build on AWM with 540 across sections (e.g., Lead Voice 1/2), including specialized "Keyboard Percussion" kits (e.g., Electro Kit, SFX Kit) for direct mapping. Effects terms include "Dynamic Flanger" and "Pitch Change" for voice processing, while registration features like "To Lower Function" allow lead or pedal to transfer to the lower keyboard, enhancing flexibility. "Registration Shift" modes (Shift, Jump, User) enable seamless transitions via footswitch, with up to 80 memory slots savable to USB. These terms illustrate the Electone's progression from analog emulation to sophisticated digital synthesis, with model-specific enabling precise control over and performance.

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