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Sound Wave Handbook, No. 2; ' ‘ '-__a........ I '

THE

TALKING MACHINE

ENCYCLOPEDIA,

A Comprehensive and Descriptive Glossary

of all Terms used in connection with

the Talking Machine.

ILLUSTRATED.

LONDON:

THE PHONO TRADER PRINTING AND PUBLISHING

COMPANY, LTD., I AND 2, WHITFIELD STREET. EC.

1908.

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' r ,.' -= /l//H1V,’/4iMli'”'lAfi/fig?/[@‘&* .~w 1» ‘|'~.~|~w:-W.» ~, -

EDIS Nmen

OU can give a dance with an Edison

' Phonograph, supply music at a reception,

accompany a singer, entertain the children, break

the ice at a party, while away pleasantly a few

hours when you are alone. The Edison Phono

graph does all these things and does them

better than any other talking machine-

The only phonograph which will play the new Edison Arnlwrol Records—th¢

wonderful Records that play more than 4 minutes l Hear them at your clcalefa.

I I! Y O R rd thrs rnhalf l.ht l:'l,:nd :1l]nOym:f?l°Ol.Z7Wfl-ng a W” .D"'“° 6°”.d‘ Lrv‘. Dan?" ‘O 6 T1;

phonogmph Ask to‘ bookm-..Makmg sell l'.d-sOn Phonographs -n every town ._

Reggfds 3; Home' when: we are not now well represented.

For Complain Calnloguol. addroll: NATIONAL PHONOGRAPH CO.. LTD.’

E D I §0 N W O R K S . 259260- Vrctorra Road- Wlllaaden Junclron. London. N.W

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The Talking l\/lachine

Encyclopaedia. .

Adiwitable Bearing-—End supports of mandrel

spindle, which are capable of adjustment.

AN-lrl'\il‘li\l"‘l-—O'ne of the lightest of metals,

though not found free, is one of the most abun

dant elements in nature. it occurs as silicate

in clay, felspar, etc., but is chiefly extracted

from bauxite, an impure hydrated oxide; . cor

undum., the oxide A1202 ; and cryo.ite, the double

flouride with sodium, NaAlF6. it was originally pre

pared by displacement by sodium from its double chlo

ride with sodium, but is now almost exclusively obtained

by the electrolysis of a solution of the purified oxide in

inionlten ciryolite. The mixture is melted by the heat

given out in the process, the aluminium being set free

at an iron cathode immersed in molten aluminium, while

the oxygen also obtained oxidises the carbon anode at

which it is libera.ted. This process has greatly increased

the output, for while in 1890 the wo1-ld’s annual pro

duction was about 40 tons, in 1900 it had increased to

from 5,000 to 6,000 tons. At the former date the price

was 9s. 6d. per 1b., while in 1904 it averaged 1s. 4d.

Aiguminium is a white and S0.1'I1O\Vll3.-t soft metal, takes a

fine polish, is without odour or taste, highly malleable

at 100° to 1509 C-ent., highly sonorous, a fair'c0nductor

of electricity, has a.high specific heat and a low specific

gravity (2.7). It does not oxidise or rust in air, or com

bine with sulphur at ordinary temperature, and is

B

2 Tm: TALKING MACHINE ENCYCLOPEDIA.

soluble in hydrochloric acid and solutions of caustic

potash and soda. lts chief impurities are silicon and

iron. It cannot be elcctro-plated with any metal. The

great want in working aluminium into articles has been

a good solder and flux. It oxidises soreadily at a sol

dering temperrature, and the oxide formed is so insoluble

in ordinary fluxes, that the film of oxide prevents the

pieces of metal from coming into contact, so that a good

joint cannot be formed. For this reason, amplifying

horns made of aluminium must of necessity be seamless

and have to be spun out of a fiat sheet.on the chuck of

a lathe, hence the extreme thinness of the metal. Alum

inium. is also used for electric conductors, and has proved

valuable for the preparation of alloys, and in rendering

castings of iron, etc., sound. An application in another

direction has been the utilisation of the intense heat

given out 0n its reaction with iron oxide for welding in

situ, prepa-ration of small steel castings, etc. The com

pounds of aluminium of greatest importance are its oxide

and its sulphate. The oxide alumina A1203 occurs

native as corundum, sapphire, and emery, and is an in

tensely hard solid. As prepared artificially it is a

white solid, which when hydrated is gelatinous. Alum

inium orxide acts both as a basic oxide, giving rise to the

aluminium salts, and as an acidic oxide, forming the

somewhat indefinite 'a\1uminates. Aluminium sulphate is

the chief of the aluminium salts, and is prepared both by

itself and along with potassium or ammonium sulphate

as alum. The metal was discovered by Wohler in 1827,

and again in 1854 by St. Clair Deville, who received

great encouragement and assistance in the manufacture

of it near Paris from both Napoleon III. and the French

Academy. The first really practical electrical method

of extraction was patented by Mesrs. Cowles in 1885 in

England and the United States of America, but that

was supplanted by the Heroult Hall- method. Owing to

its lightness, toughness, and strength aluminium is ex

tensively used for boat building, for torpedo boats, for

engines, for instruments, for balloon fittings, bicycles,

cooking utensils, talking machine tone-arms and trum

pets. and in chemical works; but it does not make a

really satisfactory structural material, owing to its being

THE TALKING Maonnvs ENCYCLOPEDIA. 3

somewhat lacking in tenacity and hardness. It is also

used as a substitute for the usual stone in lithograpthy.

Large works for its manufacture have been erected be

side the Niagara Falls, the Falls of Schaffhausen, and

the Falls of Foyers in Invernesshire. The Columbia

Company are now using aluminium exclusively as amate

rial for their tone-arms, and it is claimed with some

show of justice that, owing to its sonority and peculiar

property of clarifying the sound vibrations, a consider

able irnprovernemt is effected in the reproduction. It

is not a great success as a material for trumpets, prin

cipally owing to the fact that the spinning process thins

out the metal to such a degree, engendering a thin and

nasal reproduction. (See Tone-arm, trumpet.)

Arm: 3P9ak9r-—'l'he upper portion of Edison and

Columbia cylinder machines which holds the reproducer,

and by means of the feed nut and screw carries it over

the record.

Arm: 30‘-"‘ld-—See Tone Arm.

Arm: TaP9l'9d-—See Tapered Arm.

Arm, T0719-—See Tone Arm.

A\lxet0Ph0ne--—.See Sound Magnifying.

AX“, e.g., of turntable. The central support which

also serves as a pivot for the records.

Ba|an¢9 W9i8’ht-—The fantail shaped weight of

an Edison Model C reproducer. (See notice under that

heading.)

Ball P0inted 8aPPhire--—The giobuiar tragking

point of a reproduces‘ ; nearly always fitted to the trail

ing variety. .

Ba77t9$-—A mineral consisting of sulphate of

barium, known also as heavy spar, from its high specific

gravity (4.5), which is exceptional for a mineral without

metallic lustre. It crystallises in the rhombic system, in

forms of great diversity, and is generally white, grey,

or pink, but the crystals may be transparent and colour

less. Its hardness is 31}, and it has a very good cleavage.

One of the commonest of veinstonee, it usually accom

4 THE TALKING MMJHINE ENCYCLOPEDIA.

pa-nines silica and ores of lead, Very fine specimens,

lining cavities, are obtained at Dufton in Westm0re

land. It occurs not only in crystals, but also more fre

quently in fibrous, granular, stalactitic and other forms.

It is used as a source of barium prerparation, as a paint,

and also as a base for the -composition of disc records

when finely ground, and is occasionally used as an orna

mental stone.

B9al'ing-—End support of spindle or shafting.

B9arin8‘, Adi‘-l$tab|9-—See Adjuistable Bearing.

Bearin8‘, C\lP and POirIt-_see and

Bearingq.

Bearing: 5¢¢9ntri¢-—See Eccentric Bearing.

B9arin8‘ P|at9-—-Smell plate placed under end of

shraaftingf in horizontal motors to prevent undue friction.

B9dP|at9--—~The plate of metal sustaining mandrel,

et|o., on the upper, and motor on the lower side, e.g.,

as fitted to a phonograph.

B9"-—Tl1e flange or flare of a trumpet. Sometimes

used to .designate the whole trumpet. In the latter event

the term is used to describe the spun aluminium. variety.

(See Flange or Flare.)

B9“-—-—The strip of leather or other substanoe used to

transmit the power from motor to mandrel in a phono

graph. These belts are specially. made, owing to the

fact that it is diflicult to find a leather of suflicien.t

strength and resilience to withstand the oonsiderab.le

strain imposed on it. With an ordinary maohinery belt

an occasional slip over the pulley wheels is not of great

moment, but for this to happen with a talking machine

would be fatal to the reproduction. After careful selec

tion the strips are skived at eauh end, and then perched,

a technical term for pushing up the under or flesh side

to give it a good grripping surface. The belt is then

joined with an adhesive cement and placed unader a--

weight to dry. By‘ this means a smooth joint, which

will not bump when passing the engagement area, is as-

sured. Linen fabric is also used for belts, and ii care

THE TALKING Macnmr. ENCYCLOPEDIA. 5

._,....-/

fully made forms an admirable substitute for leather,

although continuous wear renders the service side some

what smooth, the fear of stretching, always present with

leather, is conspicuous only by its absence. The belts

are formed by several layers of linen, which are then

stitched together right along the length, usually three

or four times round. The Columbia Phonograph Com

pany have largely adopted this form of belt with their

cylinder machines. (See Motor.) '

B9r|in9l', Dr-—One of the pioneer inventors of the

talking machine trade. Although the disc form of ma

chine and record occurred to Edison when making out

his original patent specification (it is there mentioned),

nothing was done in this direction till Dr. Berliner took it

up. He first introduced the two-way orneedle track on a

flat circular disc, and also a machine designed to repro

duce this form of record. From the first crude forms

to the machines of the present day is ‘a long way. The

original machine was operated by hand, and the sound

box was attarcrhed direct to the trumpet, which depended

from a peg, similar to the cheaper focrm of phonograph

at the present time. His patents were taken 0.ver and

are now being worked by the Gramophone Company.

He also invented a p|honogra|ph rerproducer which is now

obsolete. As will appear under the article. on Sound,

there are certain nodal points in circular plates, and

the object was to isolate these. The notion was a mis

taken one, as the event proved. A special form of spider

dome was used, having eight “legs,” four of which ex

tended to a considerarble distance from the tracking

point, the other four being short and attached much

nearer the centre of the diaphragm, which was composed

of varying materials. (See also Disc, Disc Machine,

Dome, Gramophone, T'wo-way C‘ut.)

5|a$t|ng-—A term used» to designate falseness,

screeching, or 11lILl3i"li6- notesin the reprroduction. The causes

of this fault acre va-rious. In this instance we will confine

our attention to the cylinder record. Blasting is occa

srioned when the sensibility of the recording diaphragin

is too extreme for sounds which overpower its capacity,

i.e., when the diaphragm is too - in in substance. The

6 THE Tnnxmo Macnmn ENCYCLOPEDIA.

effect is to force its swing further than its diameter will

permit it to go, and by the law of least resistance, the

whole recorder is by reflex action bounced off the blank

and: the sapphire disengaged from the track. When the

reproducing stylus travels over this brokern track, the

sharp edges of the wax which occupy the interstitial

spaces between the vibratory undulations, translate

themselves as “foreign ” noise, quite separate from the

particular note in which it occurs, and the more perfect

the reproducer the more will the defect appear. Blast

ing may also occur when the recording track is cut too

deeply by the cylindrically shaped recording srtylus, the

undue increase in depth resulting also in an

undue increase in width of track. Then,- certain notes

more than others, are more deeply cut still, and these

merge into the line of the preceding track. To remedy

this form of blasting it is necessary to em.ploy a smaller

ball-pointed sapphire in the reproducer, so that the dia

phragm shall be actuated from the bottom of the track,

and so clear the ragged cutting on the upper ridges of

the track. Many reproducers are now fitted

with a clamping screw ring, by means of which

the tension or grip on the diaphragm may be

accurately adjusted. When one is about to play

a. record which is known to be of- a blasty character, if

this ring be tightened the blasting is minimised, the

extra grip checking the tendency to move out of unison

with the record. The same effect is produced by weight

ing the repvoducer, which is often recommended as an

effective cheek for this fault. (See False Vibrations,

Overtones, and Tension.)

3ra¢k9t, T0n9-Arm-—See Tone-Arm Bracket.

3rak9-—Means employed- to check motion, and

either bring it to a standstill or reduce the speed. In

most phonographs the brake is only used for stopping the

motor, and is sometimes arranged to work on to the

same arm as the regulating screw. The general practice

is to place a second arm in. the motor, which works, by

means of a friction pad, on to the free end disc of the

governor. In a few instances the brake is formed by a

ratchet wheel and pawl, the raising or lowering of a lever

Tan TALKING MACHINE ENCYCLOPEDIA. 7

lifting the pawl and starting the motor, or dropping it

and bringing the motor to a dead stop. The most popu

lar form of disc machine brake is a friction pad, which

works direct on to the polished edge of the turntable.

The object in this instance is to check the motion of the

heaviest portion of the motor. Other means of braking

disc motors are by friction pad on to governor disc and

spring bind on turntable spindle.

Brid8‘9-—The bar of metal passing from the feed

screw to the front of many phonographs, and carrying the

repnoducer along the record. Examples of this are the

Edison models of machines, the Home, Standard, and

Gem.

B\l||t'UP DiaPhP‘agm-—Diaphma|guns formed of

two or more layers of mica. of various diameters, glued, or

otherwise formed into one. Generally speaking this prac

tice is only resorted to when a heavy strain is placed on a

small area in the centre, such as the Edison Model C

reproduoer diaphragm. the Higha-mop'ho'ne diaphragm,

etc., the object being to prevent inversion and preclude

the possibility of the crosshead. tearing through when

any strain is placed thereon. At the same time the re

production is mellowed considerably, and this we assume

to be due to the extra thickness which the diaphragm

affords at the centre.

B"5|'\||'|g-—Ring or cup of smooth brass or other

metal, placed round the shafting at points where it is sus

tained, the object being to provide a smooth surface,

and thus reduce the wear and tear arising from excessive

friction. Most ocf the supports are cast, and thus a

smooth bearing becomes an absolute nerceseity.

B\ltt9I“"¥--—-The portion 0.f a recorder stylus holder

which is attached to centre of dia-ph.I‘ag"m, so--called

from the fact that the shape nesem.blers butterflies’

wings.

3"tt0n 3aPP|”lir9-—A form of reproducer tracking

point, so-called as it is ground to resemble a button.

The edge of the button engages the record track. (See

Model C.)

8r- THE TALKING MACHINE ENCYCLOPEDIA.

caP9‘-"9 D0"\9--—Dome in the shape of an inverted

pill-box. This form givesl clear, sharp r*e<produotions in

conjuncti~o-n with thin diaphragrns.

DIAGRAM OF

CAPSULE DOME

(srcnou)

B

A .

Carb0n DiaPhragm-—Diaphr=agm formed of pure

carbon. Carbon was first adapted to this purpose by Mr.

Henry Seymour.

Chlfia ma!: or Kaolin, is a hydrated aluminizum sili

cate, and is a fine, almost impalp.able, powder of pure

white colour, very soft, and slightly greasy to the touch ;

specifio gravity (2.2). It absorbs moisture readily, and

when wet is p-lasti-o, so that it can be moulded in the

solid. The chief source of kaolin is decomposed granite.

After being sruspended in water, it is allowed to settle in

shallow ponds, is then dug out in rectangular lumps and

dried over hot fiues. It is used in the manufacture of

disc record composition, porcelain and pottery (along

with felspar, flint, and other substances), and in the

preparation of smooth-faced printing paper, sunh as is

largely employed for books, eto., illustrated with pro

cess engravings. Much alum is prepared from kaolin

by the action of strong sulphuric acid. Artificial ultra

marine, copying ink pencils, and many paints and col

ours also contain kaolin. Bering cheap' it also serves

largely- as an adulterant of farinaoeous foods, dusting

powders, and various other substa-nc|es. The chief sources

of china olay are Cornwall (where the industry is im~

portant), Saxony, Limoges in France, and Thuringria

in Germany. It is foumd also in China, Australia, the

East Indies, and the United States.

THE TALKING Macnmn ENCYCLOPEDIA. 9'

G|amPing $¢l'evv-—Tlhe screw which holds the

Edison Model C and Columbia. Lyric reproducers in

place.

C08‘ Wh99|-—A toothed wheel.

C0||ar--—That portion of the tone-arm bracket which

holds the trumpet union. -

C0I1I‘I90t0r--—The tube of rubber or other material

used to attach the trumpet to the neck of reproduoer.

C0110n F|0¢k-—Used in the composition of disc

record substance to bind and keep together the powdered

barytes, oalrbon, and kaolin. An analogy m.ay be cited

in the use of straw for making bricks. The flocks are

formed by the cotton fibres, which are too short for use

in the manufla.cture of fabrics, and are dessicated, being

thoroughly incorporated into the oomposition before

used in pressing.

9ra!\9- A form of trumpet support which is atrtaohed

to the cabinet of machine. The term is used to contra

distinguish this from the ordinary floor stand.

crank-—The| crooked winding handle of talking ma

ohines.

Cr0sshead-_An integral part of all tensioned-dia»

phragm- r|eproducers, e.g., Edison Model C. In s‘ ape

it resembles a small boot button with a fiat head, the

head portion being towards the horn, the loop passing

‘through the centre of the diaphragm. and holding the

link, thus connecting the diaphragm with the sapphire

holding arm-. (See also Lyric, Model C.)

CUP and 33-|| J0"‘lt-—An alternative term for ball

and socket. Frequently used to make a sound tight

union between tone-arm and trumpet. The reproduction

is generally oornsider'ed to be improved where a sound

tight joint is employed.

CUP and P0int B9arM83-—A mec.hanical device

which it is claimed enables bearings to maintain a high

speed without excessive friction. The end of the shaft

is tapered to a point which rests in a cup-shaped bearing

of slightly increased proportions. '

10 THE T.u.i':i\'o Macnmn ENCYCLOPEDIA.

O\lt Re¢0rd-_-A name given to the old type of soft

wax cylindrical records. They are so called to distin

guish them from the moulded variety, and at the present

day are obsolete. Made by a duplicating process, which

consisted of engraving by means of an ordinary recording

stylus from a master made on a larger cylinder in the

same way, it is conceivable that the results obtained

were, generally speaking, very weak. The life of a cut

record was of necessity short, unless great care was used,

owing to the fact that the material of which they were

composed was very soft. (See Record, Recording, Talk

ing Machine.) .

Cl-It, T|‘Il'99 Wa!-—See Three Way Cut.

c\lt: TWQ WaY-—Se.e Two Way Cut.

c¥|i"ld9r--—-A phonograph record, the shape of

which is cylindrioail ; hence the term. (See also Gold

Mould, and Record.)

DlaPhraSm-—(1) The film of glass, mica, or metal

which is stretched across the orifice of a sound box or

reprodrucer. Its function is to render audible the sounds

which are generated by the passage of the track con

taining impressions under the sapphire or needle. (2)

The term is sometimes used to designate the whole of

the sound box or reproducer. (1) In the phono

graph reproducer the diaphragm is usually set

horizontally; the disc sound box, on the con

trary, has a vertical diaphragm. The first essen

tial of a good diaphragm is that while it will give

clear utterance in response to agitation, it will imme

diately recover and resume its normal posture. Although

almost every conceivable substance has been tried, the

only materials which have been found to give lasting

satisfaction are glass, mica, metal, and carbon. We

must not omit a reference, however, to the various secret

compositions which have recently been utilised for dia

phragms. Of these the “ Filamentine” and “ Gra

duated Flex ” have proved most successful. The first

113.1'l'lJ8d (glass) when very thin, gives a clear ringing and

sweet reproduction, which, however, is not very power

ful, and anotlher drawback is its extreme fragility. Mica

recovers fairly well, but is not, however, so speedy as

Tm: TALKING MACHINE ENCYCLOPEDIA. 11

glass; the reproduotion is, therefore, less ringing, and

where a large diaphragrn is used is liable to be a little

mufiied or tubby. To oounteract this, building‘ up in the

centre with one or more thicknesses of varying diame

ter has been resorted to. \Vhere the agitation is con

fined to a small surface, as in the case of the Model C

and Lyric, this expedient has proved successful. Mica-

is almost invariably used for disc sound box diaphragms,

and seems to be much more effective than it is with

phonograph rerproduclers. Metal naturally needs power

ful agitation to render it effective, and its use is practi

cally confined to the disc sound box on that account.

It gives a full and round reproduction, which is exceed

ingly clear as to detail. Carbon gives by far the most

faithful and powerful reproduction, and is thus employed-

for phonograph diaphragms where weaker agitation has

to be reproduced. It is very effective in every way, the

only drawback being that it is very fragile. Further

information re mioa will be found under that heading.

The use of a diaphragm has long been recognised as a

weakness in the talking machine, but so far no repro

duction has been made effective without its aid in one

form or another, although recording has been effectively

performed in its absence. The springyness of the sub

stance composing it is relied on to give utte|rance to the

various recorded sounds; recovery must, therefore, be

instantaneous and complete. Diaphragms are fixed into

the shell of a reproducer or sound box, and maintained

in position by rubber bands, termed gaskets; assistance

toward recovery is rendered by this means, as .the vibra

tions are checked immediately they spread out to the

edge. It is a mistaken notion that volume, or even

quality as to tone, depends on the size of diaphragm.

It has been demonstrated by experience that the maxi

mum diameter which can be relied on to give a good

reuproduction without assistance is two inches and very

few are made as large as this at the- present time. Too

large a- diaphragm means a tubby, dull result, while a

diameter of one inch or less will emit tinny, shrill tones

The maximum size employed is four inches, but this

entails a frictional tensioning device to render the resul

tant reproduotion good. (See Sound- Magnifying Gra

12 THE TALKING MACmnn ENCYCLOPEDIA.

phophone.) The forms which diaphragms take are

many and various, e.g., built~up, double, ray-ribbed,

corrugated with con-oentric rings, etc., in endless variety.

The double diaphragm was introduced by Henry Sey

mour a few years ago, and consisted of a two-inch glass

film with another (diameter 1} inch) mounted on it in

the centre by an air-tight cork or rubber ring. By this

means an air cham.ber was formed which minimised to a

cornsiderable extent the tendency to blasting on high

notes, a common fault with records at the time of its in

troduction. The built-up diaphragm consists of two or

more layers of mica, as appears under that heading.

Ray-ribbed may be quoted as self-explanatory, while the

corrugated concentric ringed diaphragm was of glass and

formed by smearing the parts which were to form- the

crests with grease, and then dipping in a solution of

hydrofluoric acid. (See also Lyric, Model C, Reproducer.)

DiaP|‘lraS"'l, Bl-ll" UP-—See Built Up Diaphragm.-

DiaPhragm: $arb0l'l-—See Carbon Diaphragm.

Dir$Ot Dl'iV9- Term applied to the system of motor

where the turntable is driven by direct meshing to the

motive power, i.e., the spring box.

Di$¢- The word is used to designate the flat circu

lar plate form of record. Although the disc. is men

tioned in Edison’s om‘iginal patent, specification 1,644 of

1878. nothing appears to- have been done with it until

Dr. Berliner took it up. The disc form is open to con

.siderable objection, in that the circumference gradually

beccmes smaller as the record proceeds, which renders

-the latter portion of the reproduction somewhart less

brilliant than the commencement. It is, however, con

venient for storage purposes, and is considerably less

fragile than the clylindrical type. Another point in

its favour is that the size need not be limited to any

particular standard, which naturally enables the user to

get a much fuller record 0.f any paarticular subject. The

largest size at present made is 14 inches in diameter, the

smallest being seven inohes. Disc records are made by

a stamping process, the matrix being in the form of a

die, and hydraulic presses being used for the purpose.

THE TALKING MACHINE ENCYCLOPEDIA. 13

Many of the records are what is termed double-sided,

and In making these the two records are pressed simul

taneously.. lnis further econoinises space, but it is

open to objection in that the subject-matter of both

sides may not appeal to the prospective purohaser. '1'he

composition of which disc records are made varies accord

ing to the manufacturers’ different formulae. The usual

constituent parts are china clay or kaolin, powdered

barytes, cotton flock, shellac, and ordinary carbon black.

As will appear under the various headings, the china

clay, carbon, and barytes are ground to a very fine

powder and rendered homogeneous by admixture with

water, cotton flock is then added, and' also, under heat,

shellac, the last two binding and fixing the substance

ready for pressing. Owing to the fact that the composi

tion is more expensive than the wax-soap of which c|ylin

der records are composed, discs command a much higher

price; further a greater quanti|ty of material is neces

sary. From one cause or another many, if not most, of

the great vocalists have only been recorded by disc manu

facturers, hence their voices are mainly confined to this

form of record. To mention but a few: Mesdames

Melba and Pa.tti ; Battistini, Zenatello, and John

Harrison; and among instrumentalists: Kubelik (vio

lin), Squire (’cello), Mischa Elman (violin), and Marie

Hall (violin), have made disc records only. The collector-

of discs has thus a much wider range of world-famed

artistes to select from, and it can be truly said that the

only deterrent influence is the extremely high prices»

which selections by the virtuosi command. (See Ber

liner, Phone Disc, and .'Rec'0r-d.')

9i$0, Fl'|¢t|0n-—See Friction Disc.

Di$¢ Ma0hin9-—Tha»t form of talking machine

which uses the disc record. The tendency at the present

time (1908) is for this class of instrument to outstrip

the phonograph in the race for popularity. This is due

to a variety of causes, principal of which, it may be said,

is that a much better repertoire (so far as artistes who

make the records are concerned) is at the command

of the user. There are two systems of recording and re

production: (1) The two-way cut, which is reproduced

14 Tm: TALKING Macnrm‘. Encvctora'zma.

with a sharp pointed needle. (2) The three-way or

phonograph cut, the reproducing medium being a sap

phire. (1) The disc machine was introduced by Dr. Ber

liner to reproduce disc records. So great was the fric

tional noise or scratch of these early types of machines

EARLY TYPE DISC MLAOHINE.

that they made very little progress in public favour, and

it was not until the introduction of the tone arm prin

ciple that they commenced to attain the popularity they

now undoubtedly enjoy. The original method was to

.attach the sound box direct to the trumpet, the latter

depending from a supporting arm, which was fitted with

a swivel to allow the sound box to travel across the

record. One of the principal points of divergence of the

disc machine, as compared with the phonograph, is that

the onus of moving the sound box across the record is

thrown upon the track of the disc itself, whereas the

phonograph is generally fitted with a feed-screw for the

purpose. It is an undoubted fact that the introduction

of the sound arm has vastly improved the tonal quality

.of the reproduction. (2) The three-way cut, analogous to

the phonograph cut, on the disc type of record was first

THE TALKING MACHINE .lflNCYCLO1‘.EDI.\. 15

produced, it is said, by Henry Seymour at the beginning

of 1904, and was pressed in the usual black com-position,

.as well as other varieties of material. Negotiations for

putting this type of record on the inarket were carried

on, but eventually failed, and a few months after Dr.

Michaelis introduced the “ Neophone ” record, which

was on the same principle, but the records were pressed

in cardboard, thickly enamelled. The innovation was

not much of a success at finst, but Messrs. Pathé Freres

have adopted the system and have succeeded in creating

a. strong demand for machines and records of this kind.

Other manufacturers are contemplating the production

of this class of record. It is claimed that the phono

graph disc machine gives a much fuller and more realistic

reproduction than the needle variety, and also that the

scratch is considerably minimised. It is easier to oper

ate, in that the rerplroducing medium is an unwearable

.sap'p1hire, whereas a steel needle will 0nly play one record

and has then to be renewed. (See also Disc, Phono

Disc, Berliner, and Motor.)

D0rI‘l9- Name applied to the small brass, nickel, or

.other metal dome-shaped fitting, which forms a union

between the sapp-hire and diaphragm in the phonog*rap-h

rerp-roducer. The object of its introduction was to en

'able a large area. of the dilaphragrn to be set in violent

vibration. The size to give the best result is proper

tionately varied with the size of the diaphragm to which

it is attached. Generally speaking, the proportion is as

one is to six, but there is so far no fixed law governing

the rule. Much depends on the general form which the

sound collecting chamber takes. (See Reproducer,

'Grap.h.o|phone.)

D0"‘|9: 9a~P$\l|9-—See Capsule Dome.

D0M9, 3Pid9r-—See Spider Dome.

DU¢t: °"- See Oil Duct.

E¢¢9nt|'|¢ Bea,rIn8'-._.In ma.ny p.hQnQ-g[a.,Ph var.

-tical motors this form of bearing finds a- place. It is

.a mecrhalnieal device to enable the axis of the bearing to

'be adjusted. It usually consists of a. short length of

16 THE TALKING Macmns ENCYCLOPEDIA.

toughened steel with the bearing cup drilled a little to

one side of the centre. by I‘0't|<'i.El-Ug the axis is therefore

alterable at will. in practice it is often found necessary

to have an adjustable axis for shafting, no matter ho.w

carefully» the various constituent parts of a motor are

made, otherwise in setting up the pinions would fre

quently be found to come too close, or, inversely, too far

awa ,' in the former event the cog-meshings grinding-

would set up harmful friction, in the latter excessive

rattling would be engendered when the meter was set in

motion. The device is merely a makeshift for had work

in many instances, but it is advantageous if both ends

of the spindle are supplied with it, otherwise an imper

fect alignment will occur, and unnecessary friction be

increased. Many machines are supplied with an eccen

tric bearing on one side of the spindle only, but these

are to be classed as mere toys.

Edisiimu Th0ma$ /-“Va, American inventor, was

born at Milan, Ohio-, in 1847. He began life as a news

boy on the railway, and in his spare time learnt practi

cal telegiraphy. He soon applied himself to the improve

ment of the system in vogue in his country, and intro

duced the duplex, triplenx, and multiplex methods, which

he perfected after he became superintendent of the New

York Gold and Stock Telegraph Company. His greatest

inventions have nearly all been conceived and .developed

since he started his own works at Menlo Park,

West Orange, New Jersey, such as the megaphone, the

kinetoscope, and the phonograph. The last-named, with

which we are solely concerned at present, was developed

in 1877. It was said that the idea occurred to the in

ventor that it should be possible to intercept sou.nd-

vibrations by the adoption of suitable media, and he

called his chief mechanic-, one Kreusi, to him and handed

THE TALKING Mncnmn ENCYCLOPEDIA. 17

machine paatents, principal of which are the Perfected

Phonograph (1888), and Gold Moulding System of

Duplicating Records (1900).

Edis0n 39ll C0rP0rati0n was farmed in the year

1892, to take over a business in Northumberland

Avenue, W.C., representing Thomas Alva Edison and

his perfected phonograph. At this time there were

rival claimants for the invention—Mr-. Edison and

Messrs. Tainter and Bell, the latter claiming to have

invented the cutting process in wa.x—and these rivals,

or the parties interested in them, were engaged in law

suits in America to settle their respective claims. The

Edison Bell Company became the pu'rchasezs of the in

ventions of both the rival parties, the price paid for

these patents being £40,000. At that tim9 a. great deal

of attention was directed to the machine for commercial-

uses — dictating letters, and for authors’ purposes.

The late Guy Boothby, the novelist, was an enthusiastic

user of the machine, even to the extent of having a

phonograph standing by the side of his bed, which he

could easily set in motion, and into which he could dio

tate such. thoughts as might incidentally occur to him.

Machines for amusement purposes were then hired to

exhibitors, and the country was very soon flooded with

the well-remembered penn.y-per-selection type, which be

came so popular in seaside towns and other public plea

sure haunts. As the phonog'raph gained in favour the

company began to sell the machines to dealers, and in

troduced the Edison Gem., Standard, Home, and other

phonognaphs to the British- public. They also corn

menced the manufacture of records in this country for

public sale. The development of the business necessi

tated thie iemolval of the company to more commodious

premises at 39, Charing Cross Road. The present cor

poration includes the Edisonia Company, which was

formed by Mr. J. E. Hough‘ in 1895 as a separate con

cern. After a period of successful trading, litigation

arose between the two concerns, which was eventually

ended- by afliliation.

VINO V|bI'8t|6I‘l8-—So known from the fact that

they cause falsity in the reproduction. They are largely

c

18; THE TALKING Macnms Encvctopmnra.

responsible for the fault known as blasting, and may

also cause screeching. They are set up on a disc machine

as follows: The sounds are picked up by the needle and

transferred to the diaphragm, which renders them into

atmospheric pulsations, otherwise audible sound. lt

will be seen that the stylus bar, needing support and ten

.sion, is attached to the lower part or the shell of the

sound box. When it is agitated, therefore, a portion of

the sound vibration passes. into the shell, and (unless an

india-rubber pad or other non-conductor interposes) from

thence also through the metal, of which the tone arm

and trumpet are composed. Having reached the ventianl

portion of the last-named they are there rendered audi

ble. Now, were the relative rates of conductivity of air

and metals the same this would not matter; but they are

not. Metals convey sound from 6 to 14 times faster,

according to their nature, and it is conceivable that

where two dissonant sounds in the reproduction follow

one another with sufficient rapidity, the' may both be

rendered audible sim;ultaneous'ly, the first in the ordinary

way, the second by the horn itself, which would give the

effect of falsity. With phonograp-hs, falsity often arises

from slaokness of diaphragm tension and imperfect set

ting of parts, or may be an inherent fault in the record,

caused by over-vibration of the recording diaphragm

when the record was being made.

F996 N\lt--—The nut which is fixed to one end of the

speaker arm contact, and which, with the feed screw, car

ries the reproducer along thelength of a cylindrical record,

In shape it is oblong on one side, the other being 'a con

cavity traversed by threads corresponding -with the

thread on the screw. It is usually made of soft iron or

brass, as although the strain on it is considerable the

threads are thus continually recut by the contact above

mentioned. In some of the later types of machines the

feed nut has been discarded in favour of one or more

discs, airranged to bite into the threads on the feed screw.

F595 3¢r9VV-—A'finely cut screw, with about 40

’turns to the inch, made of specially hardened steel, and

of .§uflicient extension to enable it to'carry the feed nut

the ..1-ength of the record. This function is per

THE TALKING MACHINE ENCYCLOPEDIA. 19

formed by its being continually rotated at a uniform rate

of speed while reproduction is in progress. The same

means is employed to engrave the track on cylinders

.of a. blank record. As, however, the thread 0.n the latter

is about 100 turns to the inch, gearing is introduced to

accelerate the motion of the mandrel to the propor

tionate excess over- the feed screw.

F9"‘ll|9-—The short length of brass tube at the

small end of at phonograp.l1 amplifying horn, introduced

to provide a convenient means of attaching it to the

neck of the reproducer.

FiX9d R9Pr0d\l¢9r-—T'hose reproduceors which are

fixed as a whole in the speaker arm, e.g., the Edison

Model C and Columbia Lyric reproducers. From the

fact that all. record makers do not use the same standard

number of turns to the inch, and also that it is next to

impossible to obtain a inoulded record which has a per

fectly even surface, motion from side to side and also up

and down has to be allowed for. Further information

on this point may be found under Model C, Lyric, Re

producer. '

F|arlg9 0r F|ar9-—Also known as Bell. That

portion of the trumpet which widens out abruptly from

the large end of the stem, the object being to vent the

sound on a larger area than would be possible without

its use. It further serves to give the reproduction direc

tion and helps to body it up, i.e., render it fuller.

Fl'|0‘U0n Di$¢-—The disc at the end of the governor

on which the friction pad acts. (See remarks under that

head, also Governor.)

Fr|¢ti0rl Pad-—So termed from the fact that it en

gages the friction disc of the governor when motor is in

motion. The necessity of this device is occasioned by

the fact that the spring of a clockwork motor is much too

powerful to be -allowed to run unchecked. It is usually

formed by a pad of hardened felt, steeped in 0il and

held by a conveniently shaped- metal arm. (Seealso

Governor, Motor.) '

20 THE TALKING MACHINE ENCYCLOPEDIA.

GaOkflf-—The ring of rubber or other material, such

as eompresed pezper, or even metal, which encircles the

shells of sound boxes and reproducers, to form a non

sound conducting and effective grip for the diaphragm.

The theory of its employment is that the diaphragm- in

reproducing sounds is thrown into exceedingly violent

vibration, which would render its recovery to normal

posture without assistance doubtful, especially after re

producing notes of extreme compass in either direction.

It therefore becomes imperative to check the tendency

to over-vibration, hence the gasket. Another useful

purpose accomplished by the gasket is that it provides a

level surface to lacy the diaphragm on. It is often found

that either the diaphragm itself or the ridge on which it

would rest are uneven, and obviously the tendency would

be for a strong rattle to arise during loud reproduction

in lihralt event.

Gl$|(9t: 3Plit-—See Split Gasket.

G0ar-—1\/Iechanical means which are employed to

conserve power or accelerate speed. In a clockwork

motor it will be seen that the spring which provides the

actuating force only revolves at the rate of about two

revolutions per minute, sometimes even less. Now, it

is necessary for the mandrel, in the case of the phono

graph, and turntable in the case of the disc machine, to

make 160 and from 72 to 100 revolutions, respectively,

in the same period, hence it becomes necessary to put

in something whieh will perform. the function of accel~

erating the motion. Cog wheels of various sizes are,

therefore, employed, and these are termed gears. The

scheme of gearing depends on (1) the strength of the

spring, (2) its tenuity, (3) length of timeit is desired to

make the motor run without re-winding, (4) speed at

which the object of the force being employed is to re

volve. Take the phonograph motor, for example.

The average duration of a record is 2 mins. 15 seconds,

and as it is not desirable to re-wind after each record

allowainrce is made for 2, 4, 6, 8, or even up to 14 repro

ductions at one winding. The arrangement for two in

somewhat as follows: First, a. toothed wheel, firmly

attached either to the spring barrel or to the spring

THE TALKING Macnnu: ENCYCLOPEDIA. 21

spindle; supposing this to have a diameter of 2% inches

and 3% teeth to the inclh (circum-fere\ntial), say, 27

teeth in all, it is arranged to work on to a spindle which

has only seven similar teeth in its whole circumference;

it will be obvious that the latter must revolve nearly

four times as fast as the former, which, supposing the

speed of the spring to be two revolutions per minute,

gives us now nearly eight; at the other end of the spin

dle mentioned we shall again find a wheel of two inches

or more diameter, with more teeth to the inch this time,

as the stress of the force is not so great, and it will also

be found that this works on to a small spindle, giving us

fully quadruple our previous speed, about 31, and from

that to yet anoth'er, and so on, till the mandrel pulley

is reached and the necessary speed attained. A further

reason for extensive gearing may be cited in the fact that

it ensures smooth running, although at the same

time considerably greater wear and tear on the first men

tioned wheels is entailed by each supplementary gear

that is put in ; hence they should be limited. The usual

number is four in a phonograph motor, which in prac

tice has been found to be as much as can be conveniently

used in view of the above mentioned limitation. In

disc motors the usual number is three, but they are of

considerably greater dimensions. This is necessitated by

the fact that a disc- record runs much slower- than the

cylindrical, and continues for a much longer ti.me, which

enables one gear to be dropped, and the spring to re

volve at a slower speed, the last mentioned resulting in

the desired conservation of power which the greater time

occupied in reproduction entails. Here we have a

spring box which is perhaps four inches in diameter, the

first gear forming the base of the box. The teeth may

be three or less to the circum-ferential inch, and it

meshes on to a small spindle, and usually from thence

to the turntable spindle direct, the third gear being

occupied in revolving the governor spindle. Two gears

only are .active in acceleration, the other being passive.

(See also Motor, Gear Primary and Intermediate.)

G9a7‘: |nt9rm9diat9-—Where three active accel

erating gears exist, the intermediate gear would be the

22 THE TALKING Macnmn ENCYCLOPEDIA.

second meshing. The term is also applied to the

second and third, where there are four, and so on. (See

Gear.)

6987‘: Pr“1"\a|'¥-—The first gear. That is to say,

the cog meehing which drives the whole of the motor.

The wheels are usually of steel or iron, as it is on this

gear that the whole strain is thrown in starting the

motor. It is as well, then, to let the machine attain

full speed before lowering the reproducer or sound box

to the cylinder or disc, as the case may be, otherwise

additional wear and tear is occasioned. (See Gear.)

90“! |V|0ll|d9d-—The term refers to a process by

means of which cylindrical records are manufactured at

the present day, the original patent for which is held

by the National Phonograph Company, and is dated No.

13,693, 1900. It will serve to render the description-

much more lucid to give the illustration which accom

panied the original patent specification. Thus:

4/..“U-1

\\\\m§x\wx\\\\\\1\'

:<\\\\\\\\\\\s|s ‘.......__'.~=

A record 12 is made in the ordinary way (adescriptio.n

of the process will be found under Recording) and is

then suspended from the short mandrel 11, which is

arranged to spin round 0.n the pivot 10. Suspended on

THE TALKING MACHINE ENCYCLOPEDIA. 23

either side of the record are two sheets -of gold foil 9,

and these in turn are eonneoted to a supply of high

tension electricity by means of the conducting wires 7.

.Over this portion of the apparatus is placed a glass hell

2, which drops into a conveniently shaped slot, and the

air inside is then exhausted by means of the tube 3,

the cook 4 being closed as soon as a vacuum is attained.

The record is then revolved by r~o.tating the magnet 14

outside the bell, which attracts the armature 13,

attached to the mandrel and so causes the latter to

move in unison with it. The eurrent is then switched

on and a discharge, similar -to that in an ordinary

vacuum. tube, passed between the gold strips. The dis

oharge carries with it the vaporised partioles of gold

and deapoits them on the record, the object of revolving

being to ensure that the deposit be evenly distributed.

When a perfect film is obtained the record is removed

from. the mandrel and measures taken to stiffen it by

backing with other metal, such as a deposit of copper,

which is effected in exactly the same way as electro

plating. Finally, the record itself is shrunk out and a

perfect mould results. It is claimed that by this pro

cess a much smoother surface is obtained than is possible

when the mould is formed by precipitating a metallic

film on to the record by means of solutions, such as

milk, sugar, bronze and silver, or phosph.orus and silver

nitrate, and when it is said that the record has to be pre

viously dusted with powdered graphite, it will be seen

there is much in the assertion. Such, then, is the gold

moulding process. For descriptions of other means em

ployed to- make moulds and matrices see notices under

those headings.

G0V9l'l"l0l'-—Tha|t "part of the motor which controls

the speed and, to a' greater or less extent. checks the

tendency of the spring to run unevenlv. The governor

of a, talking machine consists of two discs. to which are

attached two, three, or four lateral spring blades.. accord

ing to the strength of the motive power, or the eY’r:\nt

' to which it is desired to assist theinertin. in Po.ntrolling‘

the action of the force. To the centre of each of these

blades is attached a weight, and it is from these last

2-i Tm: TALKING MACHINE ENCYCLOPEDIA.

that the control is obtained. The scheme is as follows:

One or other of the discs is firmly attached to a spindle,

while the remaining one works free; the springs, with

weights attached, as before explained, being fitted along

the length of the spindle, care being taken that the

weights agree exactly and that the springs are of the same

tensile strength. At the end of the spindle is a cog

wheel, which meshes on to the scheme of gearing, and is

so arranged that the governor will be revolved at a high

rate of speed, means being provided to regulate the

maximum, and thus the speed of the motor as a whole.

On the machine being started, the weights expand the

springs, and thus draw up the free disc as far as the

regulator will allow it to go ; it is from the expanding

action that the governing is obtained. It is a moot

point as to whether the weights usually fitted are heavy

enough, and without scientific- formulae, based on the

actual inertia to be moved, plus the resistance offered .

by the stylus to the record track, which would have to

be worked out for each particular machine, it is im

possible to say. Again, the strength of the spring is a

variable quantity. This much is certain, however—con

trol would be much more effective were the weights

heavier, inasmuch as the expanded weights act as a

flywheel, and this in turn being controlled by a firm

friction pad, working on a perfectly level friction disc,

even running would be assured. The foregoing belongs

more to the realm 0.f criticism than description, but it

may help one to comprehend the arction of the governor,

which is the object in view. The phono'grarph

has a vertical motor, and the governor is, as a rule..,

set horizontally. The friction pad is arranged to work

on to the free disc by means of a hinged arm, the posi

tion of which is controlled by a screw, termed the regula

ting ‘screw, and to ensure its m-a.inta.ining itself steadily

a spiral spring is attached; thus the farther the arm is

depressed by the screw the greater becomes the tension

of the spring. The starting and stopping lever is

freq uerntly arranged to act on the same arm, but in some

motors a separate arm is put in, which also works on to

the friction disc direct. The disc motor is generally hori

zontal, and the governor is therefore set vertically. The

Tm-2 TALKING MACHINE Excvcrorzsnm. 25

control is worked in the same manner as in the

case of the phonograph motor already cited, but the

friction disc knows not the brake arm, this being usually

arranged to work on to the edge of the turntable. Gen

erally speaking, this system is used solely in connection

with the disc talking machine, as the turntable serves

the purpose of governor or fly-wheel. In this event the

governor, so-called, falls into the secondary position of

checking the speed. It must be remarked that this sys

tem is not very satismfactory.

G0VBITI0r 5a||$-—Th'e weights attached to the

lateral springs of the governor to expand them and

.compensateuor control the tendency of the spring to pay

.out evenly. Much doubt exists as to whether they are

sufliciently heavy to effectually perform their task. (See

Governor.)

G0Vern0r Blades 0r 3Prings-_-The two, three,

or four highly-tempered steel strips which bear the

governor weights and form an adjustable union between

the two discs of the governor pinion. It is of the utmost

importance that each one of the set be of exactly the

same tensile strength, otherwise the steadiness and

uniformity of motion, which it is the primary object of

the governor to impart to the motor, will be prejudiced

to a- greater or less degree, according to the extent of

the fault. It will be obvious that it is easier to con

struct an effective governor with only two blades than

wherethree or four are employed, the chances of finding

blades which are of the same strength diminishing with

each extra one put in. (See Governor.)

G009B N9¢|<- The short U-shaped length of

tubing which connects the neck of the sound box to the

tapered arm of a Gramophone. The object of its em~

"ploy'ment is to provide (1) A convenient means of raising

the sound box from, and lowering it to, the record, and

(2) To allow the vertical play to the -sound box which

practical experience has found to be necessary. That it

is certainlv a most convenient and, at the same time,

a most nleasing method of effecting these ends must

be readily admitted. The tapered portion of the arm

26 Tar. TALKING Mncnmi: Eucvctormnm.

is fitted with a swivel which allows it to move across

the record, but for reasons which will be found under

the heading “ Tapered Arm,” no up and down motion is

allowed for. Hence the goose neck has a swivel con

nection with the main portion. The device has been

found to purify and sweeten the reproduction to a very

considerable extent. (See also Tapered Arm and

Gramophone.)

Gra"'|0Ph0r|9: lit. “sound letter,.” a term used-

to designate the machines made by the Gramophone Com

pany only, by whom it is copy~righ-ted. The word is

often used as a generic term- to cover all disc machines;

but wrongly, as has been repeatedly pointed out in the

press. It was originally spelt Grammaphon, and the

early disc machines of Dr. Berliner bore this as a dis

tinguishing mark. The history of the disc machine, in

EARLY TYPE OF GRAMOPHONE.

England at least, is wrapped up in the development of

the Gramophone, the enterprising and sruocessful direc

torate being responsible for most of the principal im

provements which have been effected with this class of

machine. Founded in 1900, to take over and work the

patents of Dr. Berliner, they hold to-day a commanding

position in the trade. The name at the present

Tar. TALKING l\£lACHlNE ENCYCLOPEDIA. 27

time is taken as a guarantee of sterling worth,

and as such it is undoubtedly held asmuch by the

public as the trader. As will appear under the heading

Disc Machines, the Gramophone was originally worked

by hand, the trumpet working from a. pivot, and the

sound box being attached direct to the horn,- as per

illuetration. The first improvement of any moment was

the substitution of a governed clockwork motor for

hand power, and although much objection was raised to

it on account of the terrible scratching (and it was

then terrible), which was app.arently. a necessary accom

panying evil to the reproduction, it gradually began to

forge ahead. The records were continually improved,

each month’s list marking an advance, so far as tonal

quality was concerned, on its predecessor, and the

scratching was gradually decreased in intensity by the

introduction of smoother material and finer work in the

discs. Exclusive artistes of the very highest standing,

whose names are household words, were one after

another a-pproached to make records, and in view of the

strides that the company were making in naturalness of

reproduction many of them consented. The turning

point may be given as the introduction of the tone arm

system of sound reproduction, which practically marked

a new era for the Gramophone. Reducing scratch and

immensely improving and mellowing the tone, as this

invention undoubtedly does, it removed the only thing

which barred the way to complete success. Since then

it may be said to have gone from triumph to triumph.

Madame Melba, the brilliant Australian cantatrice.

was soon after secured ; Madame Partti, Sig. Caruso, and

all the leading lights of the operatic and concert world

followed, until the catalogue became a perfect galaxy

of the very highest talent. By the introduction of the

Auxetophone, the invention of the Hon. Chas. Parsons,

it became possible to use the Gramophone for the enter

tainment of large audiences. Recitals at the Albert

Hall and elsewhere followed with very gratifying results

to both company and audience. The -up-to-date Gramo

phone models are so well known and so widely dissemi

nated., that our readers will be able to compare them,

the lineal descendants, with the above illustration, which

28 THE Tannmc Macnmn Eucvcnoraanm.

will do more than many words to convince them of the

great improvements which have been wrought in a few

years. (See also Berliner, Disc, Disc Machine, Two

way Cut, Tone Arm, Goose Neck.)

GraPhit9, Plumba.go, or Black Lead.—An allo

tropic form of carbon, found in mica schist, gneiss,

granite, meteoric iron, argillite, etc., in beds, sheets,

detached masses, and crystals in Siberia, Ceylon (the

chief source of black lead in commerce and the arts),

New Brunswick, Canada, New Zealand, and Germany.

At Borrowdiale, Cumberland, fresh discoveries were

made in 1875. It is a stove and grate polish, and a

lwbricant for machinery, but graphite is most used in

the manufacture of pencils and crucibles. It is also

used as an inner covering of electrotype moulds and for

conductors of electricity. It can be obtained .artificially

by crystallising any form of carbon from its solution in

molten iron, and is prepared commercially by heating

coke in the electric furnace. Graphite is a soft, dark

gre , opaquer solid, of a greasy metallic lustre- It

crystallises in hexagonal plates, and is volatile only at

the temperature of the electric arc. It is a fair conductor

of heat and electricity, and- though it can be burnt to

carbon dioxide, is less combustible than diamond. On

oxidation with nitric acid and potassium. chlorate it

yields graphitic acid. It is used as a lu'bric.ant for the

springs of talking machines, and, in its dry powdered

state, to form a conductor by means of which a film of

gold or copper can be precipitated- on to a master

record, to enable a mould to be made.

Granh0Ph0ne, lit. “written sound."_(1) The

word is used to designate the machines, both disc and

cylinder‘, of the Columbia Phonograprh Company. (2)

A generic term covering machines of the trailing or

floating reproducer variety. (1) The Columbia Phono

graph Co. can claim with justice to be one of the largest

manufacturers of talking machines and records in the

world. Their principal factory is at Bridgeport, Conn.,

United States of America, but they have recently erected

an English factory at Bendon Valley, VVands|worth,

London, where the manufacture of records for

THE TALKING Macnms ENCYCLOPEDIA. 29

the British market is carried on. The firm was one

of the pioneers of the trade in this country, the associa

tion dating back several years. The first products they

placed on the market were cylinder machines and cut

(or engraved by direct process) records. These were

followed by the “ XP ” gold moulded records, as they

were termed, and although some doubt exists as to who

first introduced the moulding system of duplicating

records, the Columbia Company were amongst the

earliest to put them on sale Disc records and machines

were now being offered, and with the introduction of

the tone arm. system for these machines, the Columbia

people evolved the cast aluminium tone arm and sup

port, wl110l1 is so popular a feature at the present time,

and these two features have much to do with the

deservedly high reprutation which the firm holds.

(2) The originators of the graphophone system of

reproduction were undoubtedly Messrs. Bell and

Tainter, the former of telephone fame, who was

asociated, we believe, with Edison in experi

ments connected with this latter instrument. It incul

cates a system of a floating, free moving reproducer, as

opposed to the fixed reproduoer of the Edison type-

The first instrument very much resembled a treadle

sewing machine, inasmuch as the motive power was a

treadle. It was introduced to reproduce the wax record,

which also owes its inception to these two gentlemen.

The adoption of wax as a material for records was the

turning point of the phonograph, as we know it at the

present day. We point out elsewhere that the original

record was of tinfoil, and the talker was practically

ded as a useless, if ingenious, novelty by Edison,

until the result of Messrs. Bell and Taintefsempetrimente

became known,.whic¢h provided the necessary fillip.

The reproducer is fixed to a pin and swivel joint, which

allows up and down motion, while side to side play is

arranged for by placing a swivel in the reproducer neck.

The original Columbia cylinder machines were orf this

type, as also were all Messrs. Pathé Freres’ phonographs.

It is a moot point as to which is the better of the two

(fixed or floating) systems of reproducing, the one having"

as many staunch adherents as the other.

.30 THE TALKING l\1Acn11~w ENCYCLOPEDIA

GraPh0Ph0n9 Repr0d\l¢er. --The- mailing,

floating from a horizontal tube form. of reproducer was

introduced by Messrs. Bell and Tainter for their original

grap-hoprhone, and was opposed to the fixed or Edison

type. It is not too much to say that it was this method

of attaching the reprodwcerr which formed the base of

their system of reproduction. We illustrate in section

an u-p~to-date model of Messrs. Pathé Freres, the Inter

mediate. There are, however, many other eminent

‘TO HORN @- 4

/\ .'

c/9//f=-_fg§\§ <.'

Jnakers. The diagram. is almost self-explanatory, A

being the sound collecting crhamber, B the diaphragm,

C split rubher tubular- gaskets, D sapphire holding

.dome, E blall pointed saprphire. The scheme of the

reproducer is very simple. The sapphire and dome are

not in themselves essential, they merely form a con

venient means of enabling the diaphragm to come into

contact with the vibrations in the track. It will be

seen that the sound collecting chamber is so shaped and

positioned that it comes over the point of maximum

agitation, and gently curves away towards the neck of

the repreducer. The mode of attaching and working

.the gra-pl10phone type of reproduce!‘ is usually as follows.

Along the length of one side of the mandrel a feed

screw is fixed, geared to correspond with the thread 0n

.the record; to this is attached a carrying device, which

usually consists of a lever, the raising or lowering of

.which disengages the .crfi|I'Tl3.gfir from; the screw, and a

-carrier of convenient height. At the top of this last is

.the reproducer holder, which -is pivoted on a simple pin

swivel to allow up and.down motion, the under side

being maintained .by an adjustable screw. In the neck

of most repnod"u-ce.rs of this type another simple swivel

.is fitted, thus allowin'g side to side play. Messrs. Pathé

Tnr. TALKING Macumn Eucvcnomanm. 31

Freres introduced another system, termed the Perfecta,

which consisted of attaching the reproducer direct to

horn and carrying the whole hamper over the record.

It has since become obsolete, however. (See Reprodueer,

Reproduction, Diaphragm, Dome, Gasket, Sapphire,

Graplhophone.)

Gr00VB-—An alternative term for the track or chan

nel containing the impressions of recorded sounds on

records. (See Track.)

"'8'"?-m0Ph0n9-—See Sound Magnifying.

|'|ing9 Pln-—A constituent part of the Edison Model

C rerproduoer. The hinge pin is the screw threaded,

tapered pin, which sustains the balance weight. The

weight is so drilled that the pin fits it tightly., while it

works loosely in the support on the edge of the shell,

thus permitting side to side play within the sphere

limited by the bank loop. (See Model C.)

|'|0ril0l‘l'lla| M0t0!‘-—-A clockwork motor, of which

the spring, governor, and gearing scheme are fixed hori

zontally. This form of motor is almost universally used

for disc machines, principally because the inertia or turn

table is horizontal to take the fiat disc record. The only

adverse criticism which can be raised against this system

is that a great frictional wear and tear is naturally

thrown on the lower bearings of all the spindles, inas

much as the whole weight of turntable and each integral

part of the motor is pressing on the lower plate of the

frame. In time this causes the bearings to be ground

.out, and parts of the motor are liable to drop down

altogether, or run unevenly in consequence of enlarged

bearing cups. We do not know that any advantage

can be claimed for this type of motor, as it is quite

possible to work a horizontal inertia with a vertically

designed motor. (See Motor, Vertical Motor, Disc

Maohine.)

H0rn-—Alternative term for trumpets. (See notice

under that heading.) .

|.'|0"‘l cran9-—See Crane, Stand Trumpet.

H0r" 3\lPlJ.0rt-—See Support, Trumpet.

32 Tim TALKING MACHINE ENCYCLOPEDIA.

|d|0r Pll||9Y-—A term given to a simple mechanical

. device which autoniatioally maintains the tautness of

the driving belt, and thus prevents slipping on the

engaging area. The device consists essentially of an am

working on a pivot, at one end of which is fixed a free

pulley, this being arranged to keep a tensioned pressure»

on the belt by fixing a spiral spring on the other end of

the arm. It is of considerable importance in reproduction

that a perfectly even speed be maintained. Now it is-

obvious that when a thin leather belt is of necessity

used to connect power and inertia, and there is any

great weight or strong resistance to be overcome, the

constant strain on the belt has a tendency to stretch it..

Having thus worked loose it is constantly slipping over

the pulley at the end of the mandrel, especially when

the reproducer has been lowered to the record and extra» - .

resistance th.us engendered. The idler pulley is now

fitted to practically every belt driven machine of note.

. |mP'9$$l0n$-—Name used to designate the small

marks which the recording stylus makes in the track of

the blank in response to agitation by sound. Elsewhere:

we treat of the theory of sound itself; it will be as well,

however, to explain how it is these marks are made. The

stylus is a sharp pointed tool of peculiar shape, this

is immovably fixed on to a. diaphragm, which in turn is

carried over the surface of a blank cylinder or disc,

made to revolve under it. The blank being of soft mate

rial the stylus cuts its way into it while the matter- to

be recorded is sung or played at the mouth. of the horn.

The vibrations generated by the sounds made are taken

up by the arir contained in the horn, and passing down

cause the diaphragrn to move in unison with them.

These movements. are thusfengraved at the same time as

the track, thus causing the impressions. In reproducing

the process is reversed. (See Recording, Diaphragm,

Stylus.)

|l‘ld9P9|‘|d9nt Wlfld-—A term given to a motor, of

which the spring can be rewound while it is in motion.

The objects of this device may be cited as (1) To prevent

the winding crank or key from- revolving when motor is

running. (2) T'o enable a rewind to be made meanwhile,.

Tnr. Tanxnve Macnnvn Encvcnomznm. 38

thus simulating a greater running period of time. (3) Pre

vention of motor losing speed through spring running

down and thus spoiling a reproduction. The means by

which this end is secured are simple. On examining an

ordinary clockwork motor it will be seen that the spring

has 0.f necessity to be attached at both ends, one being

fixed or slotted on to a catch on the winding spindle,

which enables it to be rewound, the other being attached

either to a portion of the frame -(where there is no con

taining box) or' to the edge of the containing barrel, where

it exists. It is in the latter fixing that the independent

wind has been devised. Where the outer leaf of the

actuating spring is fixed to an integral portion of the

motor frame an independent wind cannot be arranged

for, as the spindle is bound to revolve the reverse way

to enable the spring to pay out. It is by adopting the

latter of the two alternatives that the inde-pendent wind

is achieved. The arrangement is as follows. The outer

leaf of the spring being attached to the edge of the con

taining barrel, as aforesaid, the barrel is arranged to

revolve as a whole, and to the bottom (sometimes form

ing the actual base) is alttachead the main driving cog.

These are pivoted on a central spindle, which works free

of them, and to this is attached the‘ inner leaf of the

spring. Firmly mounted on the spindle is a toothed

wheel, on which works the toothed spindle of the wind

ing crank or key. It will be seen that when the motor

is started the barrel will thus revolve free, the spindle

being still except when spring is being wound. In a

word the spindle is merely an axle on which the spring

barrel revolves. (See Motor.)

|r\U\l|I-t9¢! M0t0!‘-—A motor which is insulated

from the cabinet. Insulating is literally contact break

ing, and‘ the object is to prevent! the noise-which is

engendered by the motor when in motion—from passing

into the containing cabinet, and thus interfering with

the reproductions by superimposing a mechanical noise

upon them. The clockwork motor is held in a metal

frame, and as it is suspended from the top of the cabinet

it is obvious that screws or rivets must be used for the

purpose. Metal is a good conductor of sound, as also is

n

.34 THE TALKING Macnms ENCYCLOPEDIA.

.wood, and it necessary to put at non-conductor be

.‘tween. Rubber has been found.to ansrwer well, and

cushions of this material are therefore placed between

.frame and cabinet underneath, and screwhead and

; cabinet top above. H.ence.the term. insulated motor.

.Perhaps the most efl"eotive means of insulating a motor

is to suspend it by strong metal spira-l springs from the

.; body plate.. This has been done in the better class

Edison -phonographs, and is very successful, when the

.c=01'rect tension is maintained. Noises from the motor

are lost by dissipation through the flexibility of these

;springs, and do not travel beyond. (See Insula.tion,

Motor.)

|I1$\l|afi0I‘I consists of interposing a non-conductor

between two conductors, alternatively it may be termed

pontaet breaking. Most of the parts of- various devices

.used in reproducing sound are good conductors 0.f sound,

.e.g., metals and woods, and in many cases; unless

-judioious insulation is carried out, the quality of the

reproduction is bound to suffer. Take, for example,

the sympathetic vibration which is set up by the passasye

-.of sonorous pulses through the trumpet. These .vibra

.ti0ns set up a strong metallic rattle where the horn is

;directly a-ttached to the neck of the reproducer, 0r where

a metal ended connection is used. It is, therefore, advis

able to use a rubber connector, or alternatively place

.pa|per, another- non-conductor, between metal ended con

,ne.ctor and reproducer neck and horn ferrule; ' Another

..point at which horn insulation should be carried out is

-at the point of sruspension.. 'A chain is the usual- mo-do

0.f sustaining the trumpet, and as a strong rattle will

'be set up by the sympathetic vibrations, this should be

discarded and a rubber ba\I1d used in its place. 'Insrula

tion is also carried- out with motors (see Insulated Motor

and Diaphragms)-, the insulation in this- latter case beirQ'

at rubber gasket; with disc machines between sound box

and.tone arm, and also stylus bar .and shellof ‘sound box.

.Where it is found that this is not done, the hornshouzld

.be .insulated from the support, to prevent the strong

. -metallic hum, which willoften arise asra'n undesirable

..aocompaniment to disc reproductions. - Silk is very good

)

THE TALKING MACHINE ENCYCLOPEDIA. 35

for this last purpose. Efficient insulators are rubber,

silk, paper, and cotton fabrics. (See Insulated Motor.)

I-ink-—(1) An integral part of the Edison Model C

-repro.duoer, a piece of fine steel wire which connects the

speaker arm with the diaphragm. One end engages the

erosshead at the centre of the diaphragm, the other is

attached to the end of the sapphire holding or speaker

arm. It has much to do with the quality and volume

of the reproduction, a thicker gauge wire increasing and

a. thinner one decreasing the intensity of the results.

Its length is also important. (See Model C.) (2) A

portion of the Columbia Lyric reproducer, acting in a

way similar to the same feature in the Model C. (See

Lyric.)

|-00P-—A feature common to both the Model C and

.Lyric reproducers, and used in both instances to limit

the side to side play of the tension devices. In the

former a screw pin is fixed to the weight to work in the

.loop, and in the latter the end of the tension bar is used

.for the same punpose. (See Model C, Lyric.)

|-¥ri¢-.—The new and improved fixed reproducer sup

plied with most models of the Columbia Co/s cylinder

machines. The idea is certainly original, in that a

spring is employed to keep a tension on the diaphragm

in contradistinction to the floating weight form of ten

..sioning. (Seen the accomp.anying diagram.) The whole

_H

A.—Dia.phr-agm.

B.—Crosshead.

C.—'I‘ension Spring.

D.—Sapph1're holding arm.

E.-—Stylus.

F—-Fulcrum of D.

G.—Tension Ba.r.

H.—Axis of G.

J.—Arm holding C.

K and K1.—Gaekets.

L.—Screw Ring.

M.—Link.

N —Loop.

().—Tension device holder.

36 Tea TALKING Macnnm ENCYCLOPEDIA.

arrangement of the Lyric is extremely ingenious. On

taking it up to examine the various devices, it will be

seen that though the pull of the spring is always on the

tension bar, until the sapphire is pressed—or lowered

to the record—no strain is placed on the diaphragm.

Referring to the diagram, it will be seen that lowering

the reproducer to the record pushes up the whole device

to the position shown by the dotted lines. The side to

side play is arranged for by placing the spring holding

arm J on a. pivot, and perfect freedom of movement is

further allowed to the sapphire by boring the axis of

the sapphire holding arm F to a larger diameter than

the holes. in the - support. The diaphragm, which

is of built-up mica, is maintained in position by two

rubber gaskets, K and K1, in the diagram, which in

turn are clamped by the screw ring L. It will, no doubt,

prove interesting to describe the orperation of di8\1110\1Dl'r

ing the various parts. Proceedings will be as follows:

Remove the pivot screw of the sapphire holding arm F,

in the diagram, and carefully raise the arm D itself;

now loosen the screw at the bottom of the back loop N,

meanwhile holding down the tension bar G to prevent

it flying up and possibly spoiling the link M, the cross

head B, or the sapphire holding arm D; still holding

the bar, remove the loop, and holding up the sapphire

arm. gently allow the bar to pass over it. The arm can

then be detached from the link, and the letter from the

crosshead; the tension bar can be turned right round

out of the way, or, if desired, removed by undoing the

screw 0. Now unscrew the rim L, by means of the

holes provided therein for the purpose, remove the

gaskets K1, and by pulling the crooshead the diaphragm

can then be removed. To replace the parts, smear at

little French chalk on the gasket K, and drop dia

phragm- thereon; put more French chalk on gaskets

K1, lay them in position, and screw up the ring L, but

do not make it too tight, or reproduction will be very

thin, while if left too loose it will give a muffled tone.

There is a medium tension, which gives the beat all

round result, and this can best be determined by trial.

Now smear a little vaseline on the end of the link, andi

attach same to crosshead; fit the arm D to link, and.

THE TALKING Macnmx ENCYCLOPEDIA. 87

having turned the tension device round pass it through

the hole provided for the purpose, press down the ten

sion bar and refit the back loop, and having placed the

arm D in position, by replacing the pivot screw, the

refitting is complete. (See Reproducer, Tension.)

M8.0|'lil‘l8, cy||nd9r-_-S39 Ph0110g1'3,P.h.

|V|a¢|1|n9, D|9¢-—See Disc Machine, Berliner, and

Gramophone.

Ma°hil‘l91 Ta|k|l’\g-—See1 Talking Machine.

Ma"I G9ar-—The distinctive term for the primary

or first gearing. The gear nearest to the actuating force.

In most of the clockwork motors at present made, the

primary gear is an integral part of the spring barrel or

box, being the base of the spring box (in the case of a

horizontal motor), or one of the sides (in the case of a

vertical motor). As it is on this gear that all the actuat

ing power, and also the deterring effect of the inertia, is

thrown, it must of necessity be very strong. It is for

this reason that it is made of steel, and also that the

teeth are much larger and thicker than in the case of

the intermediary gears. (See Gear, Motor.)

|V|al1dr0|-—The long, slightly tapered, cylindrical

shaped metal fitting which bears the record on a phono

graph. VVith Edison’s original phonogra-ph the mandrel

was arranged to work along under a fixed reproduoer,

but it has been found advisable to have a fixed mandrel

revolving on bearings with the reproducer or recorder

arranged to pass along over its surface. The effect of

tapering is to aflford a means of gripping the wax records,

which would otherwise display a tendency to slip under

the resistance offered by the passage of the stylus over

the track. Until recently the length was standardised

to approximately five inches, but the Columbia Com

pany some time since introduced! a 6-inch mandrel and

records of proportionate length, which enables more

matter to be recorded thereon, a desideratum- of no

mean value when the shortness of cylinder records, as to

recorded or recordable space, is taken into consideration.

(See Phonograph, Talking Machine, Cylinder.)

38 THE TALKING Macnmn ENCYCLOPEDIA]

Ma'\dr9| $|‘la‘|"l- The spindle on which the man

drel works. In the Edison type malchines the shaft is

tapered to a- point at both ends, and works in two cup

shaped bearings. The mandrel thus runs between-

centres, and consequently dead level. Most machines

have a mandrel shafting support at one end only, the

trouble of opening a gate to admit the record being

plaoed on the mandrel thus being avoided. (See Cup

and Point Bearings, Mandrel, Phonograph.)

MaUt9l'-—In its strict application the term refers

to the record of any item as made, but it is often used

to designate every copy of it made in the first mould

taken of such record. \Vith inanufacturers generally a

system of what is termed mothering obtains. The record

is made, and by means hereafter explained, a mould is

taken of it. It will be obvious that to only have one

mould of each selection would necessarily cause supplies

to be very limited, as copies could not be turned out

quickly enough to meet the demand, especially when

it is remembered that the circulation of a record of a

popular selection will often reaoh 10,000. From the

original mould are taken, say, 50 records, the number

depending on the anticip'a.ted demand; now these 50

reoords in turn become masters, and 50 moulds are taken

from therm ; the term masters would be indiscriminately

applied to any of these last. (See Matrix, Moulding,

Recording, Gold Mould.) '

Matr|¢9$, Matrix, from Latin “ Mother.”—Plural

and singular of a term app|1ied to the die, or stamp,

from which disc records are pressed, as well as the

negative mould for cylinders. (See Disc, Matrixing.)

MatriXiI\8% The making of a matrix, i.e., a die or

stamp- from which copies of recorded matter can be

pressed. To start- at the beginning, a materia1 is neces

sary upon which the matter forming the selection is to

be engraved. It will be obvious that recording could

not be performed on a hard black composition, such as

that of which the finished disc product consists; awax

soap compound. similar to a cylindrical blank, is there

fore employed.. This has to be specially made, as particular

Tm: TALKING MACHINE ENcYcLoP.EDiA. 39

degrees of hardness or. softness, as you will, dryness, and

free .cutting without viscosity, are the great considera»-

tions. VVriting .in the “ Columbia Record ” some time

since, Victor H. Emerson says: “Among the materials

that may be used are stearine, cenesin, beeswax,

parafiine, ozokerite, canuba, spermacetti, and many

others; but each has its peculiar fault. Ceresin, for

instance, is too soft and oily; canuba too hard, but dry

and free cutting; spermacetti, too tender; stearine, too

hard and tough, and crystallises on cooling; beeswax-

has too great a viscosity.. -The shavings and chips from

ozokerite stick or cling to thesurface; parafiine has

t00 low a melting point, and during hot weather the

master would get out of shape. Then, again, there are

12 different grades of paraffine, all of which have a

different melting point, due to the different degrees of

heat used by the oil companies in its distilisation, so

that, if parafline is used as a base or as a softener for

the harder waxes, a standard should be used.” We cite

the above extract to illustrate the difficulty which has

to be overcome in making up 'a formula for the composi

tion. It is an open secret that many of these waxes are

used in the compound, but the various manufacturers

use different quantities,'and the for'm-ulae'are amnongst

their most jealously guarded secrets- The requirements

of the wax soap, as the compound is termed, are:—

(1) That it shall be insoluble; (2) humid weather- must

not affect it; (3) as it must always. give a dry chip both

in recording and shaving; (4) it must not volatise, other

wise a rough surface will result when it is subjected to

the cropper bath ; (5) it must be clean cutting, that is to.

say, the chips must not cling .to the recording stylus or

the free motion, which is so essential, will be partially

choked, and thus all the delicate vibrations which give

colour to the reproduction will be lost,.e.g., definition

will be lacking ;' (6) it must be capable of taking a deep

cut without chipping in any way, and the cutting itself

must have perfectly smooth, highly polished walls. The

master record being cut on a surface of wax soap. a thin

film. of some substance, such as phosphorus and silver

nitrate, or bronze and silver nitrate, is coated thereupon

to render it conductive to electricity. It is then sus

4.0 THE TALKING Macnmn ENCYCLOPEDIA.

pended in a solution of copper salt, in which is also sus

pended a plate of copper. An electric current is passed

through the bath, entering by way of the copper plate

and leaving by the master record. As the current passes .

along; it tears off particles from the oopper plate, carry

ing them through the solution, and leaving them on the

conductive surface of the master. Here we see the

reason for rendering the surface conductive; it is to

provide an exit for the current and to enable the disc

to retain the particles of copper which the current carries

with it in its circuit. After a short time the copper

will have accum.ula-ted on the record surface to a suffi

cient thickness.(ab0ut one-sixteenth part of an inch);

the disc is then removedfrom the bath, washed and

dried, and the copper is separated from the master, and

termed the matrix. A heavy backing of stout metal

is then added, and thus a die is formed, from which any

number of records may be struck by a hydraulic press.

It will be obvious that this system is tedious and ex

pensive, and the object of the trade is to obtain a con

ducting material which will have all the qualities pre

viously enumerated. A system of recording direct on

to a plate of copper has been experimented with, but,

so far, the results obtained leave something to be

desired. The free and clear track obtained by the use

of wax scap renders most users of it 10th to exchange

for a system of engraving on a metallic surface. (See

Disc, Matrix-Matrices, Berliner, Gramophone, Record

ing Stylus, Two-way Cut, Wax Record.)

M9$h|l"lg-—The point of contact between two

toothed wheels, e.g., in the talking machine motor, the

periphery of cog-wheels and toothed spindles on to

which they work together form a meshing. Although

it is a convenient form of transferring power from. one

portion of the motor to the other, and is also valuable

as a means for assisting in governing the action of the

spring and accelerating the motion thereof, it cannot

be called an ideal means to that end. Considerable

friction is generated at the point of contact, and great

care has to be expended on accurate adjustment of the

bearings for a good and steady running to be attained in

Tm: TALKING Macaw]: ENCYCLOPEDIA. 41

conjunction with that minimum of frictional noise which

is essential if the reproduction is not to be interfered

with. Where the bearings have been fitted up close, to

secure quiet running, most excessive wear and tear is

thrown even on the most cleanly cut cog-wheels, and it

is always as well to place a very small quantity of lard

or heavy~grade oil on the teeth to obviate this as far as

possible. This ma , and often does, result in a slight

increase in the frictional noise arising from the mctor’s

motion, but wear and tear is reduced. If the bearings,

and consequently meshings, have been loosely adjusted,

the fault will be apparent the moment the motor is put

in motion, a more or less persistent rattle being audible

until it is stopped. If adjustable bearings are provided

in the motor frame, the spindles may be brought a trifle

closer together, beginning with the governor spindle,

but stopping with the intermediary gear. VVhere this

remedy cannot be applied, it is better to keep an abso

lute minimum of lubricant on the cog-wheel teeth, con

fining oiling to the bearings as far as possible. Graphite

may be used in the latter case with profit, but it should

be applied dry and in powdered- form. (See Motor,

Gear.)

Mi9a-—General: A group of minerals, which readily

.split up into thin fialres owing to their perfect cleavage.

Muscovite: a clear colourless potash mica, may be

obtained in plates, two feet in diameter, perfectly trans

parent and flexible. It was formerly used for glazing

windows, and known as muscovy glass, and is still em

ployed (under the name of talc) for lamp chimneys and

gas stoves. These scales of mica are flexible and elastic,

-properties possessed by no other mineral. The micas

have a vitreous or pearly lustre, their- colour ranging

from black (brotite) to brown (lithionite), violet (lepido

lite), yellow, green (fuchsite), and colourless. They are

all comp-ler silicates of aluminium along with iron, mag

nesia, or the alkalis.

Particular :—Mica is most extensively used as‘ a

material for sound box and reproducer diaphragms, but

‘it cannot be said to be an ideal substance for the purpose.

As we have seen, one of its features is its ready cleavage,

42 THE TALKING l\IAc1-111~:i~: ENCYCLOPEDIA.

and cleavage is possible long after a diaphragm thickness

has been secured. The irreducible minimum thickness

of a tlake of mica is about the same as tissue paper,

about one eight-hundredth part of an inch—perhaps even

less than that, particularly with green mica. Now the

average thickness of a- disc of mica, as used for

diaphragmsl, is from one one-hundredth to one two-hun

dr.edth part of an inch; given suitable instruments,

therefore, a diaphragm may be cut into from four to

eight separate discs. They would not, of course, be

any use for the purpose, but our object is to show that

a mica diaphragm is composed of four or more layers.

Mica is not affected by atmospheric conditions, which is

a point in its favour; it has also a fairly ready molecular

recovery from agitation, but does not react so readily as

glass. It gives an entirely different quality to the tones

it reproduces, and, owing to its comparative slackness,

they are not nearly so clear and ringing as when glass is

used. The tendency is towards tubbiness to a limited

extent, but against this must be set the mellownese of

mica-produced results. It speedily tires of continually

reacting from excessive vibratory motion, and as time

goes on its readiness becomes much impaired, such

diaphragms should therefore be pezriodically- renewed.

To deal with the points raised, in detail, will prove

beyond our scope here; however, we will again glance at

them. The cleavage, which is possible, as we saw, to one

eight-hundredth'of an inch, renders a mica diaphragm

open to grave fundamental objections for a disc sound

bO1X. The disc has to be pierced in the centre to admit

of the stylus bar being screwed on to it, and the cleaving

is so ready that punching is the only possible means to

accomplish this end without starting the disintegration

of the flakes. The turn of the screw as the bar is being

fixed frequently starts the splitting, and consequently

impairs the value, if it does not entirely spoil it.

Although mica is elastic and will spring back when bent,

too great a strain will crack it, hence great care must

be used not to overstrain it when fitting to the sound

box. When any portion of the vibrating surface of a

mica diaphragm has an area where the flakes have come

apart, perfect reproduction cannot be expected. A

THE TALKING MACHINE ENCYCLOPEDIA. 43

tintinnam.bula-tion will be set up as an accompaniment

to all loud sounds, due to the fact that each flake

becomes a diaphragm and vibrates independently, and

rattles against its fellow. The effect is.more noticeable

with°loud sounds as the agitation is more powerful. It

is as much present with quieter sounds, and can be

detected more or less readily according to the magnitude

of the fault. The tiring noted before seems to be caused

by a partial, though not visible, .disintegration of the

component fiakes. Diaphragms are also composed of

built-up mica, which term is really a misnomer, by the

way. A thick disc of mical is taken, and a small circle

cut one-third of the way through. The outer portion

of this is then removed, and the second stamping of a

circle of greater diameter two-thirds of the way through

is then removed. Thus a diaphragm, with a maximum

thickness in the centre and aminimum thickness at the

periphery is formed. The whole process is an extremely

delicate operation. Copies of this, which are really

built up of three discs glued together, may also be 0' -

tained. (See Diaphragms.) .

|V|0d9| 0-—A name given to the Edison improved

fixed type of reproducer for the phonographs made by

the National Phonograph Oompany, the inventor’s com

mercial concern in this country. This type of reproducer

is interesting, inasmuc.h as it was the first model to em

body the principle of reinforcing the a.m-plitude of the

vibrations engraved in the track. Recent developments

of this system are instanced in the Columbia sound

magnifying machine and the Lyric reproducer. In the

accompanying diagram the various features introduced

into its consrtruction will be seen. (1) The shell; (2)

gaskets; (2a-) metal ring, (3) .diaphragm-. ; (4) screw ring;

(5) crosshead; (6) link; (7) balance weight; (8) loop;

(9) regulating pin; (10.) hinge of weight; (11) spearker

arm ; (12) sapphire; (13) pivot of arm; (14) pivot screw.

It will be manifest after careful study that the whole

scheme is extremely ingenious. A reference to the

article, Graphophone Reproducer, in the earlier portion

of this work will enable the reader to form a. conception

of the theory of reproduction, which may be rendered

44 Tm: TALKING Macnmn ENCYCLOPEDIA.

complete by referring to Reproduction and Reproducer.

He will then be aware that the vibrations pass up to

the diaphragm. Now let us study the Edison scheme.

The diaphragm 3 has no dome attac.he-d to it, and there~

fore does not enter into the matter so obviously as in

the case above cited. Instead, a crosshead 5 is fitted

to it, thus enabling it to be connected with the sapphire

12, which office is performed by the link 6. Now this

arrangement would be quite useless without a lever,

which in turn necessitates a fulcr'um. or axis. This might

be formed by placing the fulcrum on the shell, and than

to all intents we should have an ordinary graphophone

unassisted result. The object is to assist or magnify the

vibrations, however, and to this and a heavy weight has

been fitted to exercise the amplifying influence. This 7

takes the form of a circle with a wide piece in the shape

of a fantail on one side. A hinge 10, to permit of free

up and down motion, and limited side to side play, is

provided, the former in the ordinary way, the latter by

drilling the centre hole to a much larger diameter than

those at each side. The side to side play is further cur

tailed and maintained at fixed limits by attaching a,

Tm; TALKING Macnma ENCYCLOPEDIA. 45

pin 9 to the weight, and a loop 8 to the shell for the

pin to work in, this latter device also prevents the

weight from falling when the repro-ducer is out of action.

It remains to show how this weight is utilised. A pivot

13, to provide the fulcrum of the speaker arm lever is

attached to the weight, the arm 11 being pivoted on a.

screw pin 14. The scheme is now clear: raising the

sapphire throws the downward pull of the weight on to

the link, and thus a tension upon the diaphragm.

Lowering the reproducer to the record lifts the sapphire,

and thus there is always a pull on the link when the-

sapphire rests in the track. The series of engravings on.

the record alternately increase and decrease this pull,..

hence the up and down motion is amplified. Some of.

the parts, which are often referred to, are dealt with.

separately. (See also Diaphragm, Balance W.eight,-

Crosehead, Link, Loop, Gaskets, Sapphire, Speaker-

Arm, Reproducer, Reproduction .)

M010r-—That~ portion of a talking machine which.

provides the necessary power to revolve the mandrel or-

turntable as the case may be. \Vith both types of

machines, disc and cylinder, the original motive power'

was provided by a hand crank. Apart from the fact.

that this method is very primitive, it is open

to many objections, such, for example, as the great difli

culty experienced in maintaining a uniform rate of pro

gressaon, inconvenience of having to turn a handle the

whole time reproduction is in progress, the difficulty

occasioned in starting and stopping, and so on through

a whole category. Edison’s| original phonograph was

worked by a hand crank, as also was Berliner’s Gram.ma»

phon. Messrs. Bell and Tainter’s graphophone marks

the first departure from hand power, motion being com

municated to the mandrel by means of -a treadle and belt,

much in the same way as an up~to-date treadle sewing-

machine. Although an advance on hand-supplied power,

many of the objections above noted are also applicable

to this method, and in consequence it was supplanted

in 1888 by. a small electric motor, the innovation being

ascribable to Edison. Efficiently governed the electric

motor forms an excellent means of moving the mandrel

46 THE. TALKING MACHINE ENCYCLOPEDIA.

or turntable, but. the apparatus necessitated by its em

ployment is very heavy, and therefore it is extremely

unsuitable for the small, portable machine which it was

the object of the inventors to place 0n thepmarket. lt

was, and is, extensively used for large concert machines,

record duplicating instruments, and recording machines

in factories and places where portability is not a prime

consideration. 'J.'he. power necessary to run a talking

machine is not very great, and the usual means of sup

plying the current is the small battery or accumulatori.

The high potentiality of the current commercia.lly sup

plied prevents its use for this purpose as received from

the mains, but it may be cut down by resistance frames

and so rendered usable. Hence considerable objection

may be found to the use of the electric motor. The

idea of using clockwork as a. motive power seems to have

.occurred to talking machine manufacturers on both

sides of the Atlantic about the same time, and as this

affords the necessary force with 3- minimum of weight

it has been adopted to such an extent that its use may be

said to be universal. We believe that clockwork had

not previously been used to maintain anything like the

speed required by a ta-lkor, and we can safely assert

that many improvements have been efl"ected in clock

work by talking macrhine firms. Early clockwork

motors were of the simplest type, a single spring with

an ordinary clockmaker’s ratchet wheel, a minimum of

gearing, and, of course, key-wind, the spring being fixed

to the spindle, and where it was so fixed the key revolved

when the motor was in motion. We will now glance at the

scheme of an up-to-date clockwork motor as fitted to a

cylinder machine. The motive power is supplied by

one, two, three, or even four springs, working inter

dependently on the same spindle, and termed, severally,

simplex, duplex, triplex, or quadruplex spring motors;

these are each enclosed in a separate barrel, the outer

leaf being att-ac-hed to the edge of the barrel,,and the

inner leaf to the spindle itself; the barrels revolving

freely on the spindle, and in many| cases being rivetted

together in pairs. Immovably fixed to- this spindle is a

bevel cog-wheel (on to which works the short winding

crank spindle to enable re-winding), and also a ratchet

THE TALKING Mmnmn ENcYcLoPa;n1A. 4::

wheel with a rocking pawl above to prevent the springs

from flying back when wound. Various devices are put

.in, generally, to enable the springs to be wound while

the motor is in motion. A large toothed wheel is

attached to the central spindle, or spring box, and this

engages on to a second spindle, toothed for the purpose.

.'l‘l1is is termed the primary gear ,- its function is to

transfer the power, and by making the first wheel of

much larger diameter than the spindle on which it acts,

-acceleration of motion is gained. From the end of this

second spindle the power is again transnferred to a third

(second gear), and the motion is again accelerated by

similar means. So to a fourth spindle (third gear) ; here

.we may find the governor, as it is termed, a mechanical

means whereby motion may be checked, accelerated, or

.»reta.rded at will. If another gearing is put in the

governor occurs at the foiirth acceleration of speed.

The strain of the power is greatest on the first gearing,

and becomes less with each inter-meshing downwards.

The spindle on to which the governor works is usually

.continued to beyond the motor frame, and at the end is

placed a pulley for the belt to work on, and thus trans

.mit the power from motor to mandrel; an idler pulley

is usually put in to keep the belt taut. The governor

.itself is arranged as an annexe to the pulley spindle, so

that control is given to the speed'at the point where the

tr.arnslfer of power is made. On the upper portion of the

machine, usually just in front of the mandrel, are

'looated the speed regulating screw and starting lever;

these work on to two arms, or may be one, which.in-turn

move backwards and forwards, and permit the governor

disc to draw up, or the reverse, thus accelerating or

stopping its motion respectively. Many phonograph

motors are now insulated from both the containing

.cabinet and bed-plate, thus; preventing much of the

mechanical noise which arises when reproduction is in

progress. Therphonograplr uses a cylindrical record,

with a screw worm groove, and as these are composed

of a wax soap they are not capable of moving a heavy

reproducer along the track as a disc record is. Although

with suitable means they may be made to do so, in

practice it has been found undesirable,- as the shape of

48 ' Tar. TALKING Macnmn Eucvcnormnu.

the track renders the rerprorducer liable to jump- out

when they are running at full speed on the slightest

agitation. An adjunct to the motor has therefore to be

provided to carry the reproducer along, and this takes

the form of a screw with carrier attached thereto. In

Edison models the arrangement is as follows: At the

end of the mandrel, outside the pulley, is a small cog

wheel, which works through an accelerating wheel 0.n

to another cog, in turn firmly attached to the feed

screw; this last being located behind the mandrel.

Above the screw is a bar, and on this a carrier is

arranged.- to slide freely, support in the front being

provided. At the back of the carrier a feed nut is

attached, which is so arranged that it engages the screw

only when the reproducer is lowered to the record. It

should be remarked that the screw has what is known’

as a buttress thread, that is to say, it is cut insuch a

way as to resist the wear and tear ensuing from the

performance of its oflice. Starting the machine also

sets the screw in motion, hence the carrier to

which the reproducer is- attached is urged over

the surface of the record. (See also Horizontal

Motor, Vertical Motor, Gear, Governor, Idler Pulley,

Spindle, Spring, Graphophone, Feed Screw, Feed Nut,

Phonograph, Edison, Belt, Starting Lever, Regulating

Screw, Talking Machine.

M9997‘: |'|0|'iI9l“lt8|--—See Horizontal Motor.

M9t9r: VQ|'t|¢a|-—.See Vertical Motor.

MOI-III!--— A shape from which cylindrical records are

duplicated. (See Moulding.)

M9\l|d, G9"!-—See Gold Mould.

M0\l|¢"nS--—-A system of making, or rather duplica

ting, records from a pecrmanent shape. A record is

made in the ordinary way on a cylinder formed of wax

soap. Now this compound is not a conductor of elec

tricity, and as the record has to be subjected to the»

plating bath later on, this feature is all essenntial. The

surface of the cylinder has, therefore, to be coated with

either phosphorus and silver nitrate or bronze and

silver nitrate. We are here dealing with the ordinary"

Tm: Tnnxmo Mncnmr. Encvcrormnm. 49

system of moulding, the Edison gold moulding system

being dealt with sepa.ra|tely. under that heading. Being

thus rendered conductive, the cylinder is suspended on

a mandrel, or other suitable means, end down in a

bath of copper salt,, in which is also suspended an anode

of copper. A current is then passed through the bath

in such a way that it enters via the copper anode and

leaves via the record. On its way the current tears

particles off the anode, carries them through the solu

tion, and leaves them on the surface of the cylinder (an

analogy may be cited in the way water passes through

a filter leaving the impurities on the surface of the filter

ing agent). When a film of metal of sufficient thick

ness has been accumulated it is removed from the bath,

and by gradually cooling the record is shrunk out and

the mould remains; this process is facilitated by taper

ing the blank slightly in the making. A permanent

negative of a master has now been secured, which forms

a mould. Black wax ¢.O'l11Jp0*'l1Ild is now rendered molten,

poured into the mould, or the mould dipped into the

wax, and left to cool gradually. Gradual cooling is

necessary as the wax shrinks in the process, and unless

this is resorted to it does not shrink evenly and an un

even record would result. As many as fifty may thus

be made, and the plating process is again gone through

with them all. Many moulds are necessary, as other

wise- the manufacturers would not be able to produce

records fast enough to meet the demand, which, in the

case of a popular selection, may run into 10,000 copies,

and in some cases even more. Having obtained the

requisite number of moulds, the manufacture of the

marketable product commences. The moulds are filled

with the molten wax soa , which forms the record of

commerce, and left to cool gradually; the moulds are

then carefully lifted off and the centre of the cylinder

bored true, the cylinders being afterwards placed on afast

running maiidrel and- the ends smoothed. After polish

ing they are boxed and at last ready for sale. The pro

cess, as will be seen, is a long one, and is open to many

objections. In the first place, the coating with a solution

to render the surface conductive exercises a deleterious

effect on the surface, which it is the object to keep as

12

50 Tim TALKING Macnmn Eucvcnorzsnn.

smooth as possible. No wax or wax compound has yet

been invented which will not corrode a little when under

this treatment. Again, some of the finer vibrationsacre

undoubtedly lost, either by direct corrosion from the

solution, or the solution may not present the same shape

to the metal as the naked wax mould. Many other

objections could be advanced, but we have not space to

detail them here. The grand desideratum is a conduc

tive substance of which to form the blank. Metal, of

- course, may be used, but it cannot be obtained of sufi

cient softness to take such a deep cut and such clear

impressions as the wax soap. Graphite has been

used, but as at present prepared it is somewhat too

brittle, and there is considerable danger of the walls

breaking through and thus ruining the track. ,The

evolution of a suitable substance must be considered as

an undoubted solution of the problem, and many minds

are being directed towards that sole object. For an alter

native system the reader is referred to Gold Mould

(Edison’s Patent). (See also Matrix-Matrices, Matrixing,

Phonograph, Record, Recording, Talking Machine,

Stylus, in text Grarphite, Plumbago.)

' N9¢kr R9Pl'0dl-l¢9r-—See Repreducer Neck».

N99d|8-—The stylus of a disc sound box. The track

of a disc record bears the impressions on either side of

a. V shaped groove; this is termed a two-way-cut. The

sides of the point are therefore alone instrumental in

picking up the vibrations, the point merely resting in

the apex of the V and acting in the direction of

moving the sound box across the face of the record.

The scratch, which is a noticeable feature of this form

of reproduction, is generated by the frictional contact

of the needle point and record. It will be obvious that

m'u.c.h depends 0n the quality of ‘chesteel used in themanu

facture of the needle, its temper, the shape of the point,

arid, ‘finally. its thickness. Best English steel is the

u.s‘ua.l. material, and needles are made in endless varieties

both of shape and thickness. To enumerate a few,

there are: Loud tone, soft tone, pianissimo tone, spoon

liea?d,spear head, multitone, sharp pointed, and so on.

Loud tone needles are made with a full thick point,

Tm: TALKING MACHINE ENCYCLOPEDIA. 51:

tapering somewhat abrupt1y .; the whole of the track is

thus filled, and the most got from each impression.

Pianissimo tone is obtained by sharpening the needle

to a fine point and making the taper very gradual, '

hence the track is only partially filled. Soft tone rests

midway between the two foregoing. Spoon headed, so»

called from the fact that the point resembles a spoon,

which tapers somewhat gradually. Spear headed, thus

termed, inasmuch as the point is made in the shape of

an assegai head. Sharp pointed is self-explanatory,

and may be said to cover' the ordinary needle. Multi

tone, an American made needle of peculiar shape, thus

termed as it is possible to obtain a full tone or a quiet

one at will, merely by turning the needle round. The

shape of the point much resembles the spear head, but

rather the spear of the ancients than the assegai. Gold

plated needles, the invention of Dr. Marconi, of wireless

telegraphy fame, have lately been placed on the market

by the Columbia Company, for which a full, round,

velvet tone is claimed. Mr. Henry Seymour has lately

.int-roduc'ed an iridised steel needle, which gives an ex

ceedingly good reproduction. Much of the tonal

quality obtained depends on the peculiar shape of the

point in this case. (See also Berliner, Disc, Disc

Machine, Gramophone, Sound Boer, Tone-Arm.)

N99d|9 Di$¢-—See Disc-, Berliner, Gramophone.

N99d|6 R9¢0rd-—See Berliner, Disc, Gramo

phone, Two-Way-Cut.

N90Ph0l19-' A phono disc system introduced by

Dr. Michaelis. For full details see Pathephone, also

Disc, Three-way Cut, Sapphire, Stylus, Disc Machine,

Record, Recording, Phono Disc.

""15, F995-—See Feed"Nut. '

9" DU¢t-—A mechanical device enabling a bearing

to be oiled at a distance from its location. As an ex

ample, on the bed-plate of some of the better models of

Columbia Graphophories three. or four small holes will

be found with the word “oil” underneath. Each of

these are connected with an important bearing, by

means of a small tube, and any oil placed therein is

52 Tim TALKING MAcnmn ENCYCLOPEDIA.

conducted to the particular seat of friction with which

it is connected. The trouble occasioned in exposing

the motor, and the difficulty frequently experienced in

getting at the bearings, are thus obviated. At the same

time they afford a source of danger, inasmuch as there

is a tendency to considerably overoil.

°|||IIg, or lubricating, is a means of reducing fric

tion by placing a substance of greasy nature at the

junction of two pieces of metal. Without entering into

the theory of lubricating, we may say that it is univer

sally necessary to reduce the friction, caused by the

rubbing together of two pieces of metal, as friction

speedily produces heat, and also throws exceedingly

great wear and tear on the parts in contact. Oil has

been found a desirable means of effecting that end, and

thus its use cannot be dispensed with in a talking-

machine motor. The parts .to be lubricated are: (1)

The spring, by placing powdered graphite between the-

leaves; (2) every bearing above and below the bed-plate

by a minimum of light grade oil; (3) intermeshings of

cog-wheels—a somewhat heavy grade oil is best for this

purpose; (4) the movable disc of the governors—use a

light grade oil, and a fair quantity may be applied.

Avoid so far as possible the overuse of lubricant, unless

the motor is to be kept in almost continual motion.

Where a machine is not much used the oil, by exposure

to air, turns gummy., dust accumulates thereon, and

the effect which it is the object of lubrication to avoid

is produced. Parafiin is not suitable as a lubricant; it

is, however, a very efficient cleanser where ordinary oil

has become clogged.

9l'Ph9n0-—Na-me given to Messrs. Pat-hé Freres’

valve device, by means 0.f which recorded sounds are re

produced with greater volume than that with which

they were originally renderred. (See Sound Magni

fying.)

°V0rt0l“l9I-—(l)The compound harmonic tones of'

which all musical sounds are composed. (2) Excess of‘

volume, which on reproducing renders any sound un

natural, i.e., blasting. (1) The vary.ing qualities of”

notes of the same pitch, as rendered by different.

Tar: TALKING l\/lacmmz Eucvcnormnm. 53

agents, had at all periods when sounds were under

examination formed. an inswperable difliculty to a com

plete comprehension of the theory of music. Previous

to the time of Helmholtz, to whom the elaboration and

elucidation of music considered as a science is due, a

very hazy concept of musical quality obtained. He was

‘ the first to isolate the overtones to which the qualities

of sounds are due. Let us take a specific case. A

violin string is stretched across a sounding board and

subjected .to an accurately adjustable tension. By

drawing a reeined bow across, it is thrown into violent

agitation ; the vibrations being thrown on to the sound

ing board are there rendered audible, and we become

conscious of a rich, full note of fine quality. We will

suppose this to be tenor C. A clarionette is then taken

up, and the same note sounded; it differs in quality,

and the effect it produces on our ears is not so rich as

in the case of the stretched string. It must be borne

in mind that the notes are identical in vibration num

ber or the pitch would be altered. Now in the case of

the string, it is possible to obtain harmonics or har

monies of the original note sounded, and we proceed to

damp the string half way along its length; on again

drawing the bow across, we find that the octave of our

first note results, by quartering the string we get the

double octave, and by taking a point midway between

the last two we get the fifth. It is, of course, possible

to obtain the same notes from the clarionette, but we

use the string as being.the more obvious of the two

systems we are here taking. Now having played the

note, its octave, and the fifth above in quick succession,

if the open note of the string is again sounded the tones

of the other two may in effect be discerned by an acute

musical ear. Helmholtz first discovered this, and then

applying the law of resonance to it, he found himself

able to clearly dissociate the super-induced tones from

the prime, and these he termed overtones. He w-ys

that he was able to trace them as far as the eighteenth

overtone. and, further, that they followed a well-defined

law. Thus the first overtone of a- note is its octave,

the second- the fifth above, the third. the double octave,

the fourth, the third above., following comes the fifth,

54 THE TALKING Macumn ENCYCLOPEDIA.

-then a diminished seventh, Bb, and so on. It will be

apparent that these form the notes of a major chord

when sounded together, hence the richer effect produced

by the sounding of any particular note on a certain

.instrument as compared -with another is due to the fact

that the overtones simultaneously generated are more

powerful in the former case than in the latter. Lhe

striking of a clapper against a bell is an illustration of

a different sort, as here the higher overtones, or tinkling

upper partials, are more distinctly generated than the

lower, richer, harmonic tones, hence a bell note seldom

sounds true when one is near to it. From this we

learn that when we apprehend a rich, full quality in a

musical note, the effect is produced by a number of notes

in combination rather than by a simple tone. (2) Over

tones in reproduction are the cumulative effects of

various causes. We will examine one or two. First, as to

prime causes. In recording, as will elsewhere appear,

vibrations are taken from the air and impressed on a~

revolving cylinder by means of a conveniently shaped

stylus. Now this operation is performed by the bending

backwards and forwards of the centre of the diaphragm,

not by an up and down motion of the whole, and it

therefore follows that low notes, having a relatively slow

rate of vibration, and high notes, having a relatively

rapid rate of vibration, are diflicult to record, not from

any fault of construction, but merely because they are

liable to throw an unmaintainable speed on the dia

phragm’s “ bendability.” Bearing clearly in mind the

fact that the diaphragm bends, follow a low note first;

the vibration number we will suppose to be 32 per

second, the sound says 32, but the diaphragm’s temper

makes- it want to go faster, and it is continually trying

so to do all the time 32 impulses reach it in the given

space of time. \Vhat happens 0n reproducing this note

—a certain harshness more or less: pronounced, according

to the magnitude of the fault. \Vith a high note the

reverse holds good. Let us imagine 528 separate im

pulses reach the diaphragm per second, so says the

sound, but the diaphragm’s temper again stands- in the

way; it offers resistance, moves 528, and then stiffens

to almost nil, and is again forced to start by the im

THE TALKING MACHINE ENCYCLOPEDIA. 55

pulses it is continually receiving. It stands to reason

that the effect will be eerie on reproducing, and a

nondescript shriek appear instead of the sound. The diet-

phragm’s. temper then is amongst the prime causes of

overtones. Sympathetic vibration is another cause of

trouble; for theory of this, see Sound and also Trum

pets. Overtones may and do arise in reproducing, and

when they are thus generated it is termed from second

ary causes. Pres-uming a low note to be perfectly en

graved in the track, a sapphire is set to run over it to

again render it audible. This sapphire is attached to

a diaphragm, which has also to bend to reproduce, and,

further, to bend in different phases continually. The

machine is started, the sapphire lowered to the record,

and we reach the note; now the sapphire receives 32

distinct upward thrusts in a second (supposing it to be

our old t'riend—perfectly engraved), the diaphragm’s

temper wants to go faster, and again a nondescript note

results. The reverse holds good with the high note, as

we saw before. Another cause may be put down as

faulty tracking of the stylus, due to lack of

weight above to keep it thrust firmly into the

groove. Hence it bounces from hill to hill,

instead of moving up and down with the urging caused

by the configuration of the track beneath it. (See also

Blasting, False Vibrations, Recording, Sound,

Trumpets.)

Pad, Fr|¢t|0l’\-—See Friction Pad.

PaW|-—Portion of a mechanical combination, by

means of which the energy contained in a wound-up

spring is preserved. It consists of a rocking arm, set

on a central pivot with a clip at each end. (See Ratchet

and Pa.wl.)

Ph0n0graPh, lit. sound written, name given by

Edison to his first machine; a cylinder talking machine.

A history of the discoveries which antedated and led

up to the evolution of a practical talking machine will

be found under that heading hereafter; we are here

concerned with the phonograph only. There can be no

possible doubt that previous to Edison’s patent, No.

2,909, of 1877, no inventor had demonstrated the possi

56 Tim TALKING MACHINE ENCYCLOPEDIA.

bility of engraving sound in such a manner that it

could be again rendered audible. Edison’s original

patent specincatiorn reads amongst other matter as under:

“A convenient form for the sound recorder or phono

graph is to employ a cylinder, having a helical groove

on its surface covered with tinfoil, and the cylinder is

revolved regularly by clockwork, and moved endwise by

a screw in its shaft, so that the indenting (recording)

point from (attached to) the diaphragm will be always

in line with such groove, hence the vibrations of the

diaphragm will be recorded by indenting the foil into

the groove, and hence same sound will be reproduced by

the point (reproducer) of the hearing instrument, giving

to the diaphragm the motions that result from the

indentation of the foil moving in contact with such

point.” The original machine now repoeee in the South

Kensington Museum, London. There can be no

doubt that when Edison first discovered the phono

graph, he attached very little importance to it, viewing

it more in the light of a scientific and highly interest

ing toy than a valuable and important invention, such

as that to which it has since grown. A short descrip

tion of the original instrument is perhaps desirable. The

cylinder covered with tinfoil is shown in the centre of

the plan, the spindle which moved it under the repro

ducer and recorder being shown at the top. The

recorder is to the right and the reproducer to the left.

The next step in the development took place in 1878,

when Edison took out a most comprehensive patent. It

is scarcely too much to say that practically every im

portant development which has since taken place in the

talking machine industry is here anticipated. The

preamble reads, “ By extensive experiments and

research I have been enabled to obtain a very perfect

articulation. and to produce a record in a convenient

form for preservation.” After citing the action of

sound on the diaphragm, he goes on to say that the

“ Phonogram ” (recordl “ may be in the form of a disc,

a sheet, an endless belt. a cylinder, a roller, a belt, or

strap, and that the marks may be in straight lines, etc,

so long as the ap-paratus| is adapted to bring same in

contact with the reproducer.” It is a most peculiar

Tun TALKING Macnmr. Eucvqnomnnm. 57

circumstance that the first plan of a talking machine

which accompanies it refers to a disc machine, the

phonograph (cylinder machine) coming in the second

place. The design is curiously similar to a “Home”

machine of the present da , the means employed to carry

the recorder over the surface being identical. The blank

itself Edison mentions as being formed of wax, but

owing to the wax clogging the point he found it was

desirable to cover it with tinfoil. Even then nothing

appears to have been done by Edison to place the phono

graph on the market as an accomplished fact, but many

others were at Work to this end. During the year 1886

Messrs. Bell and Tainter, the former of telephone fame,

became associated, and during the same year they took

out a patent, in which they say, “ We cut our record in

wax in contradistinction to indenting.” By this means

the principal difficulty in the way of a commercial

machine vanished and the Graphophone resulted. It

will be apparent that there is a consriderable difference

between indenting and cutting, as the former merely

means a series of depressions, while the latter is “the

formation in a solid substance of elevations, depressions,

and other inequalities corresponding more or less per

fectly to the forms of sound vibrations and the reproduc

tion by means of such inequalities of the sounds repre

sented by them,” as the Bell and Tainter patent puts

it. Whether or not this patent .hurried Edison with his

perfected phonograph cannot be said, but in 1887 he

paternted a machine, the motive power being electricity.

From this date the phonograph went ahead with a ven

geance, so that we can fairly say Bell and Tainter’s

adaptation of wax, as a su.bstance for records, proved

to be the turning point. Improvements were effected,

the phonograph passed from the hearing tube to the

trumpet, and the instrument, as we know it to-day, was

evolved. There are many points on which this form of

talking- machine compares favourably with the disc,

chief amongst which are: (1) Possibility of home record

ing; (2) absence of mechanical frictional noise in the

reproduction. The home recording must always be con

sidered a most popular feature, and we consider a

recording instrument ought to be supplied with every

53 Tm: TALKING MACHINE ENCYCLOPEDIA.

cylinder machine which is capable of operating it. The

absence of mechanical noise is largely due to the fact

that wax is used for the record substance, and It w111

take a very high polish. The phonograph has sufieredr

on the contrary, from yarious causes, such, for example,

as: (1) The shortness of records and, consequently, of

each selection; (2) fragility of cylinder records; (3)

great space necessary to store the cylinders; and so on.

There is no reason why an arbitrary length of 41- inches

should have been imposed as the maximum length for

wax cylinders, and in support of this the Columbia C'om

pany’s six-inch record may be adduced. Why a

short record has lasted so long (pardon the paradox) is-

one of the mysteries of the trade. The fragility of

records and the great space which they occupy cannot

be avoided at present, as the above mentioned could'

have been. (See also Edison, Moulding, Record, Re-

cording, Talking Machine, Graphophone, Cylinder,

Trumpets.)

Ph0n0|9t-—A term. applied to a user of the talking-

machine.

P|'\0l‘l0 DIS¢-—A disc bearing a phonograph or

three-way cut track- In Edis0n’s patent 1,644, of 1878,.

we find first mention of the disc form of record, and the

reference is to a phone disc, which differs in but one

particular from the phono disc of the present day, i.e.,

the impressions were to be indented, not cut in. We‘

subjoin a plan and elevation of Edison’s machine. He"

describes it as follows: The phonograph is made of the

body portion a. The body portion a has a central-

opening forming the mouthpiece, through which a person-

speaks, or through such opening the sound vibrations

pass to act upon the diaphragm, and the diaphragm is

secured at its edges to the body a, leaving a space"

between trhe.body and the diaphra.gm, in order that the-

diaphragim. may work freely. The indenting point

should be a diamond, or other hard substance. The

diaphragm. is made of a thin sheet of iron, or other mate

rial, and it is preferable to place the indenting

point upon a delicate spring arm, e2, and to employ a-

short piece of rubber tubing, 03, between the spring

THE TALKING MACHINE ENcYcLo§'&>.'b§A_:..-. 59

and the diaphragm. Thi-<;-4p.}.1.<51:!o%;"a1'Jh;'(rfifibfiieff is-. z.'

upon a; lever arm 1', pivoted at 5 t'o'a7 v‘erti-c.a'1 'stud;B., jotthat the phonograph (recorder) majflpaitgalieed;-or 1ow- '

ered vertically, or moved horizimtm.lly -'iio1-".'a»:-pli-;'1J0ee

hereafter explained.” Following this» comes ’a'des-cr1'p

ELEVATION OF EDISON’S 1878 DISC MACHINE.

PLAN OF E.DISON’S 1878 DISC MACHINE.

tion of the relcording process itself and an explanation

of the methods employed to attach the tinfoil sheets to

the disc (now termed the turntable). The development

of the phonograph seems to have crowded the disc form

of machine out, and it remained for Dr. Berliner to

place the first form of disc machine on the market.

60 ‘Zl.‘r'ni "i'.-ALKING MACHINE Encvcromsnra.

.Al.t-l;0rugl.1‘-.h'1s \f:as..crude, some headway was

;','1na'£l§a,.§n‘d;ou~'t efihis‘ efforts the needle disc grew. The

' ‘ - .phon9.dise wegsgnevived b-y Dr. Michaelis recently, and

is th‘e'-;i.r<.§g'*e1'i-it»oi1~'.'y<5;f..the forms we know at the present

day.‘~ " This - apparatus was termed the Neophone,

and consists of an- ordinary disc machine and

record, with a phonograph track; a sound box,

with sapphire stylus being provided for reproducing.

This was arranged to meet the record at an angle

of 45 degrees to the plane of the turntable, and the

record was adapted to run from back to front of sound

box, the track commencing at the periphery and run

I ning inwards to the centre. Early in 1906 Messrs.

Pathé Freres introduced their system. into this country,

and the results obtained by this means soon enabled

them to make considerable headway. Their method' is

essentially similar to the Neophone system, the only

difference being that the records run from the inside

outwards to the periphery. The object of this is to over

corme the tendency to loss of brilliancy which a record,

which starts at the outside and works inwards, shows,

and the effect is, therefowre, reversed, the result becoming

more brilliant as the record proceeds. They use an

unwearable sapphire as a stylus, and claim that their

records are practically unwearable. (See also

Berliner, Edison, Orphone, Phonograph, Neophone,

Three-way Cut, Disc, Disc Machine, Record, Recording.)

P|l'li0rl-—The small steel rod fitted with toothed

wheel, or roller, which usually meshes with the gear

wheel in a motor. Thus one speaks of a governor pinion

in contradistinction to the shacfting on which the spring

works, for instance.

Pin, R98‘l-l|atin8'-—See Regulating Pin.

P"-lmba8'0-—See Graphite, for which this is an

alternative term.

PrimarY G9ar-—The first gearing, that which is

situated nearest to the spring in the talking machine

motor. To the shafting on which the springs work,

sometimes working independently of it as part of the

spring barrel, and sometimes immovably fixed thereto

is a large cog-wheel, with two or more teeth per inch on

Tun TALKING Macmnn ;E2go§.ioi..on.-.E1>,ii.x... fill .

its periphery; this meshes on to -a; itéorniiedidspiniile-"

(pinion), and the two together form first

gear. its function is to communicate the power. to.ti1e

remaining portion of the motor, and, at the same time,

to provide acceleration, which last is accomplished by

making the spindle on to which it meshes of much

smaller diameter, and it has thus to make several revo

lutions, while its actuator makes one. As the power

escapes here the wear and tear is very great. Lubricant

for this gear should consist of heavy grade oil. (See

also Gear, Intermediary Gear, Motor.)

Pl-l||9¥--—A wheel which has a fiat surface (some

times a V groove) for its periphery. It is used in com

bination with a belt of leather, or other substance, for

the transmission of power. Pulleys occur in the talk

ing machine on the mandrel shafting of a phonograph

and on the motor. A small leather belt is usually used

to connect the two. (See Belt.)

R3-t¢|‘\9t and PaW|-—A mechanical combination

by means of which the strength of a wound-up spring is

-preserved. It will be obvious that when a spring is

being wound, some device must be used to prevent it

from flying back ; the ratchet wheel and rocking pawl

are usually put in for this purpose, although there are

alternative devices in the ratchet wheel and spring bind.

The device consists of an wheel, toothed around its peri

phery at regular intervals, the teeth being of such shape

as to receive the end of the pawl, and to raise it when

the wheel is advanced. The pawl has a conveniently

shaped end, and is depressed on to the ratchet by means

of a spring, which resists the upward thrust that

revolving the ratchet in winding gives it at the passage

of each tooth; it is thus pressed into each tooth as it

comes round, hence the wheel cannot run back. (See

Pawl, Spring Bind.)

R0¢0rd-—At the present time there are three dis

tinct kinds of sound records on the market. (1) Cylin

der (moulded); (2) needle or V cut disc; (3) threeway

cut or phono disc. As the third is but an adaptation of

the system and cut of a cylindrical record to a disc, they

may be dealt with together in general terms, reserving

. Q2. ..TBs TA-,L.KlI\'.G..}.dACHINE ENCYCL0PED1s.u

"0 -

l Zll:;'é|IIhlTOdleSl only for separate notice.

W.ith§E_dis6}1’s.o1:iginal phonograph we may be sure that

.a record,‘-as 'we know it today, was not contemplated.

His system consisted of mounting a deep helical groove

.on a brass cylinder, which was then covered with thin

tinfoil. This cylinder was passed under the recording

stylus in such a manner that the point was always

directly over a groove, and on speaking a series of

indentations were made in the tinfoil. Observe that

the tinfoil was inseparable from the cylinder on which

it had been placed. However, with his improved model

in 1878 he had apparently noticed this difficulty, and

mentions that the matter might be duplicated by making

.a mould of it. The initial difficulty of the foil being

.inseparable from the cylinder remained, although at

this time Edison had discarded the helical grooved cylin

der in favour of a cylinder of wax covered by tinfoil.

He had found that the wax exhibited a tendency to clog

the point and choke the impressions. In 1886 Messrs.

Bell and Tainter became associated, founding the firm

that is now known as the Columbia Phonograph Com

pany. They introduced the system of cutting records in

wax, which has been continued down to the present day,

as against the original method of indenting, as demor

strated by Edison. It is not necessary to say that this

proved an enormous advance, as the whole of the vibra

tion was indelibly fixed in the track, not merely the

downward motion thereof. The graphic. impressions

made by the stylus proved to be a series of hills and

dales on ecramination, which took form according to (1)

the pitch of the note; (2) the quality of the sound;

(3) the number of sounds simultaneously recorded. In

stead, therefore, of the very thin, nasal reproduction of

sound which Edison obtained, the reproductions of Bell

and T'ainter’s cylinders were fuller, had more .character,‘.

and were nearer the original. Difficulty was still ecz

perien.ced with the wax, however, which often clogged

the point and stultified the result of the vibrations com-'

municated to the diaphragm. To obviate this in some

measure a small brush was fitted to the recorder arm. to

carry away the chips, and this answered to a certain

extent. Many and various combinations of beeswax,

THE TALKING Macnmn ENCYCLOPEDIA. 65

stearine, ceresin, ozokerite, parafiili, and other waxes.

were tried, some being too soft, others too oily, till- at

lasta combination was hit on which answered the pur

pose fairly well. This was really a wax soap, not, of

course, of the.soluble variety, but insoluble. Now arose

the necessity of duplicating, as a demand for records

was arising. The system of duplicating from a master

by direct engraving was first in vogue. This was ex

tremely unsatisfactory in every way, as one copy of a

record was not so good as a'nother, records were exceed

inglyfragile, and, further, the method was a long and

tortuous one. The process was/as follows:.A master was

made, and from this several copies were made on a

duplicating machine by direct engraving; in turn these

became masters and were copied in the same way as their

predecessors. The pseudo masters had an exceedingly

short life, and it soon became necessary to make new

.ones from the original. It goes without saying, there

fore, that from continual use the master itself suffered

and the resultant records became small by degrees and

beautifully lees in quality as time went on. This was

.especially noticeab-1e where a. big demand arose for

copies of a certain record, the second batch and each

succeeding one, being worse than its forerunner. The

fact that reproductions were very quiet and thin led

the manufaroturerse to introduce a cylinder of much

larger diameter which they termed a concert cylinder.

These were about the same as the standard length, viz.,

41; to 5 inches, and by this means (for the cylinder was

run at the same speed, 120 revolutions per minute), a.

greater length of track was used for.the same sounds,

hence a gain both in .quality and. volume. No one

knew better than the manufacturers that the system. of

duplicating records then in vogue was far from sa-tis'fac- '

tory, and after a time a system of moulding was intro

duced. I.t is difficult, without long and tiresome research,

to find 0.ut who first evolved the moulding system, but

the Columbia Company were amongst the first to pro

duce moulded records-. The system, which is fully

described elsewhere, consists of coating the wax soap

master with a conductive surface, placing it in a plating

bath and there coating .it with copper. The master

64 THE TALKING ll/IACHINE ENCYCLOPEDIA.-

itself is then shrunk out, the mould is afterwards filled

with wax composition, and thus many master copies

are made, several of which are treated and subjected to

the plating bath, thus perhaps 50 moulds are made, the

master mould being carefully preserved‘. There '5

another system, viz., the vacuum gold moulding process,

which is the best system of moulding wax records extant.

The record is made and is then suspended on a short

mandrel between two gold strips in a vacuum. An

ordinary vacuum discharge is generated by passing a

high potential electric current through, while the cylin

der is revolved. Particles of gold are thus deposited on

the surface, and when a film of sufficient thickness has

been obtained it is removed and the master r9cord

shrunk out. Full details of the process will be found

under the heading Gold Moulding. The former of these

two systems is open to considerable objection, as it is

impossible to find a wax which is unaffected by the solu

tion with which the cylinders are coated to render them

conductive; a perfectly smooth surface cannot be

obtained therefore, and some scrape is generated by

inequalities of the track. However, it is an immense

advance on the old system of duplicating, and not only

is it possible to manufacture records more quickly, but

they are more durable, stronger, and the resultant

reproductions are louder and more natural through the

ability to mould in a harder wax. It seems probable

from present indications that a system of photographing

the impressions will shortly be in vogue, but as it IS not

yet complete it is impossible to predict what the value

of it is likely to be. Disc records bearing a phonograph

track are made in a similar way. The cylinder form of

record is very popular, as it can be purchased very

cheaply; it gives a moderately loud reproduction, and

has a smooth track, which is practically the same cir

cumference all through the selection, even volume

and definition being thus obtained. Against these

advantages must be set its shortness, fragility, and the

comparatively greater space occupied in storing. The

shortness is not necessarily arbitrary, however, although

the adoption by Bell and Tainter of the Edison cylinder

length has resulted in the formation of a standard size

Tan TALKING Macnmr. ENCYCLOPEDIA. 65

The Columbia Company have introduced a six

inch cylinder record, which may lead to cylinders being

made longer than is at present the case, a reform for

which considerable public demand has been experienced.

(2) Needle out records .are a comparatively recent innova

tion. First introduced by Dr. Berliner in the nineties,

so great was the scratch which formed an accompani

ment to the reproduction, that at first competition from

this form of record was not seriously considered by

cylinder record makers. When, however, the original

etching process began to give way to more scientific

methods, it was felt that the disc record would have to

be seriously reckoned with. It started with many;

natural advantages over the cylinder, and there are now

nophets not wanting who will predict that the disc will

eventually sweep the cylinder entirely off the market.

Matrixing was almost from the first resorted to in the

production of discs, and the trouble experienced by

cylinder manufacturers was thus obviated. Gradually

improvement was registered in the suppression of scratch

until now it is hardly noticeable, although the silent

cylinder track cannot be emulated. The advantages of

a disc system may be given: as (1) Small space occupied

by a large number; (2) double-sided records will even

halve this; (3) durability as to substance compared

with cylinders; (4) no need to adopt a rigid standard

size. Hence selections may be recorded at greater

length. The counterbalancing disadvantages are: (1)

Scratch arising from passage of needle over track; (2)

the fact that records start at the outside and run inwards

renders the latter portion less brilliant than the start

(we refer to needle records only). (3) High price as

compared with a cylinder. It remains to add that a

consistently higher price has obtained for discs than for

cylinders. The reason for this fact is not hard to seek.

A few years ago, when this form of record first came

into popular favour, the fact that a disc contained a.

longer selection of the same item was made the most

of. Cylinder prices came tumbling down from various

causes, but the disc manufacturers sought to keep their

price by securing the best artistes to make their records.

Here again they scored, and it is by these means that a

F

66 Tim TALKING Macnmr. Eucvcnora-znm.

consistently higher price has been maintained. The

cost of material, further, from which discs are pressed,

is considerably higher in price than the stearate and

mineral waxes which are generally employed in moulding

cylinders. All the time shellac is used as a fundamental

ingredient of the disc composition this is likely to be

the case, as its price, owing to increased demand, is on

the increase. (3) There remains the phone disc, an

innovation of still more recent date than the needle

K disc. The advantages of this form. of record as compared

with the cylinder are, of course, the same as its oonfrére

of the needle, in this case without the disadvantage of

scratch. By employing a sapphire stylus instead of a

needle the scratch is reduced. To enable some idea to

be formed of the dimensions which the recording trade

has attained,. it may be remarked that at the present

time there are fully 20,000 different titles in English in

the different companies’ catalogues. These comprise

every form. of audible sound, bands, orchestras, instru

mental quartettes, trios, duets, and soles on every con

ceivable instrument, vieing with vocal solos, duets,-

.trios, quartettee-, and choruses for the public

favour. Practically every musician and singer of

note in all countries of the world has been

recorded, and the same may be said of famous

bands. The record collector of the present day un

dombtedly has the talent of the whole world to choose

from. Chinese, Japanese, Malay, even the Pigmies of

Central Africa, have succum*be\d to the recording expert.

.(See also Diso, Edison, Matrix-Matrices, Matrixing,

Moulding, Gold Mould, Recording, Talking Machine,

Gramophone, Graphophone, Phonograph, Stylus.)

R9¢0rd, ¢Ut-—See Cut Record, Record, Recording.

R9¢0rd |-|bl'arY-—(l) A library from which

.I records may be obtained 'on loan. Many have been

1 established, but so far with little success, and it seems

pnhopeless to expect one to be run on paying lines till

records are made of a more durable substance. (2)

. .Libraries have been establis'hed at the British Museum

- ....a.nd the Opera. House, Paris, where are stored matrices

,. ofrecords of some of the greatest singers of the present

THE TALKING MACHINE ENCYCLOPEDIA. 67

.day. Their value to students of voice production of

future generations may better .be imagined than

described.

R9¢0rd9r- The engraving instrumernt by means of

which records are made or engraved. VVe give a section

vi a popular cylinder recorder, supplied by the makers

for purposes of home recording. This is the fixed or

A.—Shel1. H.-—Stylus holder.

B—Loop. I.—B,egula.ting pin.

C.—Diaphragm holder. K.—Slot of sound conduit.

D—Diaphragm. I-.—Sound conduit.

I-].—Screw of 0. M—Screw holding H.

F.—Diaphragm frame abutment. N.—~Axis of diaphragm holder.

G.—1Stylus. O.—Setting of diaphragm.

Edison type. Recorders of the trailing or graphophone

type are also made. Equal results may be obtained by

the use of either type. (See Record, Recording.)

R9¢0l'd|I‘lg-—A reference to the articles Record,

-Recorder, and Talking Machine will provide the early

history of the art of recording and also show the kind

of instrument with which records are made. We will

now go into the theory of recording, and show how it

is that a. record is made, adding a few hints to enable

the process to be carried out at.home. Audible sound

is the result of vibratory impulses, which impinge on

the tympanum of the ear and cause it to move in unison

' with them. There are four distinct perceptions of which

the ear is capable: (1) Pitch; (2) quality; (3) volume;

(.4) enunciation. Observe that these perceptions are all

independent of one another; by quality the diiference

68 THE TALKING MACHINE ENCYCLOPEDIA.

that exists between the same sound rendered by various

agents is meant; by enunciation we mean those differ

ences which enable us to distinguish words from one

another. Further than this we are able to hear more

than one note at the same time, as in the case of '1.

chord. Now pitch depends entirely on the number of

vibrations performed in a second of time, and no matter

how loud the note, or by what instrument it is ren

dered, or singer vocalised, this number never varies.

Volume itself depends on the amplitude of the vibra

tion, its extent, in other words. Very well, we take a

‘ thin disc to simulate the drum of the ear, and to it we

immovably fix a sharp pointed stylus, such, for instance

as a diamond or sapphire, ground to proper shape.

These, for convenience, we enclose in a shell ending in

a neck, and to the neck a funnel shaped trumipet is

attached, the object being to converge the sounds which

we make on to the diaphragm, in much the same way

as the shell of the ear does on the tympanum. Bearing

in mind that the thin disc (diaphragm) is sensitive, we

shall’ clearly see what happens when a blank cylinder of

soft wax is placed in contact with the stylus. This

instrument being so fixed that it meets the cylinder at

an acute angle against the way it is revolving, it cuts its

way into the soft wax; sounds are played, sung, or

spoken into the mouth of the horn, and these causing

the diaphragm. to move up and down in unison with

their vibrations, the movements are impressed in the

track of the record. The reproducing point in passing

over these is agitated again in the same way as the

original recording stylus, hence we have a record. It

will be seen that the recording diaphragm can best be

represented by comparing it to the tympanum or drum

of the ear with a cutting stylus attached, for both act

in the same way when agitated by sound. The process-

above described represents the cutting process intro

duoed by Messrs. Bell and Taintecr, as opposed to the

original indenting method adopted by Edison. It need

scarcely be added that Edison was one of the first to see

the advantage of cutting over indenting, and has since

adopted it. Professional recorlding is performed 911

very heavy machines-, the motive power being gravity in

Tm: TALKING Macnmn ENCYCLOPEDIA. 69

some cases and electricity in others. To the end of the

mandrel spindle a heavy flywheel is sometimes attached

to ensure absolutely level running. Very great care is

taken in the selection of the blank, which must be com

posed of a material (usually wax soap) which will take

a deep cut with highly polished walls; must be insolu

ble, and must cut without chipping out; the combina

tion of the various elements composing it must be per

fect, other.wise soft spots and hard spots will alternate,

thus ruining the record. Many firms use a room which

has been specially constructed for the purpose, and where

this has not been done various devices are introduced.

Thus one prominent firm use a low ceiling chamber on

the top floor, which has a glass sloping roof. This would

not be a desirable shape, so over the machine a large

sheet is stretched. Yet another firm. has erected a

matchboard lining, so designed that it converges the

waves of sound on to the mouth of the horn. The

stylus, which is either a diamond or sapphire, is also

carefully selected, particularly when it is to be used

for needle disc or two-way cut recording, owing to the

fact that the track is very fine. The vibrations in this

case are located on either side of a V shaped track, and

any variation in size of the stylus would mean that the

walls of the groove were broken through. Various

sizes and shapes of horns obtain, thus one firm may use

the same size horn for all classes of work, but most of

them use a shorter horn for vocal selections and a longer

one for bands and powerful instruments. To come to

home recording, presuming thatthe would-be record

maker possesses a machine capable of making a record,

the following points must claim his attention: (1) Horn ;

(2) stand for machine; (3) stylus; (4) blank; (5) posi

tion of machine; (6) general position of singer or instru

ment to be recorded. With regard to the first point, a

horn of sufficient dimensions. for singing may be

obtained from many dealers. It is useless trying to

make a record with an ordinarv reproducing horn, as

the flange or bell portion will deter much of the sound

generated from passing into the stem. A metal horn

is not always desirable, as it is liable to be set into

Bym.p.athetic vibration when its note is either sung or

70 THE TALKING MACHINE ENCYCLOPEDIA.

played, unless it is “ damped,” and on reproduction this

will come out as a strong vibrant hum, which may be so

loud as to drown the exciting sound. Cardboard,

paper, or papier- mache are useful for this purpose, and

as a horn cannot be bought of sufficient dimensions, it

will have to be made. (bee Recording Horn.) (2) The

stand for machine must be as solid as possible. We

recommend that a slab of glass or marble be placed

underneath it, which will do much to give brilliancy to

the results obtained. (3) Stylus. For exact shape, see

article under this heading. The shape, cutting edge,

and exact setting are important. Recording styli are

usually set in what is termed a butterfly holder, and

care should be taken that the jewel makes an exact

continuation of the angle that this forms, and also that

it isl immovably fixed thereinto. (4) Blanks. It is use

less expecting to make an effective record unless a good

quality blank is used. \Vorn-out gold moulded cylinders

are of no use whatever, being much too hard to take the

impressions of the stylus effectively. Softening them

with parafi"1n, a method that is often resorted to, cannot

make a surface tractable- enough for the purpose.

Really good blanks may be purchased. Where possible

they should be shaved before use, and the surface polished

to the highest possible degree. Another effective method

of preparing them, if carefu.lly carried out, is to rlnb

them lightly with paraffin, dry, and then polish with a

silk handkerchief. VVarming is another way of soften

ing. The cylinder expands under the influence of heat,

- however, and unless they are only lightly pressed on to

the mandrel, it may be found impossible to remove

them after recording. Such is the quality of the blank

at preswent sold that means to remove the shavings made

by the stylus are not really necessary. This course is

desirable; however, and the better way is to hold a

camel hair brush against the cylinder meanwhile. (5)

Position of machine. There is always a position in a

room which is most suited to recording, and an efiort

should be made to find that position. The corner of a

room is much better than the centre, and it will usually

be found that by plac'ing the m.aohine right into the

corner, with the hor.n pointing along a smooth lateral

THE TALKING Macnnm ENCYCLOPEDIA. 71

wall, the best result is obtained. (6) With regard to the

position of artiste, we refer to the distance at which

they should be from the horn. Here experience will

help better than theorising. The following are general .

directions: (1) Let the singer be distanced according

to power of voice; (2) always draw away from the horn

slightly when singing a high or loud note; (3) advance

towards the horn when singing a very low note; (4)

unsteady voices should be taken further back than

steady ones. The following general remarks should also

be noted :—Wherever possible avoid the use of more

than one horn. Two horns mean that the reproduction

will seem to be very distant. Set the mandrel to run

at 180 revolutions per minute. The resistance offered

by the stylus to the blank will reduce this to near 160.

The horn should always be connected to the recorder

neck by a very short length of rubber tube. After a

record has been made it should be carefully brushed

before reproducing to remove any chips that may be

clinging to the surface. If when reproducing it is

found that the record blasts all the way through or

exhibits a tendency to overtones, stand a little further

away from the mouth of the horn when you are remak

ing it. Blanks which have been spoilt may be cleansed

with parafiin oil, dried, and polished with a silk hand

kerchief. Shaving is the course to be recommended,

however. In conclusion, it may be remarked that good

recording is the outcome 0.f experience. You re.ally must

not expect to make a record as good as the commercial

article at the first effort. (See Edison, Matrix-Matrices,

Matrixing, Mould, Moulding, Phonograph, Record.

Recorder, Recording Horn, Stylus, Talking Machine.)

R9¢0rding H0"!-—Instructions for making. Pro

cure two sheets of smooth faced mill.board, 32 inches

long by 18 inches wide, also a lath, or flat stick, 3 feet

long. Lay out the sheets, and having placed two nails

30 inches apart in the lath, use one as a centre and

strike out two pieces of the shape and size shown in the

diagram. Mark off a line one inch each side of the

hole, which formed the pivot, and connect the ends of

this with the points at the large end of the segment.

Having cut them out, pare the sides -A B down to a thin

72 THE TALKING Macnmr. ENCYCLOPEDIA.

edge, one on the inner and the other on the outer side.

Now, with a good strong mucilage, such as glue, stick

the two firmly together, a-fterwards pasting a strip of '

stout, smooth-faced paper right along the. join on both

sides. The joint will be all the better if placed under a

weight to set. The millboard being somewhat intrac

table and awkward to bend, it is best to make a few

rings of stout wire, varying in diameter from two to

nine inches, and having partia-lly bent the shape round,

slip them on, the largest first, and gradually work them

up one after the other. This will bring the two sides

together, and they can then be glued and the join covered

as with the previous- one. Leave for a day or so to dry.

The cost will be altogether about 10d., exclusive of

ena-melling. It is desirable to give a coating of enamel

to the inside, as this course will improve the horn con

siderably. (See Recording, Trumpets.)

R98\l|atin8‘ Pin-—An integral portion of the

Edison Model C reproducer; for full description see

article under that heading.

R9Pl'0d\l¢9r-—This term is here interpreted as

referring to the speaking instrument of the cylinder

machine only. The original reproducer of the Edison

1877 machine was a fixed reproduoer, under which the

record revolved and progressed. It was a somewhat

THE TALKING Macramr. ENCYCLOPEDIA. 73

simple affair. The s.hell resembled very m.uch the trans

.mitter of a telephone at the present day, at the bottom

was a diaphragm of metal, and to this a metal link was

.a.ttached. The other end of the link was connected to

.a- horizontal spring blade which bore the stylus. By

shortening the link the spring was made to exercise a

pull on the diaphragm, and here we have the embryo of

-the present day tensioned diaphragm. The next step

in advance was that registered by Messrs. Bell and

Tainter in 1886, who, when they found Edison was in

the field, evolved the first type of trailing reproducer.

This was followed in 1887 by an improved Edison

machine, and here again we notice the building up of

the Edison reproducer step by step taking effect. With

this machine the recording and reproducing diaphragm

were pivoted in such a way that they could be brought

under the orifice alternately. It should be noted that the

.shell of the reproducer and recorder had not been

.evolved in this instance. Step by step advances were

made continually over the period from 1887 to 1900,

when the Edison Model C was introduced. It will be

V.as well to look round at the various models extant at

this latter date. The fixed ‘reproducer, as originally

known, ceased with the 1887 model, which was fitted

with a feed screw to carry it over the reoord surface.

In 1900 the definition of the term fixed reproducer had

changed to one that was clamped into a containing

.chamber in the carrier arm. Such was the Edison sys

'tem'. The graphoprhone or trailing reproducer type had

.a great vogue; they favoured a free floating reproducer,

the diaphragm of which was fixed parallel to the line

formed by the crest of the record, and the tracking

'point was so adjusted that it met the record just behind

'the crown. It was fixed to the carrier by a simple

74 THE TALKING l\IAcmi~u<: ENCYCLOPEDIA.

pin and swivel arrangement, elsewhere described. A

variant of this was formed by attaching the reproducer

direct to the amplifying horn, which was pivoted on a

peg, the onus of moving the stylus along being thrown

on the revolving record. Later Messrs. Pathé Freres

introduced a similar system, but they arranged for the

trumpet and reproducer to be carried over the surface

by means of a. feed screw. In general there were and

are only the two styles, one of which has a fixed shell,

the oscillation. being arranged for by various means.

(See Model C and Lyric; and the trailing type, see

Graphophone.)

RePr0d\lcer, Fixed. See Fixed Reproducer.

RePrnd\lcer, |-¥l'i¢-—See Lyric Reproducer.

RePr0d\lcer, M0del 0. See Mode] C Re|p1-Q

ducer.

R9|9l'0d\-I69!‘ NBCK-—That portion of the shell

which is conveniently shaped for the trumpet to be

attached.

R9P|'9d\-l¢9l', T|’ai|iP‘l8-—-S’ee Graphophone, Trail

ing Reproducer.

R9Pr0d\-l¢'|ii0n- The rendering into audible sound

of the impressions which are apparent in the track of a

record. By suitable mechanical means the record, either

disc or cylinder, is sustained and revolved, and the repro

ducer or sound box is so adjusted that it can be brought

into contact with the record. The scheme of reproduc

tion is as follows :—A record having been made, the im

pressions, whioh are contained in a helical screw groove

in the case of a cylinder, and in a decreasing or increas

ing screw circle in a disc, are, in the former case, a series

of hills and dales, which are closer together, or further

apart, according to the pitch of the various sounds, or

deeper or shallower according to their volume. Taking

the -case of the fixed reproducer first (see Model C), the

sapphire is lowered to the track and the machinery

which rotates the record started. The hills and dales it

contains meet the point and raise and lower it accord

ing to their character. It will be seen that the arm

is pivoted, so that each motion of the sapphire is com

THE TALKING LIACHINE ENCYCLOPEDIA. 75

municated to the diaphragm through the link, when the

sapphire rises the diaphragm is pulled, when the sapphire

drops the diaphragm’s spring causes it to fly back ; hence

the diaphragm strikes the air in exactly the same way

as the original sound struck the diaphragm, the audible

reproduction resulting. With a. trailing reproducer

(see article thereon) the sapphire is attached to a dome

and the dome to the diaphragm. On lowering the

sapphire to the rotating cylinder the weight of the

reproducer shell presses it into the track, and thus the

diaphragm is bent slightly concave towards the record.

\Vhen the sapphire meets a depression it drops therein

and the diaphragm straightens to be immediately

thrown back when the sapphire rises. The effect is the

same as in the foregoing case. The disc sound box does

not speak in such an obvious way. By referring to

article Sound Bowx the iollowing may best be understood.

The impressions in the track of a disc record are situated

on either side of a V shaped cavity. We speak of the

needle disc. Now a needle is placed in the convenient

shaped cavity at the end of the stylus bar, and either

gripped by a screw, or similar device, the object being to

hold it very tightly, and thus simulatively form the

needle and stylus bar into one piece. The disc is started

and the needle placed in the track. What happens is

this. The needle is thrown into both mechanical and

molecular vibration, that is to say, the lever action

performs the mechanical, and the particles which are

touching the record are These communicate

their motion to the adjacent ones, and so on, with the

astonishing velocity of 16,000 feet per second through

the needle and along the stylus bar. Now the stylus

bar is so shaped that it affords a convenient surface to

be screwed to the diaphragm, and thus the molecular

motion is transferred to it. Here the motion is translated

into audible sound by the diaphragm striking the air as

previously explained. Seeing that the motion of the

diaphragm in each instance is a bend, it will be obvious

that much of the tonal quality depends on the degree

of firmness with which it is held at the edge. To enable

this to be adjusted most up-to-date reproducers have

the diaphragm clamped into place by an adjustable

76 THE TALKING Macnmr. ENCYCLOPEDIA.

screw ring acting on a rubber gasket or washer. In the

case of the disc; sound box the tensioning has to be

applied to the stylus bar, owing to peculiarities of con

struction. (See Berliner, Disc, Disc Machine, Dia

phragm, Edison, Graphophone, Lyric, Machine Model

C, Record, Reproducer, Sound Box, Talking Maehine,

Track.)

3aPP|'\|r9-—Is the same mineral as ruby and c0run

dum, A1203, being distinguished chiefly by its blue

colour and transparency. There are several varieties of

sapphire, in various tints, however, the transparent

white or clear being considered the hardest, and, there

fore, the best. Star sapphires have the appearance of

a six-rayed star when viewed in reflected light. The

most valuable stones are those of cornfiower blue, with

a velvety lustre, and not too dark in artificial light.

Like the ruby, the sapphire is dichroic, and should be

cut so that the principal face of the gem is parallel to

the basal plane of the crystal. When strongly heated

sapphires turn white or grey. The best stones are at

present obtained from Siam. They are also exported

from Burma and Ceylon, and have been found in Kash

mir, South Carolina, Montana, Australia, Madagascar,

Borneo, and in Europe. Owing to its hardness the

sapphire has been found excellent for recording and

reproducing s-tyli. It takes a fine polish, and can be

ground into special shapes. readily. (See Stylus.)

3aPP|1|l'9: Ba||-—See Ball Sapphire.

$aPP|’\i|'9, B\ltt0n--_See Button Sappllire, Model C.

3¢rBW, 9'aml-'"n8’-—-See- Clamping Screw.

$¢r9W, F991-1|-—See Feed Screw.

$¢r9W: R9g!-l|a‘HHS-—See Regulating .Screw.

3¢r9W RiI‘lg-—A ring to clamp the diaphragm in

place. It having been demonstrated by experience that

it was necessary to grip- the edges; of the reproducing

diaphragni very firmly, the clamping screw ring was

evolved to answver the purpose. The motion of the

diaphragm is a bend, not an oscillation as a whole,

and by the clamping it is sought to assist the diaphragm

Tm: TALKING Macnms ENCYCLOPEDIA. 77

in speedily recovering its normal posture. So successful

was this device found that it is now coming into general

use. A further advantage gained by its adoption is

that the grip may be accurately regulated according

to the substance of which the diaphragm is composed;

this feature alone has done much to improve reproduc-

tions. The screw ring finds a place in the Model C,

Lyric.’ and Seymour reproducers.* We may add that.

this is also known as adjustable diaphragm tension.

(See Lyric, Model C, Reproducer, Tension.)

3¢r9W, T9|’\9i9l'|-—See Tension Screw.

3hifting-—A bar or rod of metal which may be

used as an axle or for the transmission of power from

one portion of the motor to the other. In talking

machine motors we find such parts as spring shaft, the

shaft or axle on which springs are mounted; winding

crank shaft, the spindle on which the crank is placed to

wind the machine; governor shaft, the spindle on which

the governor rotates, and so on. (See Governor, Motor.)

3h8ViI‘I8-—The act of planing off any matter that

may be on a wax cylinder by mechanical means; also

similarly treating a newly-made blank for use. Most

models of Edison phonogra-phs, up till a.year or so ago,

were equipped with a device for planing or shaving-

cylinders. This consisted, in one case, of a containing

box, in shape very similar to a metal match box, on one

side of which a sapphire was set obliquely. The whole-

device was fitted to an advancing screw, by means of'

which the sapphire could be brought into contact with

the cylinder. It worked (fairly effectively) as follows:

The blank to be operated on was firmly pressed on to

the mandrel, and the sapphire plane advanced till it

almost touched ; it was then necessary to try the cylinder-

as to its evenness, and by the first running over the

degree to which the plane could be advanced was deter

mined. The sapphire cut small ribbons of was from

* The inventor has since alban.doned the principle in taw

our of an equally effective and more simple method of .affixing

the diaph-ragm, and one which n.utomaticall frees or-

stilfens it. according to the li ht or heavy work it is called

upon to do. This refers to t' e 1908 model.

78 THE TALKING MACHINE ENCYCLOPEDIA.

the cylinder and left it highly polished, but it took a

long time, the cylinder usually having to be gone over

at least twenty times. Hence it was finally dropped, so

far as reproducing machines were concerned. Shaving

is, however, almost universally resorted to by record

manufacturers, as the cylinder is left with a much finer

polish than any that can be obtained by other means.

A fast running machine, which acts in a manner similar

to that explained, is used for the purpose, and in this

way the operation may be oompleted in a few minutes-.

she||-—The shell of a reproducer or sound box is

the outer husk, of metal or vulcanite, which holds the

diaphragm. (See Lyric, Model C, Sound Box, Trailing

Reproducer.)

3h9||a¢-—A resin prepared from. the exudation re

sulting from a puncture of the branches of ficus indica

and similar East Indian trees by an insect coocus laoca.

The product, or stick lac, is removed, forming seed or

grain shellac, which, after melting in boiling water

and being poured out on a cold surface, forms semi

.transparent brittle flakes of a deep orange colour called

shellac. Shellac melts when heated, and burns with a

.luminous flame, giving off a not unpleasant odour. It

dissolves in alcohol, and in solutions of borax and of

alkalis, and is largely used in the preparation of var

nishes, French polish, lacquer, disc record composition,

and sealing wax. Owing to the fact that it sets quickly

after heating, it is largely used to set sapphires in the

domes of trailing reproducers, for setting gaskets, and

many other unions of parts.

30n0m9t9r, lit. sound measure. An instrument

devised to measure the intensity of sound. (See Sound.)

. 30‘-"\d, or Acoustics (fr. Greek, to_ hear), is that

branch of natural philosophy which treats of the nature

of sound. Mayer terms sound “the nervous sensations

peculiar to the ear.” The subject is of the utmost

interest and importance to the talking machine enthu

siast, and, as such, calls for more extended treatment

than it is possible to give within the limits of the

present volume. Having then defined sound as sensa

tions peculiar to the ear, it remains to be seen how those

THE TALKING Macnms ENCYCLOPEDIA. 79

sensations are generated and conveyed. Sound is due

to vibrations. This can easily and readily be deter

mined. Take an ordinary glass jar and strike it hard

enough to make it yield an audible sound, the existence

of the vibratory motion may be felt by lightly applying

a finger to the edge ; it will be found that on increasing

the pressure so as to destroy this motion, the sound

forthwith ceases Small pieces of cork placed in the jar

will be found to dance about during the continuance of

the sound ,. liquids poured into the glass will, under the

same circumsrta-ncee, present a ruffled surface. But the

mere fact that sound is vibration is not enough, there

must of necessity be some suitable media to convey

those vibrations to the ear, otherwise we could not per

ceive sound. Such a medium- exists in air, which forms

the most important medium. of communication of sound

to our organs of hearing. Air, as is well known, sur

rounds and envelope everything, a11d when a sounding

object is set into vibration, the air which surrounds it

being elastic absorbs those movements and conveys them.

The manner in which this operation is performed is

best shown by the following experiment: Place a num

ber of balls in a smooth channel, for the sake of clear

ness, say 12, 11 of which should be so placed that they

touch one another. Now take the twelfth, and run it

.along, so that it will strike number 11. "What happens‘!

The impulse imparted by the blow passes through each

of the balls, very quickly, but successively, and number

1 will move away from number 2, but no other motion

will result. The result would be the same were twice

the number of balls employed, and this will furnish an

.ocular demonstration of what happens when a vibra

ting surface strikes the air. The motion is taken up

by each particle in succession, in every direction, with

the point of prlopagation as the centre, and thus an

audible area is created, or, in other words, an area. in

any part of_ which the sound may be heard. It must be

distinctly understood that the air particles do not make

a. progression, the motion is merely an excursus to and

fro, in exactly the same manner and to the same extent

as the agitating influence. That air is thus necessary

to the propagation of sound was first proved by Robert

80 Tim TALKING Macnma Eucvcnormnu.

Boyle. His experiment, after an interval of apparent.

oblivion, was revived by Hawksbee in 1705. A bell.

was so fixed within the receiver of an air pump that it

could be rung when the receiver was exhausted. Before

the air was withdrawn the sound of the bell was heard

within the receiver; after the air was withdrawn the

sound became so faint as to be hardly perceptible. If

hy.drogen gas, which is fourteen times lighter than air,.

is allowed to enter the receiver, the sound of the bell.

is not augmented, although the receiver may be filled

with this attenuated gas. By then working the pump

(with up-to-date appliances) a more perfect vacuum than

that of Boyle or Hawksbee can now be attained; and

now, though the bell be most violently struck, not the

faintest tinkle of a sound can be discerned. If, while

the bell continues to vibrate, air is permitted to gradu

ally enter the receiver, the sound will at first rise

feebly and become louder as more and more air enters,

until when artmospherio density is attained the volume

is normal. Hence we learn sound cannot pass through

vacuo. That volume 0.f so.und also depends on the

density of the air can easily be demonstrated. At

great elevations sound is sensibly diminished in loud-

ness. De Saussure thought the explosion of a pistol

on the summit of Mont Blano to be about equal to that

of a common cracker below. Professor Tyndall several-

times repeated this experiment. He says, “ what struck

me most was the absence of that density and sharp

ness in the sound which characterise it at lower eleva

tions. The pistol shot resembled the explosion of a

ohampagne bottle, but it was still loud. The withdrawal

of half an atmosphere does not very materially affect

our auditory nerve. That highly attenuated air is able

to convey sound of great intensity is forcibly illustrated

by the erxplosrion of meteorites at great elevations, where

the tenuity of the atmosphere must be extreme. Here,

however, the initial disturbance must be exceedingly

great.” The motion of sound, like all other motion, is

enfeebled by transference from a light body to a heavy

one. An illustration of this may be found in the follow

ing: Obtain some well purified hydrogen gas in an india»

rubber bag; let a person stand over the valve and,.

Tm: TALKING MACHINE ENCYCLOPEDIA. 81

emptying his lungs, inhale the gas and then speak. The

effect is so cu_rious that the speaker can hardly rid him

self of the idea that he is imposing upon the heater.

The reason for this is that the voice is formed by

urging air from the lungs through an organ called the

larynx, where it is thrown into vibration by the vocal

chords, sonorous waves being thus generated. But

w.hen the lungs are filled with hydrogen, the vocal chords

on speaking produce a vibratory motion in the hydro

gen, which then transfers the motion to the outer air.

By this transference from a light gas to a heavy one

the voice is so weakened as to become a mere squeak.

The intensity of sound depends on the density of the

air in which the sound is generated, and not that of the

air in which it is heard-. It has been said that sound

travels in every direction from the point of propagation,

and as the motion produced by the vibratory impulse is

being diffused over a continually augmenting mass of

air, it is perfectly manifest that this cannot occur with

out an enfeeblement of the motion. “ Take the case

of a thin shell of air, with a radius of one foot, reck

oned from the point of propagation. A shell of the

same thickness, but of two feet radius, will contain four

times the quantity of matter; if its radius be three

feet, it will contain nine times the quantity; if four

feet, sixteen times, and so- on. Thus the quantity of

matter set in motion augments as the square of the

distance from the centre. The intensity or loudness of

sound diminishes in the same proportion. We express

this law by saying that the intensity of the sound varies

inversely as the square of the distance, or the intensity

of the sound is proportional to the square of the maxi

mum velocity ” (Tyndall). The distance through which

the air particle moves to and fro, when the sound wave

passes it, is called the amplitude of the vibration. The

intensity of the sound is proportional to the square o

the amplitu.de. '

Pitch.-—Our sense of hearing is not merely confined

to the apprehension of sound per se, since we are able

to detennine various sounds as being high or low. This

quality we term pitch. Now it is obvious that some

well-defined law governs this perception, as we are able

G \

‘82 Tim TALKING MACHINE ENCYCLOPEDIA.

-to distinguish minute gradations of tone one from the

other. In the latter part of the 18th century a French

philosopher, Savart, experimenting to discover what

this law was, devised a wheel, very similar to the ratchet

wheel of a talking machine, and so arranged an .oblong

plate,. that it was pressed on to the teeth and dropped

successively on to them as the wheel was rotated. Find

ing‘, that when the wheel was revolved rapidly a higher

note was generated than when he moved it slowly, he

clearly demonstrated that the pitch depended on the

rapidity of the vibrations. The apparatus was very

crude, and one can readily imagine that his notes were

somewhat unmusical, but his discovery led the way to

the evolution of the siren, an instrument which not

only conclusively .proved that sound was vibration, but

which has enabled scientists to give the exact number

of vibrations per second necessary to produce each'note.

Before going on to describe this instrument, we should

like to call attention to the fact that pitch is more

a relative term than an unalterable law. We here in

tend following the scientific philosophical pitch, which

makes each octave a- multiple of two, whereas modern

high concert pitch recognises no such liniita.tion. To

give an example, upper treble C=5l2 philosophical

.pitch, but=528 English concert pitch. The concert

pitch of different countries also varies; thus the French

pitch their C nearer to the philosophical than we do.

The siren consists of a drum or air chest, the top of

which is perforated with rings of apertures, the exact

number of which are known, and which are openable or

closable at will. This is fixed, while above it is a

rotating plate (fitting closely down), which is also

drilled with rings of apertures coinciding with the drum

beneath. Connected to the axle, on which the moving

plate works, is a speed recorder, so adjusted that the

exact number of revolutions which the plate makes per

second are accurately recorded. Air is forced into the

drum, and one of the rings of apertures opened. On

rotating the plate the air rushes out with a slight pufi

each time the apertures coincide. We will suppose

there- are '14 of such apertures in the circle, and that

Tnn TALKING Macnmn ENCYCLOPEDIA. 83 -

the plate revolved twice in a second, a simple sum in

multiplication will then give us the number of puffs

which occurred—28. By opening the second ring of

apertures, which are not exactly opposite the others,

the number of pufls is increased and the pitch is pre

portionately raised. Thus given a certain note, the

siren can he worked up to it and the number of vibra

tions simply, speedily, and accurately calculated. No

doubt can therefore exist that pitch depends on the

number of vibrations in a second of time. The lowest

note which the human ear is capable of perceiving has

approximately a vibratory rate of 14 per second, but

some are :una|ble to discriminate between noise and

musical sound at this depth. The same applies to the

extreme upper register. Strike the last four notes at

the top of the piano, for instance, and you will find it

is much more difficult to appreciate that the periods

are the same as between notes of the ordinary vocal

compass. The fact that pitch depends on the rate of

vibration is of the utmost importance to the talking

machine; since, if no such fixed law controlled pitch

recording would not be possible. Volume is that quality

which sounds have to impress our sense of hearing more

or less forcibly. It depends on the strength of the agita

ting infiuence. The best visible analogy is to be found

in the waves of the sea, although it must not be thought

that by using this as an illustration that we commit

ourselves to the now exploded theory that sound pro

gresses through the air exactly as waves pass through

the water. Bearing this disclaimer in mind then, one

will often notice that some sea waves frequently rise

Higher than others, although the distance between the

crests is exactly the same as when they are not so high.

Now, supposing that it were possible (which it is not,

by the way) to see a number of waves following one

another, all of the same height (say four feet), and at

another time a similar presentation with a height of

one foot, the former would represent loud sounds, the

latter quiet. Volume then depends on the width of

“the pulsation.

Quality.—By quality the difierence that exists be

8'4 Tun Tanxmo l\IAcnmn ENCYCLOPEDIA.

tween the same note as rendered by various instruments

is meant. It is a matter of considerable difficulty, in

the necessarily limited space at our disposal, to enable

a clear conception of this feature of sound to be formed.

It would be as well to read the article Overtones, as

quality largely depends on the strength of the lower

harmonic overtones. Thus a sounding string, such as

we mention there, is particularly rich in upper partials,

hence we have a full rich note from it. On taking up

a piccolo, and sounding a few notes, a decided thinness

orpoorness of quality cannot fail to be discerned. Helm

holtz demonstrated that this instrument was character

ised by an almost total absence of overtones, hence the

poorness. Graphic tracings of the notes of various in

struments have been taken, by means of the Phonauto

graph (see Talking Machine), and it has been demon

strarted that there are modifications existing between

them. An open note would be represented by a curved

1ine,'but various instruments, although showing exactly

similar general curves, cause lines which are wavy to

a greater or less degree, according to the richness of

the overtones.

Enu'nc'iation.—The meaning of the term is obvious,

i.e., those differences which enable us to distinguish

.words one from another. As everyone knows, one’s

sense of hearing words exists simultaneously with all

the other modifications previously dealt with, and it

merely remains to show that this is but another series

of subsidiary vibrations underlying the general or tonal

vibrations. Again using the phonautograph to help us

in elucidating the point, the graphic tracings obtained

from words, do not alter the general curves induced by

the tones accompanying them in vocalising, they merely

cause the tracing to diverge further from the fiml

straight line. Anyone who is constantly handling

records bearing the three-way cut can readily say

whether they have any vocal partsfrom the regular

series of impressions, which‘ demonstrates that this

feature considerably modifies the movements of the dia

phragm also. .

Motion of Sound.—It is habitual to speak of sound

.,. - 1 ....

Tris TALKING Macnnm Encvcnoranm. 85

as passing through air in waves, and there can be no

doubt that from this a general assumption that the

motion is similar to that of the waves of the sea is

arrived at. This, however, is hardlv correct; the only

similarity existing between the two is that both present

periodical phases in uniform succession. We will explain

somewhat more clearly. Air, as we have before had

occasion to point out, is an elastic substance, and as it

surrounds every object, the vibrations of a sound gener

ator are taken up in all directions, the motion belng

termed wave~like, merely because it presents alternate

condensations and rarefactions over the audible area

which coincide with the crest and trough of a wave

(water) respectively. How does this come about‘! Well,

we have seen that pitch represents the number of vibra.

tions in a second of time; now sound travels at the

rate of 1,120 feet (approximately) in the same period;

hence in travelling this distance the sound must have

performed the number of vibrations coinciding with its

pitch; each Vill)I‘a|l'd0!1, therefore, becomes a wave of a

certain length. Observe that a wave includes both

trough and crest. Taking a specific case: 0 in the bass

clef =64 vibrations philosophical pitch; now dividing

1,120 feet by 64 will give us the length of the vibration

=l7ft. 6in.- The first crest or condensation of the air

will be that distance from the point of propagation;

the trough at 8ft. 9in. distance. Nor must it be

thought that the air travels 17ft. 6in. It does not.

Each particle of air in the distance is temporarily com

pressed against its fellow, which acts on the next, and

so on ; they merely make an excursus to and fro, but

do not otherwise move at all. There is an exact analogy

to be found, which will provide an ocular demonstration

of the motion. Observe the effect of .a gust of wind on

a field of ripe corn. It will be seen that a motion,

which for want of a better. word is perforce termed

wave~like, passes from end to end of the field, in such a

manner that at one place the corn stalk is standing

straight up, its fellows beings, trifle- inclined towards

it on either side, those next being still further inclined,

and so on, till a maximum inclination is reached, when

86 Tim TALKING Mncmxna Eucvcnorsnu.

those beyond begin to become more upright, till they

eventually incline to another stalk.

Harmony.—When a combination of different notes-

exercises a pleasing efl"ect on the ear it is said to be in

harmony, the antithesis being discord. The subject is a

vast one, and also one to which most voluminous treatises

have been solely devoted. We cannot- do more than

touch on the subject here, but we will at the same time

endeavour to make the theory understood. Let us ex

amine an octave or the eight recurring notes of the

diatonio scale. The rates of vibration are as follows,.-

beginning from the lowest note: 24, 27, 30, 32, 36, 40,

45, 48. From this we learn, first, that the octave of a

given note requires twice as many vibrations as its prime

to produce it. These form unison. Next, as to the

fifth (or soh in the tonic sol-fa notation), this, in con

junction with the prime or its octave, forms a simple

harmony, and we see that its vibration number is just

midway between the two, the relation being 2, 3, 4 in

proportion. The third is midway between soh and the

prime, the proportion being 4, 5, 6. Whart, then, does

this show? That harmonies are formed only by not9s

whose proportions can be expressed in the simple pm

gressive numbers, e.g., 2, 3', 4, or 4, 5, 6. Change of

key does not affect this law; the fact that D is used

as the doh, at the same time alters the relation which

the other notes of the scale bear to tonic, so that the

proportion is always the same. Discord, or rather par

tial discord, is sometimes purposely introduced into

harmony for the sake of the effect, e.g., the use .06

accidenta.ls, as sharps or flats are termed, and in certain

well-defined relations the result is pleasing. This hur

ried glance is all we are able to take at the subject,

and we must pass on.

Noise, as distinct from musical sound, is caused- by

the simultaneous propagation of various sets of vibra

tory impulses which have no proportionate relation to

one another, or by the fact that the pulses have no

accurate periodicity, which alone enables a .sound to

aifect our ears in the musical or pleasing sense.

Discord, in music, is caused by the simultaneous pro

Tm: TALKING Macnnvz ENCYCLOPEDIA. $7

pagat.ion of two or more tones, whose proportionate

rates of vibration cannot- be expressed in the simple

numbers quoted previously.

Nodee.—Are points of rest in an otherwise vibrating

whole. The existence of nodal points is interdepen

dent with pitch. Let us first examine a sounding string.

The monochord form, previously cited, is the .most

obvious example for our purpose. Now it is well known

that by shortening the length of a stretched string the

pitch of the resultant note is raised, e.g., a violin,

guitar, or banjo are examples of this law, as witness the

faot that by placing a finger in certain positions on the

strings various notes may be obtained from the same

string. Reverting to the monochord, if a bow be drawn

across it a certain note results; but when the finger is

placed in the exact centre and the bow drawn across

one .half, both halves move, and the octave off the first

note is sounded. Similarly the double octave is

obtained by quartering the string. Observe that,

although. the string be halved or quartered by damping,

and only one of the parts so formed is agitated by the

bow, yet the other parts move also; observe, further,

that if haIf the string gives an octave and a quarter of

the string the double octave, the string itself must

divide into well-defined halves and quarters, otherwise

the pitch would not rise. That this ac.tually happens

can readily be demonstrated on our monochord. Take

two pieces of paper, adjusted to sit on the string so as

to form riders, and place them at the exact quarter and

half length, place the finger at the three-quarter and

draw a. resined bow across any of the divisions so formed.

What happens? The pieces of paper make no move

ment, although the string is sounding: loudly. Now take .

two more riders and place- them at the three-eightha

and five-eighths line, and again draw the bow across.

The last two are thrown off violently. From this, then,

we learn- that the string divides itself into moving parts,

according to the damping, which are termed ventral

segments, and each of these segments is divided from the

otliersrby points of no .vibration, termed nodes. A

parallel may also be found in a suspended rope or piece

88 Tur. TALKING Macums Encvcnoraznra.

of string. By taking hold of it at the bottom and

quickly moving the end backwards and fOl'W'fllTdS, the

motions pass from the hand to the point of suspension

in well-defined waves or undulations; the string or rope

doing the same as our monoehord, dividing itself into

moving segments and points of rest, Sounding air

columns also divide themselves in a similar manner.

Take up a piece of tube, and by placing the thumb

over one end to close it, blow gently across the edge of

the other. A certain note results; by blowing harder

a note an octave above is obtained. What, then, has

happened in this case? The enclosed air has divided

itself into two portions with one node in the centre.

Like every other truth, this can. be proved, although

the means by which it is proved are somewhat beyond

the average enquires‘. An organ pipe of sufficient

diameter is used for the purpose, the only other neces

saries being apparatus to produce a sufficiently -power

ful air current, and a tambourine fixed to a piece of

string. The fundamental note of the pipe is then

sounded, and the talmbourine, lowered through the

whole length of the} pipe, rattles continuously. On

striking the octave by a more powerful current of air,

and again lowering the tambourine, it rattles, but the

rattle becomes quieter as it nears the centre, entirely

ceasing at the exact centre, and again commencing to

rattle as it descends to the bottom. The nodal point is

thus clearly demonstrated. Circular plates may also be

divided into nodes and ventral segments in the same

way as strings, the modus operandi. being to scatter

some fine grains of sand over the disc, damping it with

the finger at a point 90 deg. from the equatorial line

and drawing the bow across at a spot 45 deg. distant

from the finger. The plate divides itself into four

parts, the sand being thrown .05 the ventral segments

and being piled up thickly along the nodal lines.

Bcats.—The phenomena of beats may be easily

observed with two organ pipes put slightly out of tune

by placing the hand near the open end of one of them,

with two musical strings on a resonant chest, or with

two tuning forks of the same pitch held over 8- wsonwfi

Tl-IE Tanxme Macrmu-2 Eucvcnoraznu. 88

cavity, one of the -forks being put out of tune by load

ing one prong with an small lump of beeswax. Beats are

really silences interposed between a period of sonorous

pulses. We will endeavour to explain more clearly. We

have seen that pitch depends .on vibration rate, and

that sound progresses in waves; now carefully bear these

points clearly in mind. Supposing, for instance, two

notes are generated simultaneously, one of which has a

vibration rate of 24 per second and the other 26 in the

same period. Now the distance between our ear and

the point of propagation is an audible area, and the

first sound in passing that vibrates 24 times (it would

be as well for the reader to draw a wavy line with 24

.crests and troughs therein) ; at the same time a note

having 26 vibrations passes the same area. By drawing a

line with 26 curves in it, it will beseen that half-way

through the space the vibrations will be directly opposed

to each other, and thus for a moment they destroy one

another; the same thing happens at the end of the dis

tance. Thus we get two silent periods which come across

our ear in betweenn the sounds, and these are called

beats, from the effect they exercise on our organs of

hearing. Beats of greater or less persistence may be

also gemerated by chords or close harmonies. They are

invaluable to the pianoforte tuner, who is able to caleu—

late exactly how much a string is out by the number of

beats which occur in a second. Sound- can be readily

trans'mitted through metals, and a table of "velo'cities- is

subjoined., according to Wertheim..

Velocity at Velocity .1:

*- 20° Cent. 100° Cent.

Name of Metal . ln feet In feet

' per second. pei_seeond.

Lead 4,030 3,951

Gold 5,717 ' 5,640

Silver 8,553 8,658

.c6p;per 11,666 - 10,802

Platinum 8,815 8,437 ' '

Iron 16,822 17,386

Iron wire (ordinary) 16,130 16,728

Cast Steel 16,357 16,153

Steel wire (English) 15,470 17,201

Steel wire (Foreign) 16,023 16,443

90 THE TALKING MACHINE ENCYCLOPEDIA. '~

It will be observed that temperature a.fi‘ects.the velocity,._

and this also holds true of air, the speed being height

ened by raising the temperature, and lowered by de

creasing it. Overtones are dealt with separately. The

following works on Sound are recommended to the

reader-—-Lectures on Sound- (Tyndall), Acoustics, En

cyclopoedia Britannica, Musical Acoustics (Broadhouse),

Sound and Music (Taylor). (See also Overtones, Vibra-- '

tions; and sound is germane to an understanding of

Cylinder, Disc, Edison, Gra.phophone, Phonograrph,

Record, Recording, Reproducer, Reproducing, Talking

Machine.)

30\lnd Arm-——See Tone Arm.

$0!-ind B0X-—The reproducing device (of a disc

machine. It is a somewhat remarkable fact that the

reproducing devices of cylinder machines and disc

machines are not called by a common term, but they

seem to be fixed by custom, as reproducer (cylinder),

and sound box (disc). On comparing the two, the first

line of divergence that strikes one is that the diaphragm

is maintained in a vertical position instead of lateral

(cylinder reprod.ucer). They differ fundamentally, how

ever. \Ve should like to direct attention to the accom

panying diagram, which represents the Gramophone

Co/s Exhibition Sound Box in section. The parts are

as follows: Diagram A—(A) Stylus bar; (B) stylus bar

s9tting; (C) gaskets; (D) diaphragm; (E) shell; (F)

needle clamping screw; (G) needle ; (H) detachable back

plate; (I) insulator ;. (J) brass core of insulator; (K)

chisel blade. Diagram B is drawn to show the tension

ing1 device: the parts being (A) stylus bar; (B) chisel

blades; (C) stylus bar plate; (D) adjustable tension

screw; (E) screw holding tension spring; (G) front view

of D, one being at the front, the other at the back ; (H)

clam.ping screw; (I) needle. To facilitate reference,

the letters in the diagrams are referred to as 1 and 2,

respectively. To examine the most important

parts in detail. The stylus bar is made of

brass, and from a circular needle holder, three

eighths of an inch in diameter, tapers to one-thirty

second at the diaphragm fixture. The tensioning device

Tm: TALKING IIIACHINE ENCYCLOPEDIA. 94:

is very perfect. A plate is fixed to the diaphragm

holder El, which has lateral projections at both ends,

one towards the front and the other towards the back

of the sound box, while from the bottom two chisel 1'-ledes

DIAGRAM A

SIDE Vusw

(SECTION)

K1 and B2 project one at each end. The stylus bar has

a fiaote plate C2, which is adjusted to rest on the chisel

9dges C1, while to the stylus bar plate A1 are attached

two flu.t spring blades C2 ; these last are depressed by

means of screws, which work from the projections of the

92 Tina: Tanxmc Macnmz ENCYCLOPEDIA.

plate attached to the dia-phragm holder El. It will be-

seen that accurate adjustment is a very simple matter,

so perfect are the means provided. The objecm of mak

ing the stylus bar rest on chisel blades is that the con

tact is thus made with the smallest possible area, and

further by interpoeing rubber, see diagram I, between

DIAGRAM. B. FRONT Vnzw

the sound box neck and tone arm, the escape of vibra

tory impulses into the tone arm is obviated and the

trouble we have remarked under False Vibrations

eannot arise. The back plate is fixed to the diaphragm

holder E1 by three screws, and this, again, is a device

which must commend itself to all, inasmuch as the dis

Tm: TALKING Macaw]: ENCYCLOPEDIA. 93

mounting of the parts for repairs, should they ‘owo.m~e

necessary, is simplified and facilitated. The reproduc

tion is obtained in the following manner: A. needle is

placed in the stylus: bar Al, and clamped in position by

the screw F;1 ,' and the turntable being set in motion, the

needle point is placed in the groove. Now the groove

or track is in the shape of a V, the sound impressions

-being al-ternaste sinuosities appearing in the same. As

the track passes under the needle these alternate sinu

osities mechanically guide the needle, causing molecular

vibrations, which passing up to the diaphragm are trans

ferred thereto. Thus, by setting the diaphragm in

vibration, the sounds are again rendered audible. (See

also Berliner, Disc, Disc Machine,-_Gramophone, Record,

Recording, Reproducer, Reproducing, Talking Machine,

Two-way Cut, V Cut.) ' '

30\lnd 9|'l8m|-'19r-—The hollow curved chamber in

the top of a trailing reproducer or recorder shell. So

called from the fact that it collects the vibrations of

the diaphragm and urges them towards the trumpet, or

converges the sounds on the diaphragm. (See Grapho

phone Reproducer, Trailing Reproducer.) '

30\lI‘ld Magl'li‘|‘¥|l'\8'-—T'he term refers to means

for amplifying the intensity of the sounds generated by

the passage of the stylus over the impressions. There

are three different machines exemplifying as many

various ways 0.f reinforcing1; they are: the Hig'hamo

phone (Columbia Company), Auxetophone (Gramo

-phone Company), and the Orphone (Parthé Freres).

Dealing with these in the order named, the Highamo

phone is a cylinder machine. As will be apparent from

a study of the article Reproducing, to which the reader

is referred, it is the bend of the diaphragm. that is

used for reproducing the sound. The Highamophone

has a diaphragm, four inches in diameter, and composed

of very stout built up mica; directly behind this is an

amxber wheel, which is arranged to revolve all the while

the motor is in motion, and it also travels with the

diaphragm along the record. The stylus is held by a

pivoted arm, which is connected to a vulcanite band

"94 Tar; T.u.xn~zo Macramr. Eucircnorznnm.

that passes over the amber wheel and is firmly attached

to the diaphragm-. The wheel has a roughened surface

- and revolves so as to eucercise a pull on the diaphragm

by frictional contact with the band. We remarked that

the sapphire arm was pivoted, hence when a hill is met

in the record track the sapphire rises, deflects the other

, end of the arm, which in turn increases the strain on

the band, and thus the diaphragm is violently pulled

by the wheel; the reverse holds when a- dale is met,

and the tension slackening, the diaphragm flies back,

to be pulled again when another hill is met, and so on.

The Auxetophone is on a different principle altogether.

In this case compressed air is used. A diaphragm,

somewhat resembling the comb ocf a musical box, is used,

and the vibrations into which it is thrown by the sounds

admit more or less air as the case may be. The Orphone

acts in a similar manner, excepting that in this case: no

diaphragm is used, the various sounds acting on to an

adjustable valve, which auto-matica1ly controls the inflow

of compressed air within the confines of the horn. (Se9

Disc, Graphophone, Phonograph, Reproducer, Repro

duction, Sound Box.)

30'-Ind WGVQ-—-Sound being vibration, which is

motion, it follows that this motion will be rhythmical in

common with every other form of motion. When one

drops a stone in calm water a circular ripple is clearly

seen, which extends in every direction from the point

where the stone disturbed it. This ripple takes the

form of a small wave, inasmuch as crest and trough

alternate. So also with sound; the vibratory impulse

having by superior force to overcome the resistance

offered by the mass of air to its progress alternately

condenses and rarefies as it goes. It having been deter

mined that pitch depends on the number of vibrations

per second, and knowing that sound travels through

air at the velocity of 1,120 feet per second with a tem

perature of 50 deg. Fahr., it will be apparent that the

length ofrthe wave of any musical note may be com

puted. Thus, let V=velocity and N vibration number,

then‘; = x = wa.ve length. It should be understood

Tm-: TALKING Macnmn Eucvcnormnm. 95

that a wave includes both trough and crest. (See

Sound.)

3P9'3k9r Arm--—(1) An integral portion of the

Edison Model C and Lyric rerproducers. (See articles

under those headings.) (2) An alternative term for

the bridge or arm that carries the reproducer on an

Edison Phonograph.

3P¢9d 3¢r0W-—See Regulating Screw.

3P|d9r D0m9-—A dome for graphophone or trail

ing type reproducers, so called from the circumstance

that it resembles a spider in form. This type of dome

was originally introduced by Dr. Berliner, his object

being to pick out the nodal points which he considered

.existed in a diaphragm. From one cause or another

the s1p~ider' has persisted up to the present day, although

the cause of its introduction has long since been con

sidered as an exploded- idea-. (See Berliner, Dome,

'Graphophone Reproducer, Trailing Reproducer.)

96 Tar. TALKING Macnmn Eucvcnorannn.

$P|nU|9-—Alternative term for shafting.

SPlit Gask9t.—We deal with the gasket as such

under that heading. The split gasket is so called from

the fact that it resembles a ring of rubber tubing split

right round. This being stretched round the diaphragm

it is thus gripped on both sides, and an air cushion

formed by the tubular shape is interposed between it

and the shell. Its use was very effective, but is be

coming obsolete with the advance o<f. the screw ring and

other devices, which nullify its ad.v‘a.utages. Gas

ket, Reproducer, Lyric, Model C, 'Gra-phophone;-Rerpro

dueer.) '1

3Pl'|l‘lg-—(1) The force used to propel clockwork

motors. A spring consists of a long strip of 1 highly

tempered steel, drilled at both ends and bent round in

a coil. It is arranged to catch the inner coil on to at

spindle or shafting, while the other may be fixed to an

immovable arm or to the rim of a containing box. The

temper impels the spring to endeavour to retain the

form of a loose open coil, and it is this impulse that is

made use of.- By means of a crank or key each leaf or

fold of the spring is drawn closely together around the

innermost leaf, and by suitable mechanical means it is

retained there and only allowed to pay out as required

to run the motor. Man.y talking machine motors are

provided with two, three, or even four springs where

the load is very heavy, or it is desired to obtain an ex

tremely long running from one wind. The spring strips~

vary in width from one-half to two inches, and it will

be obvious that the greater the width the heavier is the

gauge of metal used in its composition. (See Motor.)

(2) Spiral springs consist of tempered lengths Olf steel

wire coiled into a spiral shape, which resist lengthwise.

They are used in talking machines to maintain the con

trolling arm of the governor disc in a steady position,

and a spiral spring forms an integral part of the Lyric

reproducer. (See Friction Pad, Governor, Motor,

Lyric.) (3) Blade Spi-ings.—Flat strips of highly tem

pered steel, which resist laterally, i.e., against bending-.

They are used in building up the governor of the motor--.

(See Governor, Governor Blades, Motor.)

THE TALKING Macnmn ENCYCLOPEDIA. 97

3Pl'irl8' Barr9|-—The barrel or drum-shaped box

in which springs are enclosed. The primary object of

their introduction was to enable the spring to be wound

while the motor was in motion. (See Horizontal Motor,

Independent Wind, Motor, Vertical Motor.)

3Prin8‘ Bind-—-—A mechanical means whereby.the

winding crank shaft is gripped to retain the power of

the spring when wound. 1t is a variant of the ratchet

and pawl. The device consists of a piece of stout wire,

which is tightly coiled round and round the winding

shaft, one end being fixed to a stable portion of the

motor frame. It is so arranged that the revolving of

the crank to rewind the spring unloosens its grip on the

shaft, in other words, the coiling is in an opposite direc

tion to the winding revolution. The cessation of for

ward motion on the shaft causes it to spring back into

its gripping posture, and the strain of the spring to fly

back merely caruses it to hold tighter. It is a distinct

advance on the ratchet wheel, or ratchet and pawl, and

is being widely adopts.d by talking machine motor

makers. (See Ratchet and Pa-wl.)

3P|’irlg T9l‘l$i0l'\-—Onlv one example of this most

effective form of . diaphragm tension is at present

on the market. We refer to the Columbia Lyric repro

ducer. On referring to this article it will be seen that

a spiral spring has been fitted in such 21. manner, that

when the stylus is resting on the track the strength of

the srpringis exercised on the diaphragm. The rising

and falling motion of the sapphire is thus assisted, and

as there- is always a pull on the diaphragm it is des- .

cribed as a tension (spring tension). The system is‘ a

variant of the Edison system of balance weight tension,

and we refer readers to these two models for comparison.

The results obtain-ed are very good; indeed, a consider

able increase in volume accruing from the assistance

which the sprin gives to the dia hra . See L ric,Model G.) g P gm ( ' y

3tal"ld-—(1) For machine. The advances that have

been made in the quality of reproductions during the

past few years have occasioned a demand for record

H

983 THE TALKING MACHINE ENCYCLOPEDIA.

cabinets and other articles of furniture for convenience

and ornament. Many firms have hit .on the idea of

combining a record cabinet and machine stand, which

has become very p0p3ular.-' '(2) For trumpet. There are

three or four dilferent forms of trumpet stands: (1)

Telescopic folding floor stand; (2) table stand; (3) 001

lapsible crane arm ; (4) cabinet arm. They are necessary

for the large size trumpets at present used for phono

graphs, as atta.ching these to the reproducer neck alone

would either throw too great a strain on the motor- or

overbalance the machine. (See Machine, Recording,

Talking Machine, Trumpet.)

3tartin8' L9V9r-—A lever placed in a convenient

position, which either works on to the same arm as the

regulating screw, or has a separate arm. provided to

work direct on to the friction disc of the governor. The

moving of the lever in one direction withdraws the arm

from the disc, and the motor is able to start, while

reversing causes the arm to again come in contact with

the friction disc, and thus stops the motion. (See

Friction Pad, Friction Disc, Governor, Motor, Talking

Machine.)

$‘l19l‘I‘l-—The tapered portion of an amplifying horn.

(See Trum-.pet.)

3t¥|ll$--—-(1) Recording, usually a short sapphire or

diamond ground to the desired shape. (See illustration.)

It should be pointed out that the thread of a record

track is usually 100 to the inch, and it is necessary to

so grind the service edge that a deep channel may be

ll!cut in the blank, while the widenings and narrowings,

or hills and dales, are also well impressed. To this

end .the face of the sapphire is hollow ground, and this

further serves to lift the chips out of the channel. (See

Recording, Sapphire, Edison, Graphophone, Phono

THE TALKING MACHINE ENCYCLOPEDIA. 99

graph, Talking Machine, Trailing Recorder.) (2) Re

producing, generally a sapphire, but in some cases

crystal and even glass are used. The shape is either

globular, or a ball point on the end of a short stem, or

button, so called from the resemblance which the point

bears to an inverted button fixed to the end of a short

stem. (See Ball Sapphire, Button Sapphire, Edison,

Lyric, Model C, Phonogra.ph, Reproducer, Reproducing,

Talking Machine.)

. 31'-¥|l-l$ Ba!‘-—An integral portion of a disc sound

box ,. the metal rod which grips the needle and conveys

its vibrations to the diaphragm. (See Disc Machine,

Reproducing, Sound Box.)

' 3t1"" H0|d9l'-—The small tubular device which

holds the stylus of a recorder. (See Recorder, Record

ing.)

3W|V0|-—A joint which permits of free movement.

The fact that a certain amount of oscillation and side

movement have to be allowed for necessitates two swivels

. -('one for each direction) being placed on the neck of a

trailing repreducer. (See Graphophone, Graphophone

Reproducer, Trailing Reproducer.)

Ta|k9r-—Diminutive of talking machine, which see

Tamin8‘ Ma¢h|I‘l9-—The term is used to cover

machines of both varieties, disc and cylinder, and is the.

only comprehensive phrase effecting that end. It is a

misnomer in more senses than one, but has grown into

general use, and in the absence of a better will no doubt

continue in vogue.

Hietory.—T'he first known attempt to record sound

vibrations is that of Leon Scott. He constructed a

machine which was designed to show a tracing on

blackened paper, to which he gave the name Phon'aruto

‘graph. The apparatus consisted of a barrel about 18

inches long, 12 inches at its greatest diameter, and

made of plaster of paris. One end was left open and

the other closed by a solid bottom; in the centre of

this was a brass tube, bent at anelbow and terminated

by a ring, on which was fixed a flexible membrane

100 THE TALKING MACHINE ENCYCLOPEDIA.

which could be stretched to the required amount by

means of a second ring. To the membrane, near the

centre, a hog’s bristle was fixed by means of sealing wax,

which obviously served as a stylus or recording point.

Placed in front of the membrane was abrass cylinder,

turning round on a horizontal screw axis, which was

rotated by a handle, and round the cylinder a sheet of

paper covered with a thin layer of lamp black was

placed. It was used as follows: The bristle being

brought in contact with the blackened paper the cylin

der was rotated, and so long as no sound- was made the

bristle merely traced the helical line of the screw axis,

when a sound was made the diaphragm and bristle

being agitated thereby, graphically traced an undulat

ing line, which varied according to the sound made.

It was found by this means that whenever a certain

word or sentence was spoken, an absolutely indentical

tracing resulted. Having got thus far, it does not

seem to have occurred to the inventor that it might be

possible by adopting suitable means to again render the

soundls audible. The next step was made by Herr

Koenig, who invented an apparatus to render sound

visible. This consisted of a pear-shaped chamber

divided in the centre by a gas tight india-rubber mem

brane. Leading into one end of this was a coal gas»

supply pipe, and also a pin hole gas burner, while the

other finished in a speaking tube. A box-shaped,

rotatable mirror being so adjusted that the gyrations

of the gas flame from the pin hole burner might be

observed therein, words were spoken into the tube, and

the flame being alternately lengthened and shortened, a

band of light, which rose into sharp crests and anon

sank, was observable. In April, 1876, a Frenchman,

Du Cros, deposited with the Academie des Sciences in

Paris a. sealed packet, which, when opened at the

December session of that institution, was found to con--

tain a theory as to how sound might be recorded, his

idea being to construct a machine somewhat similar to

the disc variety of the present day. Observe, however,

he did notconstruct a machine, he only wrote a treatise

Sta.ting his idea of how the desired end might be

Tris TALKING MACHINE ENCYCLOPEDIA. 101

attained, and it remained for Edison to construct the

first practical sound recording instrument, thus putting

into practice what Du Cros had formulated in theory.

Edison patented his first phonograph in Great Britain

in 1876, and this was followed by an exceedingly detailed

and improved machine, or rather machines, in 1877. It

should be pointed out that Edison’s system of -record

ing difi"ercd from that which has now been adopted.

His first ma.chine consisted of a mandrel 0.f brass,

scored with a deep helical groove, mounted on a screw

axis, and so arranged that rotating the cylinder or

mandrel caused it to advance in exactly the same period

as the groove upon it. The cylinder was covered with

tinfoil, and on one side of it the recorder (phonograph

as Edison terms it) was fixed, on the other the repro

ducer. The recorder was arranged to indent the foil into

the prepared groove of the cylinder, and, says Edison in

his 1877 specification, after considerable experim.ent and

research he had succeeded in obtaining very fair results.

ELEVATION OF ED.ISON‘S ORIGINAL PHONOGRAPH.

It should be added that his 1877 machine used wax as

a backing for the foil, Edison remarking that he was

unable to use wax alone, as he forund it choked the point.

In 1886 Messrs. Bell and Tainter became associated, and

-the graphophone system resulted. They remark in

their original patent specification: “We prefer to cut

102 THE TALKING MACHINE Encvcnoraanra.

our record in wax in contradistinetion to indenting.”

f“The reader is referred to Phonograph for fuller details

on these points Late in the nineties Dr. Berliner

introduced hisdisc system, and although his methods of

recording were crude, and the results obtained simply

awful on account of the terrible scratch which the pas

sage of the needle across the record generated, yet some

degree of public favour was attained. Improvements

were gradually effected, and the gramophone as we

know it at the present day resulted. To follow out all

the various improvements which have been eflected from

1886 to date would take more space than the present

PLAN OF EDI}S.Oi\"S ORIGINAL PHONOGRAPH.

volume affords ; in most instances they are merely modi

fications and improvements of pre-existing types, in

proof of which it may be pointed out that the Edison

up-to-date machine is in ewentials the same as the 1877

model, while graphophones differ only slightly from

the original models. In 1906 three different models of

sound magnifying machines were introduced which really

mark the first decided advance on the original- methods.

They are graphically described elsewhere. There are

three systems of sound reproducing at present in vogue:

THE.TALKING Macnrms ENCYCLOPEDIA. 103

-(1)- The phonograph, using a- cylindrical ‘record; (2)

disc machine, which reproduces a needle disc; (3) d1S.C

machine using a disc.with a phonograph track. (l)

The phonograph is deservedly- popular, in/asmu'chas ll-

-enables its possessor to make .records at .home... The

cylindrical record has a very smooth track, and thus

-there are no scratching sounds to spoil the reproduction;

further, the diameter being ..the same throughout an

even repro.duction is assured throughout the selection.

The disadvantages are that.the records are fragile, and

beyond that a short standard has been fixed ; thus the

selections have to be cut short. They also occu.-py. a

relatively large space compared with disc records. (Z)

_The needle disc machine has an extremely wide circle of

They enjoy the following advantages: Owing

Qto its form there is no need to limit records to a stan

'“'clard size, hence the whole, or at least a large proportion

“of -a.1-1y selection can be included.. From one causeor

'fanother the greatest u"ngers of the world have mostly

made disc records only, thus the choice of artistes is

greatly widened; thediscs take up little room, a large

- number may be stored in a small so.ace, and this has fur

ther been .economised byma.king double-sided records.

.Tlie compensating disadvalntages are: an uneven repro

duction due to the narrowing- of the circle as the record

proceeds, frictional scratch which accompanies all repro

-ductions, higher price of records as compared with

cylinders. The phone discfcolnbines many of the

'a-dvantages of the former and latter types, and as such

seems to have a big future before it. The system has

not been before the public long, but it is already making

rapid' strides in- favour. The -only disadvantage it

possesses is that the circle of the track must be either

-ever widening or ever narrowing as the record proceeds.

By using a sapphire instead of a needle the scratch is

.m-inimised'to suchan extent as to be practically- absent.

.' 'Uses.—The uses of the talking machine are legion.

-To' tanbulate a. few of the most important: (l)-H0rn.e

entertainment ; (2) substitute f0r.orchestras for dancing;

.(3)'record'ing sound; (4)-substitute for stenographer in

business houses; (5) in newspaper. Qflicos, where, its

104 THE TALKING Macnmn Eucvcnomsnra.

use will enable the reporter to read his copry instead

of transcribing it; (6) public entertainment; (7) .pol1t1

cal weapon; (8) teaching of singing; (9) teaching of

elocution; (10) teaching of languages; (11) aid to

melmorising in general teaching; (12) demonstrating

sound phenomena; (13) ethnological aid; (14) dissemi

nation of music, and so on through a long category of

benefits. Besides the above its effects are also impor

tant.- Take, for instance, the fact that high-class music

is by its agency taken to folks who would not otherwise

have heard it, and you have an important factor in the

musical education of the public here. Then, again, by

its world-wide ramifications it brings the band or singers

-of the most remote nations to your drawing-room, and

thus the tendency to international amity and good

feeling cannot but be strengthened. It is already being

extensively used as a public entertainer, as witness

the many concerts which have been given during the past

season 1907-8. Its first appearance as a political

weapon of any importance was in the London County

Council elections of 1906. By its aid the party leaders

and popular favourites are practically endowed with

ubiquity, being able to address any number of meetings

simultaneously. The Unionist party at the present

time have many machines travelling up and down the

country addressing the electors and endeavouring to win

support for their cause. For teaching languages it has

long been used ; records are procnrable which enable the

student to attain absolute accuracy of pronunciation of

the words and phrases in the accompanying text-books.

Singing masters find it valuable in showing singers

where their vocalisatiorn is at fault; it enables them, in

efl’ect, to hold a mirror up for the pupil to see his or her

errors in. As an ethnological instrument its value is

simply incalculable. No longer is the science dependent

ou the memory of the traveller alone. He takes a-

machine with him and secures records of song and speech

of the tribes visited. In this way a Vienna professor

has collected recordsl of over 3,000 different languages

and dialects, the value of which: it would be quite

impossible to estimate. For sound experiments» it is

THE TALKING Mncnmn ENCYCLOPEDIA. 105

obviously pre-eminently fitted, such, for instance, as the

.generation of beats, harmony, interference, etc., and 1t

is needless to say the phono.graph is being largely used

for this purpose. (See Berliner, Disc, Edison, Graphoe

phone, Phonograph, Record, Recording, Reproduce)-,

Sound Box.)

TaP9l'95 Arl'T‘l- The to-nerarm fitted to the Gramo

phone. It consists of a tube, cast in one piece, and

tapering from the diameter of the'neek- of the sound

box, about hzalf-an-inch to about 1% inches, the length

being about nine inche in all. The horizontal swing

is allowed for in the tone-a-rm bracket, a goose-neck on

..a simple swivel being put in to hold the sound-box and

permit of the necessary up and down motion. (See Tone

.Arm.)

T9n$i0n-—Used in. connection with the talking

machine to denote stretching or latera1 strain. (See

'T'ensioned Diaphragm, Tension Plate, Tension Screw,

Tension Spring.)

T9nsl0n9d DiaPhragm.-—A g¢.ret,¢he-¢1 dia_

phragm. The means usually adopted to effect this end

are a screw ri11g and gaskets. The diaphragm is laid

in place on a flat rubber ring (gasket), and another

gasket is placed on top. A clamping screw ring is then

screwed up, which creates a strain in tangential lines

from the centre to the edge of the diaphragm. The

Edison Model C, Lyric- (Columbia Company), and Sey

mour Reproducer are examples. (See Reproducer,

Lyric, Model C, Tension.)

T9"5i0n P|at9-—~The plate which forms an integral

part of the stylus bar of a needle sound box, which is

-either vertically or laterally adjusted to the lower part

.of the shell. By means of screws acting 0n to this

plate, through small srpiral scprings, the strain on the

centre of the diaphragm may be accurately adjusted.

.(See Sound Box, Tension, Tension Screw, Tension

Spring.)

T9n9|0n PiV0t-—The means adopted by Messrs.

'Pathé Freres for creating a push on the centre of the

diaphragm. The stylus bar has a conical projection on

.106 THE TALKING Macnms ENCYCLOPEDIA.

either side, just above the stylus, both ends of which are

continued to an apex; these rest in adjustable screw

cups, clamped in turn by screw nuts. The reproduction

is, therefore, a continual pull or push onthe diaphra-gm,.

the whole stylus ba-r being a lever, the fulcrum of which

is formed by the cones mentioned. Hence a tension

pivot defines the device.

T0l"l$i0l‘l 30l'9"!--—The small screws which are the

means of increasing or decreasing the pressure 0n the

tension plate of a disc sound box. (See Sound Box,

Tension, Tension Plate, Tension Spring.)

T9n$i0n 3PP‘ing-—(1) The means whereby the

sapphire of the Lyric relproducer is deflected to the

record. (See Lyric.) (2) The small spiral spring which

is interposed between the screw head and tension plate

of a| disc sound box. The object is to enable a strain

to be placed on the plate without the screw touching-

it, and thus conveying the sound to the sound box

shell- The strain is also tensile, a distinct advantage.

(See Sound Box, Tension Plate, Tenmon Screw.)

T|"'99'VVaY Cl-lt, also termed phonograph cut; so

called from the fact that the impressions rest all round.

a U~sha-ped track. A sapphire with a hollow ground.

face isused for recording, which scores the movements

of the diaphragm at the same time as it cuts the helical

groove. Hence the impressions are on both sides and

at the bottom of the -U, i.e., on three sides, hence the

term. The system was introduced by Messrs. Bell and‘.

.Ta'inter in 1886, as distinct from the original Edison

method of indenting in tinfoil.- By this means the.

Tm: TALKING Macnmn Excvcnoraazma. 107

whole of the sound wave, both trough and crest, finds

a 'place in the track instead of trough only. (See

Edison, Graphophone, Phonograpll, Record, Recorder,

Reproducing, Talking Machine.)

T0n0 Arm-—~A system now universally adopted for

disc reproductions. It consists of a tube, one end of

which is fixed so as to allow of the necessary movements

to a conveniently shaped bracket, while the sound box is

fitted to the other. The original method of disc repro

duoing was to attach the sound box direct.to the end of

the trumpet. It was felt that this left something to

be desired, inasmuch as it was difiicult to adjust a large

trumpet to the instrument, and beyond that the horn

could only project in one particular direction. The

tone-arm consists of a. tube cast in one piece.

The trumpet is put on a collar, which drops in the

bracket immediately above the orifice of the tone arm,

this latter, therefore, forming a stem or taper, which

gradually amplifies the diaphragm’s vibrations. S0

successful has the system proved [while the tonal results

are made much better by suppressing defects in records

considerablyl, that the tone arm has come into universal

use. The Columbia Company have evolved a cast

aluminium tone arm, which they fit to all models of

their disc machines, and they have introduced a phono

graph lately which embodies the first adaptation of the

tone arm principle to the cylinder machine. (See Disc

Machlne, Goose Neck, Gramophone, Tapered Arm.)

.T0n9 Arm ‘Bra¢k9tl-—<The bra'c'ket which Bus

tains the tone arm. of a disc machine. (See -Tone Arm.)

_ Tra0|<i—Alternative term for the groove which bears

the sound impressions on a record. (See Groove,

Record, Three-way Cut, Two-way Cut.)

T|‘a1"nS R9¢0|'d9l'-—A recorder which trails

from the carrier, floating free as a whole on the blank.

(See Graphic-phone, Phonograrph, Talking Machine.)

J 'Trallin*g R9Pl'0d\l¢9l'.-—That form of reproducer

which is so arranged on the carrier that it trails there

from, floating free as a whole on the record. The

108 THE TALKING MACHINE ENCYCLOPEDIA.

system was introduced by Messrs. Bell and Tainter. (See

Graphophone, Graphophone Reproducer, Phonograph,

Recorder, Recording, Reproducer, Reproducing, Talk

ing Machine.) .

-EXAMPLE: SEYMOUR R.EPRODUCER..

.Tr\ll"l'\P0'l-—A tapering tube, the effect 0.f which

is to amplify the vibrations which the diaphragm

renders audible. As with most things the trumpet was

gradually evolved rather than immediately hit upon..

Studying the original Edison machine we find the

nucleus of the trumpet, as we know it to-daly, in the

small mouthpiece that was attached to the reproducer.

The inventor appeat'.s to have considered that the mouth

piece might be considerably improved upon, for in his

1887 model we find the first real attempt at a trumpet

in an acutely tapered stem, a few inches long, which

was attached to the reproducer neck. When talking

machines were first put on the market the possibilities

in this direction had not apparently been realised, for

we find a series of small india-rubber hearing tubes were

THE TALKING Macnmn ENCYCLOPEDIA. 109

fitted, the number varying according to the audience

that it was desired to entertain. We believe it was in

1896. that the first large trumpet was introduced, under

the name of the loud speaking phonograph; we remem

ber that the first demonstration created quite a sensa

tion. From that time the hearing tubes began to

decline, until now they have almost entirely disappeared.

The theory of amplification will be apparent from a

study of the accompanying diagram. It will be seen-

that the lines (which are theoretical and not of any

actual note) are ever widening as they pass along the

horn; thus they increase in width, which, as we learn

under the heading Sound, is amplitude or intensity.

TRUMPET WITH SOUND W7-\\'ES (THEO.RETICAL).

The principal shapes of horns at present on the market

are: (1) Tapered seamed brass, with a flare; (2) tapered

seamless brass; (3) seamlem spun aluminium ; (4) flower

horns. We will take them in the order named. (1)

These are made in many sizes, ranging from 14 inches

to 56 inches in length, and from 7 inches to 21 inches

110 THE TALKING MAC}lINE EN(.‘.YCLOPzED.|.A

in width. They are made by cutting out a segment of

sheet brass and seaming it, a curved bell or flare

portion being then mounted thereon. (2) Seamless

brass horns are not seamless in reality, only in effect.

They are made by cutting out a segment of sheet brass,

tongueing the edges, bringing them together and

brazing; afterwards they are hammered out to give

them. a bell or flare on a conveniently shaped block. (3)

Aluminium horns are spun from a flat sheet of metal on

the chuck of a lathe, and are, therefore, seamless. (4)

Flower horns are made of several pieces joined together

by folding the edges one in the other. Experience

having proved that brass lends a colouring to the repro

duction, which, however va.luable it may be for band

and instrumental work, is not desirable for vocal, it is

best to coat numbers one and two with enamel, which

deadens the effect. The following points may be said

to summarise the position with regard to trumpets: (1)

Metal horns cannot be used for recording, owing to the

fact that they have a fundarmental note, which may be

excited in the course of rendering the selection. (2)

The best length for a horn for ordinary reproducing

purpose is 42 inches by 14 inches across the hell. (3)

Various metals give different results. For vocal work

lead is good, as it has the lowest sound conducting

velocity, yet steel, second only to iron in the velocity

with which it conducts sound, is if anything better. (4)

This postulates a further consideration, which we find

in gauge of metal used. If brass were used of the same

-gauge as hammered steel it is to be assumed that it

would give a better result. (5) The thicker the metal

used, up to a certain point, the more solid will the resul

tant reproduction be. (6) Metal horns must be insu

lated from tone arm. brackert, floor stand, or reproducer

neck. (7) Seamless horns are much better than seamed,

inasmuch as they have no loose joints to rattle. (8) The

choice is, therefore, directed to a. brass horn, of solid

material, which should be enamelled to deaden it. (9)

Seams being discriminated against, it follows that the

flower hoctn, with its multitudinous seams, cannot be

recommended for a p-hQnQ-gq-a,ph.. (10) MM“,

THE TALKING MACHINE ENCYCLOPEDIA. 111’

horns being spun are necessarily very thin, and so alas)

is the resultant reproduction. (11) \Vhere a. seamed

horn is used, the tendency to rattling can be overcome

by stretching rubber bands at intervals along its length,

or by gumming some fabric along the seams. (12) The

object of fitting a flare to a trumpet for reproducing 1s

to provide a solid body behind the sounds, thus bodying-

them up and assisting in giving the sound direction.

Where -the reproduction. leaves the diaphragm well

spread out into detail, as is the case with the cylindrical

type of machine, a long, gradual taper, with a small

flare, is naturally the best form for the trumpet to take.

The disc reproducton is different, however; the vibra

tions leave the diaphragm in a mo.re condensed state, and

here a gradual taper, with a wide opening flare, proves

the most effectual. The reason why a heavier gauge of

rnetal gives a better reproduction, is that it is less liable

to be set into sympathetic vibration by the passage of

sonorous impulse through it. It being impossible to

.a|tta-ch a large horn direct to the reproducer neck, a

stand becomes necessary to sustain it, and a flexible tube

to join the horn to reproduoer. We advise the use of a

moulded rubber connector which can be obtained almost

anywhere. Recording horns must not have any flare, as

this feature will prevent much of the sound entering,

by throwing vibration back across the path the other

sound is travelling, deertroying part 0.f the effeot by in

.terference. The reader is referred to Recording Trum

pets for full informatiorn on this point. From the fore

going it will be obvious that to get a good reproduction

a large horn is essential, the object being to open out

the otherwise intense sounds that leave the diaphragm.

To test this it is only necessary to listen to a record

without the aid orf a trumpet, the sounds generated

being so intense as to become painful to listen to. Signs

are multiplying on every hand that the trumpet, as an

instrument for amplifying, will soon become a thing of

the past. In this direction we notice the Gramophone

Grand, the amplification being performed by the lid of

the cabinet, which closes the instrument. This provides

an adjustable volume and is an advance in every way.

112 THE TALKING MACHINE ENCYCLOPEDIA.

Another instance is the Klingsor Cabinet .machine,

where the amplification is assisted by a sounding board

and wires similar to the string board of an autoharrp.

(See Recording, Recording Horn, Reproducing, Talking

Machine, Trumpet Collar, Trumpet Connector.)

Tr\lmP9t C0lla-r.--'l‘he curved union fitted to the

trumpet to provide a convenient means of attaching it

to the tone arm bracket. lt is curved so as to prevent

the trumpet from projecting vertically upwards, and

thus directing the sound towards the ceiling, and also to

allow 0.f the sound being projected in any direction

without moving. the machine. Usu.ally the trumpet is

arranged to screw on, but it is also slotted in, and in

some cases soldered. (See Disc Machine, Tone Arm,

Trumpets.)

T"-lmP9t Uni0l‘l-—Another name for the connec

tor used to attach the ferrule to the reproducer neck in

the case of a cylinder machine. They are of two differ

ent varieties: (1) Moulded rubber; (2) braided wire,

fitted with metal ends. (See Connector, Trulnpets.)

T\lrntabl9-—The circular plate of metal, covered

with baize or velvet, fitted to a disc machine to bear the

record. (See Disc, Disc Machine, Horizontal Motor.)

T\"‘n‘|Iab|9 AXi$-—The spindle which bears the

turntable, and also, by being made to project above

the turntable, forms the pivot for the record. Owing

to the fact that the weight of turntable (often as much

as 2§l-bs.) is continually pressing downwards, it has

been found that the lOw€l1' bearing quickly wears out.

To obviate this as much as possible, a small plate of

hardened steel- is so screwed to the frame that it bears a

portion of the weight. (See Disc, Disc Machine, Hori

zontal Motor, Motor.)

TW0'WaY c0l‘ltl'0|-—A two-ended friction pad.

Experience has demonstrated that where both speed

screw and start and stop lever work by the same arm

on to the friction disc of the governor, that having only-

one friction p.ad means pressure will be exercised on one

side of the disc only when the motor is at rest. As we

.___.._-_4P_.-,-d......—---.—-A-__ A

THE TALKING Macnmn ENCYCLOPEDIA. 113

have pointed out elsewhere, a spiral spring is fitted to

the free end of this arm, and the whole strength of this

spring pressing on to the disc in one spot has a tendency

to throw it out of truth. At first the effect may be

slight, but a continued strain results in one of the

governor blades pulling at its end setting and thus

becoming looser, and so spreading wider than its

fellows. When this happens the governor describes an

elliptic course, instead of a perfect circle, and the effect

is much the same as if one of the gear wheels were bent,

intense vibration is set up» in the motor, and it does not

run evenly. The device under notice is to end the arm

in a horseshoe, with a pad at each end. This is pivoted-

to the main portion of the arm, and the pads exercise

even pressure on the governor disc; hence the effect

mentioned can never be generated in a motor which

knows this contrivance. (See Friction Disc, Friction

Pad, Governor, Motor.)

TWQ-Way Cl-It The needle disc cut is so-celled

from the fact that the track it bears resembles the letter

V, the vibrations being alternate sinuosities on either

side thereof. See diagram. (See Berliner, Disc, Disc

Machine, Needle, Record, Recording, Rerp-roducjngy

Sound Box.)

Ul’\|0nu T"-lmP9t-—See Trumpet Union.

U-C\lt-—See Three-way Cut.

V-Cl-It-—See Two-way Cut.

VaO\l\lI1‘l-—An empty clhamber devoid of air. The

usual method of obtaining a- vacuum is to nest a bell

I

114 THE TALKING Macnmn ENCYCLOPEDIA.

glass into a rubber washer, the receiver of an air pump

being connected with the interior. By pumping the air

in the glass is exhausted. A vacuum is a necessary

feature to the gold moulding process of duplicating

records. (See Gold Mould, Moulding.)

V9l'ti0aI |V|0t0r- A motor so fixed in the frame

that all the parts work in a vertical direction. Motors

of this type are invariably fitted to phonographs and all

cylinder machines. The term is used to distinguislh this

form from the horizontal motors of disc machines. A

horizontal motor works on vertical spindles, and a

vertical motor on horizontal spindles. For a description

of the motor scheme the article Motor should be referred

to. The vertical motor has an advantage over the hori

zontal in that the stress of wear and tear is evenly dis

tributed between the two end bearings of the shafting ;

we do not know that any other‘ advantage can be

claimed for it. Where the inertia is, as in the cylinder

machine, a horizontal mandrel revolving vertically, it

will be sufliciently obvious tha - it is most convenient for

the transmission of power to arrange for the motor to

work in the same manner. (See Gear, Governor, Motor,

Phonograph, Talking Machine.)

Vibra‘!i0n$-—The vibrations which .concern us here

are sonorous vi-b.ratiorns. As will appear under that

article, Sound is a vibratory motiorn ; were it not so it

would not be possible to obtain an engraving from

which to reproduce it, i.e., recording would be impossi

ble. The number of vibrations per second determine

the pitch, another fact which is relied on to make a

record. This is most clearly demonstrated from the

result obtained. Carefully inspect a. record of a piccolo

for example, and note how close the small hills and dales

are together in the track; as a contrast, look at a

record of a bass voice, and you will notice the marks

are much farther apart. Now you will be aware that

both records run at the same speed, and there must be

some reason why the marks are closer in the former

than they are in the latter instance. Clearly as there

are more for a high note, there are more vibrations in

a- given space of time, and as there are less for a low

THE TALKING MACHINE ENCYCLOPEDIA. 115

note there 'are less vibrations required to produce it.

Now we have said sound is vibration, therefore, when

sounds are made at the mouth of the recording horn,

vibrations pass down it, and striking the diaphragm

cause it to move in exact unison with them. It is by

this means that the stylus is made to engrave the im

pressions which enable us to ensure sound reproduction.

(See Edison, Gramophone, Grapliophone, Phonograph,

Record, Recorder, Recording, Reproducecr, Reproducing

Sound, Talking Machine.)

Vibrat|0n$: Fa|$9-—See False Vibrations, Blast

ing, Overtones.

Vl~l|¢ani1l9, or Ebonite, is formed by making a mix

ture in the following proportions: 70 to 80 per cent.

india-rubber, and from. 20 to 30 per cent. sulphur, sub

jecting them to a certain temperature by steam heat,

the resultant product differing entirely from rubber,

being a black, hard, horny substance, which takes a

high polish and is an excellent non-conductor of elec

tricity. Vulcanite is used for making sound box, repro

ducer, and recorder shells, and has also been extensively

experimented with as a material for diaphragms, but

not very successfully, owing to the fact that it is not

homogeneous enough, and therefore does not render all

sounds equally, some being rich and full, others inclined

to whistle and shrill.

wax 39tting-—Refe1rs to a method of fixing the

-diaphragm by cementing down with resin wax. This

fixing has fallen into desuetude, so far as reproducers

are concerned, but many recording diaphragms are fixed

in the frame by this means. It gives a very firm grip

to the diaphragm, which is valuable for recording, but

has been superseded by the adjustable screw ring in the

reproducer. (See Screw Ring, Tension.)

W9ights Ba|anC9-—See Balance Weight, Model C.

W0l'm F996-—-A mechanical device, by means of

which a vertical spindle is rotated by a horizontal

shafting. The spindle ha.s a number of teeth set at the

.correct angle to meet a screw worm, which is fixed at

116 THE TALKING Macnmn Encvcnormnm.

the end of the shaft. Rotating the latter causes the

spindle to revolve, and a very silent and steady motion.

is thus obtained. It is usually adapted to the disc

motor, where this is set to work vertically. (See Motor.)

W|'l99|$: 00g-—See Cog Wheels, Gear Motor.

X¥|0n|t9, or \Cellu,'loid, consists essentially of a

solid solution of the lower nitrates of cellulose in cam

phor. The process of mauufacture is a lengthy one.

The cellulose, in the form of bleached cotton or tissue

paper, is immersed in a mixture of certain proportions

of nitric and sulphuric acids. The nitric acid must not

be too strong, so as to avoid the formation of the

explosive and insoluble hexanitrate or gun cotton. As,

however, the water produced in the chemical reaction

progressively weakens the acids, the temperature of the

bath has to be so regulated as to compensate for the

loss of strength, and ranges from 20 deg. to 30 deg.

Cent. After about half an hour the acids are run ofi

and finally squeezed out of the pulp as far as possible-

by a hydraulic press. The nitro-cellulose, now in a

compact cake, is broken up, thoroughly washed,

bleached by the aid of permanganate or bleaching-

powder, and again washed and freed from water by

pressure. The cake is again broken up, mixed with

flake camp-hor, pigment, or dye, and often with

napthalene, oils, or other substances. The mixture is

then filled into boxes, each layer being sprinkled with

a bare sufiiciency of alcohol or other solvent, and the

whole is allowed to soak for some time, when it settles

down into a dough. To render the mass homogeneous,

it is cut in pieces and kneaded under steel rollers that

can be warmed by steam. From these it is again cut

in sheets, a number of which are placed together and

welded into a solid block by hydraulic pressure. A

planing machine cuts from the block sheets of any

thickness required, and these can be moulded into shape.

Weeks or, in the case of thick pieces, months are occu

pied in drying off the solvent used for the camphor.

The process is carried out in heated chambers, and is

always attended by more or less shrinkage. When

finished the material is tough and hard, and in elasticity

Tan TALKING M»-cr11NE Eucvcnoraanm. 117

rivals ivory, like which it may be planed, carved, or

turned in the lathe. The colour without pigment is

bull, and the nature of the pigment used affects the

specific gravity, which averages about 1.4. It is not

explosive, but is easy to kindle, and burns vigorously.

Oelluloid becomes plastic at 125 deg. Cent., and it can

be readily welded at this temperature. It was first

made in England by Parkes of Birmingham in 1856.

Many attempts h.ave been made to use celluloid in the

manufacture of disc and cylinder records, and also for

diaphragms. Heavily backed with plaster of paris it

was fairly successful for cylinder records, but the ten

dency of the plaster to chip out and make the machine

dirty- led to its being dropped. We believe that the

Columbia Company are experimenting at the present

time with a view to using xylonite as a materal for their

new flexible discs, but it is yet too early to say with

what success. The principal objection to its use for

diaphragms is that it is speedly affected by heat. On a

warm- day, for ;instance, it will -bend right out of

shape, and it may or may not resume a correct level on

the weather becoming cooler. Apart from this, it gives

a powerful clear reproduction, which is in many features

better than that obtained with any other substance. It

has a ready recovery, practically instantaneous. is easily

flexible, and takes a small dome best. (See Diaphragms,

Reproducer, Reproducing, Talking Machine.)

ADDENDA.

Amb9r0| R6¢0rd-—The term refers to a new

cylinder record, the invention of Mr. T. A. Edison.

From one cause or a-nother the usual thread of a cylin

der record has become standardized at 100 threads—or

turns—to the inch; such is the ordinary cylinder. Now

the speed at which a record is played is 160 revolutions

per minute, as appears elsewhere, hence 1 3-5 inches

pass under the reproducer in that time, and, as the

recrded surface is only anbout 3% inches in length, the

average playing time is about two minutes. It is

therefore impossible to record compositions in their

entirety, and thus much beautiful music has been

ruined by the “ cutting” that has been resorted

to in order to compress it into recordable oom

pass. Realising this Edison has spent a long time

—about two yea.rs—in perfecting a system of recording

with 200 threads to the inch. The difiiculties in the

way were enormous. As we have pointed out under

Recording, it is a matter of extreme difliculty to manu

facture a blank which will allow of 100 threads to

the inch being engraved on its surface; add to this the

care which we have seen has to be expended in grinding

and polishing thestylus, and the wonder of this achieve

ment will be enhanced. The Amberol is claimed to be

the longest playing record on the market, having a

reproduction e¢xtending—on an average—over four

minutes. Many compositions, which it is impossble

to place on a standard size cylinder, can now be re

corded, and most songs rendered in full. (See Edison,

Phonogra-ph, Record, Recording.)

B|ank-—T'he blank cylinder or disc on which selec

tions are originally recorded. Owing to the fact that

the blank has to be mechanically engraved, and that

the engraving force is weak, the blank must of neoossit

be formed of a soft material, e.g., wax soap», to which \-.‘

THE TALKING MACHINE ENCYCLOPEDIA. 119

article the reader is referred for information as to the

compound. When engraved the blank is copied by suit

able means (see M.atrixing, Moulding), and from the

permanent moulds or dies the commercial record is

made.

CablI"l9t MaOl'l|I‘l9-—-Th'at form of machine which

does not require a trumpet, the amplification of the

sounds arising from the diaphragm being attained by

a sound chamber. The design is somewhert as follows.

A cabinet of varying shape, four feet in height, is con

structed, and at the top the usual clockwork motor and

turntable are fitted. The tone arm curves downward

instead of upyacrd, and is continued to a chamber, the

shape of which is somewhat in the form- of the ordinary

horn, the walls\ being composed of thin wood to serve

the purpose of a sounding board. This chamber is

located under the motor, as aforesaid, and is usually

closed by double doors. A means of modification is

thus provided, as when the doors are wide open the

fullest volume is 0.btained, the volume being reduced by

pushing them to. The pride of these ‘machines is

naturally high, as, generally speaking, the cabinets are

made of the best woods. The demand is, however, con

siderable, the talking mac1l1ine'—in this form~—be=ing a

handsome piece of furniturre.

-C0nV9rsi0n D9Vi¢9s.-—We use the term in refer

ence to devices for converting ordinary needle sound

boxes into sound-boxes for reproducing phono-cut discs.

Such, for example, as the sound-boxes fitted to the

Tournaphone and Star disc machines, and also

the Trois Sapphire needle. The reader is referred

to Two-Way Out for a descriptioni of the needle disc

track; and, further, it will be well known that the

position of the needle sound-box diaphragm is vertical

from, and parallel along, the track of the disc. The

phono-disc bears what is known as the three-way cut,

the motion being up and down. This necessitates the

diaphragm being in- a different position for reproducing

purposes, usually vertical from and facing right across

the track. The conversion devices mentioned as fitted

to Tournaphone and Star machines are eccentric swivels

120 THE TALKING Macnmr. ENCYCLOPEDIA.

of one form or another, either placing the diaphragm at

an angle of 45 deg. to the plane of the phono-d1-W (.star),

or making the diaphragm face the record (Tournaphone).

DiaPhragm-—See page 10 for general remarks. .

F'ilamentz'ne.—A diaphragm made of three composi

tions, the formulae of which are a secret. Briefly, the

process consists of lacquering two mutually neutralising

compounds on to a suitable base. Hence the effects of

heat and cold are neutralised, the resultant reproduction

being alike in all conditions of temperature.

Flea:.—A diaphragm compom of a composition, de

tails of which are a; secret. The principal feature of the

diaplmagm. is that ray-like ribs pass from a point near

the centre to the edge of the film, narrowing as they

go, hence the resistance is less at the edge than in the

centre. A simulation of a built-up diaphragm is thus

obtained. (See Built-up Diaphragm, Diaphragm, etc.)

G73-Vity F996-—A means whereby the tone-arm is

urged across the surface of the needle disc record. It

consists of a slpirral spring placed in the tone arm bracket,

and acting on the tone arm itself. The object of the

device is to relieve the record track of the onus of

moving the sound-box across the surface.

K||ng$0r-—The term refers to a form of talking

machine which is enclosed in a casing, the object being

to effect an increase in the fulness of the sound and

enrichment of the tone. A casing is provided with a

series of strings, which are caused to vibrate by the

sound waves, by placing the said strings on a sound

ing", board, on to which board the reproduced sound im

pinges. In appearance the machine resembles an up

right bookcase, the upper part containing the stringed

sounding board and the lower part the motor and tone

arm.. It should be remarked that this is a machine for

disc records only.

Pa15519 30\"\d B0X-—~A sound box constructed to

reproduce the phono-cut disc only. It diff*‘e|zs consider

ably from the needle sound box, elsewhere described, the

following being the principal points in which .it varies

therefrom: (1) The diaphragm faces across the surface of

Tm: TALKING Macmma Eucvcnormnm. 121

.the disc record track, whereas the needle sound box faces

along the said tnanok ,' (2) It is so constructed that the

head of the stylus bar presses against the centre of the

diap|hragm., wllllfill is arranged by pivoting the stylus bar

on the sound box shell in a convenient manmer; (3) The

reproducing point is an unwearab1e ball sapphire -~ointed

needle, which does not require changing, whereas the

needle sound box uses an sharp-pointed steel needle,

which has to be changed for each reproduction. As will

be apparent from a perusal of the article Phono Disc,

the track or groove tl1ere'0f difl"ers' from that of the Ber

liner disc, in that it is a U-shaped groove with the

sound impressions located around the lower portion of

'theU, while the latter bears a V-shaped track, which ex

poses altornate widenings and narrowings in its passage

under the needle. \Ve have said that the dianhrragm

of the Pathe Sound Box faces across the track, and a fur

ther point to be noted is that the stylus engages the

record at an angle of 45 deg. to the plane formed by the

turntable (see illustration). As the record revolves

under the sound box the series of hills and dales in the

track (which form the sound waves) momentarily raise or

lower the stylus,.. which action is conveyed to the dia

phragm in the form of a pull or push, by means of the

stylus bar pivot previously mentioned. By making that

portion of the stylus bar which moves the inertia (dia

phragm) longer than that on which the force acts (the

needle holder), the agitation, or power, is amplified.

'Tlre arrangement is that of a simple mechanical lever,

the fulcrumr being the pivot of the stylus bar.

122 THE TALKING MACHINE Encvcnoraanm.

Pr0min9nt Talking Ma¢hin9 Firms and

their 3P9¢ialiti9s-

Rnconns AND MACHINES.—~ALPHABETICAL Lrsm.

BARNETT SAMUEL AND Sons, LTD.

Dulcephone.—Disc machines.

Fonotipia|.—D0rub1e-sided disc records (needle cut)-

—12-in., 65. to 25s. ; 10%-in., 65. to 12s. and higher-

Jumbo.—Double-sided disc records (needle c.ut|).—

10-in., 3s.

Ode|orn.—Do1Lb1e-sided disc; records (needle cut).—

12-in., 6s.; 102--1111., 4s.

BEKA Rnconn C0.

Double-sided disc records (needle cut).—Meister 12

in., 691. 6d.; 10-in., 3s.; 8-in., ls. 10d.; 7-in.,

1s. 6d. .

Single-sided disc records (need.le crut).—11-in., 25

6d.; 10-in., 2s.; 8-in., 1s. 3d.; 7-in., ls.

Bmmnnnn ANDRES AND Co.

Homophone disc records (needle cut).—10-in., double

sided, 3s.

BRITISH Zouopnomz Co.

Zonoprhone disc machines.

Disc records. Single-s1'ded (needle cut).—10-in..

(Grand Opera), 3s. ;. 10-in. (ordinary), 2s.

COLUMBIA Pnonocrmrn Co.

Graphophones. Disc and cylinder machines.

Double-face disc records (needle cut\).—12-in. (Cele--

brita.), 6s.; 12-in. (ordinary), 5s.; 10-in., 3s.

Single--face (needle cut).~—-12-in., 39. ; 10-in. (Grand'

Opera), 3s.; 10-in. (ordinary), 2s.

Cy1inders.—X.P. Standard, 1s.; Premier 6-in., 2s.

EDISON BELL CONSOLIDATED PHONOGRAPH Co., LTD.

Ph-0nographe. Disc machines for both needle amf

phone cub records.

Cylinders (N.P.), 1s.; Xtra long, 9d.

Double-sided discs (needle cut).—10-in., 2s. 6d.

Doulble-sided discs.—phorn0 eut.—10-in., 2s. ; 8%-in.,

1s. 6d.

GRAMOPHONE Co., LTD.

Gramophones. Disc maohines.

Single-sided disc- 1‘€|cord‘s1 (needle cut).—

THE TALKING MACHINE ENCYCLOPEDIA. 123

Celebrita, 10-in.,. from 6s. to 30s. ; 10-in., from 6s.

to 25s.

Concert, 12-in., 5s. 6d.; 10-in., 3s. 6d.

INTERNATIONAL FAVORITE Rnconn Co., LTD.

Excelsior diso machines.

Double-sided records (needle cut(..—12.,- 5s. ; 10-in.,

3s.

S.ingle-scidedl records (needle eut).—12-in., 4s.

H. LANGs’s Succnssons.

Klingsor Cabinet machines.

NATIONAL PHONOGRAPH Co., LTD.

Edison phonographs.

Amberol cylinders, 1s. 6d.; Sflandiacrd cylinders, ls.

PATHE FRERr.s,, Lrn.

Pathephones (machines for phorno-cut discs).

Double sided records (phone .cut),—11-in. (De Luxe),

' 4.51.; 9%-in. (Standard), 2s.; 8%-in. (Popular), 1s. 6d.

PREMIER MANUFACTURING Co, LTD.

Clarion double-sided dies records (phono cut).—10-in.

in., 2s. 6d.

Clarion cylinder records.—Standard, 9d.

TWIN Rnconn Co. '

D0~uble-sided disc. records (needle cut).—1“O-in., 2s. 6d.

R9¢0l'd R9ViV9r$-—The terms refers to substances

used for reviving worn records and reducing the scratch

which arises from the roughened surface thereof. There

are two such oompounds on the market: (1) Voxo; (2)

Shlflfiflld. Record Reviver; both of which partake of the

nature of dry lubricants and improve the reproduction by

smoothing the worn portions of the track. The formulas

of these compounds are secrets.

R98‘!-l|at|l18' 3(=l'9W-—This feature is common to

practically every model of talking machine made, both

disc and cylinder. It is a mechanical device, by means

of which an arrn is depressed on’ to the friction disc of

the governor, which is thus nrevented from running at

a greater speed than the position of the screw permits.

(See Friction Disc, Friction Pad, Governor, Motor.)

30\lnd B0x, C0nV9rtib|9.-—A S01md.b»0-x which

can be used- for reproducing either needle or phono-cut

124 Tm: TALKING MACHINE ENCYCLOPEDIA.

discs. The conversion is accom-plished; in various ways.

(See Conversion Devices).

S0\lnd M0d\llat0r-—Means of decreasing the vol

ume of sound generated by the diaphragm’s motion.

There are at present two methods of accomplishing this

end: (1) A screw capped with washleather, which mayadjuted to press on the centre of the sound-box dia

phragm, according to the degree of loudness desired, the

modification being achieved by checking the motion of

the diaphragrn. This is adopted by the Columbia Phono

gvaph Company. (2) By placing a suitable contrivance

in the tone-arm, the means adopted in the Star machines.

This consists of a trumpet-shaped fitting, the 'fervru1e

end being drilled with several small holes. A slide is

provided on the outer surface of the tone-arm, and. by

pushing this slide towards the sound-box the perfora

tions are sealed and full volume results. When the slide

is drawn away from the sound-box the perforations are

exposed and fully 50 .per cent. of the sound escapes

to be choked in a hermetically sealed chamber.

WaX 30aP-—(1) The composition of which blank

cylinders are composed. The requirements of the com

pound are as follows: (a) That it shall be insoluble in

water; (b) humid weather must not affect it; (c) as it

must invariably give a dry chip both in recording and

shaving; (d) it must not volatise, otherwise a rough

surface will result when the cylinder is subjected to the

copper bath ; (e) it must be clean cutting; (f) and must

be capable of taking a deep cut without chinoing in any

way. and the cutting itself must have perfectly smooth,

highly polished walls. Amongst others the following

materials may be used: Stearine, ceresin, beeswax, para

ffin, czketrite, canruba, spermacertti, and many less im

portant mineral and vegetable waxes. Any of the above

are quite useless alone, hence they are used in varying

quantities, according to the degree of hardness, dryness,

and fnee cutting. without a tendency to viscosity, de

sired in the finished cylinder. Ceresin is generally the

base and principal ingredient of the compound, as this

wax is the nearest approach to the desired condition.

The exact formula is one of the most jealously guarded

Tnn TALKING Macnmn Eucvcnormnm. 125

secrets of the trade, and although it is an open secret

that many of the above-mentioned waxes are used in

the compound, we are in a position to say that various

manufacturers use different quantities. (2) A some»

what similar combination of waxes is used for the manu

facture of the material of which the commercial moulded-

record is made, pitch or other material being added to-

make it hard.

W00d9fi H0l'l1-—A form of sound amplifying trum

pet lately introduoed, which is claimed to considerab'ly'

improve the quality of the reproduction. It is formed

of various woods, and owing to the difficulties of b,end'

ing to shape, is somewhat highly priced.

Z0ra—A sound-box designed to play both phono

cut and needlecut discs, arranged in such a manner that .

the fitting of the needle lifts the sapphire out of en

gagement, and when the needle is removed sapphire

discs may be played without the trouble of fitting a.

sapphire needle.

THE LATEST AND BEST IN CABINET MACHINES.

The “ Klingsor.”

MADE IN

I-‘ll-‘TEEN

MODELS-

All machines are of

best and solid wood,

either in Oak. Mahog

any or Walnut. British

made throughout. and

are specially adapted

for transport. as they

will stand any change

in temperature.

Tl-IE SULLIVAN. £5 10!.

(Closed). Oak or Mahogany.

THE SULLIVAN £5 10¢. (Open)

They are fitted with the best

motor in the Market: “the well

known and famous Excelsior Motor.”

H. |.8l1!IB’S SIIBBBSSUPS,

2|, Little Portland Street,

Oxford Circus, W.

ESTABLISHED 1 854.

:T€Ieph0nc Ho. : 12239 Central. Telegraphic ficldress: “ Langius, London.”

\T\\"\l\l\lilli'\l\l\\lll\\l\lll\°\lll51 130 gas