(Title loosely based on Evelyn Künneke and Curd Jürgens)

How I Ended Up with the Moviphon

A little over 40 years ago, I purchased a Movikon 8B Double-8 camera and a Movilux 8B projector through an ad in a photography magazine. The package included a technical article that discussed adding sound using the Movilux and Moviphon.
The topic had been forgotten, Super 8 came into my life, and with it came the addition of sound to film for me as well. That was until, many years ago in Deidesheim, I came across the combination of Movilux and Moviphon. That’s when I developed the desire to be able to add sound to Normal 8 as well. A few years later, overjoyed that my wish had almost come true, I posted about it on the small format film forum.

A Wish Comes True (German Projectionist Forum)

But my wish didn’t quite come true right away—at first, nothing worked at all, until… but keep reading (a little spoiler: everything works today, even better than expected).

Now that a few more years have passed, I’d like to share a little more about the system and present the fully functional result, which has been available for a few weeks now. This is particularly fitting, given that Moviphon is celebrating its 70th anniversary this year.

But first things first.

History: How Zeiss Ikon Got Started with the Moviphon

After World War II, Zeiss-Ikon apparently continued to sell pre-war projectors (Normal 8) under the name “Favorit 8.“The first new 8mm projector was the Movilux 8, released around 1954 (without the suffix “A” or anything similar). The units were painted in gray textured lacquer.

The Movilux 8 manual mentioned only one option for adding sound: the synchronized start of a separate tape recorder using the synchronous switch , which is available as an accessory.

This was followed by the Movilux 8B, which featured a housing of the same dimensions and shape finished in green hammered paint; it was manufactured from around 1958 through at least 1960, or possibly longer.

The Movilux 8B manual not only mentions the sync switch , but also highlights the Moviphon for sound recording as well as the option to connect an external sound coupler (the Movilux 8B is, in fact, electrically equipped for a sound coupler connection), although Zeiss Ikon likely did not offer one.

The System

First, a few words about the Moviphon itself. The device was apparently unveiled for the first time at Photokina in 1956, and its release was announced for the spring of 1957.

Here is an excerpt from the Zeiss Ikon news brochure for Photokina 1956:

The principle is quite unique. It is a separate tape recorder for synchronizing sound with N8 films (also known as “SEPMAG,” short for ” separated magnetic“). However, this tape recorder can only be used in conjunction with the Movilux 8 (and 8B) projector, since it does not have its own motor and is driven by the Movilux via a flexible shaft.

Rudolf Taesler is listed among the developers of the Moviphon (source: *Funkschau*, 1963); he is also credited as the creator of the Movikon 8 Normal-8 camera (horizontal format) and as the patent holder for several other innovations at Zeiss Ikon.

Here’s an interesting article by Jürgen Lossau on the Super8.tv website about Heinz Thiele and his “Movilogie”: The Man Who Created Projectors at Zeiss – super8.tv
The article already summarizes many aspects of the system, some of which I’ll repeat here for the sake of completeness, but above all, I’ll go into greater depth. In this article, Heinz Thiele is identified as the head of development for audio technology at Zeiss Ikon, and only Hans F. Naepfel is mentioned as a colleague.

More About the Moviphon’s Technology

Heinz Thiele (Zeiss Ikon), mentioned earlier, published an article about the Moviphon/Movilux combination in the 1958 issue of *Audio Magazin*: Article by H. Thiele, *Audio Magazin*, 1958 (Excerpt)
The article is spread across several unrelated pages in the magazine (as was common at the time), which I have extracted and summarized in the linked PDF.

There is also a schematic diagram there, which appears to be compatible only with the latest version of the Moviphon B. I have enlarged and rotated it here for better viewing.

The Moviphon was developed at a time—the mid-1950s—when transistors were just beginning to find their way into consumer electronics in German living rooms. The PNP germanium transistors from Valvo used here—the OC70 and OC76—had just been released and were incorporated into this device shortly thereafter: once in the amplifier (2x OC70, 1x OC76) and again in the frequency generator for pre-magnetization and the erase generator (2x OC76). The input stage with an OC70 isn’t very resistant to overdrive, so it’s strongly recommended to set the input signal low enough that the recording control (on the left) is set to no higher than 4; otherwise, you’ll get ugly distortion. Incidentally, Zeiss Ikon advertised the longevity of transistors compared to vacuum tubes back then.

And here’s the inside—the large flywheel is in the center. On the left is the connection to the projector’s drive shaft. At the bottom right is the small connector for the power supply, and at the top are the electronic components.

The front control can be set to the microphone icon, allowing you to make announcements. In position 1 (black), track 1 is played; in position 2, track 2; and in position 3, both tracks are played. To record, set the switch to 1 (red) or 2 (red) to record one of the tracks; however, there is no way to record both tracks simultaneously, so stereo recording is not possible (which was uncommon at the time anyway—it didn’t become common until the late 1950s).
The tape is recorded in a 2-track configuration; Zeiss Ikon was, so to speak, a pioneer in this field.

To rewind while the projector is running forward, set the Moviphon control to position R—conveniently, this can be done after the film has run through; it also works without film in the projector and without the projection lamp (the small switch at the top of the Movilux).

A quick note: On my Moviphon, the connections on jack 2 appeared to be reversed compared to the pinout of jack 1 and the schematic above. Although I was eventually able to successfully add audio from track 2 of the cassette recorder, I still need to double-check this.

Playback via the bottom DIN connector (alternatively, via connector 2, for whatever reason) using a Movivox, radio, or amplifier. The Moviphon does not have its own amplifier or even a headphone jack; it was designed to be used exclusively with an amplifier (such as the Zeiss Ikon Movivox or, for example, an existing radio receiver with the appropriate input). Starting with the last model series of the Moviphon B, which was released alongside the Movilux 8B, the Moviphon no longer even has its own power connection but is powered by the projector (which I find sensible), even though the specifics of this power supply are somewhat puzzling.

Moviphon B; 1st version, still with its own AC power connection

Moviphon B; Version 2—the diode connection
at the bottom for powering the Movilux 8B projector

All three devices (Movilux 8 & 8B, Moviphon, and Movivox) were manufactured in housings with identical form factors and, across generations, featured a uniform paint finish.

Apparently, the entire Zeiss Ikon system was designed to be modular. Most users likely purchased only the Movilux projector. Those who wanted to add sound could then purchase a Moviphon. While the Movilux did offer other options for sound film—either with synchronized start or via a sound coupler (starting with the Movilux 8B)—the Moviphon provided a simple and compact solution. Most German living rooms likely had a radio, and most of these devices had a connection for a “phono input”—which was actually intended for record players of the time but could also be used with the Movilux’s output via an adapter from Zeiss Ikon.

Only those who wanted to be completely self-sufficient—and presumably live in relative luxury—bought the Movivox, a small tube amplifier with a speaker.

So what happened next with my N8 recording studio?

Since creating this forum thread, I have purchased a total of three additional Moviphons: two units (without the “B”) in gray textured paint (to match the Movilux 8) and the latest-generation Moviphon B that I’m currently using (front right).

The device—which was initially shown on the Schmalfilmforum (see link above)—(a first-generation Moviphon B with its own AC power connection) proved beyond my ability to repair, despite extensive attempts. Both the electronics (presumably the preamplifier) and the mechanics (a rattling noise from the flywheel) presented me with insurmountable problems (device at the back right).
The two older Moviphon models (without the “B,” in gray, on the left in the picture) worked reasonably well, but with a somewhat dated sound quality that improved only slightly even after cleaning and demagnetization attempts.
Then, over time, I came across quite a few articles about the Moviphon in various trade journals and catalogs from the 1950s.

Here are some more articles and brochures about Moviphon and Movilux, for whole issues I have usually only taken out the relevant parts and uploaded them here as PDFs.
In addition, the Movilux/Moviphon system was mentioned in the magazine “Schmalfilm” in a two-part series about scoring in issue 01/2010 (from p.47) and in issue 02/2010 (from p.60).
Zeiss Ikon dealer info (1957)
Zeiss Ikon Brochure 1957
Zeiss Ikon Advertising Brochure Moviphon B 1958
Zeiss Ikon Advertising Brochure Film Editing1959
Kosmos Heft 12, 1957 (Excerpt)
World Radio History 1958, Issue 8 (Original Link, article on page 30)

Below is a link to a 1963 issue of *Funkschau* about the N8 sound systems of that time.

The year before last, I finally found another Moviphon B online and told myself, “One last try—if this doesn’t work, I’m giving up.”
And lo and behold, this device matches Thiele’s schematic in the audio article (see above), and is powered by a jack (which I haven’t been able to identify yet) on my Movilux 8B —and it works.

And what about the Movivox? Which Movivox?

Here, too, my journey wasn’t an easy one. In the ten years that I’ve been dreaming about this system, I found a Movivox on eBay only twice—and I actually bought both of them. The first one looked as if it had been handled very roughly, and the speaker had also taken a bit of a beating.

The second model, however—which had only been purchased in March 2026—looked as good as new, as if it had been sitting in a closet for the past 70 years; only two sticky knobs and a corroded main fuse needed to be repaired.

On the left is the older model in gray textured paint; on the right is the newer one in green hammered finish. However, there is no “B” here, as there was on the last Moviphon.

And here’s a look inside my last Movivox (some of the capacitors might even be new)

Everything you need to add sound

This is what my entire, current “recording studio” for “Movilogie” (as Heinz Thiele put it) looks like now:

Movilux 8B Manual
(Alternatively: Movilux 8 Manual)
Moviphon Manual
The manual for the Moviphon B is still missing , as is the one for the Movivox

I’ve now chosen an old Normal 8 film to set to music, which I shot in June 1982 at the 7th International ADAC 8-Hour Race at the Nürburgring.

Video 1, Narration – Footage from setup to “canning”

Here are a few clips from the video with sound:

Video 2, Playing the Movie with Sound Version V2

The sound quality in this recording is actually better; the video camera was initially a little too far away, but at the end there’s a “close-up.”

Overall, though, I’m pleasantly surprised by the result. Last year, I tried recording two 15-meter reels with just music on a single track.
The soundtrack for this article was created using crossfades and Track 2 for voice-over commentary (which I had pre-recorded on cartridges). The Movivox does hum just a little—you can’t expect hi-fi quality. But the playback is loud, reasonably distortion-free, and the synchronization is surprisingly good.
That wasn’t my last sound track I did with the Moviphon—now that I know how to do it right.

A wish has actually come true!

A few tips on using the Moviphon and recording audio with it

• It is essential to clean the tone heads, the capstan shaft, and the rubber roller beforehand
• Checking the lubrication of the shafts on the Movilux and Moviphon and, if necessary, adding a drop of oil here and there works wonders, as does lubricating the projector’s lubrication points according to the instructions.
• When setting up, the Movilux and Moviphon must be properly aligned so that the connecting shaft runs as straight as possible; “raising” the projector at the front to achieve a different projection angle is not advisable.
• Start markers are very important and are also described in the Moviphon manual.
• The Moviphon does not have a true tension control system, so the tape can fall out of the guide if the tension is suddenly released (as shown in one scene in Video 1). Braking the unwinding reel by hand when starting prevents this from happening
• It makes sense to create a timeline and add the soundtrack to the film on the Moviphon in one or two passes (if there are two tracks), recording each track in one continuous take (e.g., using multiple playback devices and a mixing console); interrupting and resuming the soundtrack recording is difficult.
• Pay attention to the levels; work with a low input level
• You can also pre-produce the entire recording on a separate device (analog or digital) according to a timeline and then record it onto a single track in one go from there.
• You can even record the entire tape for the Moviphon on a compatible 2-track tape machine (Revox, TEAC, Tandberg, ASC 6002 or 4002) at 9.5 cm/s using a timeline, and then simply play it back with the Moviphon

History: How the Moviphon Era Came to an End at Zeiss Ikon

The Moviphon was available in stores starting in early 1957, always in colors that matched the projectors and in a housing of the same size, as was the Movivox. The Moviphon B likely came onto the market around 1958 along with the matching Movilux 8B , with the final version presumably released shortly thereafter. Both versions of the Moviphon were likely offered simultaneously for a certain period to allow earlier projector buyers with the Movilux ( without the “B” and without a power jack for the Moviphon) to retrofit their units.
Then came the oval projectors, the Movilux 8A (i.e., after the 8B!), produced from approximately 1959 to 1962, also available in green hammered-finish paint, but with a plastic cover and fold-out arms. It is unclear whether this model might have allowed for a Moviphon connection, but it is rather unlikely.
To operate the take-up reel or for rewinding, rubber pads had to be placed on the outside.
During its production run, an audio coupler was released for synchronized operation with a standard, external tape recorder, which was mounted at the top between the arms.

Image from the 8mm Forum: a Movilux A with a Zeiss Ikon audio coupler for synchronous operation with an external tape recorder.

The audio tape was then placed on the back (from a Zeiss Ikon brochure):

As far as I know, the Movilux 8 A was already available with those garishly colorful casings.
Then, starting around 1962, the Movilux 8 R was introduced—almost identical in appearance but featuring a colorful row of push buttons on the back and expanded functions (e.g., reverse playback). The Movilux R was also available in colorful cases.
The Movilux R also came with elegantly designed, larger carrying cases that held the projector, along with the lid, cable, and cable reel.

Even in the instruction manuals for the Movikon 8B and in brochures, both sound systems are advertised, explained, and offered side by side (the Tonkoppler for the Movilux 8A/R and the Moviphon for the Movilux 8/8B).
The confusion regarding the numbering system, caused by Zeiss Ikon, is evident across all kinds of websites (Lippisches Museum, Deutsches Kameramuseum, etc.); even Jürgen’s book *Filmprojektoren* is not immune to minor errors in this regard. I do not know how long the Movilux 8B/Moviphon B system was ultimately produced in parallel.

The Movilux 8R would then have been followed by a sound film projector designed for edge-track sound (also known as “COMMAG,” short for “combined magnetic”), developed by Heinz Thiele, whom we mentioned earlier—the Moviton projector. Here’s the link again to Jürgen Lossau’s article on the Super8.tv website: The Man Who Created Projectors at Zeiss – super8.tv

It never came to that.

The Moviphon had a limited product lifespan and was certainly not produced in large quantities; there were hardly any similar, purely proprietary concepts for dual-track sound recording with Normal 8. Although technically innovative and reasonably well-developed, it had significant weaknesses as a product on the market.

For one thing, it was a special tape recorder designed exclusively for film dubbing—it had no power source of its own and could only be used with the Movilux 8(B)—so it had to be purchased separately. This was because, in the late ’50s and early ’60s, the hobby of tape recording took off in Germany as well, and many people bought such a device, for example, to record and share music. And the Moviphon always required a separate amplifier—either the Movivox or any other, such as a home radio.

Zeiss Ikon had thus become a developer and supplier of tape recorders and amplifiers thanks to this concept. Although the Moviphon ran at the then-standard 9.5 cm/s, neither was the entire system truly suited for hi-fi sound quality, nor did it have the consistent speed found in good tape machines, since it was driven by a projector that controlled it (and not the other way around).
However, the sound quality and synchronization were significantly better than what the first N8 projectors with a side track delivered at the time. The synchronization was also certainly better than what most audio couplers (connecting the projector <-> to a tape recorder) could achieve.

Heinz Thiel describes the dilemma surrounding these concepts quite well at the end of the article I linked to from US Audio Magazine (Jan. 1958):
While he praises the track tone on N8 for its synchronous start and operation, he notes that:

“However, given the current state of the art, the reproduction quality does not yet match that of a tape machine operating at 3 3/4 ips [inches per second := 9.5 cm/s]. The reasons are as follows: For 8-mm films, the film speed—when projecting at 16 frames per second—is approximately 2 3/8 ips [= 6 cm/s]. This speed is so slow and the width of the sound track is so limited that, compared to a separately running tape, certain losses in frequency response and dynamic range cannot be avoided.”

(no translation needed)

In addition, at the end of the article, he describes what he considers to be the major advantages of editing, which he says is extremely difficult in a fully dubbed film with track sound due to the 54-frame picture-sound offset.

And yet, a few years later, he developed the first Zeiss Ikon N8 Pistenton projector (see the link above to super8.tv).

The Moviphon wasn’t exactly cheap either; here’s an excerpt from the 1960 price list:

In today’s purchasing power, that comes out to about

• Movilux 8B 1,500 €
• Moviphon B 1,900 €
• Movivox 900 €

By way of comparison: a Graetz radio with a turntable connection cost 285 DM in 1960 (about 780 euros today)—less than the Movivox, but with a four-band radio.

That meant you were already paying at least DM 1,188 for the latest-generation Movilux and Moviphon
(and that’s without the Movivox amplifier, assuming that everyone had a radio in 1960 anyway)
In contrast, the audio coupler offered in the same brochure for DM 78 as an accessory to the new Movilux 8A—which was already available at the same time—was a real bargain for those who already owned a tape recorder.

Here is a fairly detailed comparison of the systems from *Funkschau* in 1963 (excerpts from the complete issues), which, incidentally, includes a very good description of audio couplers:

Funkschau 1963, Issue 1 (Excerpt)
Funkschau 1963, Issue 2 (Excerpt)

My guess is that Zeiss Ikon realized the technical dead end into which it had maneuvered itself, and initially relied on the ability to connect to virtually any (and thus of any quality and at any price) tape recorders from companies whose core business was in that field—and then ultimately on track sound, though this apparently never materialized in Normal 8 due to competitive and cost considerations (and presumably also because of the anticipated introduction of S8).

Incidentally, the Deutsches Museum apparently houses a prototype for the sound recording and projection of film with soundtracks using the Movilux 8 and the Sonomat:

Competition:

Bauer had developed the “Bauer Sound Film System,” which included no fewer than three different sound couplers in various configurations. The “Sound Coupler S” could even be used on location during film shooting. It could be electrically connected to the 88DS and 88ES models, allowing for reasonably synchronized sound recordings.
These two models are the only N8 amateur cameras I know of that have an electrical connection for synchronized sound recording with the film.

Other than that, synchronous original sound recordings were primarily made using the Bolex H8 with Perfectone and MST, which were intended more for professional use. There were also a few setups here that used the Bolex H8 coupled with portable tape recorders.

A unique feature of the synchronized screening is the Siemens 800 projector, in which a perforated audio tape runs mechanically in sync with the film, so to speak, alongside it (on the back of the projector).
There was neither a slip nor an asynchronous start here.

Most other manufacturers had only provided for reasonably synchronized playback using audio couplers, including Nizo, Bolex, Agfa, and others.

All sound-coupler systems had in common that they could only achieve limited synchronization; the projector’s speed was controlled electrically, and the tape experienced slip. However, since—with a few exceptions—amateur filmmakers using the N8 weren’t aiming for lip-synced soundtracks anyway, this was more acceptable than an expensive standalone solution like the Moviphon.

With track sound, there were tentative attempts to enable lip-synced recordings. However, Fairchild’s systems (Cinephonic and Professional Sound 900) suffered from (standard) 54-frame offset between sound and image on N8, which made the synchronous editing—which is unavoidable in original sound recordings—virtually impossible without significant additional effort (at 16 frames per second, that’s 3 seconds, after all), furthermore, it required an otherwise completely uncommon Double-8 raw film with a side track (manufactured by Ansco).

Things improved with Super 8 in the early ’70s, there were better dual-track sound options, ranging up to complete, pulse-controlled synchronization, and finally the widely used sound cassettes with edge-track sound, which had “only” a 1-second (18 frames) offset with Super 8. With Super 8, there were also numerous dual-format projectors that allowed for edge-track soundtracks on N8 as well.

The State of Collecting Today

The two projectors, the Movilux 8 and Movilux 8B, are now frequently available on relevant online marketplaces for approximately €40–100, depending on their condition and model. The projectors are relatively easy to refurbish; VanEck offers a service manual for both models as well as the single rubber belt inside the unit as a replacement part.

Moviphon devices are less common, but you do come across them from time to time. There’s hardly any price difference between the three models, so I recommend the latest model (Moviphon B with a DIN jack for external power supply via Movilux 8B). Since there’s also a nearly complete schematic available for this model (see above), you could try repairing it yourself. I haven’t seen any service manuals for any of the Moviphon models yet. Their condition is often questionable; it’s quite possible that you’ll end up buying a few models (as I did) before you finally get your hands on one that actually works. Prices range from 50 to 120 €. I haven’t yet come across the single rubber strap inside the unit as a designated replacement part, but it should be possible to replace it with a generic one.

Movivox devices are the true “ring-necked pigeons” of the trio. In the ten years that I’ve been actively on the lookout for Moviphon and Movivox units, I’ve found exactly two Movivox units for sale (six years apart) and bought both of them right away. Their condition depends heavily on how they were stored and whether they were shipped properly after purchase, since they’re equipped with tubes. The two tubes (ECL82 and EZ81) are still available for purchase, ranging in price from €16 to €70 per tube, depending on the manufacturer and quality.
As for the Movivox, I have yet to find a manual, service booklet, or even a circuit diagram.

Of course, as a user, you can get by without the Movivox; the Moviphon’s mono output can be connected to almost any amplifier.

Various cosmetic flaws are commonly found on all of these devices. The protective caps on the drive connectors of the Movilux and Moviphon are almost always missing, and the removable front control knob on the Movilux is also missing here and there. After 70 years, the small metal plates on the connectors and the rings around the Moviphon’s knobs also tend to come loose.

Unfortunately, many Moviphon models are missing the essential connecting piece (the flexible shaft). This is truly tragic (since the device can’t be operated without it), though after about 70 years, it’s not really a surprise. When I get the chance, I’ll measure the connector on my unit and post the dimensions here; maybe a 3D printing expert will be able to help with this.