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Oskar Sala | Mixtur-Trautonium


In 1948 Sala further developed the Trautonium into the Mixtur-Trautonium. The Mixtur-Trautonium allowed for the first time in music history the execution of sounds which had only been known in theory since the Middle Ages, but were never actually playable[example needed]. Sala's invention opened the field of subharmonics, the symmetric counterpart to overtones, so that a thoroughly distinct tuning evolved.

Sala presented his new instrument to the public in 1952 and would soon receive international licenses for its circuits. That same year, Harald Genzmer delivered the score to the first Concert For Mixtur-Trautonium And Grand Orchestra.

One of the first additions of Sala was to add a switch for changing the static tuning. Later he added a noise generator and an envelope generator (so called 'Schlagwerk'), formant filter (several bandpass filters) and the subharmonic oscillators. These oscillators generate a main pitch and several subharmonics, which are not multiples of the fundamental tone, but fractions of it. For any of the now two manuals, four of these waves can be mixed and the player can switch through these predefined settings. Thus, it was called the "Mixtur-Trautonium". 

Oskar Sala composed music for industrial films, but the most famous was the bird noises for Alfred Hitchcock's The Birds. The Trautonium was also used in the Dresden première of Richard Strauss's Japanese Festival Music in 1942 for emulating the gongs- and bells-parts and in the 1950s in Bayreuth for the Monsalvat bells in Wagner's Parsifal.
BrandOskar Sala
Engine TypeAnalog
Voices (max)2
Engine Detailed2 Saw Up, Sub Oscillator, White Noise. Schlagwerk (Special LFO/ADSR - Unit)
Filter (VCF)2 12dB Slope (2-pole), Formant.
Key typeWire
Produced:1948 - 1952
Legend: Obvious Y: Yes, N: No, N/A: Not Applicable
VCO Voltage Controlled Oscillator DCO Digital Controlled Oscillator
LFO Low Frequency Oscillator Sub Sub Oscillator
VCF Voltage Controlled Filter VCA Voltage Controlled Amplifier
Velocity As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key. Aftertouch Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel.
Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise.

Manuals, patches etc.


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