![]() ![]() ![]() Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). This was the common performance practice for such artists on the electrified theatre organ in the 1950s.Ħ. All played without a program or sequencer. On the keyboard he had access to such voices as the snare drum, brush cymbal, tambourine, castanets, Chinese block, tom tom, sand block, and various mallet instruments. ![]() You can detect the ever-so slightly missed timings here and there and the variety of sounds he could conjure from such pedals as bass, kettle, and field drums, cymbals, brush cymbals and trap drums. Using a combination of pedals and keys, he was able to manually create percussion sounds as he played the accompanying chords and melodies, which was the way it was done prior to a drum machine. The record is by George Wright and it’s played on a 5-manual Wurlitzer theater organ. Here is an example from 1958, the heyday of the electronic theater organ. It was all done by playing the sounds manually on the keys and pedals, not a small feat and certainly one that required a special acumen playing many parts at once. Before we begin with the drum machines, I thought it would be informative to listen to an example of how organists had previously been accompanying themselves with percussion effects. ![]()
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