Electrical engineer and music enthusiast [Freidrich Trautwein] was dissatisfied. He believed that the equal tempered scale of the piano limited a player’s room for expression. And so in 1930, [Trautwein] and an accomplished pianist named [Oskar Sala] began work on an electro-mechanical instrument that would bring the glissando of the string section’s fretless fingerboards to the keyboard player. [Trautwein] called his creation the Trautonium.
Sound is produced in the instrument by sawtooth frequency generators. It is then passed through filters and manipulated by the resistive string-based manuals. Frequency and intonation are varied relative to the position of the player’s finger along a length of non-conductive string and to the amount of pressure applied. This resistive string is suspended above a conductive metal strip between a pair of posts. A small voltage is applied to the posts so that when the string touches the metal strip below, the player manipulates a voltage-controlled oscillator. A series of metal tongues, also non-conductive, hover above the string. These are placed at scale intervals and can be used like keys.
This early synthesizer is capable of producing many kinds of sounds, from crisp chirps to wet, slapping sounds and everything in between. In fact, all of the sound effects in Alfred Hitchcock’s thriller The Birds were produced on a modified Trautonium by the instrument’s one and only master, [Oskar Sala]. He went on to score hundreds of films by watching them with the Trautonium at his fingertips, recording and layering his compositions into an eerie wall of sound.
Continue reading “Retrotechtacular: The Trautonium Was Elemental To Electronic Music”
Film is projected at a rate of 24 frames per second, which is sufficient to create the POV illusion. A projector’s shutter inserts itself between the lamp and the lens, blocking the light to prevent projection of the film’s physical movement. But these short periods of darkness, or flicker, present a problem. Originally, shutters were made in the shape of a semi-circle, so they block the light half of the time. Someone figured out that increasing the flicker rate to 60-70 times per second would have the effect of constant brightness. And so the modern shutter has three blades: one blocks projection of the film’s movement, and the other two simply increase flicker.
