The Fender Contempo Organ is a combo organ made by Fender during the late 1960s. It was designed to compete with similar instruments such as the Vox Continental and Farfisa Compact, and had additional stops, features and controllers not found on the other models. However, it was only in production for a few years as it struggled to compete with the more popular Hammond organ and Rhodes piano. History In the early to mid-1960s, there was an influx of inexpensive portable combo organs introduced by companies such as Vox, Gibson and Farfisa. Fender wanted to diversify from their established guitar and amplifier market and create a wider product range, and noticed this demand for keyboard instruments. The Fender Rhodes was already entering production, so a combo organ seemed the next logical step. The Contempo Organ was announced in 1967; the Fender Vibratone, a copy of the Leslie speaker, was introduced at the same time. The instrument's list price in 1968 was $795 ($ in ). By the time the instrument was introduced on the market, combo organs were on the wane and the Hammond organ and electric pianos were becoming more popular. There was a limited amount of trade interest, and consequently production ended in 1969. Bill Carson, who designed the Fender Stratocaster, was particularly scathing about the instrument, calling it "the Contemptuous" and "a pile of junk". He attributed the problems to CBS' acquisition of Fender in 1965, which reduced the quality of the company's product range. Features The Contempo featured a keyboard built by Pratt-Read, who also helped construction with the Rhodes, and was enclosed in a similarly styled black vinyl cabinet. It was single-manual instrument with 61 keys. The bottom octave's keys were reverse-colored as on a Harpsichord which could be used as a separate bass section or act as an additional octave to the main tones. A series of rocker switches allowed selection of 16', 8', 5⅓' and 4' tones, and vibrato and tremolo options. The 5⅓' stop was designed to allow the Contempo to sound closer to a Hammond than similar combo organs. The vibrato and tremolo options are driven off the same circuitry, and consequently are in sync with each other. Each voice had an additional "boost" switch that changed its volume. Sonically, the instrument lay somewhere between the thick weedy "buzz" of a Farfisa Combo Compact, and the breathy, piercing flutey tones of