text: (1950s–) By the 1960s, electronic organs were ubiquitous in all genres of popular music, from Lawrence Welk to acid rock (e.g. the Doors, Iron Butterfly) to the Bob Dylan album Blonde on Blonde. In some cases, Hammonds were used, while others featured very small all-electronic instruments, only slightly larger than a modern digital keyboard, called combo organs. (Various portable organs made by Farfisa and Vox were especially popular, and remain so among retro-minded rock combos.) The 1970s, 1980s and 1990s saw increasing specialization: both the gospel and jazz scenes continued to make heavy use of Hammonds, while various styles of rock began to take advantage of increasingly complex electronic keyboard instruments, as large-scale integration and then digital technology began to enter the mainstream.
  (1970s–)
  An Eminent 310 organ was prominently featured on Jean Michel Jarre's albums Oxygène (1977) and Équinoxe (1978). The Solina String Ensemble was used extensively by pop, rock, jazz, and disco artists, including Herbie Hancock, Elton John, Pink Floyd, Stevie Wonder, The Carpenters, George Clinton, Eumir Deodato, The Rolling Stones, The Buggles, Rick James, George Harrison, and The Bee Gees.
  Various synthesizer organs
  Typical features on Synthesizer organs
  (1971–)
  Allen introduced the world's first digital organ (and first digital musical instrument commercial product) in 1971: the Allen Digital Computer Organ. This new technology was developed for use in home organs by North American Rockwell (project leader Ralph Deutsch) and licensed to Allen, which began using it for church organs. Allen later sued Rockwell and Deutsch, and gained sole rights to the digital computer organ technology.
  In 1980, Rodgers introduced the first church organs controlled by microprocessors, partially based on research at the University of Bradford. The university's "Bradford Computing Organ" has technological descendants in some European digital organs using synthesis technology today.