How it Works by Archibald Williams is part of the HackerNoon Books Series. You can jump to any chapter in this book . TALKING-MACHINES. here Chapter XVI. TALKING-MACHINES. The phonograph—The recorder—The reproducer—The gramophone—The making of records—Cylinder records—Gramophone records. IN the Patent Office Museum at South Kensington is a curious little piece of machinery—a metal cylinder mounted on a long axle, which has at one end a screw thread chased along it. The screw end rotates in a socket with a thread of equal pitch cut in it. To the other end is attached a handle. On an upright near the cylinder is mounted a sort of drum. The membrane of the drum carries a needle, which, when the membrane is agitated by the air-waves set up by human speech, digs into a sheet of tinfoil wrapped round the cylinder, pressing it into a helical groove turned on the cylinder from end to end. This construction is the first phonograph ever made. Thomas Edison, the "wizard of the West," devised it in 1876; and from this rude parent have descended the beautiful machines which record and reproduce human speech and musical sounds with startling accuracy. We do not propose to trace here the development of the talking-machine; nor will it be necessary to describe in detail its mechanism, which is probably well known to most readers, or could be mastered in a very short time on personal examination. We will content ourselves with saying that the wax cylinder of the phonograph, or the ebonite disc of the gramophone, is generally rotated by clockwork concealed in the body of the machine. The speed of rotation has to be very carefully governed, in order that the record may revolve under the reproducing point at a uniform speed. The principle of the governor commonly used appears in Fig. 146. The last pinion of the clockwork train is mounted on a shaft carrying two triangular plates, a and c, to which are attached three short lengths of flat steel spring with a heavy ball attached to the centre of each. a is fixed; c moves up the shaft as the balls fly out, and pulls with it the disc d, which rubs against the pad p (on the end of a spring) and sets up sufficient friction to slow the clockwork. The limit rate is regulated by screw s. THE PHONOGRAPH. Though the recording and reproducing apparatus of a phonograph gives very wonderful results, its construction is quite simple. At the same time, it must be borne in mind that an immense amount of experimenting has been devoted to finding out the most suitable materials and forms for the parts. The (Fig. 147) is a little circular box about one and a half inches in diameter. From the top a tube leads to the horn. The bottom is a circular plate, c c, hinged at one side. This plate supports a glass disc, d, about 1⁄150th of an inch thick, to which is attached the cutting stylus—a tiny sapphire rod with a cup-shaped end having very sharp edges. Sound-waves enter the box through the horn tube; but instead of being allowed to fill the whole box, they are concentrated by the shifting nozzle n on to the centre of the glass disc through the hole in c c. You will notice that n has a ball end, and c c a socket to fit n exactly, so that, though c c and n move up and down very rapidly, they still make perfect contact. The disc is vibrated by the sound-impulses, and drives the cutting point down into the surface of the wax cylinder, turning below it in a clockwork direction. The only dead weight pressing on s is that of n, c c, and the glass diaphragm. recorder As the cylinder revolves, the recorder is shifted continuously along by a leading screw having one hundred or more threads to the inch cut on it, so that it traces a continuous helical groove from one end of the wax cylinder to the other. This groove is really a series of very minute indentations, not exceeding 1⁄1000th of an inch in depth. Seen under a microscope, the surface of the record is a succession of hills and valleys, some much larger than others (Fig. 151, ). A loud sound causes the stylus to give a vigorous dig, while low sounds scarcely move it at all. The wonderful thing about this sound-recording is, that not only are the fundamental tones of musical notes impressed, but also the harmonics, which enable us to decide at once whether the record is one of a cornet, violin, or banjo performance. Furthermore, if several instruments are playing simultaneously near the recorder's horn, the stylus catches all the different shades of tone of every note of a chord. There are, so to speak, minor hills and valleys cut in the slopes of the main hills and valleys. a The (Fig. 149) is somewhat more complicated than the recorder. As before, we have a circular box communicating with the horn of the instrument. A thin glass disc forms a bottom to the box. It is held in position between rubber rings, r r, by a screw collar, c. To the centre is attached a little eye, from which hangs a link, l. Pivoted at p from one edge of the box is a , having a circular opening immediately under the eye. The link passes through this to the left end of a tiny lever, which rocks on a pivot projecting from the weight. To the right end of the lever is affixed a sapphire bar, or stylus, with a ball end of a diameter equal to that of the cutting point of the recorder. The floating weight presses the stylus against the record, and also keeps the link between the rocking lever of the glass diaphragm in a state of tension. Every blow given to the stylus is therefore transmitted by the link to the diaphragm, which vibrates and sends an air-impulse into the horn. As the impulses are given at the same rate as those which agitated the diaphragm of the recorder, the sounds which they represent are accurately reproduced, even to the harmonics of a musical note. reproducer floating weight THE GRAMOPHONE. This effects the same purpose as the phonograph, but in a somewhat different manner. The phonograph recorder digs vertically downwards into the surface of the record, whereas the stylus of the gramophone wags from side to side and describes a snaky course (Fig. 151 ). It makes no difference in talking-machines whether the reproducing stylus be moved sideways or vertically by the record, provided that motion is imparted by it to the diaphragm. b In Fig. 151 the construction of the gramophone reproducer is shown in section. a is the cover which screws on to the bottom b, and confines the diaphragm d between itself and a rubber ring. The portion b is elongated into a tubular shape for connection with the horn, an arm of which slides over the tube and presses against the rubber ring c to make an air-tight joint. The needle-carrier n is attached at its upper end to the centre of the diaphragm. At a point indicated by the white dot a pin passes through it and the cover. The lower end is tubular to accommodate the steel points, which have to be replaced after passing once over a record. A screw, s, working in a socket projecting from the carrier, holds the point fast. The record moves horizontally under the point in a plane perpendicular to the page. The groove being zigzag, the needle vibrates right and left, and rotating the carrier a minute fraction of an inch on the pivot, shakes the glass diaphragm and sends waves of air into the horn. c The gramophone is a reproducing instrument only. The records are made on a special machine, fitted with a device for causing the recorder point to describe a spiral course from the circumference to the centre of the record disc. Some gramophone records have as many as 250 turns to the inch. The total length of the tracing on a ten-inch "concert" record is about 1,000 feet. THE MAKING OF RECORDS. For commercial purposes it would not pay to make every record separately in a recording machine. The expense of employing good singers and instrumentalists renders such a method impracticable. All the records we buy are made from moulds, the preparation of which we will now briefly describe. CYLINDER, OR PHONOGRAPH RECORDS. First of all, a wax record is made in the ordinary way on a recording machine. After being tested and approved, it is hung vertically and centrally from a rotating table pivoted on a vertical metal spike passing up through the record. On one side of the table is a piece of iron. On each side of the record, and a small distance away, rises a brass rod enclosed in a glass tube. The top of the rods are hooked, so that pieces of gold leaf may be suspended from them. A bell-glass is now placed over the record, table, and rods, and the air is sucked out by a pump. As soon as a good vacuum has been obtained, the current from the secondary circuit of an induction coil is sent into the rods supporting the gold leaves, which are volatilized by the current jumping from one to the other. A magnet, whirled outside the bell-glass, draws round the iron armature on the pivoted table, and consequently revolves the record, on the surface of which a very thin coating of gold is deposited. The record is next placed in an electroplating bath until a copper shell one-sixteenth of an inch thick has formed all over the outside. This is trued up on a lathe and encased in a brass tube. The "master," or original wax record, is removed by cooling it till it contracts sufficiently to fall out of the copper mould, on the inside surface of which are reproduced, in relief, the indentations of the wax "master." Copies are made from the mould by immersing it in a tank of melted wax. The cold metal chills the wax that touches it, so that the mould soon has a thick waxen lining. The mould and copy are removed from the tank and mounted on a lathe, which shapes and smooths the inside of the record. The record is loosened from the mould by cooling. After inspection for flaws, it is, if found satisfactory, packed in cotton-wool and added to the saleable stock. Gramophone master records are made on a circular disc of zinc, coated over with a very thin film of acid-proof fat. When the disc is revolved in the recording machine, the sharp stylus cuts through the fat and exposes the zinc beneath. On immersion in a bath of chromic acid the bared surfaces are bitten into, while the unexposed parts remain unaffected. When the etching is considered complete, the plate is carefully cleaned and tested. A negative copper copy is made from it by electrotyping. This constitutes the mould. From it as many as 1,000 copies may be made on ebonite plates by combined pressure and heating. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Archibald Williams (2009). How it Works. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/28553/pg28553-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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