11 Facts About Tri-Ergon

Tri-Ergon system appeared at a time when a number of other sound film processes were arriving on the market, and the company soon merged with a number of competitors to form the Tobis syndicate in 1928, joined by the Klangfilm AG syndicate in 1929 and renamed as Tobis-Klangfilm by 1930.

The Tri-Ergon system continued in use in Germany and the continent during the war.

Tri-Ergon process involved recording sound onto film using the "variable density" method, used by Movietone and Lee De Forest's Phonofilm, rather than the "variable area" method later used by RCA Photophone.

Tri-Ergon used a special form of microphone without mechanical moving parts for sound pickup and a special electric discharge tube for variable density film recording.

The Tri-Ergon film used an extra 7mm sound strip attached to the edge of a standard 35mm film, resulting in a new film 42mm wide.

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Tri-Ergon AG licensed the recording film rights to Ufa in January 1925 and Masolle briefly became technical director of Ufa's first sound-film division.

The Tri-Ergon patents named particular technical features that claimed to precede all other sound-on-film patents, such as the flywheel on the sound drum.

Tri-Ergon then sued RCA and ERPI - and all the US film companies which used the Tri-Ergon design - for infringement, specifically the flywheel on the sound drum.

Tri-Ergon had links to Max Amann, Hitler's sergeant from 1915 to 1918, president of Eher Verlag since 1922, and president of the Reich Media Council and Reich Press Leader from c1933.

Classical artists included the conductor and pianist Bruno Seidler-Winkler and the Tri-Ergon-Trio consisting of the cellist Gregor Piatigorsky, the pianist Karol Szreter, and the violinist Max Rostal.

Tri-Ergon records were made by a partial reversal of the photoelectric process used to encode the sound track in the first place.