The Jowiphon. Hans Joachim Winckelmann. Germany 1935

One of several optical synthesis devices that emerged in Germany during the 1920’s and 30’s, the ‘Jowiphon’ was a simple monophonic radio-tube based instruments that was operated by playing a hand held light beam across a selenium photocall that in turn triggered an audible voltage pulse generated by a vacuum tube. The Jowiphon was very similar to a design of Wolja Saraga developed at the Heinrich-Hertz-Institut für Schwingungsforschung, Berlin around 1930.

“How amazed, however, was when I was recently with a radioing-meur who was my friend, and he showed me something similar, which at first seemed almost more startling than that Theremin device. He led me into a darkened room with a flashlight in the air – and lo and behold, from a loudspeaker set up somewhere, a music sounded very similar to that of the Theremin apparatus. Here, too, it was only a miracle until Mirmein’s friend explained the technical process.

By exposing a photocell to the flashlamp, an electric current is generated; this is converted into sound vibrations by a certain method, but another, as in the case of the Theremin appliance. The more the flashlight approaches the photocell, the greater the exposure, the electric current becomes stronger and the tones become higher. It all sounds very simple, but it requires a shaken-up amount of knowledge to weld these theoretically remote things into something practical and practical. The inventor has christened his “Jowiphon” sound, which is said to be similar to the Theremin device, but tends toward the string instruments like the violin or cello. But you can also easily create the deepest bass tones like the highest notes of a piccolo. As with the Theremin instrument the tone color and the volume can be changed arbitrarily.

Playing on these devices is no harder to learn than that of other instruments. Their only drawback may be that producing faster results makes some more trouble. As the inventor explained, the Jowiphon, which, like most musical instruments, is unanimous, can also be made into a polyphonic instrument like the organ. The fact that these instruments have not become so popular is largely due to the fact that in Germany two other electric musical instruments have been constructed to a very high degree of perfection, the Vierling Electrochord and the Trautonium.

The Vierling Electrochord is played like a grand piano and allows you to tune to six different tones. The Trautonium is a unanimous instrument that is played by pressing a metal string down on a metal rail. In this instrument, the change of timbre is up to the highest perfection. You can just as well create the sounds of a bass as a clarinet or piccolo. With four instruments you could play a complete string quartet. But it can also produce quite new sounds of surprising effect. The fantastic magic that I felt when I heard the first ether wave music was gone. But I do not feel poorer about it. Despite all knowledge of the technical processes, there is always a remnant of the mystery that one feels again and again when one hears these instruments, which has given us the restraining technique of our century. W. W.’ “1


Uhu illustrated Magazine edition 11.1934/35, May pp 94-95

Joachim Winckelmann. Das “Jowiphon” : [sein Bau u. s. Spielweise] (=Radio-Bau-Sammlung ; Bd. 5). Deutsch-Technischer Buchverlag. Berlin-Lichterfelde 1935

The ‘Baldwin Organ’ Winston E. Kock & J.F. Jordan, USA, 1946

Early Model of Winston Kock's Baldwin organ
Winston Kock’s Baldwin Organ Model Five 1947

The Baldwin organ was an electronic organ, many models of which have been manufactured by the Baldwin Piano & Organ Co. since 1946. The original models were designed by Dr Winston E. Kock who became the company’s director of electronic research after his return from his studies at the Heinrich-Hertz-Institute, Berlin, in 1936. The organ was a development of Kock’s Berlin research with the GrosstonOrgel using the same neon-gas discharge tubes to create a stable, affordable polyphonic instrument. The Baldwin Organ were based on an early type of subtractive synthesis; the neon discharge tubes generating a rough sawtooth wave rich in harmonics which was then modified by formant filters to the desired tone.

Tone modifying circuits of the Baldwin organ
Tone modifying circuits of the Baldwin organ

Another innovative aspect of the Baldwin Organ was the touch sensitive keyboard designed to create a realistic variable note attack similar to a pipe organ. As the key was depressed, a curved metal strip progressively shorted out a carbon resistance element to provide a gradual rather than sudden attack (and decay) to the sound.  This feature was unique at that time, and it endowed the Baldwin instrument with an unusually elegant sound which captivated many musicians of the day.

“How did it sound? I have played Baldwin organs at a time when they were still marketed and in my opinion, for what it is worth, they were pretty good in relative terms.  That is to say, they sounded significantly better on the whole than the general run of analogue organs by other manufacturers, and they were only beaten by a few custom built instruments in which cost was not a factor.  It would not be true to say they sounded as good as a good digital organ today, but they compared favourably with the early Allen digitals in the 1970’s.  Nor, of course, did they sound indistinguishable from a pipe organ, but that is true for all pipeless organs.  To my ears they also sounded much better and more natural than the cloying tone of the more expensive Compton Electrone which, like the Hammond, also relied on attempts at additive synthesis with insufficient numbers of harmonics.”

From ‘Winston Kock and the Baldwin Organ; by Colin Pykett

Electronic Generator of the earlt model Baldwin Organ
Electronic Tone Generator of the early model Baldwin Organ showing neon gas-discharge tube oscillators.

Kock’s 1938 Patent of the Baldwin organ

Winston Kock playing an early experimental design for an electric instrument
Winston Kock playing his early experimental electronic instrument 1932

Winston E. Kock Biographical Details:

Winston Kock was born into a German-American family in 1909 in Cincinnati, Ohio. Despite being a gifted musician he decided to study electrical engineering at Cincinnati university and in his 20’s designed a highly innovative, fully electronic organ for his master’s degree.

The major problem of instrument design during the 1920’s and 30’s was the stability and cost of analogue oscillators. Most commercial organ ventures had failed for this reason; a good example being  Givelet & Coupleux’s  huge valve Organ in 1930. it was this reason that Laurens Hammond (and many others) decided on Tone-Wheel technology for his Hammond Organs despite the inferior audio fidelity.

Kock had decided early on to investigate the possibility of producing a commercially viable instrument that was able to produce the complexity of tone possible from vacuum tubes. With this in mind, Kock hit upon the idea of using much cheaper neon ‘gas discharge’ tubes as oscillators stabilised with resonant circuits. This allowed him to design an affordable, stable and versatile organ.

Kock's Sonar device during WW2
Kock’s Sonar device during WW2

In the 1930’s Kock, fluent in German, went to Berlin to study On an exchange fellowship (curiously, the exchange was with Sigismund von Braun, Wernher von Braun’s eldest brother –Kock was to collaborate with Wernher twenty five years later at NASA) at the Heinrich Hertz Institute conducting research for a doctorate under Professor K W Wagner. At the time Berlin, and specifically the Heinrich Hertz Institute, was the global centre of electronic music research. Fellow students and professors included; Jörg Mager, Oskar Vierling, Fritz Sennheiser, Bruno Helberger, Harald Bode, Friedrich Trautwein, Oskar Sala and Wolja Saraga amongst others. Kock’s study was based around two areas: – improving the understanding of glow discharge (neon) oscillators, and developing realistic organ tones using specially designed filter circuits. 

Kock worked closely with Oskar Vierling for his Phd and co-designed the GrosstonOrgel in 1934 but disillusioned by the appropriation of his work by the newly ascendant Nazi party he decided to leave for India, sponsored by the Baldwin Organ Company arriving at the Indian Institute of Music in Bangalore in 1935.

Returning from India in 1936, Dr Kock became Baldwin’s Director of Research while still in his mid-twenties, and with J F Jordan designed many aspects of their first electronic organ system which was patented in 1941.

Winston E Kock (L) as the first Director of Engineering Research at NASA

When the USA entered the second world war Kock moved to Bell Telephone Laboratories where he was involved on radar research and specifically microwave antennas. In the mid-1950’s he took a senior position in the Bendix Corporation which was active in underwater defence technology. He moved again to become NASA’s first Director of Engineering Research, returning to Bendix in 1966 where he remained until 1971 when he became Acting Director of the Hermann Schneider Laboratory of the University of Cincinatti. Kock Died in Cincinatti in 1982.

 Winston Kock was a prolific writer of scientific books but he also wrote fiction novels under the pen name of Wayne Kirk.

Acoustic lenses developed by Winston Kock at the Bell Labs in the 1950's
Acoustic lenses developed by Winston Kock at the Bell Labs in the 1950’s
Acoustic lenses developed by Winston Kock at the Bell Labs in the 1950's
Acoustic lenses developed by Winston Kock at the Bell Labs in the 1950’s
Acoustic lenses developed by Winston Kock at the Bell Labs in the 1950’s


Hugh Davies. The New Grove Dictionary of Music and Musicians

The ‘Saraga-Generator’ Wolja Saraga, Germany,1931

The Saraga Generator
The Saraga Generator. Photo; Saraga family archives

The ‘Saraga-Generator’ was developed by the electrical engineer and physicist Wolja Saraga at the Heinrich-Hertz Institut Für Schwingungsforschung (HHI) in Berlin, Germany around 1931. The Saraga Generator was an unusual photo-electrical vacuum tube instrument originally designed to be used for theatrical production where the sound would be triggered by movement in front of the instrument.

Wolja Saraga working on the 'Saraga Generator' at the HHI, Berlin in 1932
Wolja Saraga working on the ‘Saraga Generator’ at the HHI, Berlin in 1932 (Photo; Saraga family archives )

The original instrument consisted of a single photoelectric cell mounted on the white painted inside surface of a box with a small ‘V’ shaped slit cut on one face. A low voltage neon lamp was placed at some distance from the box on a stage and the performers movements interrupting the light beam causing variations in pitch in a tone generated using the well established  heterodyning effect of two vacuum tubes. Later versions were designed to be played in a way similar to the Theremin with one hand held in the air controlling the pitch by interrupting the light beam –Envelope and timbre were controlled by manipulating a hand held switching device, the overall volume being driven by a foot pedal. The Saraga Generator was monophonic with a tonal range of four octaves.

The Saraga Generator was patented in 1932 and demonstrated at the Berlin Radio Exhibition (IFA Berlin) in the same year.

Wolja Saraga. Berlin, 1930s
Wolja Saraga. Berlin, 1930s

Saraga took a version of the Generator to London after he left Berlin for the UK in 1938 ( He also brought a Volkstrautonium purchased as a promotional model from Telefunken) . He gave several presentations of the instrument for the Institute of Musical Instrument Technology (Holloway Rd, London N7) in May 1945 entitled “A Homophonic or single-note electronic musical instrument with a photo electric cell as playing manual – demonstration of an experimental model” and searched for commercial applications for the instrument including film soundtrack music and musical therapy for blinded war veterans.

Wolja Saraga working at the HHI, Berlin 1932. (Photo; TU Archives, Berlin)
Wolja Saraga working at the HHI, Berlin 1932. (Photo; TU Archives, Berlin)

Difficulties in sourcing electronic components in post-war Britain hampered development of the instrument which was eventually overtaken by more sophisticated and versatile electronic instruments of the 1950s


Wolja Saraga (Born:3rd September 1908 Berlin; Died 15. February 1980, London)
Wolja Saraga (Born:3rd September 1908 Berlin; Died 15. February 1980, London)

Wolja Saraga: Biographical Notes

Saraga was a German Jewish Physicist, born in Berlin to a Romanian father and a Russian mother. Saraga studied telecommunications at the Heinrich Hertz Institute (‘Heinrich-Hertz Institut Für Schwingungsforschung’ or ‘HHI’) at the Technical University, Berlin under Prof Gustav Leithäuser – alongside luminaries such as Oskar VierlingHarald Bode , Winston Kock and Friedrich Trautwein.

It was during his time at the HHI that he began investigations into electronic musical instruments, his published papers detailing; a dual oscillator Aetherophone or ‘Theremin‘ , a ‘Poly-rhythmic Electronic Musical Instrument’ , The workings of the Volkstrautonium and his design for a photo-optical instrument, the ‘Saraga Generator’ first built in 1931. Saraga became a research assistant at the institute and later  a lecturer from1929-1933. He also studied physics and mathematics at the Humboldt University of Berlin , where he was awarded a Dr. phil. in physics in 1935.

Wolja Saraga’s ticket for the 1936 ‘Great-German Radio Exhibition’ (image; Saraga Family Archive 2016)

During his time in Berlin, Saraga was very energetic in promoting the potential of electronic music; He made several public presentations and demonstrations of electronic instruments including Theremins, Trautoniums and his own ‘Saraga Generator’. Saraga was also present playing the ‘Saraga Generator’ at the 1932/3 International Funkaustellung (IFA) where the first ever electronic musical orchestra performed (Das ‘Orchester der Zukunft’).

"Electric Concerts" with the electroacoustic "orchestra of the future", 1932/1933 On the occasion of the 9th and 10th IFA in Berlin 1932 and 1933 for the first time found concerts with "Electric Music" instead. They played by the so-called "Orchestra of the future" all electroacoustic musical instruments then available. The "Elektischen concerts" made at the time an exceptional level of interest and broad support in the public, as the cooperating with private Theremingerät Erich Zitzmann-Zerini [second right] the engineer Gerhard Steinke told while gave him this original image. The orchestra consisted of two theremin instruments Trautonium [by Trautwein], Heller desk [of B. and P. Helberger Lertes], a neo-Bechstein grand piano [for suggestions of O. Vierling, S. Franco, W. Nernst and H . Driescher], Vierling piano [electro Acoustic piano by O. Vierling], electric violin, electric cello and Saraga generator [a light-electric device by W. Saraga, in principle, similar to the Theremingerät]. Photo: archive Gerhard Steinke
A concert by the electroacoustic “Orchestra of the Future” at the 9th and 10th IFA in Berlin 1932. Consisting of: (L-R) Bruno Hellberger playing his ‘Hellertion’, unknown playing the ‘Electric Cello’, unnown playing the ‘Hellertion’ (?) Oskar Sala playing the ‘Volkstruatonium’, unknown playing the ‘Neo Bechstein Electric Piano’, Oskar Vierling playing the ‘Electrochord’ unknown playing the ‘Electric Violin’ Wolja Saraga (back of stage) playing the ‘Saraga Generator’ Erich Zitzmann-Zerini with the ‘Theremin’ Unknown playing the ‘Volkstrautonium’ (Photo: archive Gerhard Steinke)
It became clear to Saraga in 1935-6 that as a Jewish scientist he would have no future in the new National Socialist German Reich and began to apply to leave the country, first of all to Switzerland and then to the UK. Saraga finally left Berlin in 1938 at the age of 29. he was initially held for six months on the Isle Of Man Hutchinson Camp as a German internee but was given a position working for the ‘Telephone Manufacturing Company’ (or ‘TMC’) in St Mary’s Cray, Kent where, despite his unhappiness at his employers lack of interest in research, he remained until 1958.

A press card for a presentation by W.Saraga entitled 'Electronic Music'
A press card for a presentation by W.Saraga entitled ‘Electric Music – a presentation and musical demonstration of the Trautonium’. Berlin 1933. (Photo; Saraga Family Archive 2016)

Saraga then joined The Associated Electrical Industries Research Laboratory in Blackheath, London as a Research Scientist and Group Leader where he specialised in telephony filter design. In 1962, Saraga’s key contributions were recognised by the award of the Fellowship of the Institute of Electrical and Electronics Engineers, ‘for contributions to network theory and its application in communications’. In 1972, Saraga moved full time to Imperial College, London where he became a postgraduate lecturer and researcher in network theory and mathematics.

Saraga wrote a number of books and filed several patents on network theory and telephony.


Archives of the Heinrich Hertz Institute/Heinrich-Hertz Institut Für Schwingungsforschung, Berlin, Germany

CIRCUIT THEORY AND APPLICATIONS, VOL. 8, 341 (1980) Obituary of Wolja Saraga by J. 0. SCANLAN

Saraga, W. “Elektrische Klangfarbenerzeugung, in FUNK-Bastler” 1932, Heft 38, S. 594, zit. nach STANGE-ELBE 1993a, S. 15( “Electrical Timbre generation, into radio hobbyist” )

[Wolja] Saraga: Die “tönende Handschrift”, in: Funktechnische Monatshefte 1933, H. 10, S. 403-406, hier S. 406

W. [Wolja] Saraga: An Electronic Musical Instrument with a Photo-Electric Cell as Playing Manual, in: Electronic Engineering 17 (1945), Juli, S. 601-603

Obituary: IEEPROC, Vol. 128, Pt. G, No. 4, AUGUST 1981

Documents from the Saraga Family Archive 2016