The ‘Ekvodin’, Andrei Volodin, Russia, 1937.

1960s version of the Ekvodin V11 at the Museum of Music, Moscow. Image: (c) Moscow Ministry of Culture of the Russian Federation

The Ekvodin was a pioneering electronic synthesiser designed by the Russian engineer and acoustician Andrei Volodin with the Theremin virtuoso Kovalski Konstantin and Yevgeny Murzin (later to invent the ANS synthesiser) and became a well known and successful commercial electronic instrument in the Soviet Union. The first versions of the Ekvodin V1 – built around 1935 at the Moscow Research Institute for Musical Science (NIMI) – were duophonic prototypes controlled by a ribbon controller (a similar design to the Hellertion and Trautonium of the same period) and were used for acoustic and psychoacoustic research at the institute. The V2 Ekvodin included a chromatic fingerboard as well as a ribbon controller. The post WWII V8 Ekvodin augmented the ribbon controller with two conventional 45 note transposable keyboards and a larger range of timbre and envelope controls and won gold medals at the 1958 World Fair in Brussels and the Exhibition of Achievements of the National Economy in Moscow.1 Zvorykin, A.A.(1970) Soviet Cultural Policy, UNESCO, 43.

1950s Ekvodin V9. Image: Museum of Soviet Synthesisers: http://www.ruskeys.net
Ekvodin Diagram
Ekvodin V9 promotional brochure, Image: Zhurnalko.net

Ekvodin V11 Promotional Brochure

Musicians of the world are now provided with an exiting opportunity to refine their emotional art. EKVODIN is an excellent instrument for any orchestra, ensemble or for solo with piano accompaniment. The singing keyboard of small EKVODIN may fill every home with fascinating melodies. Modern composers will be surprised to find EKVODIN produces unprecedented clarity and variety of tones. Performers, conductors or teachers of music will be satisfied with the great abilities of expression by EKVODIN. EKVODIN opens cosmic horizons in music for everybody.

Technical data (Type «B-ll»):

Keyboard range: 3.33 octaves (41 keys, by “C” to “e”).
Full sound range: 7.33 octaves.
Accuracy of frequency is not worse them 3 cents.
Tuning control for full range and for every key.
Means for finger and automatic frequency vibrato and for glissando in full keyboard range.
Highest quality of sound.
660 combination of sound colour switching.
Sustained and percussion sounds.
Fine expression control.
Music power output: 12 watts.
Net: 110—235 volts 50—60 c.p.s.
Weight: 39 kilograms.
Dimensions: 0,78х0,82х0,38 metre.
Patents: Canada, England, French, German, Italian, USA.

Designed and manufactured in USSR.

Table of the presets

The EKVODIN is a professional musical instrument intended for universal use in various ensembles and orchestras and for solo performances including concerts with the accompaniment of piano and other instruments. The EKVODIN is suitable for different musical genres. The sound is produced in the EKVODIN on purely electrical principle.

The instrument is noted for wide variety and brightness of timbres, broad range and high limit) power of the sound, and also for rational and highly-developed system of reproduction means (vibrating keyboard, loudness pedals, portamento, etc.). This ensures expressiveness and accuracy of performance. The profession of a piano player is closest to that of a man playing the EKVODIN. This similarity, however, does not determine the application of the EKVODIN which is, first of all, an ensemble and orchestra instrument.

The EKVODIN comes in two design versions: one-voice and two-voice versions.
A thoroughly developed system of timbres, varied with the aid of a special switch (and also depending upon the methods of performance), makes it possible to obtain an expressive and pleasant sound.
The EKVODIN imitates quite fully the sound of symphonic orchestra instruments (bow, wood and brass groups, as well as certain percussion and pizzicato instruments) and also folk instruments.
The EKVODIN allows to obtain sound personality in new timbres of modern style. The instrument can be used in mixed ensembles and orchestras for supporting and emphasizing different groups of solo parts performed on the usual (mostly string and brass) instruments, when their natural power is not quite sufficient for overruling the orchestra and for creation of new sounds. In incomplete orchestras and ensembles the EKVODIN can handle practically any part (the two-voice will handle two parts) of the bow, wood or brass groups.

A special ensemble consisting of EKVODINS allows to obtain, for a very small number of instruments (sextet or octet), a multifarious, fluent and high – power sound in original and common timbres. Both design versions of the instrument come in semi-stationary (dismountable-transportable) construction and high-class finish. The extension loudspeaker unit, supplied with the instrument, can be located independently up to a distance of 5 m. The loudspeaker unit is installed depending upon the location of listeners. When carried or transported from place to place, the instrument is packed in two units of suitcase type. For operation the instrument is connected to alternating current mains (127 or 220 V). The EKVODIN is not sensitive to fluctuations of the mains voltage. The one-voice version weighs about 35 kg, and its power consumption does not exceed 90 VA. The output power of the sound channel reaches 10 \V. The two-voice version weighs about 65 kg, and its power consumption does not exceed 200 VA. The output power is up to 10 Win each channel, the timbre setting being independent for each voice. To double the. power of solo parts and timbre effects the voices can merge in unison, octave and two octaves.


Ekvodin B9 1950's Model
Ekvodin B9 1950’s Model. Image: Museum of Soviet Synthesisers: http://www.ruskeys.net

The 1958 V11 Ekvodin model was a monophonic instrument was controlled via a six and a half octave, velocity sensitive keyboard which allowed the player to add vibrato by applying sideways movement to the key, plus a foot controlled volume pedal was included to add expression. Sound was generated from vacuum tubes and passed through a number of pre-set filter banks and octave dividers that could be combined to a total of 660 settings. The instrument was a significant evolution of the B9 and won the gold medal at the Brussels exhibition in 1958 (The V11 impressed Ikaturo Kakehashi with its ‘pleasant reed and string voices’ and inspired him to found the Roland Corporation in Japan).2 Kakehashi, Ikaturo .(2002) I believe in music : life experiences and thoughts on the future of electronic music by the founder of the Roland Corporation,  Milwaukee, WI : Hal Leonard Corp, 32.  Ekvodin V11 was said to be “capable of imitating almost any symphony orchestra instrument, including percussion”3 Davies, Hugh. (2014) Ekvodin, The Grove dictionary of musical instruments Volume 2, New York : Oxford University Press, 142. [/mf]

Informational Record for the Electromusical Instrument Ekvodin”,  All-Union Recording Studio label (Всесоюзная Студия Грамзаписи)

Track List:
A1. Introduction – Waltz, composed by Viktor Sams. Two Ekvodins (one single-voiced, one dual-voiced), accompanied by piano.
A2. Basic explanation of Ekvodin and timbre variation. (Note, the rest of side A is single two-voice Ekvodin either solo or accompanied by piano)
A3. Demonstration of “violoncello” timbre.
A4. Interpretation of one of Dvořák’s dances by two-voiced Ekvodin.
A5. Demonstration of “clarinet” timbre. A6. Demonstration of “oboe” timbre. A7. Demonstration of “bassoon” timbre. A8. Demonstration of “piccolo” timbre.
A9. Demonstration of “double bassoon” timbre.
A10. Demonstration of “trumpet” timbre.
A11. Demonstration of “muted trumpet” timbre.
A12. Demonstration of “french horn” timbre.
A13. Demonstration of various strings.
A14. Demonstration of “guitar” timbre.
A15. Demonstration of “duduk” timbre. A16. Demonstration of “zurna” timbre.
A17. Demonstration of “balalaika” timbre.
A18. Demonstration of “vocal” timbre.
A19. Ravel’s “Bolero”, used to demonstrate two-octave range of Ekvodin.
A20. Demonstration of “bell” timbre.

The Ekvodin was often played on stage – famously by an orchestra of five Ekvodins that claimed the musical capabilities corresponding to an orchestra of 27 ordinary instruments – and used by Soviet composers, especially in scores for movies and theatrical productions: the Ekvodin can be heard in the underwater scenes of the 1961 Soviet science fiction film Amphibian Man ( Gennadi Kazansky
Vladimir Chebotaryov 1962), The Tale of the Siberian Land ( Ivan Pyryev 1948) and Walking the Streets of Moscow ( Georgiy Daneliya 1964) but is probably best remembered for Vyacheslav Mescherin’s Electromusical Instrument Orchestra’s soundtracks for the long running soviet period cartoon  Ну, погоди! :

Andrei Aleksandrovich Volodin playing the Ekvodin c1960. Image: Ekvodin V11 Brochure

Andrei Volodin – Biographical Information:

Andrei Aleksandrovich Volodin was born in 1914 in Moscow into a family of artists. In 1940 he graduated from the Moscow Institute of Communications Engineers with a specialization in electroacoustics and radio broadcasting. While still a student, he began working at the film factory in the field of sound recording and in the acoustic laboratory of the Moscow State Conservatory for musical acoustics under the guidance of prof. N. A. Garbuzova, intensively replenishing her knowledge in musical and theoretical disciplines.
After graduating from the institute, he worked on the development of electronic musical instruments. His inventions were used in concert practice and sound recording, exhibited at many foreign exhibitions, and were patented in the USA, Canada, France, Italy, Germany, and Japan. Volodin was awarded the Gold Medal for the Ekvodin electric musical instrument at the World Exhibition in Brussels in 1958 and had more than 40 copyright certificates and patents for inventions.

In addition to practical and inventive work, A. A. Volodin during these years
was also engaged in the theory of electromusic and musical acoustics. On these problems, he published a monograph and numerous articles in the magazines “Radio”, “Radio-tekhnika”, “Problems of Radio Electronics”, etc. Solving the problem of sound synthesis in electronic musical instruments, A.A. Volodin came to the conclusion that sound synthesis is possible only with the comprehensive development and combination of the achievements of musicology, physics and psychology for a holistic presentation in the final sound. This prompted him to study musical sounds from the point of view of their psychological structure and aesthetic content. The perception of musical sounds became the central problem of his research. Studying the issues of perception of sound synthesis from the psychological side, he became a chief specialist in musical psychology, the author of many works on the theory of electromusic, and a doctor of psychological sciences. In 1975, A. A. Volodin began working at the Moscow State Conservatory, where he organized the Problem Laboratory of Music Theory and Music Education. For a set of works on special equipment, A. A. Volodin was awarded the Order of the Red Banner of Labor, as well as a number of medals, such as the title of labour veteran. A man of deep and original mind, broad and versatile knowledge, Andrei Aleksandrovich Volodin was full of creative ideas. His premature death represents a great loss for science.3 Shishlev, Mark. (2024) 1937 Andrey Volodin – Invention of the Ekvodin synthesizer, Cantroll, http://cuntroll.ru/article15/ retrieved 25/02/2024.


References:

  • 1
    Zvorykin, A.A.(1970) Soviet Cultural Policy, UNESCO, 43.
  • 2
    Kakehashi, Ikaturo .(2002) I believe in music : life experiences and thoughts on the future of electronic music by the founder of the Roland Corporation,  Milwaukee, WI : Hal Leonard Corp, 32.
  • 3
    Davies, Hugh. (2014) Ekvodin, The Grove dictionary of musical instruments Volume 2, New York : Oxford University Press, 142. [/mf]

    Informational Record for the Electromusical Instrument Ekvodin”,  All-Union Recording Studio label (Всесоюзная Студия Грамзаписи)

    Track List:
    A1. Introduction – Waltz, composed by Viktor Sams. Two Ekvodins (one single-voiced, one dual-voiced), accompanied by piano.
    A2. Basic explanation of Ekvodin and timbre variation. (Note, the rest of side A is single two-voice Ekvodin either solo or accompanied by piano)
    A3. Demonstration of “violoncello” timbre.
    A4. Interpretation of one of Dvořák’s dances by two-voiced Ekvodin.
    A5. Demonstration of “clarinet” timbre. A6. Demonstration of “oboe” timbre. A7. Demonstration of “bassoon” timbre. A8. Demonstration of “piccolo” timbre.
    A9. Demonstration of “double bassoon” timbre.
    A10. Demonstration of “trumpet” timbre.
    A11. Demonstration of “muted trumpet” timbre.
    A12. Demonstration of “french horn” timbre.
    A13. Demonstration of various strings.
    A14. Demonstration of “guitar” timbre.
    A15. Demonstration of “duduk” timbre. A16. Demonstration of “zurna” timbre.
    A17. Demonstration of “balalaika” timbre.
    A18. Demonstration of “vocal” timbre.
    A19. Ravel’s “Bolero”, used to demonstrate two-octave range of Ekvodin.
    A20. Demonstration of “bell” timbre.

    The Ekvodin was often played on stage – famously by an orchestra of five Ekvodins that claimed the musical capabilities corresponding to an orchestra of 27 ordinary instruments – and used by Soviet composers, especially in scores for movies and theatrical productions: the Ekvodin can be heard in the underwater scenes of the 1961 Soviet science fiction film Amphibian Man ( Gennadi Kazansky
    Vladimir Chebotaryov 1962), The Tale of the Siberian Land ( Ivan Pyryev 1948) and Walking the Streets of Moscow ( Georgiy Daneliya 1964) but is probably best remembered for Vyacheslav Mescherin’s Electromusical Instrument Orchestra’s soundtracks for the long running soviet period cartoon  Ну, погоди! :

    Andrei Aleksandrovich Volodin playing the Ekvodin c1960. Image: Ekvodin V11 Brochure

    Andrei Volodin – Biographical Information:

    Andrei Aleksandrovich Volodin was born in 1914 in Moscow into a family of artists. In 1940 he graduated from the Moscow Institute of Communications Engineers with a specialization in electroacoustics and radio broadcasting. While still a student, he began working at the film factory in the field of sound recording and in the acoustic laboratory of the Moscow State Conservatory for musical acoustics under the guidance of prof. N. A. Garbuzova, intensively replenishing her knowledge in musical and theoretical disciplines.
    After graduating from the institute, he worked on the development of electronic musical instruments. His inventions were used in concert practice and sound recording, exhibited at many foreign exhibitions, and were patented in the USA, Canada, France, Italy, Germany, and Japan. Volodin was awarded the Gold Medal for the Ekvodin electric musical instrument at the World Exhibition in Brussels in 1958 and had more than 40 copyright certificates and patents for inventions.

    In addition to practical and inventive work, A. A. Volodin during these years
    was also engaged in the theory of electromusic and musical acoustics. On these problems, he published a monograph and numerous articles in the magazines “Radio”, “Radio-tekhnika”, “Problems of Radio Electronics”, etc. Solving the problem of sound synthesis in electronic musical instruments, A.A. Volodin came to the conclusion that sound synthesis is possible only with the comprehensive development and combination of the achievements of musicology, physics and psychology for a holistic presentation in the final sound. This prompted him to study musical sounds from the point of view of their psychological structure and aesthetic content. The perception of musical sounds became the central problem of his research. Studying the issues of perception of sound synthesis from the psychological side, he became a chief specialist in musical psychology, the author of many works on the theory of electromusic, and a doctor of psychological sciences. In 1975, A. A. Volodin began working at the Moscow State Conservatory, where he organized the Problem Laboratory of Music Theory and Music Education. For a set of works on special equipment, A. A. Volodin was awarded the Order of the Red Banner of Labor, as well as a number of medals, such as the title of labour veteran. A man of deep and original mind, broad and versatile knowledge, Andrei Aleksandrovich Volodin was full of creative ideas. His premature death represents a great loss for science.3 Shishlev, Mark. (2024) 1937 Andrey Volodin – Invention of the Ekvodin synthesizer, Cantroll, http://cuntroll.ru/article15/ retrieved 25/02/2024.

The “Ekvodin”, Andrei Volodin , Soviet Union, 1931

Designed and built by the Russian inventor Andrei Volodin (1914-1981) the Ekvodin was a sophisticated and versatile electronic keyboard instrument. The instrument was unique at the time in allowing the player a high level of control over the timbre and shape of the sound. Apart from the standard keyboard manual the player was given extra control with various knee levers, sliders and foot pedals. The player could add vibrato effects to the note by manipulating the pressure sensitive keyboard directly. The instrument was also one of the first instruments to include what would become a standard feature in much later synthesisers, a bank of preset sounds which was said to accurately imitate musical instruments of the symphony orchestra including percussion. Volodin continued developing the instrument throughout the 1940s which culminated in a commercial model in the 1950s. However Volodin’s instrument was at the mercy of the Soviet Government who decided to stop funding the project in the mid 1960s after only twelve of the instruments were sold. Volodin continued research into musical acoustics and teaching at the Moscow State Conservatory as well as privately developing a polyphonic version of the Ekvodin and other electronic instruments, none of which were ever built.

EKVODIN is a professional musical instrument intended for universal use in various ensembles and orchestras and for solo performances including concerts with the accompaniment of piano and other instruments. The EKVODIN is suitable for different musical genres.The sound is produced in the EKVODIN on purely electrical principle. The instrument is noted for wide variety and brightness of timbres, broad range and high limit) power of the sound, and also for rational and highly-developed system of reproduction means (vibrating keyboard, loudness pedals, portamento, etc.). This ensures expressiveness and accuracy of performance. The profession of a piano player is closest to that of a man playing the EKVODIN. This similarity, however, does not determine the application of the EKVODIN which is, first of all, an ensemble and orchestra instrument.The EKVODIN comes in two design versions : one-voice and two-voice versions. A thoroughly developed system of timbres, varied with the aid of a special switch (and also depending upon the methods of performance), makes it possible to obtain an expressive and pleasant sound. The EKVODIN imitates quite fully the sound of symphonic orchestra instruments (bow, wood and brass groups, as well as certain percussion and pizzicato instruments) and also folk instruments. The EKVODIN allows to obtain sound personality in new timbres of modern style. The instrument can be used in mixed ensembles and orchestras for supporting and emphasizing different groups of solo parts performed on the usual (mostly string and brass) instruments, when their natural power is not quite sufficient for overruling the orchestra and for creation of new sounds. In incomplete orchestras and ensembles the EKVODIN can handle practically any part (the two-voice will handle two parts) of the bow, wood or brass groups. A special ensemble consisting of EKVODINS allows to obtain, for a very small number of instruments (sextet or octet), a multifarious, fluent and high – power sound in original and common timbres.Both design versions of the instrument come in semi-stationary (dismountable-transportable) construction and high-class finish. The extension loudspeaker unit, supplied with the instrument, can be located independently up to a distance of 5 m. The loudspeaker unit is installed depending upon the location of listeners. When carried or transported from place to place, the instrument is packed in two units of suitcase type. For operation the instrument is connected to alternating current mains (127 or 220 V).

The EKVODIN is not sensitive to fluctuations of the mains voltage. The one-voice version weighs about 35 kg, and its power consumption does not exceed 90 VA. The output power of the sound channel reaches 10 V. The two-voice version weighs about 65 kg, and its power consumption does not exceed 200 VA. The output power is up to 10 Win each channel, the timbre setting being independent for each voice. To double the. power of solo parts and timbre effects the voices can merge in unison, octave and two octaves.

Details from the Moscow Theremin Centre

Sources:

Theremin Centre, Moscow. interview with A.Smirnov by Simon Crab
Theremin centre website: http://theremin.ru/archive/volodin0.htm
Volodin, A. “Generation of sounds controlled by the force of the blow on the keys of electronic musical instruments (Electropiano),” Invention certificate, No. 66, USSR Cl. 154 (1946).
Volodin, A. “Acoustical-psychological aspects of the evaluation of musical sounds,” in Proc. of the 7th USSR Acoustical Conference (L., 1971).
Volodin, A. “Electrical synthesis of musical sounds as a basis for research on perception,” Voprosi psychologii, No. 6, p. 54-69 (1971).
Volodin, A. “Multifunctionality of the formants of musical sounds,” in Proc. of the 8th USSR Acoustical Conference (M., 1973).
Volodin, A. “Perception of vibrato in musical sounds,” in New research in psychology and age physiology, No. 2 (M., 1972).
Volodin, A. “Psychological aspects of the perception of musical sounds,” Candidate dissertation (M., 1972).
Volodin, A. “Perception of vibrato in musical sounds,” in New research in psychology, p. 3-5 (M., 1974).
Volodin, A. “The role of harmonic spectrum in perception of pitch and timbre,” in Musical Art and Science, issue 1, p. 11 (M., 1970).