The ‘Kaleidophon’ Jörg Mager, Germany, 1939

Jörg (Georg Adam) Eichstätt Mager born November 6, 1880 Aschaffenburg, Bavaria, Died Aschaffenburg 1939
Jörg (Georg Adam) Eichstätt Mager born November 6, 1880 Aschaffenburg, Bavaria, Died Aschaffenburg 1939

Little information survives of Jörg Mager’s last instrument the ‘Kaleidophon’ which he completed in 1939. The instrument was probably destroyed by allied bombing of Mager’s Darmstadt headquarters. The only references survives as notess “…a monophonic electronic instrument with kaleidoscopic sound mixtures following the tonal precepts of Arnold Schoenberg and Ferruccio Busoni.”

More on Jörg Mager here

The ‘Novachord’ Laurens Hammond, John Hanert & C.N.Williams. USA, 1939

The Hammond Novachord
The Hammond Novachord. Image :Dan Wilson, Hideaway Studio (www.hideawaystudio.co.uk)

The Hammond Novachord was manufactured by the Hammond Organ Co in the USA from 1939 to 1942, designed by Laurens Hammond, John Hanert and C.N.Williams. A total of 1096 models were built.The Novachord was a polyphonic electronic organ and was Hammonds first electronic tube based instrument – a departure from his usual tone-wheel designs. The Novachord was a much more complex instrument than the Solovox Hammond’s other electronic tube-based instrument. The Novachord had 169 vacuum tubes to control and generate sound and was played on a seventy two note keyboard with a simple pressure sensitive system that allowed control over the attack and timbre of the note. The sound was produced by a series of 12 oscillators that gave a six octave range using a frequency division technique; the Novachord was one of the first electronic instruments to use this technique which was later became standard in electronic keyboard instruments.

Novachord fron panel
Novachord fron panel

The front panel of the instrument had a series of 14 switch-able rotary knobs to set the timbre, volume, ‘resonance’,bass/treble, vibrato (six modulation oscillators were used) and ‘brightness’ of the sound. A set of 3 foot operated pedals controlled sustain,and volume the third pedal allowing control of the sustain by either foot. The final signal was passed to a pre-amplifier and then to a set of internal speakers. The Novachord was able to produce a range of sounds imitating orchestral instruments such as the piano, harpsichord, stringed and woodwind instruments as well as a range of it’s own new sounds. In May 1939 ‘The Novachord Orchestra’ of Ferde Grofé performed daily at the Ford stand at the New York World Fair with four Novachords and a Hammond Organ and in Adrian Cracraft’s ‘All Electronic Orchestra’, the Novachord also featured in several film scores (Hans Eisler’s “Kammersinfonie” 1940) but seems to have fallen from favour due to the instability of it’s multiple tube oscillators and playing technique. The Novachord was discontinued in 1942. A Hammond employee comments:

“The Novachord made beautiful music if played well, but it was not well adapted either to either an organists style or a pianists style. Thus it required development of a specific style, which not many musicians were prepared to do. it also had technical problems, requiring frequency adjustments to keep it operating chiefly because the frequency dividers and electronic components before the war were not nearly as good as those available in later years. The hammond Organ Company could have revived it after the war, and could have made it better in light of available technology at the time, but sales had been disappointing ad so it was not considered a good commercial product”
The Hammond Novachord from a 1940s promotional brochure. Image :Dan Wilson, Hideaway Studio (www.hideawaystudio.co.uk)
The Novachord in 'Popular Mechanics' magazine USA 1939
Laurens Hammond and the Novachord in ‘Popular Mechanics’ magazine USA 1939
The Novachord in 'Popular Mechanics' magazine USA 1939
The Novachord in ‘Popular Mechanics’ magazine USA 1939
Hammond Novachord in “New Horizons” 1940
A restored Novachord
Novachord Orchestra: Introduction of The Hammond Novachord at the New York World’s Fair 1939 – 1940.

Sources:

F.D.Merril jr: “The Novachord”, Electronics,xii/11 (1939),16

The ‘Voder’ & ‘Vocoder’ Homer Dudley, USA,1940

Homer Dudley's Voder 1940
Homer Dudley’s Voder 1940

The Vocoder (Voice Operated reCorDER) and Voder (Voice Operation DEmonstratoR)) developed by the research physicist Homer Dudley, was invented as a result of research into compression techniques for telephone voice encryption at Bell Laboratories, New Jersey USA and was the first successful attempt at analysing and resynthesising the humans voice.

The machine consisted of an analyser and a synthesiser. the analyser detected energy levels of successive sound samples measured over the entire audio frequency spectrum via a series of narrow band filters. The results of which could be viewed graphically as functions of frequency against time. The synthesiser reversed the process by scanning the data from the analyser and supplying the results to a feedback network of analytical filters energised by a noise generator to produce audible sounds.
The fidelity of the machine was limited; the machine being intended as a research machine for voice over copper-wire phone transmissions. However, Werner Meyer-Eppler, then the director of Phonetics at Bonn University, recognised the relevance of the machines to electronic music after Dudley visited the University in 1948, and used the vocoder as a basis for his future writings which in turn became the inspiration for the German “Electronische Musik” movement.

The Voder was first unveiled in 1939 at the New York World Fair (where it was demonstrated at hourly intervals) and later in 1940 in San Francisco. There were twenty trained operators known as the ‘girls’ who handled the machine much like a musical instrument such as a piano or an organ, but they managed to successfully produce human speech during the demonstrations. In the New York Fair demonstration, which was repeated frequently, the announcer gave a simple running discussion of the circuit to which the girl operator replied through the Voder. This was done by manipulating fourteen keys with the fingers, a bar with the left wrist and a foot pedal with the right foot.

“At the 1939 World’s Fair a machine called a Voder was shown . A girl stroked its keys and it emitted recognsable speech. No human vocal cords entered into the procedure at any point; the keys simply combined some electronically produced vibrations and passed these on to a loud-speaker.”
(“As We May Think” by Vannevar Bush, 1945. )
VODER-Worlds-Fair-Pamphlet
Voder at the world fair
Voder at the world fair
Voder at the world fair
Voder at the world fair
Voder diagram
Voder diagram

 

Voder keyboard and wrist controls
Voder keyboard and wrist controls

Sources:

The ‘Univox’ Les Hills. United Kingdom, 1940

Univox 1940
Univox 1940

Developed by the Jennings Organ Company,West Hill, Dartford (later  Jennings Musical Industries; creators of the Vox range of organs and amplifiers) in the UK, the Univox was a monophonic, portable, piano attachment instrument similar to the Clavioline. It’s sound came from a vacuum-tube sawtooth generator (as opposed to the square wave of the Clavioline) which in turn was modulated by a diode waveform shaper circuit. The pitch range was extended to three octaves (five in later models) using a frequency division technique which also allowed the playing of multiple octaves of the same note from one key. The instrument was controlled by a three octave F to F miniature wooden keyboard and came with it’s own 6 watt amplifier and 8″ speaker all built into a leather carrying case;

“The Clavioline keyboard was on the UK market before the Univox..  Clavioline originated in France and was imported for the British market by the UK/French company “Selmer” (based in Charing Cross road, London). Their main product were woodwind & brass instrument sales. They were not really into electronic products though the Clavioline was a good product. It was also expensive.

Tom Jennings saw the market potential and already had a good slice of the keyboard sales for accordions etc. Tom found a local electronic engineer, Les. Hills, who studied the Clavioline and designed another circuit different to the existing French patent.  Unfortunately the product was not at all reliable, with most units breaking down almost as soon as they got to the end customer. Some of this problem was due to instability in the earlier circuit design but mostly due to choice of suitable components and mechanical shortcomings.

Les had only been employed for the circuit design. The mechanics having been cobbled together by the accordion service men at the time. I was head hunted by Tom to sort out the reliability problems. This took a few months of circuit, component testing plus improvements to the mechanics. This was in 1951 period.

In about 1951/1952 the Univox took off in a big way due to its competitive price and Tom’s country wide marketing program.  The first version was the J6, single keyboard model, later followed by the J10 with two rows of Tone & effect tabs. All models were supplied with metal screw-on clips, to fasten it under the right hand side of a piano. Later we designed an adjustable chromed stand that enabled the user to do gigs in other locations with out having to screw on fixing brackets each time.  Most customers in those days were either Pub owners or pianists playing Pub gigs.

So, No the Clavioline was not the same as the Univox, only catered for the same market.”

Derek Underdown. Technical Director/Chief Engineer at JMI/Vox from  1951-1967

Univox 1940
Univox 1940

The Univox keyboard had a unique a double contact system under the key allowed basic control over the note shape – striking the key harder caused a thyratron impulse generator make a shorter decay, creating a staccato effect, striking the key softly gave a long decay of up to two seconds. A vibrato oscillator was also provided to modulate the output and also to retrigger the thyratron tube to create ‘mandolin’ type repeated notes. The Univox’s front panel consisted of fifteen switches to further control the timbre of the instrument, three vibrato controls, a thryratron modulation control and an overall knee operated volume control.

univox_j10_label

Sources

The ‘Ondioline’ Georges Jenny, France, 1940

George Jenny's 'Ondioline'
Georges Jenny’s ‘Ondioline’

By the late 1930’s with the advent of reliable vacuum tubes and octave divider techniques it became possible to create small, portable electronic instruments that could, despite their size and simplicity, deliver a complex and variable sound. The  Ondioline was part of this new family (which includes the Clavioline, Tuttivox, Univox and others) and was designed as an affordable, versatile piano-attachment that could extend a solo pianists tonal range and repertoire – as such, the Ondioline became hugely successful with pianists, dance bands, light orchestras and cabarets  throughout the 1940’s and 50’s.

The first version of the Ondioline was created by Georges Jenny in 1938 whilst undergoing treatment in a tuberculosis sanatorium. Jenny continued to re-design and build new versions of the instrument at his Paris company “Les Ondes Georges Jenny” (later known as “La Musique Electronique”) until his death in 1976. The instruments were individually built by Jenny himself or supplied in kit form, eventually over a thousand instruments were sold in the USA alone. In an attempt to keep production costs low (Ondiolines originally sold for a mere $400) poor quality components were often used, and after a few years, the instrument became unplayable if not maintained.
ondiolo
The Ondioline was, like many other instruments of the time, a monophonic vacuum-tube instrument, but rather than relying on the heterodyning principle the Ondioline used a single multi-vibrator oscillator which gave the instrument a tone much richer in harmonics. The Ondioline was played using a small eight octave (switch-able through six octaves and tune-able via an octave transposer) touch sensitive keyboard mounted on internal springs that allowed the player to bend the notes using sideways pressure. Via a series of fifteen filters switches It was possible to create complex waveforms and additionally the sound wave could be shaped with the use of a touch wire, effecting the attack with a vertical finger movement or adding glissando or modulation by horizontal movement; this enabled the Ondioline to reproduce a wide range of sounds from soft strings to drum-like percussion. The overall volume of the machine was controlled by a knee lever allowing the player control the overall envelope of the instruments output.
Ondioline4
The Ondioline was marketed in Germany as the “Pianoline” and in The Netherlands as the “Orcheline” and made a notable appearance during the Brussels World Fair (1958) when it was played on top of the Atomium building. A microtonal version of the instrument was built for the composer Jean-Etienne Marie during the sixties consisting of a four octave keyboard which could be tuned to a variety of microtonal systems.

Videos of the Ondioline

 

‘Ondioline’ Book. Georges Jenny  1957


Sources:

G.Jenny: “L’initiation à la lutherie électronique” , Toute La Radio (1955) Jean Jacques Perrey.

The ‘Solovox’, Hammond Organ Co, USA, 1940

Hammond Solovox
Hammond Solovox

The Solovox was designed by engineers Alan Young, John Hanert, Laurens Hammond (speaker cabinet) and George Stephens of the Hammond Organ Co and manufactured in the United States between 1940 and 1948. The Hammond Solovox was a monophonic ‘keyboard attachment’ instrument intended to accompany the piano with organ type lead voices – similar to the Clavioline and Tuttivox. The three octave short keyed keyboard was stored on a sliding mounting under the piano keyboard with a knee operated volume control. The instrument was connected to an electronic sound generation box, amplifier and speaker housing by three thick cables and derived it’s sound from a single LC oscillator with  a one octave frequency range – the signal from which was then passed through a series of 5 frequency dividers to create a further two octaves.

Hammond Solovox
Hammond Solovox
The Solovox (J+K models) used two vibrating metal reeds modulate the oscillator frequency to create a vibrato effect, in later models this was replaced by a second oscillator acting as a vibrato oscillator.On the front of the instrument below the keyboard there were a series of large thumb operated buttons for oscillator range (switchable +/- 3 octaves: ‘soprano’, ‘contralto’,’tenor’ , ‘bass’), vibrato, attack time, ‘deep tone’, ‘full tone’, ‘1st voice’, 2nd voice’, ‘brilliant’ and a switch for selecting woodwind, string sound or mute. The Solovox was able to create a range of string, woodwind and organ type sounds and was widely used in light music of its time.

Solovox Production Models

  • Model J (1940–1946)
  • Model K (1946–1948)
  • Model L (1948–1950)

Solovox patent files:

Manuals


Sources:

The ‘Electronic Sackbut’ and the ‘Sonde’. Hugh Le Caine. Canada, 1945

“My primary concern was making an electronic instrument that was musically expressive.”
“My primary concern was making an electronic instrument that was musically expressive.”

Hugh Le Caine the Canadian composer, physicist and inventor was the producer of innovative instruments and technologies including many custom built electronic instruments and pioneering work with multi-track tape recorders, he was also at the forefront of the development of electronic music studios and an early advocate of “user-friendly” approaches to new technologies. Unlike better-known contemporaries such as Robert Moog, LeCaine never saw his major inventions developed directly into complete commercial products, most were one off devices which although were never commercial successes had great influence on the world of electronic music. Among his many creations were the “Electronic Sackbut” and the “Sonde”.

Sackbut
Sackbut

The Sonde was developed by Hugh LeCaine at the University of Toronto in 1945. The instrument was a touch sensitive keyboard voltage-controlled synthesizer with pitch, waveform, and formant controllers. A one-off, custom built for the University of Toronto, Ottowa, The Sonde had 30 fixed frequency oscillators arranged in a 10 X 20 matrix used to create 200 sine waves whose frequencies were spaced at 5hz intervals: from 5-1khz. Each frequency was routed to a key of a touch sensitive polyphonic keyboard.

Josef Tal at the electronic music studio Jerusalem
Josef Tal at the electronic music studio Jerusalem

Hugh Le Caine (May 27, 1914 – July 3, 1977)

Le Caine was brought up in Port Arthur (now Thunder Bay) in northwestern Ontario. After completing his Master of Science degree from Queen’s University in 1939, Le Caine was awarded a National Research Council of Canada (NRC) fellowship to continue his work on atomic physics measuring devices at Queen’s. He worked with the NRC in Ottawa from 1940 to 1974. During World War II, he assisted in the development of the first radar systems.

On an NRC grant he studied nuclear physics from 1948 to 1952 in England. At home he pursued a lifelong interest in electronic music and sound generation. In 1937, Le Caine designed an electronic free reed organ, and in the mid-1940s, he built the Electronic Sackbut, now recognised to be one of the first synthesizers. After the success of public demonstrations of his instruments, he was permitted to move his musical activities to the NRC and to work on them full-time in 1954.

Over the next twenty years, he built over twenty-two different new instruments. Between 1955 and his retirement from the NRC in 1973, Le Caine produced at least fifteen electro acoustical compositions and created a score of new devices and also presented his ideas and inventions to learned bodies and the general public. But while Le Caine did get excellent responses from both the learned bodies and the public, he did not get a satisfactory response from industry. Fortunately, a few people did eventually come into Le Caine’s life to make him feel his efforts were of some value. One of these people was Israeli composer Josef Tal. In the summer of 1958, Tal had travelled to Ottawa under a Unesco grant to visit major electronic music studios. Tal grew very excited about the instruments that Le Caine had built, but he did not realize what this meant to Le Caine until the next day while Le Caine, Tal, and several technicians were having lunch in a small restaurant. Tal noticed that, not only had Le Caine been rather silent on this day, but on close inspection at the table, Le Caine had tears running down his cheeks and falling silently into his soup. When an opportunity arose, Tal delicately asked one of the technicians about this and was told that Le Caine had felt no composer in Canada had a use for his instruments and that Tal was the first composer who had shown any interest in his work.

In 1962 Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the Centre for Electronic Music in Israel, established by Josef Tal.  Le Caine also collaborated in the development of pioneering electronic music studios at the University of Toronto in 1959 and at McGill University in 1964.

 


Sources:

“The Sackbut Blues : Hugh Le Caine, pioneer in electronic music” Young, Gayle, National Museum of Science and Technology, Canada 1989 . ISBN/ISSN :0660120062

http://www.hughlecaine.com

The ‘Tuttivox’ or ‘Bode Clavioline’. Harald Bode, Germany,1946

Tuttivox Orchestra
Tuttivox Orchestra – with a bode Organ in the background
The Tuttivox was essentially a polyphonic German licensed version of Raymond Martin’s Clavioline, manufactured by the Danish company  Jörgensen Electronics, in Düsseldorf, Germany . This updated Clavioline was created by the pioneering German engineer, Harald Bode. The Tuttivox was a small portable one keyboard, amplifier and speaker combination buitl into a wooden carrying case. the keyboard was usually played attached to a piano and intended for use with commercial dance and popular music bands of the day. the instrument created it’s sound using fourtyE- series valves;  thirty six as audio oscillators with filtering provided by coils and capacitors. There are 3 foot positions available and 36 filter settings, which could be combined to enable a variety of tone colors. the Tuttivox remained in production until the 1960s.
abocab_fig08_joergensen
Bode, in collaboration with French instrument maker René Seybold, later developed an extended version of the Clavioline with an extra two octaves on the keyboard called the ‘Concert Clavioline’ and a combination of the Concert Clavioline and the Tuttivox was marketed as the ‘Combichord’ “The smallest church organ in the world”.

Sounds of the Tuttivox/Bode Clavioline

(0:32). An ensemble of claviolines performing dance music with a range of orchestral sounds. From the Jörgensen (Düsseldorf) promotional tape, “6 Claviolines”.

Biographical notes

Harald Bode; October 19, 1909 Hamburg Germany – January 15, 1987 New York USA.
Harald Bode; October 19, 1909 Hamburg Germany – January 15, 1987 New York USA.

Bode Studied  mathematics, physics and natural philosophy at Hamburg University, graduating in 1934. In 1937, with funding support provided by the composer and band-leader, Christian Warnke, Bode produced his first instrument the ‘Warbo-Formant Orgel’ (‘Warbo’ being a combination of the names Warnke and Bode). Bode moved to Berlin in 1938 to complete a postgraduate course at the Heinrich Hertz Institute where he collaborated with Oskar Vierling and Fekko von Ompteda. During this period Bode developed the ‘Melodium’ ;  a unique monophonic touch-sensitive, multi-timbral instrument used extensively in film scores of the period.

When WWII started in 1939 Bode worked on military submarine sound and wireless communication projects “…We had the only choice in Germany, to go to military service or do work for the government. I praise myself lucky, that I was able to go to the electronic industry” and moved to the  small village Neubeuern in southern Germany, where in 1947 Bode built the first European post-war electronic instrument, the ‘Melochord’. In 1949 Bode joined the AWB company where he created the  ‘Polychord’ a simpler, polyphonic version of the ‘Melochord’ which was followed by the ‘Polychord III’ in 1951 and the  ‘Bode Organ’, a commercial organ which became the prototype for the famous Estey Electronic Organ. After leaving AWB, Bode’s designs included the ‘Tuttivox’, a miniature electronic organ and collaborated on a version of Georges Jenny’s ‘Clavioline’, both big sellers throughout Europe.

In 1954 Bode moved to the USA, settling in Brattleboro, Vermont where he lead the development team (and later, Vice President)  at the Estey Organ Corporation. In 1958, while still working at Estey, Bode set up the Bode Electronics Company where in March 1960 he created another unique instrument; a modular synthesiser “A New Tool for the Exploration of Unknown Electronic Music Instrument Performances” known as the  ‘Audio System Synthesiser’ which Robert Moog used as the basis for his line of new Moog synthesisers.

After the Estey Organ Company foundered in 1960, Bode joined the Wurlitzer Organ Co and moved to Buffalo, New York where he was one of the first engineers to recognise the significance of transistor based technology in electronic music.  Bode’s concepts of modular and miniature self-contained transistor based machines was taken up and developed in the early 1960’s by Robert Moog and Donald Buchla amongst others. 1962 saw the beginning of a long collaboration between Bode and the composer Vladimir Ussachevski at the  Columbia Princeton Center for Electronic Music which lead to the development of innovative studio equipment designs such as the  ‘Bode Ring Modulator’ and ‘Bode Frequency Shifter’. The commercial versions of these inventions were produced  under the Bode Sound Co and under license Moog Synthesisers.

Harald Bode retired in 1974 but continued to pursue his own research. In 1977 he created the ‘Bode Vocoder’ (licensed as the ‘Moog Vocoder’). In 1981 he developed his last instrument, the ‘Bode Barberpole Phaser’.


Sources:

Tuttivox Homepage: http://users.informatik.haw-hamburg.de/%7Ewindle_c/TableHooters/instruments.html

http://weltenschule.de/TableHooters/Joergensen_Clavioline.html

‘Hanert Electric Orchestra’ John M Hanert, USA, 1945

 A 1942 photograph of the Electric Automatic Orchestra at the Hammond Sound Studio, Chicago with john Hanert at the controls. Showing (L) the ‘Time Sequence’ table and scanning carriage and (R) a bank of some of the vacuum tube tone generators. Photograph; Private collection of Douglas Jackson 2017.
A 1942 photograph of the Electric Automatic Orchestra at the Hammond Sound Studio, Chicago with john Hanert at the controls. Showing (L) the ‘Time Sequence’ table and scanning carriage and (R) a bank of some of the vacuum tube tone generators. Photograph; Private collection of Douglas Jackson 2017.

Once the phonograph had supplanted radio and the pianola as the predominant format for music sales in the 1930s, attention turned to refining and accelerating the production and manufacture of records. Hammond Organ Inc’s chief Designer John M Hanert – who was responsible for the design of the hugely successful tonewheel ‘Hammond Organ’ series as well as the vacuum tube based  ‘Solovox’ and ‘Novachord’ instruments – was contemplating a self-contained device that could be used as a composition system, sound synthesiser and gramophone production tool:

“My invention relates generally to apparatus for production as sound or as a signal for recording purposes, without the employment of musicians in anyway whatsoever.”

The result of Hanert’s experiment was the Electric Automatic Orchestra; a large, room sized machine installed at the Hammond Instrument Inc. sound studios at 2915 North Western Ave Chicago Illinois. The basic function of the machine were divided into three parts; a composition ‘Time Sequence’ table where the composer could write musical notation into the machine, a synthesis module which created sounds from the notation, and an output – in this case a lacquer disc-lathe to cut master recordings.

Diagram illustrating the notation card template with pitch on the X axis and duration/position on the Y axis. The scanning head travelled along the Y axis. (US Patent 2,541,051A 1945)
Diagram illustrating the notation card template with pitch on the X axis and duration/position on the Y axis. The scanning head travelled along the Y axis. (US Patent 2,541,051A 1945)

The ‘Time Sequence’ section was an eighteen meter table – extendable to the amount of room-space available – covered with overlapping ‘record notation’ cards of approximately 28 X 30 cm. These cards could be drawn on with conductive graphite or aquadag marks representing musical information. Above the table travelled a wheeled electric-motor driven ‘scanning carriage’ equipped with multiple phosphor-bronze contact brushes. When the brushes made contact with the conductive graphite marks on the cards below, an electronic signal was generated that triggered the relevant musical reaction in the sound generating part of the instrument. (Hanert also provided an alternate photoelectric set of scanning heads which could replace the contact brushes.)

Hanert’s design enabled the composer to a create ‘perfect’ compositions by writing, erasing and re-writing the music on the ‘Time Sequence’ table – which could be done on or off-site or as required. Once this perfect composition had been achieved, the machine could make a final run and cut a master recording to disc to be used for mass production.

The record notation cards were pre-printed with a grid like template and could be marked to represent individual note pitch – measured in quarter tones, envelope, timbre, vibrato, position in the bar and volume as well as overall instrument volume. The final tempo of the piece could be controlled by simply varying the speed of the rail driven scanning carriage as it travelled along the table or paused, reversed or ‘looped’ by control marks on the cards. The length of the table defined the length of the piece, which on this model, consisted of 39 cards giving a maximum playing length of 96 bars.

1942 Photograph of the electronic scanning heads of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.
1942 Photograph of the electronic scanning heads of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.
1942 Photograph of the electronic scanning heads of the Hanert Electrical Orchestra. Photo; Private collection Thom Rhea

The tones themselves were created by six separate banks of polyphonic vacuum tube generators similar in design to Hanert’s Novachord (USA, 1940). The instrument was also able to create percussive xylophone and drum sounds created by random (white noise) generators. Combinations of sounds could be defined on the notation cards allowing the composer to immediately switch instrument sounds as the piece progressed.

1942 Photograph of the tone generators of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.
1942 Photograph of the tone generators of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.
1942 Photograph of the tone generators of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.
1942 Photograph of the tone generators of the Hanert Electrical Orchestra. Photo; Private collection of Douglas Jackson 2017.

Hanert’s instrument was unique in that for the first time a composer/producer could work in a nonlinear fashion: the composition cards could be erased or deleted simply by rubbing out the graphite mark or removing the card. Cards could be arranged in any order, enabling the composer to mix, transpose and reverse music themes and sounds, instrumentation could be changed at any point or applied to any written part of the composition. And, Hanert’s machine allowed the composer/producer the ability to monitor the results of the editing almost immediately. Hanert compared this facility to the practice of a visual artist:

The difficulties inherent in the orchestral production of a composition may be compared to those which would confront an artist who found it necessary in painting a picture to destroy the complete or partially complete picture he was painting every time he became dissatisfied with any slight detail of the picture. The painter is not subject to such stringent regulation but instead merely repaints such minor portion of the whole picture which does not represent the subject being painted sufficiently accurately to meet his artistic approval…In the method and apparatus of this invention the composer, arranger, or conductor has at his command means for controlling the quality of each note, its intensity, intensity envelope, the degree of accent, duration, and tempo without necessarily affecting any other note or tone of the composition.

Diagram from Hanert’s patent describing the sequence of tone filters and processors.

Despite its innovative qualities, the Electric Automatic Orchestra was never used commercially as Hanert had intended. In fact it seems that it was only ever used by Hanert himself and was not taken seriously by the Hammond company – who tended to humour Hanert’s  ‘technical eccentricities’  in order to maintain his interest in more mundane but commercial designs. In addition to Hammond’s lukewarm support, the commercial failure of the project was also down to a combination of the synthetic nature of its sound, the inability of composers of the day to grasp the new musical paradigm the instrument offered plus the ever increasing capability and quality of recording technology– microphones, mixing desks, magnetic pick-ups, tape recorders – made the need for such a solution less pressing. The Electric Automatic Orchestra was sidelined and eventually mothballed by the Hammond company sometime during the 1950s.

Shortly after the disappearance of Hanert’s machine, David Sarnoff, chairman of RCA corporation, commissioned a self-contained commercial music production machine that could mathematically analyse and re-synthesise pop music.

“Composers don’t need to be able to play an instrument because our synthesizer will allow them to create any kind of music they want…Musicians aren’t required if you have our synthesizer.”

(David Sarnoff, chairman of RCA during the 1950s. Excerpt From: Vail, Mark. “The Synthesizer.” Oxford University Press 2014. p271)

What became known of as the RCA Synthesiser (the first time ‘Synthesiser’ was used in a musical context) was installed at the Columbia–Princeton Electronic Music Center and directly referenced Hanert’s work (8). The machine used the same, though perhaps less flexible  structure; a three stage process of music production – in this case a paper punch roll for composition, multiple banks of vacuum tubes for sound synthesis, and the same lacquer disc lathe for musical output.

Biography: John Marshall Hanert

John Marshall Hanert was born into a German-American family on 18th March 1909 in Milwaukee, Wisconsin. In 1932 Hanert was awarded a B.S. in Engineering and a BSE in Physics at The University of Michigan. An accomplished organist, Hanert had a special interest in electronic musical instruments and after graduation began working with Richard Ranger – inventor of the Rangertone Organ amongst other electronic musical devices – in New York on a Photo-Electrical musical instrument. In 1934 Hanert was appointed as the  Head of Research at the Hammond Organ Inc in Chicago where he spent the rest of his life as the chief designer of all of Hammond’s instruments; Hanert became known as the musically untrained Laurens Hammond’s ‘Ears’.Hanert was the co-inventor on the first Hammond tone-wheel organ and inventor of  the Solovox (1938) and Novachord (1939–42) one of the world’s first commercial synthesisers as well as many patents for vibrato and reverberation audio processors. Hanert continued working at the company After Laurens Hammond’s retirement in 1958 until he died on 23rd June 1962 at the age of 53 in a car accident near New Munster Wisconsin.


Sources:

T.L.Rhea:”The Evolution of Electronic Musical Instruments in the United States” (diss., George Peabody College, Nashville, Tenn, 1972)

Rhea, Tom. ‘The Hanert Synthesizer’ Electronic Perspectives, Contemporary Keyboard September 1979 p78.

Suisman, D. Selling Sounds,The Commercial Revolution in American Music. Harvard University Press. 2012.

Dorf, R.H: Electronic Musical Instruments (Mineola, NY, 1954, 2/1958), 25–45, 119–27, 142–52

Dolan, Brian. Inventing Entertainment: The Player Piano and the Origins of an American Music Industry.  Rowman & Littlefield Publishers Inc 2009.

Barry, Stuyvesant. ‘Hammond As In Organ: The Laurens Hammond Story’ 1974

‘The Michigan Alumnus’ vol LXIX 1962-1963 page 63

Private collection of Douglas Jackson 2017.

The ‘Melochord’, Harald Bode, Germany, 1947

Harld Bode's Melochord
Harld Bode’s Melochord of 1947
The Melochord was a post-war  development of  Bodes’ earlier Melodium, which, due to it’s complexity and unorthodox design wasn’t suitable for mass production. After the war, Bode cannibalised parts from the Melodium to build the Melochord, a monophonic keyboard instrument based on vacuum tube technology. The keyboard used pitches derived from the traditional equal-tempered 12 note scale with switches extending the 37 note range from three octaves to seven. A foot pedal allowed overall control of the volume and a novel electronically operated envelope shaper could be triggered for each key.
“…So from 1939 to 1945 I didn’t do anything other than writing a few publications on the field of electronic music. In 1947, when we finally got out of the mess of the post-war period, I created the Melochord. It was originally intended as an instrument which combined melody and chord capability all in one manual, but I then decided to use two voices on this one manual and split up a five-octave keyboard in such a way that the upper three octaves were assigned to one generator and the lower two octaves assigned to another generator. It was designed so that those two portions of the keyboard were independent, so they went to separate tone shaping means and to separate expression pedals, and the voices were arranged to allow for voice crossings. It was used on the German Broadcasting System, especially in Munich. It was not a production instrument (commercial product, that is), it was built and used by myself and was leased out to movie companies and for use in recordings with bands. It was also featured in a band I travelled with (as well as recorded with) in Germany. A second Melochord was commissioned by the Bonn University through Meyer-Eppler, who also initiated the work of Dr. Enkel at the Cologne Electronic Music Studio. This is how the Melochord was commissioned by the Cologne Electronic Music Studio. It was used by Karlheinz Stockhausen thereafter. Also, a Melochord was built for use by the NWDR in Hamburg and for a theatre in Munich, and a few others but it was not a mass production item.”
Interview with Harald Bode, 1980 by SYNE magazine
Later version Melochord
Later version Melochord

A later version incorporated two keyboards the second keyboard being able to control the timbre of the other, a technique used in later modular type synthesizers.The Melochord was used extensively in the early days of the electronic studio at Bonn University by Dr Werner Meyer-Eppler and was later installed at North West German Radio studios in Köln (alongside a Monochord and a simple oscillator and filter system) where it was used by the Elektronische Musik group throughout the 1950’s. Artists who used the Melochord and Monochord at the studio included Herbert Eimert, Robert Beyer, Karel Goeyvarts, György Ligeti, Henri Posseur, Karlheinz Stockhausen and others.

Bode playing the Melochord
Bode playing the Melochord

Despite the instruments technical drawbacks, the Melochord was destined to play a historic role in the future of electronic music, Meyer-Eppler’s visionary and influential work “Klangmodelle” and lectures at Darmstadt New Music School were all based on the Melochord and in 1961 Harald Bode, recognizing the significance of transistor based technology over valve based synthesis, wrote a paper that was to revolutionise electronic musical instruments. Bode’s ideas of modular and miniature self contained transistor based machines was taken up and developed in the early 1960’s by Robert Moog and Donald Buchla amongst others.

Biographical notes

Harald Bode; October 19, 1909 Hamburg Germany – January 15, 1987 New York USA.
Harald Bode; October 19, 1909 Hamburg Germany – January 15, 1987 New York USA.

Bode Studied  mathematics, physics and natural philosophy at Hamburg University, graduating in 1934. In 1937, with funding support provided by the composer and band-leader, Christian Warnke, Bode produced his first instrument the ‘Warbo-Formant Orgel’ (‘Warbo’ being a combination of the names Warnke and Bode). Bode moved to Berlin in 1938 to complete a postgraduate course at the Heinrich Hertz Institute where he collaborated with Oskar Vierling and Fekko von Ompteda. During this period Bode developed the ‘Melodium’ ;  a unique monophonic touch-sensitive, multi-timbral instrument used extensively in film scores of the period.

When WWII started in 1939 Bode worked on military submarine sound and wireless communication projects “…We had the only choice in Germany, to go to military service or do work for the government. I praise myself lucky, that I was able to go to the electronic industry” and moved to the  small village Neubeuern in southern Germany, where in 1947 Bode built the first European post-war electronic instrument, the ‘Melochord’. In 1949 Bode joined the AWB company where he created the  ‘Polychord’ a simpler, polyphonic version of the ‘Melochord’ which was followed by the ‘Polychord III’ in 1951 and the  ‘Bode Organ’, a commercial organ which became the prototype for the famous Estey Electronic Organ. After leaving AWB, Bode’s designs included the ‘Tuttivox’, a miniature electronic organ and collaborated on a version of Georges Jenny’s ‘Clavioline’, both big sellers throughout Europe.

In 1954 Bode moved to the USA, settling in Brattleboro, Vermont where he lead the development team (and later, Vice President)  at the Estey Organ Corporation. In 1958, while still working at Estey, Bode set up the Bode Electronics Company where in March 1960 he created another unique instrument; a modular synthesiser “A New Tool for the Exploration of Unknown Electronic Music Instrument Performances” known as the  ‘Audio System Synthesiser’ which Robert Moog used as the basis for his line of new Moog synthesisers.

After the Estey Organ Company foundered in 1960, Bode joined the Wurlitzer Organ Co and moved to Buffalo, New York where he was one of the first engineers to recognise the significance of transistor based technology in electronic music.  Bode’s concepts of modular and miniature self-contained transistor based machines was taken up and developed in the early 1960’s by Robert Moog and Donald Buchla amongst others. 1962 saw the beginning of a long collaboration between Bode and the composer Vladimir Ussachevski at the  Columbia Princeton Center for Electronic Music which lead to the development of innovative studio equipment designs such as the  ‘Bode Ring Modulator’ and ‘Bode Frequency Shifter’. The commercial versions of these inventions were produced  under the Bode Sound Co and under license Moog Synthesisers.

Harald Bode retired in 1974 but continued to pursue his own research. In 1977 he created the ‘Bode Vocoder’ (licensed as the ‘Moog Vocoder’). In 1981 he developed his last instrument, the ‘Bode Barberpole Phaser’.

Harald Bode’s sketchbooks

 

 


Sources

Bode’s Melodium and Melochord by Thomas L. Rhea. Contemporary Keyboard magazine (January 1980, p. 68)