Discoveries and Inventions of the Nineteenth Century

rapidity of vibration to pitch and for simplicity of illustration of the superposition of vibrations, etc. Two other remarks must be added—viz., that the vibrations of musical tones are isochronous—that is, whether the note be loud or soft, the same time is taken up in each vibration corresponding with the same fundamental note. Other vocal sounds than sustained vowel notes are found to be due to still more complicated combinations of vibrations of shorter duration, and noises, as distinguished from musical sound, are formed also by the superposition of a greater or less number of systems of vibrations, the rapidities of which are wanting in harmonic relations such as we have pointed out belong to the musical scale. Even in noises, however, there is often one or more predominant systems of vibrations 668which a musical ear can detect. If the reader will hold a pencil or penholder at one end and tap with it on the edge of the table, passing in quick succession to parts progressively nearer where the pencil is held, he will hardly fail to recognize a rising pitch in the little noises. Fig. 319a.—Traces of Vibrations of a Tuning-Fork. Fig. 319b.—Phonautographic Tracings of Different Vowel Sounds. Fig. 319c.—Diagram. Fig. 319d.—Phases of Sound Waves. A word or two must be said as to the way in which sound is transmitted through the air. This progression is commonly spoken of as a wave motion, but it must not be thought of as taking place in the form familiar to us as waves on water; still less must the reader confound it with the sinuous lines shown in the graphical representations of vibrations given in the figures. It is rather a series of rapid pulsations of the particles of the air taking place in the direction in which the sound is propagated, and resembling waves on water only by presenting periodical phases in uniform succession. The difference may be illustrated from what may be seen in a field of wheat when the wind is blowing over it. The stalks bend down, and rise again when the breeze has passed, and thus the general appearance of the waves of the sea is produced. If we confine our attention, however, to the motion of the several ears of the wheat in a file of stalks, we shall obtain a clearer notion of what takes place in the so-called waves of sound. The positions of the stalks at some one instant of time may be represented by the diagram, Fig. 319c. Each stalk is swinging backwards and forwards like an inverted pendulum, and the successive phases of these vibrations bring the adjacent ears nearest to each other about i, and farthest apart at a and a´. The places of these, and of all the intermediate degrees of approximation and retreat, pass along the file. Instead of the ears of wheat swinging on their elastic stalks, suppose particles of air approaching and receding by virtue of the elasticity by which they resist compression and recover from it, and you will obtain an elementary idea of what takes place in the transmission of sound. Fig. 319d is a picture of a column of air acted upon by a tuning-fork. The swiftly advancing prong is compressing the air in front of it, and in swinging back it will tend to leave a vacuum behind it by which the air is partially rarefied; and these alternate condensations and rarefactions will travel 669along through the air by virtue of its elasticity, and the mechanical action by which they are able to agitate a stretched membrane (or other elastic body), so that its vibrations will correspond with them in period and magnitude, may be easily understood. The vibration produced is a simple one, but any number of other systems may pass at the same time, and each one will be propagated as if the rest did not exist, just as we may see different systems of undulations moving on the surface of water. It should be observed that the velocity of propagation is the same whatever may be the period or the magnitude of the vibrations. The high and the low, the loud and the soft notes of a piece of music played at a distance, all take the same time in reaching the ear. Light as are the particles of air, the mechanical actions which a number of them carrying strong vibratory impulses will produce, may be illustrated by the rattling of window panes by a loud peal of thunder, and may be bodily felt by a person standing close to a very large bell while the hour is striking. We have referred to instruments for registering sound, and even vocal sounds, before anything has been said of the construction of the phonograph, and it is, in fact, many years since the problem was solved of recording the vibrations produced by speech. Mr. Leo Scott, in 1856, invented an instrument, called the Phonautograph, which did this. It consisted of a cone of sheet zinc like a large ear-trumpet, across the smaller end of which was stretched a membrane, having attached to it a very light style, which left a record of the vibrations of the membrane on a blackened cylinder properly disposed to receive the tracing. When any sound was produced near the open end of the cone, the impulses reflected from its internal surface were concentrated on the membrane, throwing it into corresponding vibrations. Now, this process could be reversed if the tracing could be made to give back again to the style its original movements, these transferred to the membrane would throw the air within the cone into corresponding vibrations, and the sounds that gave rise to the tracing would be reproduced. Yet Mr. Scott seems to have suggested no such possibilities for his instrument; but a few years after the invention of the phonautograph, M. Cros deposited at the Academy of Sciences in Paris a sealed paper, which was opened after Mr. Edison had patented the phonograph (1877), and found to contain suggestions of how this might be done, but describing no experiments in which any approach had been made towards realizing the conditions laid down. To Mr. Edison belongs the honour of solving the problem by the invention of the phonograph, which was patented by him in 1877. The device which he happily hit upon for converting the phonautograph into a phonograph was very simple in principle, and consisting merely in substituting a sheet of tinfoil for the blackened paper in Scott’s apparatus, the mechanism required for reproducing articulate human speech was thus found, contrary to all expectations that had previously been entertained, to be essentially of a remarkably simple character, for the arrangement of the parts was even more direct than in the phonautograph itself. This is not derogatory to the merit of the inventor, for every invention depends upon something previously attained, and the discovery of suitable materials for the various parts of the machine, and the many delicate adjustments of their forms and disposition to secure the required object, demanded the application of very remarkable experimental skill. The phonograph differs from the phonautograph by giving up what it has registered in the original form and material, and thus it is a speaking machine. It is a 670speaking machine which reproduces articulate speech, not produces it. Much ingenuity has been devoted to the construction of speaking machines which should be capable of producing the sounds of the human voice. By throwing into vibration the air contained in cavities of certain shapes, it was long ago found possible to produce sounds closely resembling those of a voice singing particular vowels, and a real speaking machine that could articulate words was exhibited in America before the phonograph had been brought out. It was constructed by Mr. Faber, and formed a very complicated arrangement, in which all the organs of human speech were imitated. There were bellows acting like the lungs; a larynx with various diaphragms, a mouth with movable tongue and lips, and a tube to resemble the cavity of the nose. The positions and connections of these parts were determined by levers acted from a key-board, like that of a piano, and by certain pedals. By moving these in proper order, the machine pronounced words distinctly enough, but in a strange drawling tone. So like, however, were the sounds to those of the human voice, that some accused the exhibitors of imposition, and unjustly credited ventriloquism instead of mechanism with the results. It will be observed that it is the function of the phonograph to reproduce, not produce, human speech, and the mechanical arrangements of the instrument are simplicity itself compared with Faber’s speaking machine. Fig. 319e.—Edison’s Original Phonograph. Fig. 319f.—Diagrammatic Section of Phonograph. Fig. 319g.—The Graphophone. Fig. 319e shows the form of the phonograph as designed by Mr. Edison in 1877. It had a brass cylinder (A) upon which a narrow helical groove was cut, and was mounted upon an axle (B), having a narrow screw-thread corresponding with the groove on the cylinder, and working in the upright (C), so that when the handle was turned the cylinder revolved, and at the same time advanced in the direction of its axis. A heavy fly-wheel (D) was attached, in order that the rate of motion might be nearly uniform. A sheet of tinfoil, or of very thin copper, was wrapped round the brass cylinder, and on this metallic foil rested the steel point attached to the vibrating diaphragm, which was mounted in the ring (F). This point was always adjusted so as to be over the helical groove in the cylinder, and made to touch the tinfoil with a regulated pressure. E 671shows the manner of firmly supporting the diaphragm in such a manner that it could be readily removed from the cylinder when the latter had to be covered afresh with tinfoil, or the cylinder adjusted for reproducing the sounds. The relation of the diaphragm and point to the tinfoil is shown in Fig. 319f, which represents the apparatus in section. The tracing point (t) is not attached directly to the vibrating diaphragm, but to an adjustable spring (s), and interposed between the spring and the thin metallic diaphragm is a little pad, formed of a ring of small india-rubber tubing. When the mouthpiece (M) is spoken into, the sound vibrations reach the diaphragm (g g) through the opening (o), and the movements thus communicated to the point (t) which indents the tinfoil to various depths, and with varying frequency, as the handle is turned, bringing the whole length of the groove in succession to be operated upon. When the instrument is required to reproduce the speech so easily recorded, all that is necessary is to allow the indentations to re-act on the point that made them. The cylinder is re-adjusted to the tracing point at the end at which it began, the cylinder is set in motion, and the traces made on the tinfoil move the point up and down, the vibrating disc (g) following its movements, and thus communicating to the air a system of impulses which are the counterparts in period, force and succession of those that originally entered at o. It was usual to attach a conical mouthpiece to the ring (F) in order to concentrate the reproduced sounds, which might then be heard in all parts of a large room. When, in reproducing the sounds, 672the cylinder was turned with the same velocity as when the words were spoken, the pitch of the voice issuing from the instrument was the same. If it were turned quicker, the pitch was raised; if slower, lowered. The words registered on the tinfoil could be reproduced two or three times, but with decreasing distinctness, as the tracings gradually become obliterated. However, the sheet could be removed from the cylinder, and the speech reproduced at any place at any time afterwards by means of a similar instrument, and a method of stereotyping was proposed for preserving the records. The original phonograph was