text: (1930s–) Console organs, large and expensive electronic organ models, resemble pipe organ consoles.  These instruments have a more traditional configuration, including full-range manuals, a wider variety of stops, and a two-octave (or occasionally even a full 32-note) pedalboard easily playable by both feet in standard toe-and-heel fashion. (Console organs having 32-note pedalboards are sometimes known as "concert organs".) Console models, like spinet and chord organs, have internal speakers mounted above the pedals. With their more traditional configuration, greater capabilities, and better performance compared to spinets, console organs are especially suitable for use in small churches, public performance, and even organ instruction. The home musician or student who first learned to play on a console model often found that he or she could later make the transition to a pipe organ in a church setting with relative ease. College music departments made console organs available as practice instruments for students, and church musicians would not uncommonly have them at home.
  (1940s–)
  During the period from the 1940s through approximately the 1970s, a variety of more modest self-contained electronic home organs from a variety of manufacturers were popular forms of home entertainment. These instruments were much influenced by theatre organs' sounds and playing style, and often the stops contained imitative voicings such as "trumpet" and "marimba". In the 1950s–1970s, as technology progressed, they increasingly included automated features such as:
  Repeat percussion (Thomas Organ)
  Sustain (Gulbransen)
  Glide (Lowrey organ in 1956) —
  Chimes stop / Piano stop (Gulbransen)
  Vocal chorus (Farfisa Pergamon in 1981)
  Electronic rhythm (Wurlitzer Sideman in 1959, Seeburg & Gulbransen in 1964)
  One-touch chords (Hammond S-6 Chord Organ in 1950)
  Automatic Orchestra Control (Lowrey organ in 1963) —
  Autochord (Hammond Piper in 1970, Lowrey Magic Genie in c.1975)
  Automatic walking bass (Gulbransen)