The engineer and physicist Igor Simonov was a colleague of Lev Termen at the ‘USSR Sound Recording Institute’, a sound studio laboratory that supplied real-time synthesised sounds for Moscow Radio in the 1930’s. Simonov collaborated with Termen on a number of projects including designs and instructions for home built Theremins but also built several of his own musical devices including a monophonic vacuum tube electronic keyboard instrument called the ‘Companola’ (1936) and the ‘Noisephone’, an electronic device for generating percussive and everyday sound effects – notably, the Noisephone was used to imitate the howling of the wind in the movie “The Forty First” (1957).
Sources:
THE HISTORY OF ELECTRO-MUSICAL INSTRUMENTS IN RUSSIA IN THE FIRST HALF OF THE TWENTIETH CENTURY. Irina Aldoshina, Ekaterina Davidenkova. Saint-Petersburg University of Humanities and Social Sciences, Russia
‘Theremin: Ether Music and Espionage’. Albert Glinsky
Later developments of Freidrich Trautwein’s original Trautonium were continued by the Trautonium virtuoso and composer Oskar Sala. In 1936, Sala christened his first instrument the ‘Rundfunktrautonium’ (‘Radio-Trautonium’) and also developed a concert version, the “Konzerttrautonium”. After the end of the Second World War the instrument was re-named the ‘Mixturtrautonium’ but all were essentially developments of the original subtractive synthesis principles of the Trautonium.
Mixturtrautonium at the Vienna Technology Museum, showing two resistant-string manuals and double foot pedals
The essential design principles of the Trautonium were retained by Sala; sound production on the basis of sub-harmonic ‘mixture’, and the method of playing with two string manuals. The latter are made of wire-covered catgut strings which act as variable resistors. according to the position at which they are pressed againts the contact rail beneath them, they control the frequencies of the electronic sound generators. when the finger glides over the string a continuous glissando results over the entire tonal region which has just been tuned up. Micro-tonal intervals could be produced on the Mixturtrautonium. To ensure accurate contact with the notes leather covered sprung and moveable metal tongues are added to each string. Unlike with a vibrating string, the gradation of the electrical-resistant string manual is linear and not exponential so that all octave have the same finger range.
Sala at the Mixturtrautonium
The 1948 post-war Mixturtrautonium was a polyphonic version of the original Trautonium, generating sound from two AEG Thoraton tubes with a 3 ½ octave range (which could be extended with an octave switch). The instrument could also be controlled with a foot pedal that not only allowed variation in volume but also with a lateral foot movement, select three different sets of sub-harmonics. The Sub-harmonic ‘mixture’ technique basically used un-natural low frequency harmonics to modulate a sawtooth signal creating complex harmonic ‘mixtures’ which could be further coloured with noise generators, mixers, an envelope controller and a frequency shifter.
Mixturtrautonium
During the pre-war period, the ”Rundfunktrautonium’ was used extensively for film and radio broadcasts and after Paul Hindemith’s endorsement, became the instrument of choice for ‘serious’ electronic music composition (Hindemith’s switching of allegiances from Jörg Mager’s Sphärophon family of instruments to the Trautonium signalled the end of Mager’s career in instrument design). A portable version, the ‘Konzerttrautonium’ was designed in 1936 specifically for the composer Harald Genzmer’s ” Conzert für Trautonium und Orchestrer” and saw more than fifty performances before the outbreak of the war.
Berlin had in the early Thirties become the world capital of electronic music, with inventors and designers such as Jörg Mager , Oskar Vierling , Fritz Sennheiser , Bruno Helberger, Harald Bode, Friedrich Trautwein and Oskar Sala (with much of the work centred around the Heinrich-Hertz-Institute). These instruments often explored radical new approaches to tonality and expression and were enthusiastically adopted by the avant-garde of the period. This period of musical ferment coincided with the seizure of power by Adolf Hitler’s National Socialist party (NDSAP), who initially tried to absorb this strain of modernism for their own propaganda ends – indeed, the name ‘Volkstrautonium’ echoes the name ‘Volkswagen’ as a peoples instrument for a modern, new Germany. On the 18th August 1933, Joseph Goebbels (Hitler’s Propaganda Minister) presided over the IFA ‘Internationale Funkausstellung’ (International Radio Exhibition) in Berlin. The music for the exhibition was provided by the ‘Future Orchestra’ (Das Orchester der Zukunft) composed of the most advanced electronic instruments of the time: The Volkstrautonium played by Oskar Sala, Bruno Helberger’s Hellertion, Oskar Vierling’s Elektrochord , the Neo-Bechstein of Walther Nernst, a collection of electric violins and cellos and Leon Termen’s Theremin.
‘Das Orchester der Zukunft’ at the Berlin IFA 1933
The rise of the Hitler’s National Socialist party presented electronic and avant-garde musicians with a difficult choice; either the hope that by collaborating they would survive and be left alone and be able to continue working or, simply, leave the country. Trautwein, who had joined the NDSAP in the late thirties used his connections:
Luckily Trautwein knew a general who was on our side and arranged that we could play the instrument to the minister of propaganda Joseph Goebels, Hitler’s right hand man. I Played something by Paganini and of course he liked it. After that, they left us in peace.
Oskar Sala
This collaboration resulted in a commission from the Reich’s Radio organisation for several new instruments to be built for a weekly fifteen minute programme “Musik Auf Dem Trautonium” (playing German classical music accompanied by a pianist) and later commissions to use the instrument at large scale NDSAP rallies, outdoor concerts, speeches and, (alongside other electronic instruments such as Vierling’s GrosstonOrgel) the Olympic Games in Berlin in 1936. However, this patronage was short-lived as the Nazi’s asserted their traditional conservatism; Atonal, Experimental and avant-garde music alongside Jazz and other non-German culture was branded ‘entarte’ or ‘degenerate’. Trautwein and Sala’s workshop was denied funding and closed, the Trautonoium was relegated to performing Reich-approved music. Sala spent the war years touring throughout Germany and Axis occupied countries until he was conscripted in 1944 and sent to the Eastern Front
Oskar Sala playing the Trautonium at a concert with Leo Borchard, Budapest 1942
After the end of the war Sala founded a studio for film music soundtrack production in Berlin,where, amongst many other projects, he recorded music for Hitchcock’s “the birds” .
Oskar Sala and Alfred Hitchcock working on the sound effects for “The Birds”
The Oscillon was a one-off vacuum tube instrument created by Dr. W.E. Danforth to play the wind instrument parts for his local amateur Swarthmore Symphony Orchestra. The instrument was played by sliding the finger over the metal box to produce French Horn or Bass Clarinet tones from the loudspeaker:
When he is not experimenting on cosmic rays, high-haired Director William Francis Gray Swann of Franklin Institute’s Bartol Research Foundation, plays a cello. Young William Edgar Danforth, his assistant, plays a cello too. Both are mainstays of the Swarthmore (Pa.) Symphony Orchestra, a volunteer organization of about 40 men and women who play good music free. Because nobody in the orchestra can handle a French horn or a bass clarinet, Drs. Swann and Danforth built an electrical “oscillion” so ingenious that it can be made to sound like either, so simple that a child can master it. Last week at a Swarthmore concert the oscillion made its world debut, playing the long clarinet passages in Cesar Franck’s D Minor Symphony without a mishap. Listeners thought the oscillion lacked color, was a little twangier in tone, otherwise indistinguishable from the woodwind it replaced.
The Danforth & Swann Oscillion is a simple-looking oblong wooden box with an electrical circuit inside. Current flows through a resistance, is stored up in a condenser, spills into a neon tube, becomes a series of electrical “pulses.” A loud speaker translates the pulses into sound.
To play music the oscillionist presses down on a keyboard and changes the resistance. This alters the frequency, thereby the pitch. As now constructed the oscillion has a range of five octaves which can easily be increased to eight. Inventors Danforth & Swann deplore the oscillion’s higher ranges, expect it will be most useful pinch-hitting for bass clarinet, bassoon, tuba and string bass.”1Time Magazine, Monday, May 31, 1937
Boris Yankovsky (1904-1973) worked with the Multzvuk group as a pupil of Arseney Araamov at Mosfilm, Moscow from 1931-32. However he grew disenchanted with what he considered to be an over simplified way of approaching acoustics. Yankovsky realised that pure uniform waveforms do not represent timbre and that a more complex spectral approach needed to be developed. In 1932 Yankovsky left Multzvuk to pursue his ideas of spectral analysis, decomposition and re-synthesis . His project was based on his belief that it is possible to develop a universal language of sounds using combinations of hand drawn spectral ‘sound objects’ (similar to the much later cross-synthesis and phase-synthesis techniques).
“I found the idea of synthesis while I was laboriously working on ‘drawn sound’. And this is the chain of my consideration:
The colour of the sound depends on the shape of the sound wave;
Graphical colour of the sound wave could be analysed and represented as the Fourier series of periodic functions (sine waves);
Consequently the sound wave could be re-synthesised back with the same set of sine waves. Nobody did this before the invention of graphical (drawn) sound just because there was not a technical means and methodology for sound reproduction from such graphical representations of sound. As with electrons (the neutrons and protons) the number of which defines the quality of the atom, so do the sine waves define the quality of the sound – it’s timbre.
Drawn scale with angles to create pitch shift
The conclusion: why not initiate a new science – synthetic acoustics?
It would make sense if we could define (at least in draft) a sort of periodic table of Sound Elements, like Mendeleev’s Periodic Table of Chemical Elements. The system of orchestral tone colours has gaps between the rows that could be filled by a means of synthesis, like the gaps between Mendeleev’s Periodic Table of Chemical Elements have been filled with the latest developments in chemistry […] It is obvious that the method of selection and crossing of sound and instruments, which is similar to the method of Michurin (Ivan Michurin Russian Biochemist and Horticulturist), will give us unprecedented, novel ‘fruit hybrids’ that are technically unobtainable for a usual orchestra […]
(Yankovsky 1932-1940; 15,45)
“It is important now to conquer and increase the smoothness of tone colours, flowing rainbows of spectral colours in sound, instead of monotonous colouring of stationary sounding fixed geometric figures [wave shapes], although the nature of these phenomena is not yet clear. The premises leading to the expansion of these phenomena – life inside the sound spectrum – give us the nature of the musical instruments themselves, but “nature is the best mentor” (Leonardo da Vinci) […] The new technology is moving towards the trends of musical renovation, helping us to define new ways for the Art of Music. This new technology is able to help liberate us from the cacophony of the well-tempered scale and related noises. Its name is Electro-Acoustics and it is the basis for Electro-Music and Graphical Sound”.
Yankovsky 1934
To implement these theories yankovsky invented the Vibroexponator; No images or diagrams have survived but the Vibroexponator appears to be a process using a modified rostrum animation stand that allowed the photographed ‘spectral templates’ to be translated into audible sound and then combined into complex sound.
“The Vibroexponator is a complex, bulky tool for optical recording of synthetic sounds to the soundtrack of ordinary 35mm film by means of a specially produced intensive negatives. the instrument is partly mechanised and provides various motions to the original negative. The automation of the direction control is partially broken and requires extra repairs and maintenance, […] The slide copying tool is intended for production of intensive negatives from films with transversal soundtracks. it too is a massive construction. The gearbox at least a 100-fold safety factor and a great power”
Nikolai Zimmin from the MINI institute describes the Vibroexponator in 1939
Yankovsky spent the next decade working on his spectral theories and building a ‘Syntone Database’ of his spectral templates by recording and analysing hundreds of samples of instruments from Bolshoi Theatre as well as samples of vowels and speech.
Slide copying machine tool diagram
Political repression in the USSR stopped the funding of Yankovsky’s work until 1939 when he met the young inventor Evgeny Murzin who shared Yankovsky’s vision of a universal synthesis tool (which later emerged as the ANS Synthesiser) . Yankovsky together with Murzin and Yevgeny Sholpo formed the ‘Laboratory for Graphical Sound at the Institute of the Theatre and Film’ where he completed the final version of Vibroexponator. Further development of the instrument and of Yankovsky’s theories of spectral sound was halted by the outbreak of World War Two, Yankovsky never returned to graphical sound.
The Multzvuk group
Multzvuk group was formed in 1930 by Arseney Araazamov to conduct research into graphical sound techniques. The group was based at the Mosfilm Productions Company in Moscow (one of the leading film production companies in Moscow, renamed Gorki Film Studio in 1948) and consisted of composer and theoretician, Arseney Araamov, cameraman and draughtsmen Nikolai Zhelynsky, animator Nikolai Voinov, painter and amateur acoustician Boris Yankovsky. In 1931 the group moved to ‘NIKFI’, the ‘cientific Research Institute for Graphic Sound’. Leningrad, and and was renamed the ‘Syntonfilm laboratory’. In 1932 NIKFI stopped funding the group who then moved to Mezhrabpomfilm and finally closed in 1934.
From 1930-34 more than 2000 meters of sound track were produced by the Multzvuk group, including the experimental films ‘Ornamental Animation’, ‘Marusia Otravilas’, ‘Chinese Tune’, ‘Organ Chords’, ‘Untertonikum, Prelude’, ‘Piruet’, ‘Staccato Studies’, ‘Dancing Etude’ and ‘Flute Study’. The Multzvuk archive was kept for many years at Avraamov’s apartment, but destroyed in 1937.
Sources
Electrified Voices: Medial, Socio-Historical and Cultural Aspects of Voice … edited by Dmitri Zakharine, Nils Meise
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 Thereminvirtuoso 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 Hellertionand Trautoniumof 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.netEkvodin 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. 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 Nivotone optical reader. Image: Sound in Z: Experiments in Sound and Electronic Music in Early 20th Century Russia, Koenig, 14.
The animator Nikolai Voinov (1900-1958), originaly part of Arseney Avraamov‘s group Multzvuk in Moscow, 1931, created his own method of optical synthesis. Instead of drawing or printing to 35mm sound-film Voinov cut wave forms from strips of paper which were then optically read by his machine the Nivotone (‘Paper-Sound’) and translated into sound by a photo-electric process.
“Voinov would painstakingly cut out short cog shapes from sheets of paper, with each cog representing a single semitone in the range of eighty piano keys. For each note he would take a contoured “comb” of cogs with the density related to the pitch, similar to the combs of natural soundtracks. Low pitches have a low density of cogs, while for higher pitches they are condensed and thin.” Vladimir Solev describing Voinov’s paper-cut technique in: Sound in Z: Experiments in Sound and Electronic Music in Early 20th Century Russia.1Smirnov, A, (2013) Sound in Z: Experiments in Sound and Electronic Music in Early 20th Century Russia, Koenig, 14 .
According to Solev, Voinov was able to accurately synthesise piano sounds with a surprisingly efficient level of control over the dynamics of sound:
‘Then Voinoff, made his “piano,” all of which can be fitted into a necktie box. Each of its keys, i.e., each half-tone, is represented by a long” comb,” which is a schematic record of the real piano. This schematization did not harm the achievement of the purpose. Voinoff complains only about the extreme bass notes, which, he says, having lost some of the overtones, do not sound as rich. Voinoff has not been able to add the necessary little ” teeth ” to the large basic ones. Voinoff fits his ” keys ” or ” combs” on to the regular appliances for cartoon photography in such a way as to have the “key” exactly on the sound track during the photographing process. In this manner, he has succeeded in photographing two three-minute items; a Prelude by Rachmaninoff, and a fox-trot The White Monkey. The Prelude showed especially interesting results. The ” designed music” (to be more exact, it was music cut out of paper) came out as an abstract design of diverging circles and prisms. Voinoff has also recorded a cartoon film, The Thief, in which he has preserved the rhythms very exactly.”. 2Solev, V. (1936) ‘Absolute Music’, Sight and Sound magazine (U.S.), 1936, N18, 48.
The Multzvuk group
Multzvuk group was formed in 1930 by Arseney Araazamov to conduct research into graphical sound techniques. The group was based at the Mosfilm Productions Company in Moscow (one of the leading film production companies in Moscow, renamed Gorki Film Studio in 1948) and consisted of composer and theoretician, Arseney Araamov, cameraman and draughtsmen Nikolai Zhelynsky, animator Nikolai Voinov, painter and amateur acoustician Boris Yankovsky. In 1931 the group moved to ‘NIKFI’, the Scientific Research Institute for Photography for Film. Moscow, and and was renamed the ‘Syntonfilm laboratory’. In 1932 NIKFI stopped funding the group who then moved to Mezhrabpomfilm and finally closed in 1934.
From 1930-34 more than 2000 meters of sound track were produced by the Multzvuk group, including the experimental films ‘Ornamental Animation’, ‘Marusia Otravilas’, ‘Chinese Tune’, ‘Organ Chords’, ‘Untertonikum, Prelude’, ‘Piruet’, ‘Staccato Studies’, ‘Dancing Etude’ and ‘Flute Study’. The Multzvuk archive was kept for many years at Avraamov’s apartment, but destroyed in 1937.
References:
1
Smirnov, A, (2013) Sound in Z: Experiments in Sound and Electronic Music in Early 20th Century Russia, Koenig, 14 .
2
Solev, V. (1936) ‘Absolute Music’, Sight and Sound magazine (U.S.), 1936, N18, 48.
Arseny Avraamov in Moscow 1923. (Russian: Арсений Михайлович Авраамов), (born Krasnokutsky [Краснокутский], 1886 died Moscow, 1944)Methods of synthesising sound using a photo-electrical system flourished during the late 1920s, particularly after the development of sound-film techniques around 1926. In brief, the technique involved projecting a light beam through a transparent strip (or glass plate or rotating disk) onto a selenium cell. A graphic representation of a sound wave drawn onto the transparent surface varied the intensity of the light beam which in turn generated a variable and corresponding voltage output from the selenium cell i.e. a variable pitch corresponding to the drawn graphic. This technique was much used in Germany during the 1930s – for example: Oskar Fischinger’s sound-film based Tönende Ornamente (1932), Rudolph Pfenninger’s similar Tönende Handschrift (1932), Spielmann’s glass-disc keyboard, the Superpiano (1928) and Welte’s Licht-Ton Orgel (1936) with other examples from around the world including the Luminaphone (UK/USA 1925), the Hardy Goldthwaite Organ (USA 1930) and Pierre Toulon’s Cellulophone (F 1927). However it was in 1930s Soviet Russia that light-sound synthesis was explored with particular interest, possibly because of the mystical synaesthetic theories of the Russian composer Alexander Scriabin (1871–1915) who, even in the 1930s, exerted an immense influence over young soviet musicians.
The Russian avant-garde composer and theorist, Arseny Mikhailovich Avraamov is probably best known for his Simfoniya Gudkov (“Symphony of Sirens”) (November 7, 1922, Baku, USSR – an epic production which involved a score that coordinated navy ship sirens and whistles, bus and car horns, factory sirens, cannons, the foghorns of the entire Soviet flotilla of the Caspian Sea, artillery guns, machine guns, seaplanes, a specially designed “whistle main,” and renderings of Internationale and Marseillaise by a mass band and choir.) Later, however, through his pursuit of new sounds and particularly microtonal tuning, Avraamov became a central figure in soviet optical sound synthesis.
Avraamov studied at the music school of the Moscow Philharmonic Society from 1908-11 but fled the country when the first world war broke, working, among other things, as a circus artist. Avraamov returned during the revolution of 1917 where he developed his own “Ultrachromatic” 48-tone micro tonal system ( “The Universal System of Tones,” 1927). Avraamov later (1930) began to develop a technique of optical sound synthesis which involved hand-drawing geometrical representations of sound shapes and then repeatedly printing these shapes onto the audio-optical strip on a cine-film. 1Smirnov, Andrey, Sound In Z: Experiments In Sound And Electronic Music In Early 20th Century Russia, Walther Koenig, 2013, pp28-37. Avraamov’s technique bore a striking resemblance to those developed simultaneously by Fischinger and Pfenninger (circa 1930) in Germany, despite this similarity, it seems that both soviet and German techniques were developed in isolation.
An example of Avraamov’s hand-drawn graphic soundtrack Moscow 1930-1. image: Smirnov, Sound In Z, 179.
“By knowing the way to record the most complex sound textures by means of a phonograph, after analysis of the curve structure of the sound groove, directing the needle of the resonating membrane, one can create synthetically any, even most fantastic sound by making a groove with a proper structure of shape and depth”.2 Avraamov, A, (1916) Upcoming Science of Music and the New Era in the History of Music, Musical Contemporary Magazine, 1916, No 6, 85.
“Composer Arseny Avraamov at the scientific-research institute conducts the interesting experiments on a creation of the hand-drawn music. Instead of common sound recording on film by means of microphone and photocell, he simply draws on paper geometrical figures, then photographing them on sound track of the filmstrip. Afterwards this filmstrip is played as a common movie by means of film projector. Being read by photocell, amplified and monitored by loudspeaker, this filmstrip turns out to contain a well-known musical recording, while its timbre is impossible to relate to any existing musical instrument. Comrade Avraamov conducts now a study in recording of more complicated geometrical figures. For instance, to record graphical representations of the simplest algebraic equations, to draw molecular orbits of some chemical elements. In this research composer is assisted by a group of young employee of the Research Institute for Film and Photo. By the end of December Avraamov will finish his new work and to show it to the film-community. Quite possibly the listening of the abstracts of “Hand Drawn Music” will be organized in radio broadcast”3‘Drawn Music’. Kino, Moscow, 16.12.1931. Trans. AS. in: Smirnov, Sound in Z, 178
The Multzvuk group
Multzvuk group was formed in 1930 by Arseney Araazamov to conduct research into graphical sound techniques. The group was based at the Mosfilm Productions Company in Moscow (one of the leading film production companies in Moscow, renamed Gorki Film Studio in 1948) and consisted of composer and theoretician, Arseney Avraamov, cameraman and draughtsmen Nikolai Zhelynsky, animator Nikolai Voinov, painter and amateur acoustician Boris Yankovsky. In 1931 the group moved to ‘NIKFI’, the Scientific Research Institute for Photography for Film. Moscow, and and was renamed the ‘Syntonfilm laboratory’. In 1932 NIKFI stopped funding the group who then moved to Mezhrabpomfilm and finally closed in 1934.
From 1930-34 more than 2000 meters of sound track were produced by the Multzvuk group, including the experimental films Ornamental Animation, Marusia Otravilas, Chinese Tune, Organ Chords, Untertonikum, Prelude, Piruet, Staccato Studies, Dancing Etude and Flute Study. The Multzvuk archive was kept for many years at Avraamov’s apartment, but destroyed in 1937.4Smirnov, Andrey, (2013 )Sound In Z: Experiments In Sound And Electronic Music In Early 20th Century Russia, Walther Koenig, 2013, 181.
References
Much of the biographical information is from Andrey Smirnov’s pioneering work Sound In Z: Experiments In Sound And Electronic Music In Early 20th Century Russia, Walther Koenig, 2013. It is currently out of print but available here as a pdf download.
1
Smirnov, Andrey, Sound In Z: Experiments In Sound And Electronic Music In Early 20th Century Russia, Walther Koenig, 2013, pp28-37.
2
Avraamov, A, (1916) Upcoming Science of Music and the New Era in the History of Music, Musical Contemporary Magazine, 1916, No 6, 85.
Harald Bode’s Warbo Formant Orgel of 1937. Image ZKM | Karlsruhe, Harald Bode Estate.
Harald Bode was an important figure in the development of electronic musical instruments in Germany during the late 1930s and later in the USA in the post WWII era. He had a major role in the designs of polyphonic electronic organs and after moving to the USA, went on to influence the designs of commercial synthesisers with his concepts of modular synthesis and one volt per octave controls adopted by Robert Moog and Donald Buchla in the 1960s.
Harald Bode’s first commercial design was the wonderfully named Warbo Formant Orgel, a partially polyphonic electronic organ built in Hamburg in 1937. The Warbo Formant Orgel was designed and built with the musical input from the, at the time, well known commercial music composer and band-leader Christian Warnke (hence ‘War- Bo’ Warnke/Bode); 1 Abocab, Caspar .(2010) Instruments and Sound Devices of Harald Bode, eContact! 13.4. , https://econtact.ca/13_4/abocab_bode_instruments.html, retrieved 21/04/2024.
“Christian made the contribution of a musician — that means he told me what to do as far as all the features the instrument should have. I’ll have to go into more detail. Christian Warnke was a composer and musician, a bandleader with a fine ear for music, and he was an excellent violinist. He wasn’t involved in the design per se, just the specifications of the Warbo. And he sponsored the project on a minimum budget. Mind you this was in the second part of the 30s, which had still terrible after-effects of the depression. But the Warbo was my first major contribution in the field.” 2Finch, James. (1980) Interview with Harald Bode, Syne Magazine, International Electronic Music Association (IEMA).
Warnke and Bode’s new instrument was presented at a cinema in Hamburg and at Bode’s own studio in September 1937 and received a great deal of interest from the local press:
A contemporary description of the The Warbo Formant Orgel from the Hamburger Anzeiger. 21 September 1937.
Music of the future? Electricity as a sound source. Pioneering work in the field of electroacoustic musical instruments.
John W. R. Hellmann. Hamburger Tageblatt, 3 December 1937.
[…] This is where the shape development work of a young Hamburg electro acoustician comes in. Harald B0DE found the solution in his “Warbo-Formant Orgel” which allows the polyphonic playing on a manual. For each voice, only one tube is needed to produce the fundamental vibrations. The fundamental vibrations, which are amplified in the usual way are reproduced in the speaker, but still have no sound character. This sound character is achieved [in the Warbo Formant Orgel] by adding certain overtone groups or “formants” (hence the name!).
A large number of levers and knobs allow the synthetic production of any desired sound effect, both for imitating known sounds and to bring about completely new sound effects. Another new feature of Bode’s experimental instrument is the controllability of the “transient processes” by means of additional tubes, which also makes it possible to achieve the sound effects of beaten, rattling, and plucked tones with an arbitrarily long decay time.
An interesting feature of the “Formant organ” is that each voice can be coloured, highlighted and swelled for itself while playing on a manual, whereby auxiliary buttons also allow for voice crossovers. Thus, the possibilities of these devices, which are reminiscent of the “melody coupling” of individual organs, are much greater. Further, the instrument allows a pitch tremolo in addition to a dynamic tremolo and a sliding tone colour change during the playing.
Whether it has a future, whether it can gain a fine place alongside conventional instruments, or even – as optimists say – revolutionise our past music practice, that certainly can not be denied. The prerequisite for this is certainly that our composers must be prepared to create a new compositions for these new sound possibilities. 3J Hellmann, ohn W. R. (1937) Musik der Zukunft? Elektrizität als KlangqueIle.” Pionierarbeit auf dem Gebiet der elektroakustischen Musikinstrumente, Hamburger Tageblatt, 3 December 1937.
Description of the Formant filter operation of the Warbo Formant Orgel
Diagram illustrating the 4 note polyphony of the Warbo Formant Orgel. European Electronic Music Instrument Design—Harald Bode, Journal of the AUDIO ENGINEERING SOCIETY, October 1961, Volume 9, NUMBER 4268, 268
European Electronic Music Instrument Design—Harald Bode, Journal of the AUDIO ENGINEERING SOCIETY, October 1961
A different and unique approach for a multitone instrument with a minimum of tone generators has been tried by the author in the Warbo Formant Organ (Fig. 3). In this experimentally built instrument, four relaxation-type oscillators were correlated to a 44-note keyboard by a switching system which coordinates the first oscillator O, to the highest note, the second oscillator Oz, to the note next to the highest, and so forth. The oscillator outputs were connected to gates (G, through G,), which were opened for the played notes only by an additional switching system. This instrument also comprised envelope control means for percussive tones and two sets of filters, one of which could be correlated at will to one group of voices (for instance, Ist and 3rd) and the other to the remaining ones (for instance, 2nd and 4th). Although this instrument was capable of producing interesting effects, the stability with the employed tone generating system was not sufficient, and the switching device was too expensive.
Two versions of the instrument were made and later stored at the Heinrich-Hertz Institute (HHI) in Charlottenburg, Berlin. The institute’s building was completely destroyed during the war and with it the Warbo Formant Orgel. No recording of the Warbo Formant have been found. As with many other instruments designed by Bode the Warbo Formant Orgel pioneered aspects of electronics that became standard in later instruments. The Warbo Formant Orgel was a partially polyphonic (high note priority) four-voice, single keyboard instrument with 2 formant filters and key assigned dynamic envelope wave shaping allowing for variable wave shapes and percussive effects – features that were later used on Bode’s postwar instruments. With the assistance of Oskar Vierling at the HHI, between 1938 and 1939 Bode created a two monophonic manual and 30 note pedalboard version of the Warbo Formant Orgel he called the Melodium .4Davies, Hugh. (2001) The Warbo Formant Orgel, The new Grove dictionary of music and musicians, New York : Grove, 74-5.
“… It [The Warbo Formant Orgel] was built with a relaxation type of oscillator. Four oscillators actually, that were selected for the 44-note keyboard. The major problem being the stability of the oscillators, which is critical when comparing one with the other, especially with four. So I dropped the idea of a four-note organ at that time and went on to the Melodium, which was created in 1938 and used in many large performances with the Berlin Philharmonic as a solo instrument. It was also used in some significant motion pictures of that era.” 5 Bode, Harald. (1980) Interview, Syne Magazine
Harald Bode. Biographical notes
Harald Bode; October 19, 1909 Hamburg Germany – January 15, 1987 New York USA.
Harald Bode (Born: Hamburg October 19, 1909 – Died: New York, January 15, 1987) 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 the light music composer, organist and Trautonium virtuoso, 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” 6Finch, James. (1980) Interview with Harald Bode, Syne Magazine, International Electronic Music Association (IEMA). 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 Polychorda simpler, polyphonic version of the Melochordwhich 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 George 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, became 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 Ussachevsky 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 Barber Pole Phaser’.
References:
1
Abocab, Caspar .(2010) Instruments and Sound Devices of Harald Bode, eContact! 13.4. , https://econtact.ca/13_4/abocab_bode_instruments.html, retrieved 21/04/2024.
2
Finch, James. (1980) Interview with Harald Bode, Syne Magazine, International Electronic Music Association (IEMA).
3
J Hellmann, ohn W. R. (1937) Musik der Zukunft? Elektrizität als KlangqueIle.” Pionierarbeit auf dem Gebiet der elektroakustischen Musikinstrumente, Hamburger Tageblatt, 3 December 1937.
4
Davies, Hugh. (2001) The Warbo Formant Orgel, The new Grove dictionary of music and musicians, New York : Grove, 74-5.
5
Bode, Harald. (1980) Interview, Syne Magazine
6
Finch, James. (1980) Interview with Harald Bode, Syne Magazine, International Electronic Music Association (IEMA).
Dr Freidrich Adolf Trautwein (b Würzburg 1888, Germany; d Düsseldorf 1956)
The Trautonium was an important electronic musical instrument developed by the electrical engineer Freidrich Trautwein in Germany in 1930. Trautwein designed the first version of the instrument with the aim of freeing the performer from the restrictions of fixed (Piano) intonation. To achieve this, he removed the usual piano-style manual in his design and replaced it with a fingerboard consisting of a metal wire stretched over a rail, marked with a chromatic scale. By pressing the wire, the performer touches the rail below and completes a circuit generating a tone. A similar technique, copied by the Trautwein, was a feature of Bruno Hellberger’s Hellertion in 1929 and some time later in the Ondes Martenot.
Trautwein demostrating the early Trautonium c1933, showing the pressure sensitive resistant finger-wire controller.
The position of the player’s finger on the wire determines the resistance in the wire which in turn controls the pitch of the oscillator. This unusual approach allowed a great deal of expressive flexibility; by pressing harder on the wire, the player could subtly change the volume, and by moving the finger from side to side the instrument could produce violin like glissandi or more subtle vibrato effects. Overall volume was controlled by a foot-pedal allowing the performer to vary the volume and envelope of the notes.
An early 1930’s version of the Trautonium at the Deutsches Museum, Berlin
The first Trautonium was a fairly simple monophonic vacuum tube ‘synthesiser’ generating sound from a single thyratron RK1 tube oscillator. However, by passing this tone through a series of resonant filters this simple sawtooth waveform could be coloured with a wide range of timbre characteristics. This unique form of subtractive synthesis (i.e. filtering down an existing complex waveform rather than creating a complex waveform from combinations of simple sine waves) produced a tone that was distinctive and unusual when compared to the rather plain sound of other valve instruments in the 1920-30’s.
Telefunken advert of the 1930 version of the TrautoniumAdvert of the Telefunken Volkstrautonium model Ela T42 showing the 380 Reichs Mark price
The commercial version of the Trautonium or ‘Volkstrautonium’ was manufactured and marketed by Telefunken in 1932. But, probably due to the unpopularity of a new, somewhat complicated keyboard-less instrument and high purchase price (c400 Reichs Marks; equivalent of two and a half months of a worker’s salary or more than five times the price of radio), only around thirteen items were sold and by 1938 it was discontinued. Despite the lack of domestic commercial interest, a number of composers wrote works for the instrument including Paul Hindemith ( who, switching allegiances from Jörg Mager’s Sphäraphon, learnt to play the Trautonium) ‘Concertina for Trautonium and Orchestra’ , Höffer, Genzmer, Julius Weismann and most notably Oskar Sala. Sala became a virtuoso on the machine and eventually took over the development of the Trautonium producing his own variations- the ‘Mixtur-Trautonium’, The ‘Concert-Trautonium’ and the ‘Radio – Trautonium’. After the commercial failure of the instrument Trautwein abandoned further development to Oskar Sala who continued to work with the Trautonium until his death in 2002. Trautwein also produced an ‘Amplified Harpsichord’ in 1936 and ‘Electronic Bells’ in 1947.
Trautwein (L), Paul Hindemith and Oskar Sala playing the Trautonium. Berlin, c 1933
Telefunken 1932 Volkstrautonium model Ela T 42 at the Deutsche Museum, Berlin
The Trautonium in ‘Popular Mechanics’ magazine USA 1939The Trautonium in ‘Popular Mechanics’ magazine USA 1939
Dr Freidrich Adolf Trautwein (b Würzburg 1888, Germany; d Düsseldorf 1956) seen here in 1930.
Biographical notes: Dr Freidrich Adolf Trautwein (b Würzburg 1888, Germany; d Düsseldorf 1956)
Trautwein studied electrical engineering at the Technical University of Karlsruhe and later, law in Berlin. In the First World War he was a lieutenant in the German Army and led a mounted radio squad. After the war in 1919 he studied Physics in Heidelberg and Karlsruhe where he received his PhD in engineering. The following year he started working for the State Telegraph Service where he was involved in the establishment of the first German radio station in Berlin.
In 1929 he took a teaching position at the Berlin State Music Academy where he started early development of the Trautonium with the patronage and guidance of the composer Paul Hindemith. The first version of the Trautonium was completed in 1930 and a commercial version produced in 1933 by Telefunken; the Telefunken Volkstrautonium model Ela T42. After the commercial failure of his invention, Trautwein abandoned the instrument to composer and Trautonium virtuoso, Oskar Sala
The Trautonium played by Oskar Sala, incorporated into ‘Das Orchester der Zukunft (The Orchestra of the Future), alongside a Hellertion, Thereminvox and Elektrochord c 1932
In 1949 Trautwein worked in briefly at the Bikla School for Photography and Film in Düsseldorf and then established the sound engineering course at the Düsseldorf Conservatory (now the Robert-Schumann-Hochschule in Dusseldorf ) which still forms the basis of the current sound engineering training unit. In 1952 Trautwein developed an evolved version of the Trautonium for WDR Electronic Music Studio, the Electronic Monochord. Trautwein died in Düsseldorf in 1956.
Sources:
Peter Donhauser: Electric sound machines Böhlau, Vienna 2007.
Donhauser, P.: “Technical gimmick or fantastic reality Telefunken and the first electronic instruments in Germany?”, Lecture at the DTM Berlin, 03.11.2006
Peter Badge “Oskar Sala: Pionier der elektronischen Musik” Edited by Peter Friess Forword by Florian Schneider Satzwerk Verlag. ISBN 3-930333-34-1
“Oskar Sala-Die vergangene Zukunft des Klanges” A film by Oliver Rauch and Ingo Rudloff. Upstart Filmproduktion Wiesbaden
The Ondium Péchadre played by it’s inventor Msr Péchadre in 1930. Image: ‘Un appareil de musique radioélectrique; l’ondium Péchadre’ by E.-WEISS.
The Ondium Péchadre was created in France by Henri Camille Robert Péchadre in 1929. The instrument was a monophonic heterodyning vacuum tube oscillator based instrument built into a light and portable heart shaped box, in performance the base of the instrument rested on the players knees and the instrument was supported against a table. The seven octave range of the instrument was controlled – in a way similar to Jorg Mager’s Sphäraphon of 1924 or Krug & Bass’ Cellulophone of 1927– by moving a pointer around a circular calibrated dial while the left hand controlled the volume of the sound with a velocity sensitive push button device. This playing method allowed the instrument to create a continuous pitch similar to a violin or cello, or, by using the volume control, the sound-wave’s envelope could be altered to give a more staccato effect.
The Ondium played by the Pianist Gaston Wiener. Image: ‘L’Ouest Eclair’ ,19311Un Nouvel Instrument Radio-Electrique: L’Ondium, L’Ouest-Éclair : journal quotidien d’informations, politique, littéraire, commercial,29/10/1931, 6The Ondium as described in ‘Le Menestrel’ in 19312Gratia, L.E, (1931), LES INSTRUMENTS DE MUSIQUE DU XXe SIÈCLE. INSTRUMENT RADIO-ÉLECTRIQUE – L’ONDIUM PÉCHADRE, Le Ménestrel : journal de musique, 06/02/1931, 53-4
As with other similar instruments, The Ondium output sound to an amplifier and loudspeaker but, uniquely, was also able to transmit sounds directly via radio waves to a radio receiver or network.
“The Ondium we can report, is of the family of radio-electronic instruments similar to developments by Martenot and others. It differs however in by some points, in particular by this one; The Ondium is the only device of this kind that can be picked up by radio.” Gaston Wiener quoted in L’Ouest-Éclai’, 1935. 3Un Nouvel Instrument Electrique:L’ondium, L’Ouest-Éclair : journal quotidien d’informations, politique, littéraire, commercial, Oct 29, 1931, 6.
Péchadre toured with the Ondium throughout France in the 1930s where, accompanied by an orchestra, he commissioned well known musicians (Gaston Wiener, pianist, Jacques Serres, cellist and Georges Hugo, pianist) to perform popular classical works by Saint-Saëns, Mozart, Delibes and others as well as surprising the audience with the instruments versatility by imitating bird song.
E.H Weiss describes the instrument in Phonographs et Musique Mechanique (1931):
“This recent device is in the category of radio-electric interference instruments. The inventor’s goal was to establish a reduced format with very easy-to-handle organs that did not impose any fatigue on the musician. The complete installation includes the “ondium” itself, which contains the oscillating circuits, the amplifiers; the playing organs: pitch control needle, sound volume adjustment button, etc. ; the power supply which includes a 4 volt battery and an 80 volt battery, finally one or more speakers.
The ondium appears in the form of a flat case which has a dial on the top and which is traversed by a 25 centimeter long needle; the needle is adjusted on the axis of a variable capacitor and constitutes the organ for controlling the frequency of the oscillations, and consequently the pitch of the sound. A board cut along an arc of a circle with the same center as the dial, but with a smaller radius, forms a protective bridge above the needle, only the tip of which protrudes.
In these conditions, the musician holds the instrument inclined in front of him, places it on the one hand on his knees and on the other hand on the edge of a piece of furniture. The instrumentalist therefore has a music stand which then supports his elbow and forearm; the hand can direct the needle by means of a lever near the tip. The end of the elbow plays the role of a center of rotation for the forearm, and the right hand thus describes an arc of a circle merging with the dial of the device. High notes are produced towards the top of the dial, and lower notes towards the bottom.
Given the position of the operator, the precision obtained is very great, as is the virtuosity, because to control the volume of sounds we act on a rod ending in a flat button placed on the side of the device and controlling a rheostat . When you press the button, the rod sinks in; the stroke does not exceed 3 centimeters and a return spring whose resistance is progressive returns the rod to the outside when we no longer act on it. When you press lightly, the resistance decreases, and the sound begins to be heard. By pressing harder and harder, the sound power gradually increases. Handling this organ is easy, because instinctively we press lightly to have a weak sound and strongly to have a powerful sound.
There are still various other accessory controls which are available to the left hand: An adjustment screw acts on a booster capacitor, which allows the instrument to be tuned to the pitch before playing. A special circuit switch imitates plucked or percussed string instruments such as mandolin, harp, piano, Hawaiian guitar; contactors vary the tone or the attack, etc. As the principle of the device is based on the beat which results from the interference of the vibrations of two insulating circuits whose average frequency is 20,000 per second, there is a certain difficulty here, since it is a device that is touched by the hand and held on the knees, therefore susceptible to being influenced by the movement of the body of the operator, who acts by his capacity electric. This assembly, which is very sensitive to capacitance effects, is however the lightest device, capable of being enclosed in an instrument of reduced dimensions and also capable of covering a very wide range which can reach seven octaves .4 WEISS. E.H,(1930), Phonographes et musique mécanique / par Eugène-H. Weiss, Hachette (Paris), June 1930 edition,135-9
The Ondium with back cover removed showing control levers and tone generators. Image: ‘Un appareil de musique radioélectrique; l’ondium Péchadre’ by E.-WEISS.
Telecoms Minister M. Mallarmé in front of boxed commercial versions of the Ondium at the ’21st Radio Salon’ Paris, 1934. Image: ‘Paris Soir’ September 1934.
Gratia, L.E, (1931), LES INSTRUMENTS DE MUSIQUE DU XXe SIÈCLE. INSTRUMENT RADIO-ÉLECTRIQUE – L’ONDIUM PÉCHADRE, Le Ménestrel : journal de musique, 06/02/1931, 53-4
3
Un Nouvel Instrument Electrique:L’ondium, L’Ouest-Éclair : journal quotidien d’informations, politique, littéraire, commercial, Oct 29, 1931, 6.
4
WEISS. E.H,(1930), Phonographes et musique mécanique / par Eugène-H. Weiss, Hachette (Paris), June 1930 edition,135-9
![Arseny Avraamov in Moscow 1923. (Russian: Арсений Михайлович Авраамов), (born Krasnokutsky [Краснокутский], 1886 died Moscow, 1944)](https://i0.wp.com/120years-net.stackstaging.com/wp-content/uploads/Arseny_Avraamov.png)
