I would probably check the websites for some of these bands, since at times they list the equipment for various members ... hopefully you will find it, but I caution you about one thing ... don't try to emulate ... create your own sound, even if you have to use a kitchen pot! For the most part it is some of the crazy stuff that many of them did to help create an identity.

CARAVAN, is probably the most "classical" sounding band of them all, and also the one that stood out … however, the really far out stuff is buried and out there … and I would probably spend more time listening to National Health, Matching Mole, Richard Sinclair (try Caravan of Dreams! (much later!)), and so many others around that time … they are really different and fun to enjoy. And the creative efforts are … totally out there somewhere in the galaxy, sometimes, but always fun! I did not keep up with Soft Machine after the 5th or 6th album to tell you more.

(BTW, I'm probably the only Caravan person you know that has at least 15 of their albums) … (I forgot how to count in my old age to tell you more about the Canterbury folks!)

(BTW2 … I find sounds in the strangest of places! So I went to the food bank and someone dropped … whatever it was … let me tell you that sound was … too late for a recorder, and I did not have my smartphone!) … I like walking down the street and record the sounds haphazard for 5 minutes … (and NOT LISTEN to it for several days) … then get in the car, go somewhere else … do it again … by the time you turn that stuff over, and goof around with it forwards, backwards, and different speeds, you have created a new sound effect, that you can use … for a lot of … who knows … ohh, by the way, try bathroom sounds backwards … they sound great!

Sorry Dave ... the picture is not funny ... where are the laughs? (spoken through a space whisper thing that Gilly used!)

I don't have specifics, but the key to the Canterbury organ sound from my experience, comes not so much from a specific pedal or amp, but from cheapness. If you have a cheap keyboard and a cheap amp with incorporated distortion, or a cheap fuzz pedal, you will get pretty close. The cheaper the better actually.

With VSTs you can explore more, but in the end, remember that the sound grew from the bands having no money to buy proper equipment. Necessity is the mother of invention as they say, or something to that effect.

It is well documented that Chris Squire from Yes used a Maestro Brassmaster fuzz device. No longer made.

There is actually a modern version of this made by Mallekko Heavy Industries and it's called  The (B)Assmaster.

it's not cheap as far as effect pedals go and it is well built. I obtained one when I played with a Deep Purple tribute. Our keyboard player tried it on his Hammond with success also. I love that it comes with a set of rubber teeth inside and the control pot read " More Ass ".  Best fuzzy organ sound has to be Wakeman on Strawbs "The Hangman and the Papist ' . 

Mike Ratledge and Dave Stewart 100% used the https://reverb.com/item/440825-shaftesbury-duo-fuzz-late-60s" rel="nofollow - Shaftesbury Fuzz pedal.  There is a photo archive with Dave using it, and he had it to the left of him on a stand instead of using it with his foot.

Throw this on a Hammond or Lowrey, and you have a 1:1 Canterbury sound. https://heroic.academy/wp-content/uploads/2017/10/EMT-140-plate-reverb.jpe" rel="nofollow - Now if only you could afford the massive plate reverb they used in the studio for the Psychedlic stuff back then... 

i've been researching the equipment used by the bands in the canterbury scene, not just the pedals, but also the amps and cabinets.

about the fuzz pedal used by MGP's bass player: based on the photos I've seen of the band's gigs, I believe it to be the "elka dizzy tone".

in the case of EGG, KHAN, Hatfield and the North, National Health: all the organ sounds consist of the harmmond l100 through a superfuzz/duo-fuzz and a wah pedal called "schaller bow-wow yoy-yoy."

both Dave Stewart and Mont Campbell used the same model of amplifier and cabinet, each had a pair of 100w hiwatts with wem starfinder cabinets, which from the sound of it, I'm sure they didn't have Fane Crescendo, I believe the starfinders they used had rare goodmans power audiom 50w speakers.

In the case of some other bands like Supersister, Quiet Sun, Cos, STUBBS: they all used electric organs with fuzz.

Quiet Sun and STUBBS used vox organs.

Supersister's keyboard player: Robert Jan Stips used a farfisa compact series at first and then switched to a farfisa vip series organ, and I can see from the band's pictures that they used london city amps.

Cos keyboard player Marc Hollander used a Farfisa Professional Duo.

I was kinda thinking ... that above all ... you really had to have a FUZZY mind first ... to end up doing all kinds of funny/funky/farout stuff. 

Nice break down of things derickgtwk. Enjoyed reading that, however, I have to admit that for me, many times the sound was more indicative of a specific feeling/idea to move the piece along differently than the commons ways and styles. Always thought this was one of the special things about the Canterbury folks ... and sometimes it was for fun. I have a hard time thinking that people did it simply for the sake of using something different ... and new ... however, the non-stop proliferation of ideas on how to use anything is neat, and far out to read. An organ through a wah pedal ... hmmmm ... but it reminds me of Edgar Froese i his book describing their experiments with echo chambers, before they became electronic, and it is crazy and then some, but they made it work and you can hear the sound in the early LP's, if you can identify them, which TD was really clean on that part more often than not .. and then ... the incredible use and constant development of sequencers, which Christopher Franke had to do manually for a long time!!!!