The ‘Welte Licht-Ton-Orgel’. Edwin Welte, Germany, 1936

The "Welte Licht-Ton Orgel" (Light-Tone organ) (1936)

The “Welte Licht-Ton Orgel” (Light-Tone organ) (1936)

The Welte Light-Tone was one of the last instruments designed by Edwin Welte (1876-1958) of the famous Welte-Mignon mechanical instrument manufacturers. Welte had become fascinated with the possibility of using optical disks since 1925 and produced a number of prototypes using clay optical disks before completing the production version of the Lichttonorgel. The organ premiered in 1936 at the Berlin philharmonic but any potential the instrument had was destroyed by the Nazi’s disapproval of Welte due to his marriage to a German Jew. After the war Welte continued to try and make a commercial success of the instrument but eventually foundered due to the complexity of the photo-electric system and  from increasing competition from cheaper and more efficient instruments such as the Hammond Organ. Welte never built a production model of the Lichtonorgel.
A detail of one of the the Light Tone Organ's glass disks.

A detail of one of the the Light Tone Organ’s glass disks.

The instruments sound generation unit consisted of 12 glass disks which were printed with 18 different looped waveforms in concentric rings. The glass ‘tone wheel’ disks were rotated over a series of photoelectric cells, filtering a light beam that controlled the sound timbre and pitch. The resulting combinations of tones gave 3 different timbres for all the octave registers of each note on the keyboard.
The German arm of the Welte-Mignon company in Frieburg was completely destroyed in 1944 by allied bombing and all of the companies closely kept secret designs were lost forever.
Lichtorgel
Edwin Welte.  March 28 1876 in Freiburg im Breisgau , † January 4 1958 in Freiburg im Breisgau

Edwin Welte. March 28 1876 in Freiburg im Breisgau , † January 4 1958 in Freiburg im Breisgau

Biographical Information

Edwin Welte (1876-1958) and his brother-in-law, Karl Bockish, developed the Welte-Mignon reproducing piano in 1904 for M. Welte & Soehne of Freiburg, Germany. Music roll recording commenced in 1905.  The recording piano and the reproducing system were entirely new inventions which astounded the musicians and fans in Europe.  In 1906 (?) he established “The Welte Artistic Player Piano Company” in a showroom in New York and soon was producing pianos and music rolls for American customers.
welte-mignon_img08_ori

The Welte Company

The Welte Company was a German organ firm which was first established in 1832 at Vörenbach (Black-Forest) by automata manufacturer Michael Welte (1807-1880). In c1865 he moved to Freiburg/Breisgau and the firm was registered there as M. Welte & Söhne. During the remainder of the 19th century the Welte firm expanded considerably and became particularly noted for their orchestrions. Welte’s “Cabinet player”, a reproducing piano without keyboard which bore the Mignon label, was first patented in 1904 while the firm was under the direction of Edwin Welte (1876-1958, grandson of the founder). The prototype was exhibited during late 1904 in Leipzig and became commercially available from early 1905. The Vorsetzer came on the market in 1908. Mignon was integrated into their upright pianos in 1909, and into their grand pianos from 1913. In 1908 the technology was adapted and applied to the Welte “Philharmonic Autograph Organ”. This was the forerunner of the “Welte-Philharmonie Organ” which was first publicly displayed at the Turin Exhibition of 1911. The firm then went on to successfully market player organs, cinema organs and, later, when their market contracted during the 1930s, church organs. They concurrently produced rolls of performances by the greatest organists of the day and sold them with considerable commercial success. From 1865-1917 they also ran a branch in New York (M. Welte & Sons) under Emil Welte (1841-1923, eldest son of the founder), but it was closed during World War I as an “alien enterprise”. Welte’s instruments became status symbols and the epitome of entertainment in their day. They were installed in stately houses, palaces, schools, department stores (Harrods in London had one), yachts, ships (one was manufactured just too late to be aboard the Titanic) and even apparently a “house of pleasure” (the Atlantic Garden orchestrion). Around the world they were dispersed throughout Europe, USA, with their market is known to have extended much further – to Istanbul, Russia, China and Sumatra for example. The top of Welte’s Orchestrion/player-organ range was the “Welte-Philharmonie”. Very few of the full- sized model were ever manufactured. From about 1926 Welte began to be threatened by a rapidly growing radio and recording industry. Business declined so much that, in 1932 they narrowly escaped bankruptcy. At about this time they were also involved in a collaboration with the Telefunken Company which was terminated because Edwin Welte’s first wife, Betty Dreyfuss, was Jewish. This stalled collaboration involved the development of electronic organs. Using (analog) sampling and photo-cells, truly prophetic developments at that time, had Welte been successful they might well have eliminated the Hammond organ from the pages of history. It was World War II which finally precipitated the total demise of the firm. The Freiburg premises – all stock, instruments and historical documents – were effectively annihilated by British bombing in November 1944. The bombed out factory was something of a landmark by the Freiburg railway station for at least decade until the mid-1950s.  (from: Museum of Music Automatons Seewen)

Sources

Museum of Music Automatons Seewen (http://www.musee-suisse.ch/seewen)

Michael Gerhard Kaufmann : Organ and National Socialism. Kleinblittersdorf 1997. ISBN 3-920670-36-1 .

The ‘Melodium’. Harald Bode, Germany, 1938

The "Melodium" (1938)

The “Melodium” (1938)

Bode’s second instrument, previewed in 1938 was a monophonic touch sensitive keyboard instrument, the ‘Melodium’, developed with the assistance of Oskar Vierling, inventor of the ‘Grosstonorgel’. The instrument was used extensively for film music and ‘light music’ during the 1940′s.
Bode had designed oscillators with good pitch stability given the technology of the time, but he realized that a monophonic instrument would present far fewer tuning problems than his radical Warbo Organ. Like all good designers, Bode understood the necessity for providing increased nuance capability in a solo instrument; hence, touch sensitivity. The Melodium had a 49-note keyboard (low-note priority). But unlike traditional keyboards, each key had a fulcrum, or pivot point, not at the rear of the key, but at its midpoint. Each key was an individual little teeter-totter; when the performer depressed any key, he or she could seesaw a long aluminium rail located at the rear of all keys up and down. This rail made contact with a strip of felt soaked in glycerine — a so-called “liquid potentiometer.” Depression of the felt altered the electrical resistance between two electrodes, providing loudness control. This was a direct keying system that should not be confused with modern force-sensitive keyboards found on certain synthesizers. On the Melodium, the actual onset of sound was begun like it is on most acoustic instruments: as a function of the performer’s continuously variable mechanical effort. This is unlike most of today’s synthesizers; they have electronic envelope generators with fixed time constants for attack and release. Even when a synthesizer is force-sensitive, this sensitivity is usually in conjunction with the unvarying envelope generator attack and release. (Thomas L. Rhea. Contemporary Keyboard magazine (January 1980, p. 68) )

The articulation on the Melodium has been likened to that of Franklin’s Glass Harmonica, an instrument having rotating glass disks that are played with moistened fingers. This characteristic singing (slow) attack, and the tone colours produced by formant filters borrowed from the earlier four-note organ, made the Melodium an expressive and colourful instrument that found public acceptance. Bode says:

… it was a very responsive instrument to the response of the artist, although it didn’t have these automatic — or maybe because it didn’t have these automatic [envelope] — controls.” Harald Bode

Due to its unorthodox design, the Melodium was not suitable for mass production; it found public acceptance through its rental for film scores, stage plays and on German radio. It enjoyed a considerable vogue with German film score composers. The brief career of the Melodium ended in 1941 due to the war; eventually Bode had to cannibalize the instrument due to the scarcity of electronic components.

The "Melodium" (1938)

The “Melodium” (1938)

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

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

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

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”
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