{"1": {"fulltext": "w\\n\u00e2\u0096\u00a0II\\nWBBBBBHtt\\nT\\nI\\nw\\nvni.\\nII\\nI Rail\\nIBB\\nBb\\nft!\\nI\\nI", "height": "3877", "width": "2520", "jp2-path": "phonographhowtou00nati_0001.jp2"}, "2": {"fulltext": "V\\n,v\\n*b o x\\nv*\\n0\\n.bo,\\nV.B,\\nX", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0002.jp2"}, "3": {"fulltext": "o x\\n01V v*\\nr", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0003.jp2"}, "4": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0004.jp2"}, "5": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0005.jp2"}, "6": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0006.jp2"}, "7": {"fulltext": "The PHONOGRAPH\\nand How to Use It\\nBEING A SHORT HISTORY OF ITS\\nINVENTION AND DEVELOPMENT\\nCONTAINING ALSO DIRECTIONS\\nHELPFUL HINTS AND PLAIN TALKS\\nAS TO ITS CARE AND USE, ETC.\\nIncluding also a Reprint of the\\nOpenetr Papers and Phonograph Short Stories\\nThree Greek Roots\\nWhat Mr. Openeer Heard\\nHow We Gave a Phonograph Party\\nThe Secret of Making Phonograph Records\\nThe Phonograph as an Aid to Language Study\\nThe Phonograph as an Aid to the Arts of Stenography\\nand Typewriting\\nSET INTO TYPE AND IMPRINTED IN NEW YORK IN\\nTHE YEAR M D C C C C", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0007.jp2"}, "8": {"fulltext": "TWO CO Pit\\nLibrary of Cgb\u00c2\u00a3* jh%\\nOfficii of tM\\nMAR2-1900\\nWegl\u00c2\u00abt\u00c2\u00bbr of Copyright*\\nN\\n55954\\n^*c\\nCopyright 1900, by\\nThk National Phonograph Company\\nAll Rights Reserved\\n8I0ONB COPY,\\nV% 0-/3", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0008.jp2"}, "9": {"fulltext": "TABLE OF CONTENTS.\\nPart First. The Phonograph.\\nChapter I. History Ancient, Medieval and Modern, n\\nChapter II. Prophecy, 15\\nChapter III. More Modern History, 20\\nChapter IV. The Story of the Invention, 23\\nChapter V. The First Phonograph, 25\\nChapter VI. Pictorial and Commercial Histor}-, 27\\nPart Second. How to Use It.\\nIntroduction,\\nChapter I. The Gem,\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nChapter\\nII. The Standard,\\nIII. The Home,\\nIV. The Spring Motor,\\nV. The Concert,\\nVI. The M and E\\nVII. The M Concert,\\nElectric,\\nCoin Slot,\\nCoin Slot,\\nConcert Coin Slot,\\nVIII. The k H\\nIX. The M\\nX. The M\\nXI. Batteries,\\nXII. Repeating Attachment,\\nXIII. Blanks and Records,\\nXIV. Shaving,\\nXV. Dictating,\\nXVI. Speakers,\\nXVII. A Word about Belts,\\nPart Third. The Openeer Papers.\\nChapter I. What Mr. Openeer Heard,\\nChapter II. How We Gave a Phonograph Party,\\nChapter III. The Secret of Making Phonograph Records,\\nChapter IV. The Phonograph as an Aid to Language\\nStudy,\\nChapter V. The Phonograph as an Aid to the Arts\\nof Stenography and Typewriting,\\nChapter VI. Three Greek Roots,\\n4i\\n46\\n5i\\n60\\n68\\n78\\n80\\n9i\\n93\\n103\\n105\\n109\\n116\\n118\\n122\\n124\\n127\\n131\\n135\\n145\\n152\\n160\\n166\\n*77", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0009.jp2"}, "10": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0010.jp2"}, "11": {"fulltext": "PART FIRST\\nTHE PHONOGRAPH", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0011.jp2"}, "12": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0012.jp2"}, "13": {"fulltext": "FOREWORD\\nMuch has been written concerning the Phono-\\ngraph since Thomas A. Edison startled the world\\nwith the first tin foil machine a round generation\\nago. The history of its development, step by step\\nwould fill volumes. The earlier types have be-\\ncome obsolete in the march of progress. It is the\\npurpose of this book to illustrate and describe not\\nonly the first distinctly practical Phonograph of\\nCommerce {the type M Electric Phonograph) but\\nall the subsequent types and styles together with\\nthe various attachments which are now in every-\\nday use.\\nWhat with the diagrams and the plain instruc-\\ntions it will be demonstrated that the Phonograph\\nis as easy to take care of and as simple to manage\\nas any mechanical movement that is thoroughly\\nunderstood by its operator.\\n[Ed.]", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0013.jp2"}, "14": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0014.jp2"}, "15": {"fulltext": "CHAPTER I.\u00e2\u0080\u0094 History.\\nANCIENT.\\nFrom the beginning of Time, marHnd has\\nsought to reproduce by mechanical means, the\\nsounds of the Living World. Of the great antiq-\\nuity of musical instruments there are many\\nevidences but the first attempt to simulate the\\nhuman voice is doubtless the wonder-\\nful statue of Memnon at Thebes, dating\\nback to the 18th Egyptian Dynasty,\\nB. C. 1490. Two colossal statues still\\nstand on the west bank of the Nile,\\nnear the present village of Karnak, mid\\nthe ruins of some eighteen\\nothers. At one time, the\\nmost northern gave forth\\nsounds at sunrise, supposed\\nto be Memnon s morning sa-\\nlute to his mother Eos, the Goddess of Dawn. That this is more\\nthan a mere fable seems to be attested by several cuniform inscrip-\\ntions on the base of the statue, placed there by famous travellers.\\nThe statue was tumbled over by an earthquake in B. C. 27.\\nStrabo, one of the earliest globe trotters on record, visited Memnon\\nin the year 7 A. D., and writes rather cautiously of the voice,\\ncalling it merely a noise. Other writers (among them Tacitus, re-\\ncording the visit of the Roman General Germanicus A. D. 79)", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0015.jp2"}, "16": {"fulltext": "12 HANDBOOK OF THE PHONOGRAPH\\nrefer to the sound as distinctly musical while still other enthu-\\nsiastic writers dignify it as a song. Among the notables whose\\nvisits to the statue are recorded, are Titus Petronius Secundus,\\na Roman Prefect, A. D. 82, and the Emperors Hadrian, A. D. 140,\\nand Septimius Severus, A. D. 194.\\nSeveral of the inscriptions (the earliest dating A. D. 65) ex-\\npress or imply the idea that Memnon when entire, could speak in\\nlanguage but since his mutilation was reduced to inarticulate\\nsounds. The best of the lot is by one Asklepiodotus, the imperial\\nprocurator Know, O sea-born Thetis, thai Memnon could not\\ndie. When the hot rays shed by his mother [Eos] fell brightly\\nupon him, his clear song rings out while the Spreading Nile parts\\nthe Lybiarr hills from hundred gated Thebes.\\nThe statue was restored A. D. 196, by Septimius Severus,\\nsoon after his visit but alas the wonderful gift of speech had\\ndeparted.\\nMEDIEVAL.\\nDuring the next ten centuries, there are instances without\\nnumber of talking automatons that have been genuinely con-\\nstructed to perform mechanical wonders, but the voices have been\\nproduced by trickery; either a concealed person has talked through\\ntubes or by echo from a concealed position.\\nThe first authentic talker appeared in the 13th century, when\\nFriar Roger Bacon, the early English Philosopher, constructed an\\ningenious talking head.\\nGerber, a German Monk of an earlier period than Bacon, is\\nsaid to have made a most wonderful brazen head that talked, as\\ndid also Albertus Magnus; but there is so much that is legendary\\ninterwoven in the records that all but Bacon s head may be fairly\\nput down as fables. Bacon s talking machine was doubtless sug-\\ngested by the Speaking Head of Orpheus, which was an awe in-\\nspiring enigma to the early Greeks but it is more than probable", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0016.jp2"}, "17": {"fulltext": "HISTORY 1 3\\nthat this wonder was to be accounted for on the same principle as\\nthe vocal power of the colossal statue of the Indian God, Siva\\n(the Destroyer) where a seat was provided for a priest tinder\\nthe headgear of the figure. In the case of Memnon however, it\\nis generally conceded that the sounds were due to some artifice of\\nconstruction or peculiarity of material used rather than the decep-\\ntion of priests thus establishing it as the first talking statue.\\nThe same may be said of Bacon s head. Its verity is vouched for\\nby early testimony, thus establishing it without doubt as the first\\ntalking automaton.\\nMODERN.\\nFrom Bacon to Faber of the present time is a long step, with no\\ngreat achievement to chronicle, unless we except the famous duck\\nof Vaucanson, so often referred to as one of the mechanical won-\\nders of the century. This was constructed in 1 740, and astonished\\nall beholders by not only quacking in a life-like manner, but by\\nwaving its wings, pluming its feathers, eating grain and even\\ndigesting its food. The crowning point of mechanical ingenuity\\nwas reached by Herr Faber, a Vienna experimenter, who in i860\\nbuilt a most elaborate talking man, which easily stands at the\\nhead of all talking machines of the automaton class.\\nA brief description of Faber s talking man may be of interest.\\nIt has flexible lips of rubber, and also a rubber tongue, inge-\\nniously controlling vowels and consonants. In its throat is a tiny\\nfan wheel, by which the letter V is rolled. It has an ivory reed\\nfor vocal cords. Its mouth is an oval cavity, the size of which is\\nregulated by sliding sections, rapidly operated from a key -board.\\nA tube is attached to its nose when it speaks French. It is really\\na most wonderful piece of mechanism, but a hundred times more\\ncomplicated than Mr. Edison s Phonograph of 1887, or the per-\\nfected Phonograph of to-day.\\nBut Faber and his predecessors were on the wrong track in", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0017.jp2"}, "18": {"fulltext": "14 HANDBOOK OF THE PHONOGRAPH\\nattempting to solve the problem of sound reproduction in this\\nmanner, on its physical side. Faber sought a cause; Edison saw\\nan effect, and said, The Thing is there, it has but to be found.\\nFaber started from the source of the sound, and built a mechan-\\nism, reproducing the causes of the vibrations that made articulate\\nspeech. It remained for Edison to start from the vibrations; to\\nobtain the mechanical effects of such vibrations to record them on\\na pliable material and then to reproduce them.\\nFaber copied the movements of the vocal organs, Edison\\nstudied a vibrating diaphragm, and reproduced the action of the\\near drum when acted upon by the vibration caused by the vocal\\norgans.\\nThe reader whose interest has been aroused and who desires more complete and\\ndetailed information concerning this and succeeding chapters can consult the following\\nauthorities with profit. [Ed.]\\nGeorge Ebers, Egypt. Vol. 2, pp. 268-272.\\nGeorge Rawlinson, Story of Ancient Egypt, pp. 210-216.\\nJ. A. Setronne, The Quarterly Review, 1875.\\nGeorge B. Prescott, The Electric Telephone.\\nCount du Moncel, The Microphone and the Phonograph.\\nThomas A. Edison, North American Review, 1878.\\nThomas A. Edison, North American Review, 1888.\\nGeo. P. I,athrop, Harper s Monthly, 1890.\\nChas. D. I^anier, Review of Reviews, 1893.\\nJohnson s Encyclopedia.\\nEncyclopedia Britannica.\\nGroves Dictionary of Music.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0018.jp2"}, "19": {"fulltext": "CHAPTER II.\u00e2\u0080\u0094 Prophecy.\\nLET us now step into the realms of literature, and note what\\nhas been written of the Phonograph in the line of prophecy;\\nif indeed such fanciful predictions and visionary foreshadow-\\nings as we shall quote can be justly termed prophetic. Yet all\\nprophecies are but vague foreseeings. To-day we are speculating\\non human flight and ultra rapid transit in vacuo. We are guessing\\nand experimenting at many problems which may become realities\\nat any moment. Seeing by telephone is almost accomplished,\\nand wireless telegraphy is a fact. The unknown of to-day may\\nbe known to-morrow. Fact springs from Fancy in the Present;\\nas it has in the Past, and as it will in the Future. So listen!\\nJohn Wilkins, Bishop of Chester, who died in I^ondon in\\n1672, was an accomplished theologian, scientist, mathematician\\nand physicist. In his work on Mathematic Magick (1651), he\\nsays Some have thought it possible to preserve the voice, or\\nany words spoken, in a hollow trunk or pipe, so when this pipe is\\nrightly opened the words will come out of it in the same order\\nwherein they were spoken.\\nThis is perhaps a very rough anticipation of the Phonograph.\\nTo charge a tube with words, as a cannon is loaded with powder\\nand shot, beforehand, to be rattled out like the frozen up tunes in\\nBaron Munchausen s trumpet when a thaw came it was cer-\\ntainly a most original theory.\\nAgain listen", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0019.jp2"}, "20": {"fulltext": "1 6 HANDBOOK OF THE PHONOGRAPH\\nIn 1 620- 1 655 there lived a French poet and philosopher, by\\nname Savinien Cyrano de Bergerac, whose fame has been but\\nrecently refurbished by the playhouse and M. Rostand. In 1656,\\na year after his death, there was published his Histoire Com-\\nique en Voyage dans la Lune, a manuscript written in 1649. It\\ndescribes adventures in the Moon, and comments on the manners\\nand customs of the lunar inhabitants. A hollow sky-rocket and\\nan explosion and the adventurer finds himself in the Moon.\\nThe story combines the romantic plausibility of Jules Verne with\\nthe gentle irony and ingenious wit of Dean Swift s Gulliver.\\nBergerac found the Lunarians had two kinds of speech. The\\nupper classes used songs without words; and the populace, the\\nspeech of limb-motion. They lived on odors, for money used\\ncouplets and quatrains their vegetables talked (the soliloquy\\nof a cabbage being one of the quaintest conceits of human\\nthought) Their books are described as machine books as\\nfollows\\nNo sooner was his back turned [he speaks of his Guide,\\nwhom he terms his Spirit but I fell to consider attentively\\nmy Books and their Boxes, that s to say, their Covers, which\\nseemed to me to be wonderfully Rich; the one was cut of a single\\nDiamond, incomparably more resplendent than ours the second\\nlooked like a prodigious great Pear, cloven in two. My Spirit\\nhad translated those Books into the Language of that World but\\nbecause I have none of their Print, I ll now explain to you the\\nFashion of those two Volumes\\nAs I opened the Box, I found within somewhat of Metal\\nalmost like to our Clocks, full of I know not what little Springs\\nand imperceptible Engines. It was a Book, indeed, but a Strange\\nand Wonderful Book, that had neither Leaves nor Letters. In fine,\\nit was a Book made wholly for the Ears and not the Eyes. So that\\nwhen any Body has a mind to read in it, he winds up the Machine\\n^Translation by A. Novell, A.M., Iyondon, 1867 pp. 122-124. Doubleday McClure 1899.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0020.jp2"}, "21": {"fulltext": "PROPHECY 1 7\\nwith a great many little Springs and he turns the Hand to the\\nChapter he desires to hear, and straight, as from the Mouth of\\nMan, or a Musical Instrument, proceed all the distinct and different\\nSounds, which the Lunar Grandees make use of for expressing\\ntheir Thoughts, instead of Language.\\nWhen I since reflected on this Miraculous Invention, I no\\nlonger wondered that the Young-Men of that Country were more\\nknowing at Sixteen or Eighteen years Old, than the Gray-Beards\\nof our Climate; for knowing how to Read as soon as speak, they\\nare never without Lectures, in their Chambers, their Walks, the\\nTown, or Traveling they may have in their Pockets, or at their\\nGirdles, Thirty of these Books, where they need but wind up a\\nSpring to hear a whole chapter, and so, more, if they have a mind\\nto hear the Book quite through; living and dead, who entertain\\nyou with Living Voices. This Present employed me about an\\nhour, and then hanging them to my Ears, like a pair of Pendants,\\nI went to Walking.\\nThis last paragraph certainly reminds one of the hearing-\\ntube attachment, and conjures up the pictures of people one has\\nseen listening, which pleased expression, to the Phonograph of\\nto-day.\\nThese are the earliest writings to be found that bear\\nprophetically upon the subject. Compare now with another\\nprophecy, written in 1878, after Edison s Phonograph had startled\\nthe world.\\nThen as to books, there seems some chance ere long the\\nprinter s if not the publisher s occupation will be gone, and the\\npresent unwieldy form of communication between an author and\\nhis readers be abolished. What would not one give to have\\nthe Christmas Carol bottled up forever in Dickens own voice,\\nto be turned out at pleasure. Books, as Mr. Edison truly says,\\nwould often be listened to where they are not read and the\\nFrom Nature, Vol. XVIII, p. 117.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0021.jp2"}, "22": {"fulltext": "1 8 HANDBOOK OF THE PHONOGRAPH\\npossibilities of the instrument in this direction may be learned\\nfrom the fact that a book of 40,000 words might be recorded on\\nfour cylinders, eight inches long, with a diameter of five inches.\\nComing down to recent times we find in Tom Hood s Comic\\nAnnual 1839, the following: In this century of inventions,\\nwhen a self-acting drawing paper has been discovered for copying\\nvisible subjects (referring to Daguerre s improvements in Photog-\\nraphy) who knows but that some future discoverer may find some\\nsort of writing paper to repeat what it hears a prophecy literally\\nfulfilled by the indented tin-foil sheet of the early Phonograph.\\nThen again in 1844, Captain Matthew F. Maury (the famous hy-\\ndrographer, the father of the United States Weather Bureau of\\nto-day) wrote to a friend What a pity it is that M. Daguerre,\\ninstead of Photography, had not invented a process of writing by\\nmerely speaking through a trumpet at a piece of paper. Instead\\nof saying I wrote you a letter the phrase would be I spoke you\\na ream. The prophesying becomes more exact as the time for\\nthe invention draws nearer.\\nAgain, in 1855 (to quote from that happy essayist, George\\nParsons Lathrop) in an obscure book called f Helionde, or Ad-\\nventures in the Sun, there was printed another allusion to a\\nsupposed invention of the same sort, to this effect. Aleutedon\\nhere informed me that authors had no occasion to employ manual\\nlabor in their publications, for they had only to repeat their ideas\\naloud, and the vibrations of the air differing accordingly to the\\nwords used, set in motion a very delicate machinery which stamped\\nindelibly the language expressed. Copies could afterward be\\ntaken in any number. It is interesting to note that even the\\nterms used to express these predictions are closely allied to the\\ntrue facts of the invention.\\nSee Memoirs, published in London in 1888.\\ntThis anonymous writer evidently had for his source of inspiration Bergerac s His-\\ntoire Comique, an extract from which has been quoted in full.\u00e2\u0080\u0094 [Ed.]", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0022.jp2"}, "23": {"fulltext": "PROPHECY 19\\nAgain, we find in 1875, that Jean Ingelow wrote a fairy tale in\\nwhich there figures a strange instrument called an Acousti-\\ngraph which recorded music of all kinds, and reproduced it\\nmost weirdly and wonderfully. These instances may or may not\\nbe called prophecies, but they are wonderfully akin to a super-\\nnatural foreshadowing of the coming event, which is now to\\nhappen so soon.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0023.jp2"}, "24": {"fulltext": "CHAPTER III.\u00e2\u0080\u0094 More Modern History.\\nMEANWHILE in the world of Physical Science there had\\nhappened certain mechanical experiments and discover-\\nies, which may be termed material prophecies, all of\\nwhich pointed to the birth of the idea. There was Duhamel in\\nthe early 1700 s with his lamp-blacked revolving cylinder, on\\nwhich he traced sound curves. Then in 1747, the Rev. J. Creed\\nproposed to make a machine to record extempore piano-forte or\\norgan voluntaries. Following up the same idea, Hohlfeld of Berlin\\nworking with Euler, the mathematician, constructed in 1752 a\\ncrude music recorder called the Melograph. About the same time,\\nanother German mechanician, J. F. Unger, was also working on\\na similar instrument, and he finally proved priority of conception,\\ndating his idea from 1745, even before Creed. Then one Pape of\\nParis, attracted considerable attention in 1824, with a music re-\\ncorder; followed by Carrey re, in 1827, with his Melographic piano,\\nin which the music as played was represented by certain signs im-\\npressed in a very thin plate of lead. In 1836, Eisenmanger of\\nParis, took out an English patent for an apparatus to record piano\\nmusic, using a depressed stylus and carbonized paper. Then\\nfollowed M. De Tressog of Paris in 1840, and Merzelo, an Italian\\nin 1856, each with apparatus of a similar nature.\\nThe dreams of these early inventors have become realized. The closing year of the\\n19th Century finds many automatic devices for recording piano music, not only perfected,\\nbut within the reach (at nominal prices) of the great music loving public.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0024.jp2"}, "25": {"fulltext": "MORE MODERN HISTORY 21\\nAll these machines, you will note, had for their object the\\nrecording only of music, and especially the piano or organ ex-\\ntemporizations. The growth of the perfected piano from the\\nearly clavier and clavichord, and the use of these instruments by\\nthe great German composers (Bach and Handl in the early\\n1700 s, Haydn, Mozart and Beethoven, toward the close of the\\ncentury, Spohr, Chopin, Mendelssohn, Meyerbeer and Liszt, in\\nthe i8oo s), all this musical activity combined, brought with it\\nthe desire for an invention to record permanently the improviza-\\ntions of these great artists and composers. So it is that Art\\nfosters Science.\\nFollowing the keynote struck by Duhamel (the restless and\\nfruitless searchings and strivings thus far recorded being but\\nvariations of the fundamental) the next note in the grand melody\\nof Progress was sounded by Leon Scott, working with Konig in\\n1856, with his Phonautograph recording the graphic traces of\\nvibrations in sinuous scratches upon a smoked surface (useless,\\nyou will note particularly, for the purpose of reproduction of\\nsounds)\\nThen came Fenby with a patent, in 1863; closer and closer,\\nbut as yet not practical for an exact recording, and still less so for an\\nexact reproduction of sound. Then came M. Charles Cros in April,\\n1877, (seven months before the date of the Edison patent, but\\nseveral months after patent was filed). He deposited with the\\nAcademie des Sciences a sealed packet, which was opened at the\\nDecember sitting of the Academy. It contained a general de-\\nscription of a device similar to the gramophone of to-day, the in-\\nvention claimed by Berliner of telephone fame, in his patents of\\n1887-8.\\nIn November, 1877, came the announcement of Mr. Edison\\nthat the phonograph was an ACTUALITY. The culminating\\nIn 1863, F. B. Fenby, of Worcester, patented The Electro Magnetic Phonograph\\n(the same words which Edison employed some 14 years later). The scheme was compli-\\ncated and no machine was ever made.\u00e2\u0080\u0094 Grove s Dictionary of Music, Vol. IV, 767.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0025.jp2"}, "26": {"fulltext": "22 HANDBOOK OF THE PHONOGRAPH\\npoint of a generation of vague strivings had been reached. The\\nfanciful foreshadowings of a hundred }^ears had suddenly found\\nfulfillment. The leading strings of centuries of thought con-\\nverged on the tin-foil covered cylinder, which echoed back through\\nTime, triumphantly to Cros, mockingly to Fenby and to Scott,\\nkindly to Duhamel, Creed and Unger, pityingly to Faber, Vau-\\ncanson and Roger Bacon, respectfully to de Bergerac and the pro-\\nphets, and gramercy to Amenophis III, the Memnon maker.\\nIt is wonderful indeed, to contemplate the events of the cen-\\ntury immediately preceding the birthday of the Phonograph.\\nThey indicate the strange trend of human invention how it\\npointed in a given direction during a given time how it needed\\nbut the presence of the great inventor to bring forth the solid truth,\\neven as from an over-saturated solution there suddenly appears\\nthe shining crystal when the exact condition has finally arrived.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0026.jp2"}, "27": {"fulltext": "CHAPTER IV.\u00e2\u0080\u0094 The Story of the Invention.\\nTHE story of the invention is best told in Mr. Edison s own\\nwords. In an article on The Perfected Phonograph\\nwhich he wrote for the North American Review in 1888,\\nMr. Edison calls attention to the well known effects of certain\\nmusical notes and chords upon sand, when loosely sprinkled on a\\nsounding board; in response to the sound waves, the sand sifts\\nitself into various geometric curves, differing according to pitch\\nand intensity. He speaks also of the fine line of sand that is left\\nhigh up on an ocean beach, as each breaker spends its force in its\\nuttermost ripple, and then recedes. He draws the following\\nparallel\\n11 Yet, well known though these phenomena are, they appar-\\nently never suggested until within a few years, that the sound waves\\nset going by a human voice, might be so directed as to trace an im-\\npression upon some solid substance, with a nicety equal to that of\\nthe tide in recording its flow upon the sand beach.\\n1 My own discovery that this could be done came to me almost\\naccidentally while I was busy with experiments, having a dif-\\nferent object in view. I was engaged upon a machine intended\\nto repeat Morse characters, which were recorded on paper by\\nindentations that transferred their message to another circuit\\nautomatically, when passed under a tracing point connected with\\na circuit closing apparatus.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0027.jp2"}, "28": {"fulltext": "24 HANDBOOK OF THE PHONOGRAPH\\n1 In manipulating this paper, I found that when the indented\\npaper was turned with great swiftness, it gave off a humming\\nnoise from the indentations, a musical rythmic sound resembling\\nthat of human talk heard indistinctly.\\nThis led me to try fitting a diaphragm to the machine. I\\nsaw at once that the problem of registering human speech so that\\nit could be repeated by mechanical means as often as might be\\ndesired, was solved. T. A. Edison.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0028.jp2"}, "29": {"fulltext": "CHAPTER V.\u00e2\u0080\u0094 The First Phonograph.\\n(From The N. Y. Sun of March ist, 1899.)\\nTHE man who made the first phonograph was buried at\\nSchenectady on February 25, 1899. He was one of the\\nlittle band of men who worked with Thomas A. Edison at\\nMenlo Park, and through whose skill and faithful assistance were\\ndeveloped many of the inventions which gave to Edison the name\\nof The Wizard. It was in those days that Edison used to\\nbecome absorbed in the development of an idea, work at it without\\nrest or sleep for two or three days and nights and keep all those\\nabout him busy at the same time. He would call in an organ\\ngrinder from the streets to keep his men awake, or resort to some\\nother such device, and when the strain was finally over, charter a\\nboat and take all hands down the bay on a fishing excursion.\\nAmong the most tireless of the men about The Wizard at\\nthat time was John Kruesi, the man who made the first phono-\\ngraph.* The idea came to Mr. Edison as an inspiration a few\\ndays before, while he was experimenting with a telephone disc.\\nThe disc was not enclosed and there was a sharp, pointed pin on\\nthe back of it.\\nAs Mr. Edison spoke against the face of the disc its vibrations\\ndrove the pin into his finger.\\nFor many years Mr. Kruesi had been identified -with the General Electric Co. at\\ntheir Schenectady Works, filling a position of great importance.\u00e2\u0080\u0094 [Ed.]", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0029.jp2"}, "30": {"fulltext": "26 HANDBOOK OF THE PHONOGRAPH\\nIf the disc has power enough to prick my finger, thought\\nThe Wizard it has power enough to make a record which\\ncan be reproduced.\\nA few days later he called Kruesi to him, and putting into\\nhis hands a rough sketch of the Phonograph, explained what the\\nthing was to do, and told him to make it. It was a roll\\nmachine, the roll covered with tin foil to take the record. Kruesi\\nmade the machine and brought it to Mr. Edison. Edison set it\\ngoing and spoke into it\\n11 Mary had a little lamb,\\nIt s fleece was white as snow\\nAnd everywhere that Mary went,\\nThe lamb was sure to go.\\nThen he started it to repeat his words, expecting at the\\nbest but a hoarse murmur in answer. He was almost awed when\\nhe heard his words actually repeated in clear tones by the little\\nmachine. That machine is now in the Patent Museum at South\\nKensington, London, England.\\nEDISON WORKING ON THE PHONOGRAPH.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0030.jp2"}, "31": {"fulltext": "CHAPTER VI.\\nPictorial and Commercial History.\\nIN the preceding chapters there have been traced, first the\\ngrowth of the Idea; next, the events leading up to the Inven-\\ntion, and finally, the Invention. The growth of the Invention\\nitself, from the crude tin foil covered roll and rough apparatus of\\nTHE PHONOGRAPH OF 1877\u00e2\u0080\u0094 showing recording stylus indenting the\\ntin foil on a 5 inch cylinder.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0031.jp2"}, "32": {"fulltext": "28\\nHANDBOOK OF THE PHONOGRAPH\\n1877, to the lead soap record of to-day, (popularly termed the\\nwax cylinder) and the delicate and positive mechanism which\\ndistinguishes the modern Phonograph can be told best by repro-\\nducing the early prints. These pictures, though lacking in art,\\ntell the story of progress so plainly that, few explanatory words\\nare needful.\\nThen followed a period of nearly ten years during which the\\nPhonograph remained quiescent, the reason for which is given in\\nin the following quotation taken from Mr. Edison s article in\\nthe North American Review, June 1888: l Ten years ago I\\nTHE PHONOGRAPH OF 1887\u00e2\u0080\u0094 showing the use of the wax cylinder, elec-\\ntric motor works and recording and reproducing diaphragms arranged on a\\nswivel, for instant interchange. This is the Spectacle model, so-called\\nfrom the resemblance of the Diaphragms to a pair of eye-glasses.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0032.jp2"}, "33": {"fulltext": "PICTORIAL AND COMMERCIAL HISTORY 29\\ncontributed to the North American Review a paper on The\\nPhonograph and its Future, in which I sketched the solution of\\ncertain problems accomplished by my invention and predicted\\nsome of the uses to which it would be put. Other weighty mat-\\nters engaged much of my time and attention after that article was\\npublished but the future of which I then spoke has now arrived,\\nand the predictions which I made at that time are now verified.\\nThe improved Spectacle Model dating 1889.\\nAbout this time The North American Phonograph Co. started\\nto manufacture and market the Phonograph, offering it solely as\\nan office convenience; that is to say, as an amanuensis, in place\\nof a stenographer. On account of its high price, no thought was\\ntaken of the enormous latent possibilities of the Phonograph as a\\nfun maker or home entertainer. It may be of interest to quote\\nfrom a catalogue of 1893, an( i a so to reproduce the illustrations\\nof the different types of machines sold, together with prices.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0033.jp2"}, "34": {"fulltext": "30 HANDBOOK OF THE PHONOGRAPH\\nTHE EDISON PHONOGRAPH.\\nAs the ideal amanuensis for office use.\\nIn recommending the use of the Phonograph in\\nbusiness offices, The North American Phono-\\ngraph Company feel that the} are advising the\\nintroduction of a machine which will do all that is\\nclaimed for it, and which will fill a position that was\\nas vacant, before the Phonograph was used, as the\\none now filled by the typewriter was years ago.\\nTHE PHONOGRAPH WILL SAVE YOUR\\nTIME AND YOUR MONEY.\\nYou can talk faster than to a stenographer and\\nyour typewriter can transcribe more quickly than\\nfrom stenographic notes, not being obliged to look at\\nthe notes and find the place.\\nYour typewriter can begin to transcribe the first\\nof 3^our correspondence at the same time that you are\\ndictating the remainder, and the work is completed\\nsooner than if a stenographer had to wait until the\\ndictation was finished before beginning to transcribe.\\nTHE PHONOGRAPH ADDS TO YOUR\\nCONVENIENCE.\\nYou can dictate while your typewriter is absent or\\ndoing other work. With more than one Phonograph\\nin the office different men can dictate their letters at\\nthe same time, and one typewriter can transcribe\\nfor all.\\nMOTOR BATTERIES, ETC.\\nThe Phonograph is built in four different classes,\\naccording to whether it is to be run by an Electric\\nMotor and Battery an Electric Motor attached to\\nan Electric Light Current a Water Motor or a\\nFoot Treadle.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0034.jp2"}, "35": {"fulltext": "PICTORIAL AND COMMERCIAL HISTORY\\n31\\nThis is an Electric Motor\\nPhonograph, an improve-\\nment over the Spectacle\\nModel It is very nearly\\nthe same as the M\\nElectric Phonograph of to-day, except for a few unimportant details.\\nEquipped with a battery, tubes, blanks and sundries, it sold for $190. The\\nsame Phonograph wound for the electric light circuit sold for $170.\\nThe Water Motor Phonograph sold for $150.00.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0035.jp2"}, "36": {"fulltext": "32\\nHANDBOOK OF THE PHONOGRAPH\\nThis Phonograph, equipped with foot power treadle, sold for $140.00.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0036.jp2"}, "37": {"fulltext": "PICTORIAL AND COMMERCIAL HISTORY\\n33\\nIn 1895, The National Phonograph Co. took up the sale of\\nPhonographs and discarded the Treadle and Water Motor types.\\nUnder its management the Electric Motor appeared in the follow-\\ning form\\nThe Edison M Electric Phonograph.\\nand a new type was added which was called The Edison Spring\\nMotor Phonograph.\\nThe Phonograph was now growing in popularity as a means\\nof amusement for the general public and in response to a wide\\ndemand for a cheaper instrument, another style was added, also\\nof the clock work type, called the Edison Home Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0037.jp2"}, "38": {"fulltext": "34\\nHANDBOOK OF THE PHONOGRAPH\\nJ IIM J\\nThe Edison Spring Motor Phonograph.\\nThe Edison Home Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0038.jp2"}, "39": {"fulltext": "PICTORIAL AND COMMERCIAL HISTORY\\n35\\nIn 1897, to keep pace with the growing popular demand, a\\nstill cheaper Phonograph, called The Standard was put on the\\nmarket.\\nThe Edison Standard Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0039.jp2"}, "40": {"fulltext": "36\\nHANDBOOK OF THK PHONOGRAPH\\nEarly in 1899, a still more moderate priced machine, known\\nas The Gem, was placed before the public. This machine\\nThe Edison Gem Phonograph.\\ncame as a revelation to the Phonograph world as an example\\nof what could be accomplished in small compass and for a\\nsmall price.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0040.jp2"}, "41": {"fulltext": "PICTORIAL AND COMMERCIAL HISTORY\\n37\\nFollowing the Gem, came the announcement that Mr. Edison\\nhad perfected the Phonograph, and had produced the Concert,\\na machine playing a record 5 inches in diameter (a return to the\\nThe Edison Concert Phonograph.\\nsize of the original tin foil covered record). So perfect is its\\nwork, that seeing it dispels an illusion.\\nAfter hearing it there can be but one conclusion Thomas\\nA. Edison is the Alpha and Omega of the Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0041.jp2"}, "42": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0042.jp2"}, "43": {"fulltext": "PART SECOND\\nHOW TO USE IT", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0043.jp2"}, "44": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0044.jp2"}, "45": {"fulltext": "INTRODUCTION.\\nNOT very many years ago a Phonograph cost five hundred\\ndollars. To-day the best Phonograph costs only one\\nhundred dollars and smaller instruments can be bought\\nall the way down to seven dollars and fifty cents. The reasons\\nfor this are two-fold improved method of manufacture and\\ntremendously increased output.\\nPhonographs differ from all other talking machines in that\\nthey are offered to the public complete in every respect. With\\nthe exception of the Gem, they all make records, reproduce\\nrecords and shave off records for use a second time.\\nPhonographs are made with the accuracy of a scientific\\ninstrument. They run smooth, they run true and they run in\\nperfect time. They are made honestly. They are made to reflect\\ncredit and to uphold the fame of the name that is behind them. Mr.\\nEdison s signature is on every Phonograph without it no other is\\ngenuine.\\nAny one who knows about talking machines can tell the\\ndifference at a glance, or by hearing the results. Any one who\\ndoes not know, can also tell. Look for the signature.\\nNo amusement of modern times equals the Phonograph.\\nEvery pleasure that sound can give is condensed on its cylin-\\nders, and the priviledge of boxing your own and your\\nfriends voices for future use is a never failing source of amusement.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0045.jp2"}, "46": {"fulltext": "42 HANDBOOK OF THE PHONOGRAPH\\nIts variety is inexhaustible, for as long as human genius keeps\\non producing new music, new recitations, new instruments, the\\nPhonograph goes on making permanent the otherwise fleeting\\npleasure.\\nThe charm of the enjoyment depends on the clearness and\\naccuracy of the reproduction and for this reason the Phonograph\\ngives greater satisfaction than any other device sold for this\\npurpose.\\nTWO TYPES AND EIGHT STYLES.\\nSix styles are made that use the same records, the small\\n2% inch size. The other two styles use the large 5 inch records.\\nSPRING MOTOR TYPES.\\nThe Edison Concert (plays the 5 inch Edison Concert\\nRecords)\\nThe Edison Spring Motor.\\nThe Edison Home.\\nThe Edison Standard.\\nThe Edison Gem.\\nELECTRIC TYPES.\\nThe Edison M Electric.\\nThe Edison E Electric.\\nThe Edison M Concert (plays the 5 inch Edison Concert\\nRecords).\\nWith the exception of the Gem they all do the same things,\\nbut in different ways. They will record and reproduce human\\nspeech and other forms of articulate sound. They will record\\nmusic and reproduce it afterwards. They will repeat what has\\nbeen sung, spoken or played by others to the machine. They\\nwill shave off or prepare cylinders that once have had speeches\\nor songs recorded on them, so that every cylinder can be used\\nagain and again for new records, if desired.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0046.jp2"}, "47": {"fulltext": "INTRODUCTION 43\\nThe Phonograph is the best of such instruments, because it\\ndoes these things simply and perfectly. It will sing for you, it\\nwill play for you, it will repeat to you the music of famous bands\\nand orchestras, the sweet voices of famous singers, and the\\nprecious voices of family and friends, even though they be dead.\\nIt is a remembrance reduced to the visible presence. It pre-\\nserves what otherwise would have perished, and it entertains and\\namuses people of all ages and stations beyond any device,\\nmechanical or otherwise, ever invented.\\nThe world owes this wonderful invention, and its present\\nadvanced developement, to the great genius of THOMAS A.\\nEDISON.\\nDescription op Types and Styles.\\nThe two types of Phonographs are the Spring Motor and the\\nElectric. The following briefly describes the eight different\\nstyles\\nThe Edison Concert represents the perfection of\\nCONCERT the Phonograph. The motor is actuated by power-\\nful triple springs will play from six to eight -of the\\nlarge 5 inch records with one winding. For volume of sound,\\ntrue tone quality and distinct articulation this Phonograph stands\\nalone.\\nThe Edison Spring Motor is a high grade instru-\\n?_ ment. The motive power of this machine is a\\nAlOTOR\\npowerful spring motor movement contained m the\\nmachine itself, and wound with a crank. It plays fourteen\\nrecords with a single winding.\\nThe Edison Home is also a spring motor machine\\nHOME made for popular home use. It works admirably,\\nhaving the same speaking and musical qualities, and\\nusing the same devices to accomplish those results. The spring", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0047.jp2"}, "48": {"fulltext": "44 HANDBOOK OF THE PHONOGRAPH\\nmotor is well made and differs from the larger motors only in not\\nrunning so long with a single winding.\\nThe Edison Standard is a standard machine in\\nSTANDARD every respect. It is built on the same general lines\\nas the Home, with the exception of a different\\narrangement of the feed. The motor runs from two to three\\nrecords with one winding. It is durable, handsome and attract-\\nive in appearance.\\nThe Edison Gem is the cheapest genuine Phono-\\nG;EM graph on the market. It is compact, neat and sub-\\nstantial. Reproduces only, but with wonderful\\nclearness. Plays two records with one winding.\\nThe Edison M Electric Phonograph is actuated\\nELECTRIC by an e i ectr j c mo tor, which forms part of the\\nmachine t T/he power for running it is supplied by\\na battery, which it not a part of the machine, but must be pur-\\nchased as an extra. The machine is perfect in all details, and\\naccurate and brilliant in reproduction.\\nThe Edison E Electric Phonograph (for\\nCLASS B. electric light current), is furnished with an electric\\nmotor wound for the no to 120 volt direct current.\\nThe outfit is similar to the M Electric in every respect except\\nthe motor.\\nThe Edison M Concert Phonograph differs from\\nthe Spring Motor Concert in the motive power.\\nPower is supplied from a battery, as in the M\\nelectric. Combines the perfection of the Concert with the con-\\nvenience of the M electric.\\nIn the descriptions of the Phonographs which appear in the\\nfollowing pages, the Gem stands first in order. Its phenomenal\\nsales record in the first few months since it was brought out", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0048.jp2"}, "49": {"fulltext": "INTRODUCTION 45\\nproves its popularity and hence it leads in the prominence given\\nto the written instructions as to its use.\\nThe Standard and the Home come next; taking these\\npositions from a comparison of the number in actual use.\\nThe Spring Motor follows, although it was the first machine\\nof its type; with its clockwork mechanism.\\nThen the Concert; which is closely allied in general form to\\nthe Spring Motor, differing only in the Phonograph body, and\\nin such changes that are needful to operate the 5 inch instead of the\\n2%. inch cylinder.\\nFinally the Electric Phonographs are treated followed by\\nchapters of general information as to the use and care of the va-\\nrious attachments and accessories, of which the Phonograph has a\\nlarge and ever increasing number.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0049.jp2"}, "50": {"fulltext": "CHAPTER I.\\nThe Edison Gem Phonograph.\\nTHE Edison Gem is the cheapest genuine Phonograph on the\\nmarket. It is the best cheap talking machine. Its con-\\nstruction is solid and substantial. Its works are enclosed\\nin enamelled iron base, tastefully decorated, and are well made.\\nGood gears, stiff spring, will run two records with one winding.\\nAll studs and bearings are made of best steel. Its mechanism is\\nthe acme of simplicity. Weighs 7^ pounds. Size of base 7^x\\n5% inches. It is equipped with a 10-inch japanned horn. Re-\\nproduces only, but reproduces with wonderful loudness and clear-\\nness. Plays the 2% inch record.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0050.jp2"}, "51": {"fulltext": "THE EDISON GEM PHONOGRAPH\\n47\\nTHE EDISON GEM PHONOGRAPH.\\nINDEX OF PARTS.\\n1. Mandrel (to hold Wax Cylinder),\\nassembled with Cylinder Shaft.\\n2. Cylinder Pulley (assembled with\\ngear).\\n3. Speaker Arm.\\n4. Back Rod.\\n5. Drive Belt.\\n6. Feed Nut Spring Screw.\\n7. Speaker Arm Lift Lever.\\n8. Clamp Screws.\\n9. Tube Plate, under which is the\\nSpeaker.\\n10. Speed Adjusting Screw.\\n11. Starting Knob.\\nFeed Screw Gear.\\nBody.\\nStraight Edge.\\nWinding Key.\\nIntermediate Gear.\\nIntermediate Gear Stud.\\nNut.\\nCylinder Shaft Center Set Screw.\\nFeed Screw Center.\\n21. Frame Holding Screws.\\n22. Back Rod Nut\\n23. Cylinder Rod Nut.\\n24. Drip Pan Screw.\\n25. Gov. Brake Angle-piece Screw.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0051.jp2"}, "52": {"fulltext": "48 handbook of the phonograph\\nInstructions for Operating the Gem Phonograph.\\nBefore winding or starting, see that all working parts are\\nfree and clear from dirt and packing, particularly the gearwheels.\\nSee that all set screws are tight, as sometimes these screws work\\nloose from the jars or knocks received in transportation. To get\\nat the interior mechanism, remove the drip pan by taking out the\\nround head screws (24) in each end of the iron base (13).\\nIn moving the speaker arm (3) back and forth, always use\\nthe lift lever (7), so that the arm slides on the straight edge (14).\\nDo not lift the entire arm, as the pin on back part of speaker arm\\nwill strike the feed screw and damage the thread.\\nThe Gem Phonograph, like every other good mechanism,\\nshould be kept clean. This is absolutely essential as to the gearing.\\nAny foreign substance in the gear teeth or bearings, (such as grit\\nor packing or gummy oil), affects the regularity of the movement,\\nand consequently the speed regulation. If the machine does not\\nregulate perfectly, it shows in the varying pitch of the record\\nwhen played.\\nApply oil sparingly but thoroughly to the following parts:\\nBack rod (4). Feed screw (not shown incut). Feed screw\\ncenters (20). A ve?y little on the straight edge (14) rubbed on\\nwith the finger. All motor shafts at their bearings. All gears,\\nespecially the fine-toothed gear which engages the governor pin-\\nion. Arbor on which main spring turns. Idler pulley, occasion-\\nally, where tension spring holds it. Governor disc, occasionally.\\nNo oil should be permitted to get on the belt (5), and oil must\\nnot be smeared on the machine, as it will catch dust and make\\ntrouble. When the oil on the gear teeth gets black and dirty,\\nwash it off with benzine before putting on new oil, which apply\\nsparingly. Use best Phonograph oil, to avoid gumming. Above\\nall, keep the machine clean. No mechanism will work perfectly\\nunless free from grit.\\nAs a precautionary measure, it is well to look to the belt (5)", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0052.jp2"}, "53": {"fulltext": "THE EDISON GEM PHONOGRAPH 49\\nand speaker arm (3) before starting the machine. All machines\\nare completely adjusted before shipment from the factory. They\\nwill sometimes, though not often, become disarranged in transit.\\nThe tension of the belt should be moderate. The mandrel 1\\nshould work freely. A simple test is to throw off the belt (5) and\\nspin it gently with the fingers. The speaker arm (3) should also\\nslide freely on the back rod (4).\\n_ To adjust the wax cylinder, raise the lift lever (7)\\nTo Adjust and glide it tQ the center of the slight e d ge I4\\nJ tn er as shown in cut. Don t uft entire arm. Slip\\nthe wax cylinder, beveled end foremost, upon the tapering\\nmandrel, handling it very carefully. Push it on the mandrel\\nuntil it holds firmly not too tight, or it may crack the record,\\nnor yet too loose. If the latter happens, the cylinder revolves on\\nthe mandrel, making the record repeat.\\nThe wax cylinder, which is somewhat brittle, should be\\nhandled gently at first, until the operator becomes practised. See\\nChapter ij, Part II. Blanks and Records. Do not leave the\\ncylinder upon the mandrel 1 of the Phonograph for any length\\nof time when the machine is not in use.\\nTo start the machine, push the starting knob (11).\\nTodtart Tq sto pull Qut this knob Tq regulate the speed,\\na turn thumb-screw (10). To increase speed, screw\\nthumb-screw in, and to decrease it, unscrew same. Observe this\\ncarefully when reproducing music, as a different speed from that\\nat which the music was recorded will reproduce an entirely dif-\\nferent pitch. The standard speed at which musical records are\\ntaken is about 125 revolutions per minute.\\nRaise lift lever (7) to its highest point. Slip the\\n10 epro- wax C yh n der, beveled end foremost, upon the taper-\\ning mandrel (1), and press it firmly, but not too\\nforcibly, into place. Place the horn on the speaker plate tube,", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0053.jp2"}, "54": {"fulltext": "50 HANDBOOK OF THK PHONOGRAPH\\nslide speaker arm (3) to point where record appears to begin,\\nand drop lift lever gently (7), after having first pushed in starting\\nthe knob (11).\\nAlthough the reproducer ball usually adjusts itself to the\\ntrack or grove made by the stylus, it sometimes occurs that clear\\nreproduction is not at first obtained. To obviate this, jar the\\nmachine gently which usually throws the reproducer ball into\\ntrack, or raise lift lever and drop it again gently until the repro-\\nduction sounds clearer.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0054.jp2"}, "55": {"fulltext": "CHAPTER II.\\nThe Edison Standard Phonograph.\\nTHE Standard is the ideal talking machine. It is made\\nwith the same careful precision that characterizes all\\nPhonographs, and is complete in every respect. Made\\nof iron, steel and brass, nickeled gears and mandrel. Black\\nenamel and gold finish. Encased in a handsome oak dust-proof\\ncarrying case. Actuated by a spring motor that runs two to three\\nrecords with a single winding. Crank handle does not revolve\\nwhile the machine is running. Can be wound while in motion\\nwithout interfering with reproduction.\\nL,ight, durable and efficient. Absolutely noiseless. Regula-\\ntion perfect. Can be operated by a child, so simple is its mechan-\\nism. Weighs 17 lbs. Size, 9 in. x 12 in. x 9^2 inches high.\\nWill record, will reproduce, will shave off. Fitted with instanta-\\nneous speaker clamps for instant interchange of speakers.\\nTvso Speakers are included, free of charge with every Edison\\nStandard Phonograph: The Edison Automatic Reproducer and\\nthe Edison Recorder also a sapphire shaving knife, a two-way\\nhearing tube a 14-inch polished brass horn, a camel s hair chip\\nbrush, an oil can, a winding crank and an oak carrying case.\\nThese parts are essential to a perfectly equipped and complete\\ntalking machine outfit. The Standard is shipped only complete\\nas above. The only change made is to substitute a speaking tube\\nfor the 14-inch polished brass horn, if so desired.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0055.jp2"}, "56": {"fulltext": "52\\nHANDBOOK OF THE PHONOGRAPH\\nThe Edison Standard Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0056.jp2"}, "57": {"fulltext": "THE EDISON STANDARD PHONOGRAPH\\n53\\nTHE EDISON STANDARD PHONOGRAPH\\nINDEX OP PARTS.\\n1. Brass Mandrel to hold wax cylin- 25.\\nder (assembled with Cylinder 26\\nShaft). 2y\\n2. Cylinder Shaft, (assembled with o\\nBrass Mandrel).\\n3. Peed Spring. 2 9-\\n4. Feed Nut. 3\u00c2\u00b0-\\n5. Feed Nut Screw. 3 1\\n6. Back Rod. 32.\\n7. Drive Belt. 33.\\n8. Feed Nut Spring Screw. 43.\\n9. Speaker Arm. 35.\\n10. Swinging-arm Center. 36.\\n11. Swinging-arm Center Set Screw. 37.\\n12. Swinging Arm. 38.\\n13. Locking Spring. 39.\\n14. Speaker Arm Lift Lever. 40.\\n15. Speaker Adjusting Screw. 41.\\n16. Speaker Lever. 42.\\n17. Speaker Clamp Screw. 43.\\n18. Speaker. 44.\\n19. Plate Tube. 45.\\n20. Knife Bar Adjusting Screw. 46.\\n21. Governor Adjusting Screw. 47.\\n22. Starting Lever. 48.\\n23. Hearing Tube. 49.\\n24. Speaking Tube. 50.\\nChip Brush\\nWax Cylinder, or Blank.\\nSwing-arm Spring Washer.\\nSwing-arm Spring Washer Screw\\nChip Chute Thumb Screw.\\nCylinder Shaft Pulley.\\nFeed Screw Cover.\\nFeed Screw Cover Screw.\\nTop Plate.\\nSpeaker Arm Lift Screw.\\nStraight Edge Roller.\\nStraight Edge Roller Screw.\\nWinding Crank.\\nSpeaker Clamps.\\nCylinder Shaft Gear.\\nIntermediate Gear.\\nFeed Screw Gear.\\nFeed Screw Center Set Screw.\\nIntermediate Gear Stud Set Screw.\\nCylinder Shaft Center Set Screw.\\nCylinder Shaft Center.\\nIntermediate Gear Stud.\\nFeed Screw Center.\\nFrame Holding Screw.\\nLocking Spring Knob.\\nBack Rod Set Screw.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0057.jp2"}, "58": {"fulltext": "54 HANDBOOK OF THE PHONOGRAPH\\nThe Phonograph, like every other good mechanism, should\\nbe cleaned and free from dust. Instructions as to oiling will be\\nfound later in these directions.\\nSee that the knife adjusting screw (20) is screwed entirely\\nback, or until the chip box rests against the casting of the speaker\\narm, as it always should do except when shaving. This screw\\ncontrols the shaving knife, and draws it away or forces its cutting\\nedge against the wax cylinder.\\nAs a precautionary measure, it is well to look to the belt,\\nthe shaft (2), and the speaker arm, before starting the machine,\\nAll machines are completely adjusted before shipment from the\\nfactory. They will sometimes, though not often, become disar-\\nranged in transit. The tension of the belt should be moderate.\\nBefore winding or starting the machine, see that all working\\nparts are free, particularly that there is no dirt or packing in the\\ngear wheels, and that all set screws are tight. Sometimes these\\nscrews work loose from the shock of travel.\\nThe cylinder shaft (2) turns on centers (10 and 45), between\\nwhich it should run easily. If centers are too tight they will bind\\nthe shaft, while if too loose, the end shake will destroy the\\naccuracy of the reproduction. There should be no end-shake here.\\nA simple test is to throw off the belt with the hand, and see if the\\nshaft will spin freely. The cylinder shaft centers are regulated\\nby set screws 1 1 and 24) as shown in the drawing. The speaker\\narm or carriage of the machine should work free on the back rod.\\nAll bearings should be oiled, as mentioned before, and to\\nobtain the best results from the motor the gears must be kept\\nclean, particularly the fine-toothed gear which engages the gov-\\nernor pinion. The governor disc (the flat metal plate against\\nwhich the horse shoe rocker works) must be oiled occasionally.\\nIf necessary to adjust the governor, see to it that there is a slight\\nplay between centers. If too tight there, regulation is impaired\\nand efficiency is diminished.\\nUnder no circumstances should the governor disc, described\\nabove, touch the adjacent gear.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0058.jp2"}, "59": {"fulltext": "THE EDISON STANDARD PHONOGRAPH\\n55\\nNOTE:\u00e2\u0080\u0094 For numbers not shown on this cut refer to cut of complete machine on\\nPage 53.\\nTo Put the Wan Open swing arm (12), raise lift lever (14),\\nCylinder on or to and slip the wax cylinder (26), beveled end\\nRemove It foremost, upon tapering brass mandrel (1).\\nHandling the\\nCylinder\\nThe wax cylinder, which is somewhat brittle,\\nshould be handled gently at first, until the\\noperator becomes practised. See Chapter ij,\\nPart II Blanks and Records.\\nDo not leave the cylinder upon the brass mandrel 1 of the\\nPhonograph for any length of time when the machine is not in use.\\nTo Start or To start or stop, throw switch lever (22); to the\\nStop right to stop and to the left to start.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0059.jp2"}, "60": {"fulltext": "56 HANDBOOK OF THE PHONOGRAPH\\nThe speed of the machine in revolutions of the\\nTo Regulate main glia f t per m i nute j s regulated by the speed\\nthe speed adjusting screw (21). To increase speed screw\\nthe nut down, and to decrease it unscrew this nut. Observe this\\ncarefully when reproducing music, as a different speed from that\\nat which the music was recorded will produce an entirely differ-\\nent pitch. The standard speed at which musical records are\\ntaken is about 125 revolutions per minute talking records, about\\n80 per minute.\\nNOTE: For numbers not shown on this cut, refer to cut of complete machine on\\npage 53.\\nRaise lift lever (14) to its highest point. Push\\nP speaker lever (16) to its highest point, against ad-\\njusting screw (15). Open swing arm (12) wide.\\nSlip the wax cylinder (26), beveled end foremost, upon the\\ntapering brass mandrel (1), and press it firmly, but not forcibly,\\ninto place. Close swing arm. Now place hearing tube (23), or\\nhorn, on the speaker plate tube (19). Slide speaker arm to point\\nwhere record appears to begin, and drop lift lever (14), after\\nhaving first thrown lever (22) to the left.\\nWith the Automatic Speaker the following adjustment is\\nunnecessary, as the reproducer ball adjusts itself to the track or\\ngroove made by the stylus. With the Standard Speaker (a com-\\nbination speaker equipped with both recording and reproducing", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0060.jp2"}, "61": {"fulltext": "THE EDISON STANDARD PHONOGRAPH 57\\nsapphires), it sometimes occurs that clear reproduction is not at\\nfirst obtained. To obviate this, unscrew the adjusting screw (15)\\nuntil its point disappears in the lug, and while listening press the\\nspeaker lever (16) upward with the thumb of the right hand, and\\nwith the first and second fingers of the same hand turn the adjust-\\ning screw (15) slowly down until you can hear the record distinct-\\nly. This adjustment will bring the reproducer ball into the groove\\nof the record.\\nThe machine is at rest. Open speaker clamps (38)\\n5~0 Record and insert recorder with its speaker lever (16)\\npressed up against lug. Press up lift lever (14).\\nOpen swing arm (12) wide.\\nSlip the wax cylinder (26), beveled end foremost, upon the\\ntapering brass mandrel 1 and press it firmly, but not too forci-\\nbly into place. Close the swing arm.\\nRaise the speaker arm from the straight edge upon which it\\nrests in front, and slide to the left until directly over the beveled\\nend of the cylinder, or the point at which you wish the record to\\ncommence. Again lower it to straight edge. Everything is now\\nready to record.\\nStart the machine by pushing the starting lever (22) to the\\nleft. The machine is now in motion. Place speaking tube or\\nhorn upon the plate tube (19) of the speaker, lower lift lever (14)", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0061.jp2"}, "62": {"fulltext": "58\\nHANDBOOK OF THE PHONOGRAPH\\nas far as possible and commence recording. Further instructions\\nare given in Chapter 75, Part II. Dictating and Chapter 3\\nPart III, Record Making.\\nEvery Phonograph except the Gem is equipped with\\nJ? a l a simple device for shaving off or smoothing blank\\ncylinders, which preparation is necessary before a\\nblank can be used for recording. Here are the instructions for\\noperating the turning rest. Machine is at rest. Wax cylinder\\nfirmly set upon mandrel. Hearing tube or horn removed. Fasten\\nback the speaker weight by passing rubber band around lower\\nend of weight and over the speaker arm, or what is better still,\\nremove speaker (18).\\nLower the speaker arm about over the center of the cylinder\\nby dropping lift lever (14). Hold the end of the arm down firmly\\nwith the thumb and forefinger of the left hand, while with the\\nsame fingers of the right, screw down the button (20) which\\ncontrols the knife bar. This will bring the sapphire shaving knife\\nto the surface of the wax. As the depth of the cut to be taken is\\nvery slight indeed, the knife must be set very gently into the wax,\\nas shallowly as possible. The machine is still at rest, with lift\\nlever (14) down. Now raise speaker arm, slide it back to the ex-\\ntreme left, and start the Phonograph. When the shaving of\\na cylinder is completed, see that the knife bar is screwed back\\naway from the cylinder, or it will cut the next record that is put", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0062.jp2"}, "63": {"fulltext": "THE EDISON STANDARD PHONOGRAPH 59\\non the machine. This is managed by manipulating the button\\n(20). Further instructions are given in Chapter 14., Part II.\\nShaving.\\nTo stop recording, reproducing or shaving while\\nP the machine is running, raise the lift lever (14).\\nApply oil sparingly but thoroughly to the following\\nOiling parts back-rod, feed screw, cylinder shaft centers\\n(10 and 45) feed screw center (47), roller on the\\nstraight edge, all motor shafts at their bearings, all gears, arbor\\non which main spring turns idler pulley, occasionally where\\ntension spring holds it governor disc, occasionally, winding shaft,\\nif necessary. No oil should be permitted to get on the belt, and\\noil must not be smeared on the machine, as it will catch dust\\nand make trouble. When the oil on the gear teeth gets black and\\ndirty, wash it off with benzine before putting on new oil, which\\napply sparingly. Use best Phonograph oil to avoid gumming.\\nAbove all, keep the machine clean. No mechanism will work\\nperfectly unless free from grit.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0063.jp2"}, "64": {"fulltext": "j^a?7hr\\nThe Edison Home Phonograph,\\nACQ] ring and musical machine that does the\\nsi git-priced instruments and superior to\\nal cke.17 :u.ic:::::es music I: is simple in COD-\\nbo operate and c o s tl ess bo nawntain\\nsix records with single winding\\n1: is made ol steel md brass throughou t X; soft metal or\\n1 in black enamel and gold. Incased in oak\\nEta ill x 12 in high. It weighs lbs. Will\\nFitted with instantaneous\\nvr.-k:: speakers.\\nthe Edison /Luftoanatk Reproducer and the\\nRecordes also ^infliire shaving knife an oak body box,\\noak a brass horn, a ti ing tube,\\nink an 93 can and a came) s hair chip brash\\nssf", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0064.jp2"}, "65": {"fulltext": "THE EDISON HOME PHONOGRAPH\\n6l\\nThe Edison Home Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0065.jp2"}, "66": {"fulltext": "62\\nHANDBOOK OF THE PHONOGRAPH\\nTHE EDISON HOME PHONOGRAPH\\nINDEX OF PARTS.\\nBrass Mandrel to hold wax cylin-\\nder. (Assembled with Main\\nShaft).\\nMain Shaft. (Assembled with\\nBrass Mandrel).\\nFeed Spring.\\nFeed Nut.\\nFeed Nut Screws.\\nBack Rod.\\nDrive Belt.\\nMain Shaft Center.\\nMain Shaft Center Set Screw.\\nSwing-arm Center.\\nSwing-arm Center Set Screw.\\nSwing-arm Center Adjusting\\nScrew.\\nSwing Arm.\\nLock Bolt.\\nLift Lever.\\nSpeaker Adjusting Screw.\\nSpeaker Adjusting Screw Lug.\\nSpeaker Lever.\\n19. Speaker Clamps.\\n20. Speaker.\\n2i. Tube Plate.\\n22. Knife Adjusting Screw.\\n23. Speed Adjusting Screw.\\n24. Start-and-Stop Switch.\\n25. Hearing Tube.\\n26. Speaking Tube.\\n27. Chip Brush\\n28. Wax Cylinder, or Blank.\\n29. Swing-arm Spring Washer.\\n30. Spring-washer Set Screw.\\n31. Body-holding Screw Washers,\\n(metal and rubber).\\n32. Main Shaft Pulley.\\n33. Body-holding Screw.\\n34. Top Plate.\\n35. Home Phonograph Body.\\n36. Back Rod Set Screw.\\n37. Main Shaft Pulley Set Screws.\\n38. Body Cushions.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0066.jp2"}, "67": {"fulltext": "the edison home phonograph 63\\nInstructions for Operating the Edison Home Phonograph.\\nBefore winding or starting the machine, see that all working\\nparts are free, particularly that there is no dirt or packing in the\\ngear wheels, and that all set-screws are tight. Sometimes these\\nscrews work loose from the shock of travel.\\nThe Phonograph, like every other good mechanism, should\\nbe clean and free from dust. Instructions as to oiling will be\\nfound later in these directions.\\nSee that knife adjusting screw (22) is screwed entirely back,\\nor until the stop pin rests against the casting of the speaker arm,\\nas it always should do except when shaving. This screw controls\\nthe shaving knife, and draws it away or forces its cutting edge\\nagainst the wax cylinder.\\nAs a precautionary measure, it is well to look to the belt (7),\\nthe shaft (2), and the speaker arm, before starting the machine.\\nAll machines are completely adjusted before shipment from the\\nfactory. They will sometimes, though not often, become disar-\\nranged in transit. The tension of the belt (7) should be moderate,\\nand the belt- tightening idler pulley (not shown in engraving but\\neasily found on the machine) should be in proper place against the\\nbelt. The main shaft (2) turns on centers (8 and 10), between\\nwhich it should run easily. If centers are too tight they will bind\\nthe shaft, while if too loose, the end-shake will destroy the\\naccuracy of the reproduction. There should be no end-shake\\nhere. The shaft adjustment is regulated by the adjusting screw\\n(12) on the swing arm center. A simple test is to throw off the\\nbelt with the hand, and see if the shaft will spin freely without\\nnoise. The main shaft pulley (32) should of course be tight on\\nthe shaft. Its set screw (37) regulates this. The main shaft\\ncenters are regulated by set screws (9 and 11), as shown in draw-\\ning. Care should be taken that the large end of the mandrel 1\\ndoes not touch the center lug of the body casting. The thickness", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0067.jp2"}, "68": {"fulltext": "64 HANDBOOK OF THK PHONOGRAPH\\nof a piece of paper between the lug and mandrel is sufficient clear-\\nance. The speaker arm or carriage of the machine should work\\nfree on the back rod (6).\\nAll bearings should be oiled, as mentioned before, and to\\nobtain the best results from the motor the gears must be kept clean,\\nparticularly the fine-toothed gear which engages the governor\\npinion. The governor disc (the flat metal plate against which the\\nhorse shoe rocker works) must be oiled occasionally. If necessary\\nto adjust the governor, see to it that there is a slight play between\\ncenters. If too tight there, regulation is impaired and efficiency\\nis diminished.\\nUnder no circumstances should the governor disc, described\\nabove, touch the adjacent gear.\\nThe first operation will undoubtedly be reproducing.\\nTo Kepro- Raige Hft leyer to itg highest point Push\\nspeaker lever (18) to its highest point, against\\nspeaker adjusting screw lug (17). Throw down lock bolt (14)\\nand open swing arm (13) wide. Slip the wax cylinder (28),\\nbeveled end foremost, upon the tapering brass mandrel (1), and\\npress it firmly, but not too forcibly, into place. Close swing arm\\nand re-lock it. Now place hearing tube (25), or horn, on the\\nspeaker tube plate (21), slide speaker arm to point where record\\nappears to begin, and drop lift lever (15), after having first thrown\\nstart and stop switch (24) to the left.\\nWith the Automatic Reproducer the following ajustment is\\nunnecessary, as the reproducer ball adjusts itself to the track or\\ngroove made by the stylus. With the Standard Speaker (a com-\\nbination speaker equipped with both recording and reproducing\\nsapphires), it sometimes occurs that clear reproduction is not at\\nfirst obtained. To obviate this, unscrew the adjusting screw (16)\\nuntil its point disappears in the lug (17), and while listening press\\nthe speaker lever (18) upward with the thumb of the right hand,\\nand with the first and second finders of the same hand turn the", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0068.jp2"}, "69": {"fulltext": "THE EDISON HOME PHONOGRAPH 65\\nadjusting screw (16) slowly down until you can hear the record\\ndistinctly. This adjustment will bring the reproducer ball into\\nthe groove of the record.\\nThe speed of the machine in revolutions of the main\\nshaft per minute is regulated by the speed adjusting\\nJ P screw (23). To increase speed screw the nut down,\\nand to decrease it unscrew this nut. Observe this carefully when\\nreproducing music, as a different speed from that at which the\\nmusic was recorded will reproduce an entirely different pitch.\\nThe standard speed at which musical records are taken is about\\n125 revolutions per minute talking records, about 80 per minute.\\nA very good way for the beginner to determine the number\\nof revolutions per minute, is to hold his finger lightly against the\\nmain shaft pulley set screw (37), and count the revolutions by\\nhis watch, for ten or more seconds.\\nThe machine is at rest. Open speaker clamps (19)\\nTo Record and insert recorder with its speaker lever (18)\\npressed up against lug (17). Press up lift lever\\n(15). Throw down lock bolt (14), and open swing arm (13)\\nwide.\\nSlip the wax cylinder (28), beveled end foremost, upon the\\ntapering brass mandrel (1), and press it firmly, but not too forci-\\nbly into place. Close the swing arm, and re-lock it.\\nRaise the speaker arm from the straight edge upon which it\\nrests in front, and slide to the left until directly over the beveled\\nend of the cylinder, or the point at which you wish the record to\\ncommence. Again lower it to straight edge. Everything is now\\nready to record.\\nStart the machine by pushing the switch (24) to the left.\\nThe machine is now in motion. Place speaking tube or horn upon\\nthe tube plate (21) of the speaker, lower lift lever (15) as far as\\npossible and commence recording. Further instructions are given", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0069.jp2"}, "70": {"fulltext": "66 HANDBOOK OF THE PHONOGRAPH\\nin Chapter 15, Part II, Dictating and Chapter 3, Part HI,\\nRecord Making.\\nThe wax cylinder, which is somewhat brittle, should\\nnana ing e j^y^Ug^ gently at first, until the operator becomes\\nCylinder practised. See Chapter 13, Part II, Blanks and\\nRecords.\\nDo not leave the cylinder upon the brass mandrel 1 of the\\nPhonograph for any length of time when the machine is not in\\nuse.\\nEvery Edison Home Phonograph is equipped with a\\nsimple device for shaving off or smoothing blank\\ncylinders, which preparation is necessary before a\\nblank can be used for recording. Here are the instructions for\\noperating the turning rest. Machine is at rest. Wax c}dinder\\nfirmly set upon mandrel. Hearing tube or horn removed.\\nSpeaker lever (18) set as for reproducing, that is, up against lug\\n(17). Fasten back the speaker weight by passing rubber band\\naround lower end of the weight and over the speaker arm.\\nLower the speaker arm about over the center of the cylinder,\\nby dropping lift lever (15). Hold the end of the arm down firmly\\nwith the thumb and forefinger of the left hand, while with the\\nsame fingers of the right, screw down the button (22) which\\ncontrols the knife bar. This will bring the sapphire shaving\\nknife to the surface of the wax. As the depth of the cut to be\\ntaken is very slight indeed, the knife must be set very gently into\\nthe wax, as shallowly as possible. The machine is still at rest,\\nwith lift lever (15) down. Now raise speaker arm, slide it back\\nto the extreme left, and start the Phonograph.\\nWhen the shaving of a cylinder is completed, see that the\\nknife bar is screwed back away from the cylinder, or it will cut\\nthe next record that is put on the machine. This is managed by\\nmanipulating the button (22). Further instructions are given in\\nChapter 14., Part II, Shaving.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0070.jp2"}, "71": {"fulltext": "THE EDISON HOME PHONOGRAPH 67\\nApply oil sparingly but thoroughly to the following\\nOiling parts: back-rod (6), main shaft feed screw (2),\\nmain shaft centers (8 and 10), roller on the\\nstraight edge, all motor shafts at their bearings, all gear teeth of\\nmotor, arbor on which main spring turns, idler pulley occasion-\\nally, where tension spring holds it, governor disc, occasionally,\\nwinding shaft, if necessary.\\nNo oil should be permitted to get on the belt, and oil must not\\nbe smeared on the machine, as it will catch dust and make trouble.\\nWhen the oil on the gear teeth gets black and dirty, wash it off\\nwith benzine before putting on new oil, which apply sparingly.\\nUse best Phonograph oil, to avoid gumming. Above all, keep the\\nmachine clean. No mechanism will work perfectly unless free\\nfrom grit.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0071.jp2"}, "72": {"fulltext": "CHAPTER IV.\\nThe Edison Spring Motor Phonograph.\\nACTUATED by powerful triple springs, which drive the\\nmachine through fourteen records with a single winding.\\nNo electricity or battery required. Winds noiselessly,\\nruns noiselessly, governs perfectly. Simple, but effective con-\\nstruction, and in every respect a standard machine. Removable\\nhardened steel bearings, belt tightener, and other useful devices.\\nIncludes oak [body and cover as shown. Finished in black and\\ngilt enamel, with nickel parts. Fitted with instantaneous speaker\\nclamps for instant interchange of speakers.\\nWeighs 43 pounds, complete, and is particularly recommended\\nfor portable service. Size i6 in. long, ioj4 in. wide, 14 in.\\nhigh.\\nTwo speakers are included, free of charge, with every Spring\\nMotor Phonograph the Edison Automatic Reproducer and the\\nEdison Recorder also a sapphire shaving knife, oak body box,\\noak cover, a 14-inch polished brass horn, two-way hearing tube,\\na winding crank, an oil can and a camel s hair chip brush.\\nThe Spring Motor Phonograph is shipped only complete as\\nabove. The only change made is to substitute a speaking tube\\nfor the 14-inch polished brass horn, if so desired.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0072.jp2"}, "73": {"fulltext": "THE EDISON SPRING MOTOR PHONOGRAPH\\n6 9\\nThe Edison Spring Motor Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0073.jp2"}, "74": {"fulltext": "7 o\\nHANDBOOK OF THE PHONOGRAPH\\nTHE EDISON SPRING MOTOR PHONOGRAPH\\nINDEX OF PARTS.\\nBrass Mandrel to hold wax cylin-\\nder. (Always assembled with\\nMain Shaft.)\\nTurning Rest, to shave cylinder.\\nFeed Spring.\\nBack Rod.\\nSapphire Knife Spring Knob.\\nMain Shaft. (Always assembled\\nwith Brass Mandrel.)\\nMain Shaft Pulley.\\nDrive Belt.\\nStart-and-Stop Switch.\\nSpeed Adjusting Screw.\\nSwing Arm.\\nSwing-arm Center.\\nStraight Edge.\\nSpeaker Arm.\\nSpeaker.\\nSpeaker Lever.\\nSpeaker Adjusting Screw.\\nSpeaker Arm Lift Lever.\\n19. Main Shaft Center.\\n20. Swing-arm Center Adjusting\\nScrew.\\n21. Back Rod Sleeve.\\n22. Top Plate.\\n23. Speaker Clamps.\\n24. Phonograph Body.\\n25. Body-holding Screws.\\n26. Shaving Knife Lever.\\n27. Winding Key Sleeve.\\n28. Feed Nut.\\n31. Speaker Adjusting Screw Lug.\\n33. Winding Key.\\n34. Lock Bolt.\\n35. Back Rod Set Screw.\\n36. Swing-arm Center Set Screw.\\n37. Main Shaft Center Set Screw.\\n38. Swing-arm Spring Washer.\\n39. Top Plate Lug.\\n40. Body-holding Screw Washers.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0074.jp2"}, "75": {"fulltext": "THE EDISON SPRING MOTOR PHONOGRAPH\\n71\\nInstructions for Operating the Edison Spring Motor\\nPhonograph.\\nMachine at rest. Open speaker clamps (23) and\\nTo Record insert recorder with the speaker lever (16) pressed\\nup against lug (31).\\nPress up speaker lever D, place the speaking tube C on the\\nPhonograph, and lower the lift lever H.\\nPress up lift lever (18). The numbers refer to cut on\\npage 70. Throw down the lock bolt (34) and open swing arm\\n(11) wide.\\nL^i", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0075.jp2"}, "76": {"fulltext": "72 HANDBOOK OF THE PHONOGRAPH\\nPress down the lock bolt A and open the swing arm B.\\nSlip the wax cylinder, beveled end foremost, upon the taper-\\ning brass mandrel (i), and press it firmly, but not too forcibly\\ninto place. The numbers refer to cut on page 70.\\nClose the swing arm and relock it.\\nRaise the speaker arm (14), an inch is sufficient, from the\\nstraight edge (13), upon which it rests in front, and slide to the\\nleft until directly over the beveled end of the cylinder, or the point\\nat which you want the record to commence. Again lower it to\\nstraight edge and push the speaker lever 16) up as far as it will go.\\nStart the machine by pushing the switch (9) to the\\nlo Start left until it strikes a g a i nst t he pin.\\nP Place the speaking tube upon the tube plate,\\nlower the lift lever (18) as far as possible, and commence dictation\\nto the machine. Should it become necessary to pause during the\\ndictation and before the end of the cylinder had been reached,\\nraise lift lever (only) until it closes against the speaker arm this\\nwill disengage the feed nut from the fine thread upon the main\\nsnaft, and at the same time raise the recording stylus from the\\nwax.\\nA fine white shaving will appear on the surface of the cylinder\\nwhere it has been passed over by the stylus. Remove the speak-\\ning tube raise the speaker arm, and, throwing it back as far as\\npossible, dust off these shavings by holding the camel s hair chip\\nbrush against the cylinder, and passing it very slowly from left\\nto right. This operation being completed, the record, as it is now\\ncalled, is ready to reproduce. For further instructions see Chapter\\nZ5, Part II, Dictating also Chapter 3, Part III, Record\\nMaking.\\nPress the speaker lever D up, place the hearing tube\\nloRepro- Qn the Pnonograpn) lower tne 1^ lever H and\\nturn the adjusting screw F until the proper sound\\nis obtained.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0076.jp2"}, "77": {"fulltext": "THE EDISON SPRING MOTOR PHONOGRAPH\\n73\\nLift lever (18) up. The numbers refer to cut on page 70.\\nOpen speaker clamps (23) and insert Automatic Reproducer.\\nPush the speaker lever (16) up against the point of the adjusting\\nscrew (17). Now place the hearing tube on the tube plate, and\\nlower the speaker arm opposite the point where the record be-\\ngins, by dropping the lift lever (18). With the Automatic\\nReproducer the following adjustment is unnecessary, as the\\nreproducer ball adjusts itself to the track or groove made by\\nthe stylus. With the Standard Speaker (a combination speaker\\nequipped with both recording and reproducing sapphires), it\\nsometimes occurs that clear reproduction is not at first obtained.\\nTo obviate this, unscrew the adjusting screw (17) until its point\\ndisappears in the lug (31), and, while listening with the hearing\\ntube, press the speaker lever (16) upward with the thumb of the\\nright hand, and with the first and second fingers of the same hand\\nturn the adjusting screw (17) slowly down until you can hear the\\nrecord distinctly. This adjustment will bring the reproducing\\nball into the groove of the record.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0077.jp2"}, "78": {"fulltext": "74 HANDBOOK OF THE PHONOGRAPH\\nThe speed of the machine in revolutions of the main\\nKeguiation g^ft p er m j nute j s re g U i a t e d by the speed adjust-\\n\u00c2\u00b0J P ee ment screw (10). To increase speed unscrew this\\nnut, and to decrease it screw the nut down.\\nObserve this carefully when reproducing music, as a different\\nspeed from that at which the music was recorded will reproduce\\nan entirely different pitch. The standard speed at which musical\\nrecords are taken is about 125 revolutions per minute.\\nAlthough this device is not, strictly speaking, an\\ne important factor in the working of the Phonograph,\\nbut merely an appliance for greatly increasing the\\ncapacity of the cylinder, still a brief explanation of it, and of the\\nreasons for its use, seems advisable before again passing to the\\ndetails of instruction.\\nOperating Lower the lift lever H, press the knife button until\\nof burning the knife touches the cylinder, and press down the\\nRest knife lever L, then raise lift lever H. Do not put\\nthe Phonograph in motion to shave the cylinder until the knife\\nhas been adjusted as above and carried to extreme left end of\\ncylinder, after which lower lift lever H.\\nMachine at rest. Wax Cylinder firmly set upon mandrel\\nhearing tube removed; speaker lever (16) pushed up. Fasten", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0078.jp2"}, "79": {"fulltext": "the kdison spring motor phonograph 75\\nback the speaker weight by passing rubber band around lower\\nend of the weight and over the speaker arm, about where the\\nfigures (23) are shown on cut. Or remove speaker, as preferred.\\nLower the speaker arm and lever (18) about over the center\\nof the cylinder. Hold the end of the arm down firmly with the\\nthumb and forefinger of the left hand, while with the same fingers\\nof the right gently press the button (5) of the knife lever down-\\nward and toward the machine. Then press down the knife lever\\n(26) as far as it will go, then close lift lever (18) up into its slot\\nin the speaker arm, slide the arm to the extreme left, again lower\\nthe lever (18) and start the machine.\\nWhen the turning off of a cylinder is completed, always see\\nthat the knife lever (26) is thrown up and back as far as it will go.\\nFurther instructions are given in Chapter 75, Part II, Dictating;\\nsee also Chapter 13, Part II, Blanks and Records.\\nTo Stop or to change to another part of the cylinder,\\nTemp or- raise the lift lever H, without stopping the\\narily machine itself.\\nAlways keep the entire machine perfectly clean and\\nOiling free from dust. It is an essential to perfect work\\nwith any piece of machinery, and the Phonograph is\\nno exception.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0079.jp2"}, "80": {"fulltext": "76 HANDBOOK OF THE PHONOGRAPH\\nApply oil sparingly but often to the following parts, never\\nover a drop at a time in any one place except where otherwise\\nspecified. end bearings of main shaft thread of main shaft\\n(several drops); back rod, (several drops); straight edge; the two\\nbearings of the winding shaft the teeth of the rachet wheel on\\nwhich pawl works the inside surface of the friction disc of gov-\\nernor, where the leather touches it; the cupped centers at the end\\nof every gear shaft the governor shaft, where the governor-disc\\nsleeve moves on the shaft, if dry.\\nThree places will be found for oiling the barrels and to these\\nplaces several drops should be applied, (a) The main oil hole\\nis plainly marked on the large barrel. The other two are in the\\nhubs, (b) There is a square opening in the hub of the loose\\nbarrel plate at the right hand end. By turning the winding shaft\\nthe oil hole can be seen through this opening. (c) The oil hole\\nin the left-hand hub, if not in view, can be found by allowing the\\nmachine to run part of one revolution.\\nUse best Phonograph oil only.\\nKeep gear teeth free from dirt, to prevent wear and noise.\\nUse benzine for this purpose if necessary, and afterwards apply a\\ndrop of oil. Care should be taken not to get any oil upon the\\ndrive belt, as it will cause it to stretch and slip loose. Oil only\\nwhere directed. In smearing oil upon any other part you simply\\nset a trap for dust.\\nBefore winding or starting machine, see that all set\\nscrews holding bushings, pinions and shafts are\\nInstructions tight They sometimes work loose from the j ar of\\ntravel.\\nSee that all working parts are free, and particularly that there\\nare no particles of wood or packing material in the mechanism.\\nThe belt should not be too tight, but almost loose enough to\\nslip when main-shaft pulley (7) of the Phonograph is held station-\\nary with the motor running and wound up tight. A new belt", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0080.jp2"}, "81": {"fulltext": "THE EDISON SPRING MOTOR PHONOGRAPH 77\\nshould be brought to proper tension upon setting up machine the\\nfirst time.\\nIf belt is too tight it will act as a break on the machine.\\nAfter being once stretched it will require little or no attention.\\nThe tension of the belt is regulated by turning the thumb,\\nscrew at the front of the motor below. This belt-tightening screw\\nshould not be used when machine is in motion, as there is danger\\nof hitting the moving governor and disarranging the governor\\nsprings.\\nObserve that the rubber cushions on top edge of the body box,\\nand body cushions (39) are in place, and that the main-shaft\\npulley (7) of the Phonograph is directly above the drive pulley of\\nthe spring motor, so that belt runs true. The belt must never\\nrun on the flange of the wheel. Care should be observed to keep\\nthe rubber cushions and washers of the spring motor in good\\ncondition at all times.\\nThe Phonograph should never be shipped with springs\\nwound up.\\nThe sapphires upon the speaker and the turning rest are\\nperfectly adjusted before shipment\\nThe bearings of the main shaft, called the centers, should be\\nsnug but not tight. There must be no shake.\\nThe sapphire recording and reproducing points should be\\nkept free from dust and wax scales by brushing, or they may be\\ntouched with a little benzine on the finger tip.\\nNever attempt to slide the speaker arm from side to side\\nwithout either raising it or closing the lift lever, as you are liable\\nto damage the thread upon main shaft by scraping the twin nuts\\nacross it.\\nDo not remove main shaft from machine unless it becomes\\nabsolutely necessary, then use great care in drawing it out to\\navoid injuring the thread.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0081.jp2"}, "82": {"fulltext": "CHAPTER V.\\nThe Edison Concert Phonograph.\\nMR. EDISON has perfected the Phonograph. Beginning\\nwith the early tin foil machine, Mr. Edison has de-\\nveloped the Phonograph step by step, until to-day the\\nPhonograph stands on the pinnacle of perfection. It perfectly\\nreproduces human voice just as loud just as clear just as\\nsweet. It duplicates instrumental music with pure-toned\\nbrilliancy and satisfying intensity. Used with Edison Concert\\nRecords, its reproductions are free from all mechanical noises\\nonly the music or voice is heard. It is strong and vibrant enough\\nto nil the largest concert hall. It is smooth and broad enough\\nfor the parlor. It is made with the careful precision that charac-\\nterizes all Genuine Edison Phonographs. It is made to reflect\\ncredit and to uphold the fame of the name of the man who stands\\nbehind it.\\nThe Edison Concert Phonograph is actuated by powerful\\ntriple springs. It plays six to eight concert records with a single\\nwinding. It is finished in black and gilt enamel, with nickel\\nparts. It has a polished oak body box and carrying cover. Size,\\n12x17x17 inches. Weighs 51 pounds. Size of mandrel, 4%\\ninches diameter by 5 inches long. Every Edison Concert Phono-\\ngraph includes, free of charge, an automatic reproducer, a\\nrecorder, a sapphire shaving knife, oak body box and cover, a", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0082.jp2"}, "83": {"fulltext": "THE EDISON CONCERT PHONOGRAPH\\n79\\n24-inch brass horn and stand, winding crank, speaking tube, oil\\ncan and chip brush.\\nThe Edison Concert Phonograph is built on the same body as\\nthe Edison Spring Motor Phonograph described in the previous\\nchapter. The Phonograph top is also exactly the same, except\\nthat the parts are larger, to admit the swing of the five-inch record.\\nare the same as in the preceding chapter. The\\nfollowing is the only point that it is necessary\\nto emphasize especially in closing swing arm of\\nthe Edison Concert Phonograph, see that the pin\\non swing arm enters hole on straight edge cast-\\ning. Press the arm firmly with thumb, at the same time lock-\\ning the lock bolt with first two fingers of same hand.\\nGeneral In-\\nstructions for\\nOperating\\nthis Machine", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0083.jp2"}, "84": {"fulltext": "CHAPTER VI.\\nThe Edison M and E Electric Phonographs.\\nTHE Edison M Electric Phonograph, the most\\napproved type of Electric Phonograph, is equipped with\\nelectric motor (wound for battery) and governor, and is\\nfitted with instantaneous speaker clamps, for instant interchange\\nof speakers. It sets in an oak body box. Weighs 65 pounds.\\nFinished in black, gold and nickel. Size, 20 in. long, 9^ in.\\nwide and 1 1 in. high. A Battery is not a part of the Phonograph,\\nbut is an independent apparatus. Storage or primary (chemical)\\nbattery may be used. The motor requires a steady current of 2%\\nvolts and 2 amperes. Its uniform action and continuous power\\nsupply recommends the M Electric Phonograph for all\\noccasions where these requisites are desired.\\nTwo speakers are included, free of charge, with the M\\nElectric Phonograph the Edison Automatic Reproducer and\\nthe Edison Recorder also a sapphire shaving apparatus, a\\n14-inch polished brass horn, a two-way hearing tube, an oil can\\nand a camel s hair chip brush. The only change made in the\\nabove equipment, is to substitute a speaking tube for the 14-inch\\npolished brass horn, if so desired.\\nThe Edison E Electric Phonograph. In general appear-\\nance and equipment this Phonograph is exactly the same as the\\nM Electric, but is furnished with an electric motor wound to", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0084.jp2"}, "85": {"fulltext": "THE EDISON M AND E ELECTRIC PHONOGRAPHS 8 1\\nThe Edison M and B Electric Phonographs.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0085.jp2"}, "86": {"fulltext": "32\\nHANDBOOK OF THE PHONOGRAPH\\nTHE EDISON\\nM\\nAND E\\nGRAPHS.\\nELECTRIC PHONO-\\nINDEX OF PARTS.\\nBrass Mandrel to hold wax cylin-\\nder. (Assembled with Main\\nShaft.)\\nTurning Rest, to shave cylinders.\\nFeed Spring.\\nBack Rod.\\nSapphire Knife Spring Knob.\\nMain Shaft. (Always assembled\\nwith Brass Mandrel.)\\nMain Shaft Pulley.\\nGovernor Frame.\\nGovernor Shaft.\\nGovernor Shaft Center.\\nSwing Arm.\\nSwing-arm Center.\\nStraight Edge.\\nSpeaker Arm.\\nSpeaker.\\nSpeaker Lever.\\nSpeaker Adjusting Screw.\\nSpeaker Arm Lift Lever.\\n19. Governor Adjustment Screw.\\n20. Governor Brake, or Switch.\\n21. Armature Pulley.\\n22. Armature Shaft Center.\\n23. Governor Block.\\n24. Phonograph Body.\\n25. Body-holding Screws.\\n26. Shaving Knife Lever.\\n27. Chip Box.\\n28. Feed Nut.\\n31. Speaker Adjusting Screw Lug.\\n33. Top Plate Cover.\\n34. Back Rod Sleeve.\\n35. Lock Bolt.\\n36. Governor Contact.\\n37. Top Plate.\\n38. Speaker Clamps.\\n39. Belt-tightening Screw.\\n40. Idler Pulley.\\n41. Governor Top Brush.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0086.jp2"}, "87": {"fulltext": "THE EDISON M AND E ELECTRIC PHONOGRAPHS 83\\nrun on the no to 120 volt Edison Direct Current. It is the most\\nconvenient style of Phonograph made. The power is both con-\\ntinuous and handy, as connecting wires need only to be attached\\nto the nearest electric light connection. It is equipped with\\nresistance block fitted with lamps, attaching plug and cord.\\nInstructions for Operating the Edison M and E\\nElectric Phonographs.\\nThe E electric is in every way similar to the M electric,\\nwith the single exception of the motor, which is wound differently.\\nFor instructions as to care of batteries, renewals and recharging, see\\nChapter 11, Part II, BATTERIES.\\nMachine at rest. Open speaker clamps (38) and\\nTo Record insert recorder with the speaker lever (16) pressed\\nup against lug (31).\\nPress up speaker lever D, place the speaking tube C on the\\nPhonograph, and lower the lift lever H.\\nPress up lift lever (18). The numbers refer to cut on\\npage 82. Throw down the lock bolt (35) and open swing arm\\n(n) wide.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0087.jp2"}, "88": {"fulltext": "8 4\\nHANDBOOK OF THE PHONOGRAPH\\n\u00e2\u0080\u009eXo\\\\ :::::n\\nPress down the lock bolt A and open swing arm B.\\nSlip the wax cylinder, beveled end foremost, upon the taper-\\ning brass mandrel (i), and press it firmly, but not too forcibly\\ninto place. The ?iumbers refer to cut on page 82.\\nClose the swing arm and relock it.\\nRaise the speaker arm (14), an inch is sufficient, from the\\nstraight edge (13), upon which it rests in front, and slide to the\\nleft until directly over the beveled end of the cylinder, or the\\npoint at which you want the record to commence. Again lower\\nit to straight edge and push the speaker lever (16) up as far as it\\nwill go.\\nMove the brake handle to the left or right as the\\ncase may be. Obtain desired speed by turning\\n\u00e2\u0096\u00a0P governor adjusting screw M (see page 85).\\nStart the machine by pushing the brake handle (20) to the\\nleft until it strikes against the pin.\\nPlace the speaking tube upon the tube plate, lower the lift\\nlever (18) as far as possible, and commence dictation to the\\nmachine. Should it become necessary to pause during the dicta-\\ntion and before the end of the cylinder has been reached, raise", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0088.jp2"}, "89": {"fulltext": "THE EDISON M AND E ELECTRIC PHONOGRAPHS 85\\nlift lever (only) until it closes against the speaker arm this will\\ndisengage the feed nut from the fine thread upon the main shaft\\nand at the same time raise the recording stylus from the wax.\\nA white shaving will appear on the surface of the cylinder\\nwhere it has been passed over by the stylus. Remove the speak-\\ning tube raise the speaker arm, and, throwing it back as far as\\npossible, dust off these shavings by holding the camel s hair chip\\nbrush against the cylinder, and passing it very slowly from left to\\nright. This operation being completed, the record, as it is now\\ncalled, is read} r to reproduce. Further instructions are given in\\nChapter 15, Part II, Dictating also Chapter 3, Part III,\\nRecord Making.\\nPress the speaker lever D up, place the hearing tube\\nTo Repro- -g Qn the Y honogrSLV i ower t h e H\u00c2\u00a3 t lever H, and\\nturn the adjusting screw F until the proper sound\\nis obtained.\\nIyift lever (18) up. The ?iumbers refer to cut on page 82.\\nOpen speaker clamps (38) and insert automatic reproducer.\\nPush the speaker lever (16) up against the point of the adjusting\\nscrew (17). Now place the hearing tube on the tube plate, and\\nlower speaker arm opposite the point where the record begins, by\\ndropping the lift lever (18). With the Automatic Speaker the", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0089.jp2"}, "90": {"fulltext": "86\\nHANDBOOK OP THE PHONOGRAPH\\nfollowing adjustment is unnecessary, as the reproducer ball adjusts\\nitself to the track or groove made by the stylus. With the\\nStandard Speaker (a combination speaker equipped with both\\nrecording and reproducing sapphires), it sometimes occurs that\\nclear reproduction is not at first obtained. To obviate this, unscrew\\nthe adjusting screw (17) until its point disappears in the lug (31)\\nand, while listening with the hearing tube, press the speaker lever\\n(16) upward with the thumb of the right hand, and with the\\nfirst and second fingers of the same hand turn the adjusting screw\\n(17) slowly down until you can hear the record distinctly. This\\nadjustment will bring the reproducing ball into the groove of\\nthe record.\\nRegulation\\nof Speed\\nThe speed of the machine in revolutions of the main\\nshaft per minute is regulated by the speed adjust-\\nment screw (19). To increase speed unscrew this\\nnut, and to decrease it screw the nut down.\\nObserve this carefully when reproducing music, as a different\\nspeed from that at which the music was recorded will reproduce\\nan entirely different pitch. The standard speed at which musical\\nrecords are taken is about 125 revolutions per minute.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0090.jp2"}, "91": {"fulltext": "87\\nThe governor speed (top) brush (41) on the speed- adjusting\\nspring should rest against the under side of the contact disc (35)\\nonly. It must never touch the hub of the disc.\\n_,, Although this device is not, strictly speaking, an\\nimportant factor in the working of the Phonograph,\\nbut merely an appliance for greatly increasing the\\ncapacity of the cylinder, still a brief explanation of it, and of the\\nreasons for its use, seems advisable before again passing to the\\ndetails of instruction.\\nOperation Lower the lift lever H, press the knife button until\\nof Turning the knife touches the cylinder, and press down the\\nRest knife lever L,, then raise lift lever H. Do not put\\nthe Phonograph in motion to shave the cylinder until the knife\\nhas been adjusted as above and carried to extreme left end of\\ncylinder, after which lower lift lever H.\\nMachine at rest. Wax cylinder firmly set upon mandrel\\nhearing tube removed; speaker lever (16) pushed up. Fasten\\nback the speaker weight by passing rubber band around lower end\\nof the weight and over the speaker arm, about where the figures\\n(38) are shown on cut. Or remove speaker, as preferred.\\nLower the speaker arm and lever (18) about over the center\\nof the cylinder. Hold the end of the arm down firmly with the\\nthumb and forefinger of the left hand, while with the same fingers", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0091.jp2"}, "92": {"fulltext": "88 HANDBOOK OF THE PHONOGRAPH\\nof the right gently press the button (5) of the knife lever down-\\nward and toward the machine. Then press down the knife lever\\n(26) as far as it will go, then close lift lever (18) up into its slot\\nin the speaker arm, slide the arm to extreme left, again lower the\\nlever (18) and start the machine.\\nWhen the turning off of a cylinder is completed, always see\\nthat the knife lever (26) is thrown up and back as far as it will.\\nFurther instructions are given in Chapter 14., Part II, Shaving.\\nHandling The wax cylinder, which is somewhat brittle, should\\nthe be handled gently at first, until the operator becomes\\nCylinder practised. See Chapter ij, Part II, Blanks.\\nor to change to another part of the cylinder.\\nRaise the lift lever H, without stopping the\\nTemporarily machine itself\\nAlways keep the entire machine perfectly clean and\\nOiling free from dust. It is an essential to perfect work\\nwith any piece of machinery, and the Phonograph is\\nno exception in this respect.\\nPhonograph oil should be applied sparingly every two or three\\ndays to the following parts Oil hole, back of governor block;\\nbase of governor shaft small hole in top of governor frame top\\ncenter bearing of armature shaft bearings of idler pulleys under\\nwhich the main belt turns end bearings of main shaft thread of\\nmain shaft; back rod; a little upon the straight edge. Care should\\nbe taken not to get any oil upon the belts, as it makes them slip\\nand stretch loose very quickly. Use as little oil as possible at the\\ntop of the governor, as spreading down it gets upon the contact\\nand tends to make the motor govern badly. Oil only where\\ndirected. In smearing it upon any other part you simply set a\\ntrap for dust.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0092.jp2"}, "93": {"fulltext": "THE EDISON M AND E ELECTRIC PHONOGRAPHS 89\\nTo Tighten Main Belt. Loosen the two body-\\nuenera n- ]j j^i n g screws (25) which fasten the machine to the\\ns rue ions tQ ^ate, an( j turn belt- tightening screw (39) which\\nis under the mandrel, inward.\\nTo Tighten Governor Belt. Slightly loosen the four\\nscrews which hold the wooden governor block (23) to the top\\nplate, the holes for which are slotted, and slide the entire governor\\nto the left until sufficient tension is obtained.\\nBelts should be kept moderately tight to prevent slipping if\\ntoo tight extra power is required to start the machine.\\nThe sapphires upon the speaker and the turning rest are\\nperfectly adjusted before shipment.\\nThe copper brushes, both motor and governor, should be kept\\nclean by the use of benzine. Never oil them, or the commutator\\nor contact on which they rest. These parts must be perfectly dry\\nand bright. When necessary to clean, use care not to spread or\\ndisplace the fine wires of the brushes.\\nThe bearings of the shafts, called the centers, should be snug\\nbut not tight. There should be no shake.\\nKeep battery wire contacts bright and clean, and see that the\\nwire is held tightly at its terminals.\\nThe sapphire recording and reproducing points should be\\nkept free from dust and wax scales by brushing, or they may be\\ntouched with a little benzine on the finger tip.\\nWhen the machine is used indiscriminately for both recording\\naud reproducing, do not leave the speaker lever (16) down\\nexcept while recording.\\nNever attempt to slide the speaker arm from side to side\\nwithout either raising it or closing the lift lever, as you are liable\\nto damage the thread upon main shaft by scraping the feed nuts\\nacross it.\\nTo use your power economically, be sure to cut off current\\nfrom the motor when not in use. Do not allow any metallic sub-", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0093.jp2"}, "94": {"fulltext": "go HANDBOOK OF THE PHONOGRAPH\\nstance to come in contact with either the speaker sapphires or\\nthe knife.\\nDo not remove main shaft from machine unless it becomes\\nabsolutely necessary, then use great care in drawing it out to\\navoid injuring the thread.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0094.jp2"}, "95": {"fulltext": "CHAPTER VII.\\nThe Edison a M Concert Phonograph.\\nTHIS consists of a Concert body (see description of the\\nConcert Phonograph, Chapter 5, Part II), mounted on\\nan M electric motor, asdescribed in preceding chapter.\\nIt rests in an oak body box 20 inches long and g% wide. It\\nstands 14 inches high, weighs 73 pounds, and is finished in black,\\ngold and nickel. Is equipped with electric motor (wound for\\nbattery) and governor, and is fitted with instantaneous speaker\\nclamps, for instant interchange of speakers. The battery is not a\\npart of the Phonograph, but is an independent apparatus. Storage\\nor primary (chemical) battery may be used. The motor requires\\na steady current of 2^ volts and 2 amperes. On account of its\\nuniform action, continuous power supply, volume of sound, true\\ntone quality, and distinct articulation, the M Concert\\nPhonograph is recommended for important work where the highest\\nresults are sought.\\nTwo speakers are included, free of charge, with the M\\nConcert Phonograph the Edison Automatic Reproducer and\\nthe Edison Recorder: also a sapphire shaving apparatus, a 24-inch\\npolished brass horn and stand, an oil can and a camel s hair chip\\nbrush.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0095.jp2"}, "96": {"fulltext": "9 2\\nHANDBOOK OF THE PHONOGRAPH\\nthis machine are the same as in the preceeding\\nchapter. The following is the only point that is\\nnecessary to emphasize especially in closing\\nswing arm of the Edison M Concert Phono-\\ngraph, see that the pin on swing arm enters hole\\non straight edge casting. Press the arm firmly with thumb, at\\nthe same time locking the lock bolt with first two fingers of\\nsame hand.\\nGeneral\\nInstructions\\nfor\\nOperating", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0096.jp2"}, "97": {"fulltext": "CHAPTER VIII.\\nThe Edison H Coin Slot Phonograph.\\nAN automatic Coin Slot Phonograph that is almost as effective\\nas the higher priced machines. The machine is a Home:,\\nrequiring to be wound by the customer each time a coin\\nis dropped in. It is simple in construction, easy of adjustment\\nand costless to maintain. Every detail in construction has been\\nworked out with the greatest care and precision. The slot mech-\\nanism is an improvement over any other on the market, and is\\nsolid and substantial in every particular.\\nEquipped with a winding stop, thus preventing overwinding\\nby careless customers. The slot locks automatically while the\\nmachine is playing. The only care it needs is the occasional\\nchanging of the record. Most of the machines are operated by a\\nnickel but machines to be operated by special coins are also to be\\nhad. Base measures 18^ x 12 inches. Height, 21 inches.\\nWeight, 45 pounds. Is equipped with a 14-inch brass horn and\\nand Edison Automatic Reproducer.\\nInstructions for Setting Up and Adjusting the H\\nCoin Suot Phonograph,\\nFirst open the large box containing the cabinet. Set it on a\\nconvenient stand or table. Unlock the lower swinging front. Pull", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0097.jp2"}, "98": {"fulltext": "HANDBOOK OF THK PHONOGRAPH\\nThe Edison H Coin Slot Phonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0098.jp2"}, "99": {"fulltext": "THE EDISON H COIN SLOT PHONOGRAPH 95\\nout the brass knob to release the catch that fastens the glass cover.\\nRaise glass cover till it is held back, wide open, by the swinging\\ncatch on the left.\\nBe sure to remove any dust or excelsior packing that may\\nhave accumulated, from all parts of cabinet. The cabinet is now\\nready to receive the movement.\\nNext open the smaller box containing the move-\\nUnpacktng ment Yqu wiU gee for yourself a f te rward, the\\ndelicacy of the mechanism. We tell you about it now so that\\nno jamb, or knock, or twist, or blow shall be given to the coin\\nchute or tripping mechanism or any other parts. The greatest\\npossible care is exercised in packing and shipping this movement.\\nIt is first encased in a temporary stand or cabinet, which in turn is\\nfloated in a heavy outer packing case with thick layers of packing\\nbetween the two boxes, thus making it impossible for the move-\\nment to be damaged in transit. Remove the inner cabinet from\\nthe packing box, side marked top up, and remove the wood\\nscrews. This allows the upper half of cabinet to be taken off,\\nleaving the movement screwed to the lower half of the stand,\\nwith the sides exposed. It leaves the factory already assembled\\n(except coin chute as noted hereafter) ready to run, and\\nthoroughly tested.\\nMake all adjustments in the order given in the following\\ninstructions don t touch this piece or that piece, before you have\\nfollowed out exactly the directions for each part. Study each part\\ncarefully and intelligently as you adjust it, and you will find no\\ndifficulty in setting up the whole Phonograph. Once properly\\nassembled, the coin slot mechanism works perfectly, and, if care-\\nfully treated, requires no attention other than changing the record\\nand emptying the money drawer.\\nAccidents and misuse, however, are contingencies that must\\nbe considered and the following suggestions and explanations\\nare made so that you may be enabled to readjust the machine\\nyourself in case of anything happening to it.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0099.jp2"}, "100": {"fulltext": "9 6\\nHANDBOOK OF THE PHONOGRAPH\\nPlace the mechanism on a table before you, still\\nliA in its temporary stand. Study it carefully. Don t\\nattempt to put it into the cabinet until you have\\nlooked at it carefully from the front, from behind, on all sides.\\nThe stand is purposely made open front and back, so that the\\nworking of all parts may be watched and studied. This open\\nunobstructed view will enable you to see how simple and perfect\\nthe mechanism is.\\nUntie the parts carefully that are fastened with cord, oil gears\\nand centers as instructed in Directions for Operating Edison\\nHome Phonograph. The Coin Slot Phonograph is built up from\\nthe Home, so you must first follow the general Home instructions\\ndown to To Reproduce.\\nThe polished nickeled coin chute with sliding sleeve is packed\\nwith the horn and other small parts in the large box, inside the\\ncabinet. Adjust the coin chute A (Fig. i.) to the projecting piece\\nB at the back of the movement, with the screw that is tied to it.\\nParticular care must be observed that the coin chute is set so\\nthat it does not touch the two prongs C and D on the coin lever.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0100.jp2"}, "101": {"fulltext": "THE EDISON H COIN SLOT PHONOGRAPH 97\\nThe coin lever must play freely, without rubbing or even touch-\\ning the chute. Any friction at this point will throw the working\\nof the machine entirely out.\\nThe winding is the next operation. At the first turn of the\\nkey, the speaker arm is lifted by the action of the friction lever B\\n(Fig. i.) This friction lever plays upon the winding shaft. The\\nproper amount of friction is regulated by the brass clamp F, by\\nmeans of the adjusting screw as shown on the clamp. It should\\nbe just tight enough to lift up the speaker arm, and keep it raised\\nduring the entire operation of winding. If too tight it makes the\\nmachine wind hard.\\nThe raising of the speaker arm plays two important\\n7 parts ist, disengaging the feed nut from the main\\nMechanism\\nshaft, and 2d, putting the return mechanism into\\noperation. The lever G (Fig. 1.) comes into contact with the\\nlugs H H on the sprocket chain, which carries the speaker arm\\nback to the proper starting point. This is easily determined\\nby shifting the lever G back and forth on the speaker arm, and\\nthen clamping it firmly by the thumb nut I in upper end, so that\\nthe reproducer will be exactly over the beginning of the record at\\nthe moment the sprocket lugs leave the lever G. This return\\nmovement also unlocks the slot in the cabinet, as explained under\\nheading Starting.\\nis shown in Fig. 2. This is the device by which\\n1 tie 01 op overwinding is avoided, thus prolonging the life of\\nWinding ma i nS p r i n g. Fig. 3. shows the relative position\\nMechanism of the gtop j and the pin Ky after the operation of\\nwinding. The pin K is against the stop J, thus stopping the wind-\\ning. Note that the pin K is on the winding gear and the stop J is\\non the spring barrel. While winding, the gear wheel and pin K\\nrevolve in the direction shown by arrows, the spring barrel remain-\\ning stationary. Three and a half turns of the winding key make\\nthe gear wheel and pin K revolve once. On the first revolution", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0101.jp2"}, "102": {"fulltext": "9 8\\nHANDBOOK OF THE PHONOGRAPH\\nF;\u00c2\u00a7.2.\\nthe stop J presents the slot I, to the pin K, thus allowing the wind-\\ning to continue. On the 2nd revolution the stop J presents the\\nslot M to the pin K, thus continuing the winding. On the 3rd\\nrevolution J is stopped by the pin K coming in contact at N.\\nThe correct adjustment of stop J must be such that it does not stop\\nthe winding until the spring is wound to its full capacity (but not\\ntoo tight). After winding, make sure that the spring is wound\\nfully by looking into the spring barrel on its left side, from the\\nfront of the mechanism.\\nAdjustments\\nStop Winding\\nMechanism\\nAs the best results are obtained when the full\\nforce of the spring is exerted upon the mechanism,\\nit is highly important that the spring should be\\ncoiled up tight in the spring barrel, or nearly so.\\nIf such is not the case, the stop J (Fig. 2.) has\\nbeen moved or jarred by shipment, and has stopped the winding", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0102.jp2"}, "103": {"fulltext": "THE EDISON H COIN SLOT PHONOGRAPH\\n99\\noperation with the spring not fully wound. To remedy, turn the\\nstop J on its central pivot so that the pin K will come into slot M,\\nthus permitting another revolution of the winding gear and pin\\nK, equal to turns of the winding key.\\nShould the opposite happen, that is, the spring become fully\\nwound before the pin K touches the stop J, at the point N, let\\nthe machine run until the stop J passes the pin K, then turn the\\nstop to position shown in figure 3.\\nShould the return mechanism fail to return, or the coin in the\\nj slot fail to start the machine, or the record stop playing half way\\nthrough, the remedy is simple. Remove the record and revolve\\nthe shaft in the opposite direction, or toward the front, until the\\nstop J disengages itself from the pin K, so that it can be adjusted\\nas in Fig. 2 that is, so that the pin K fits into the slot M, thus\\npermitting another revolution of the winding gear, equal to 3%\\nturns of the key.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0103.jp2"}, "104": {"fulltext": "IOO HANDBOOK OF THE PHONOGRAPH\\nThe importance of these winding adjustments cannot be em-\\nphasized too much.\\nAs noted in the instruction card, the nickel is dropped\\nStarting into the slot after the machine is wound. This\\nprevents the possibility of working the machine\\ntwice with one nickel. The coin is caught on the prongs C D\\n(Fig. i) of the coin lever, its weight acting on a series of levers\\n(as explained later under the heading Stopping thus releasing\\nthe governor brake and starting the mechanism. The nickel stays\\non the coin lever until the record is played through, when it is\\nreleased and falls into the money drawer. The machine is so\\nplanned that you cannot wind it as long as the coin remains on the\\ncoin lever. Once started by the nickel, it plays the record through.\\nYou cannot stop it, you cannot rewind it. Not until the nickel\\ndrops out of the coin lever will the machine stop. It is then\\nready to wind again.\\nThe starting of the machine and the movement of\\nn C the speaker arm locks the slot in the cabinet instantly\\ning Device The lug Q on thfi kver Q Qn the speaker\\narm releases a spring lever attached to the cabinet work, and\\nthrows a pin across the slot, thus making it impossible to drop in\\nanother nickel until the machine is rewound. As explained\\nunder its heading, the winding operation carries the speaker arm\\nback to its original position and by so doing, unlocks the slot\\nand the machine is ready for the next nickel.\\nIt is important that the slot locking device is always in\\nworking order for if it gets out of adjustment and allows of\\nanother nickel being dropped before the machine is rewound, or\\nwhile it is winding, it locks the winding shaft immediately.\\nShould this occur, trip the prong C on the rear end of the coin\\nlever. This throws the nickel out, unlocks the winding shaft,\\nand permits the machine to be wound properly.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0104.jp2"}, "105": {"fulltext": "THE EDISON h COIN SLOT PHONOGRAPH IOI\\nTo stop the machine when the record is played to\\nStopping the end, adjust the wire P (Fig. i) by means of\\nthe thumb screw in the speaker arm, so that it just\\ncomes into contact with the lever Q at the proper time, thus\\nthrowing the nickel out of the coin lever and stopping the\\nmechanism. The coin lever is balanced on the shaft R (See also\\nFig. 2). The adjustment of the balance is made by moving the\\nweight S (Fig. 1) on the front end of the coin lever. On the\\nother end of shaft R (Fig. 2) near the governor is a disc T with\\na small pin which works in a slot in the brake lever U. This\\nbrake lever comes into contact with the governor disc V, thus\\nstopping the machine.\\nWhile the nickel is on the coin lever the end of the\\nTo Adjust brake lever U (Fig. 2) should jusi clear the gov-\\nernor disc V, thus allowing it to revolve freely.\\nWhen the nickel drops into the coin drawer, the weight S (Fig. 1)\\ntips down its end of the coin lever, causing shaft R (Fig. 2) to\\nturn, thus throwing pin in disc T upward, causing the brake lever\\nU to press upward upon the governor disc V. If the pressure is\\nnot sufficient to stop the governor immediately, loosen the set\\nscrew in T, and turn disc toward the front, until the proper pres-\\nsure of brake on governor disc is obtained.\\nWhen you have mastered the movement thoroughly, shift the\\nmachine to the permanent cabinet. Take out the screws from top\\nplate, and lift the machine out of the temporary stand, very care-\\nfully. Don t Set the Mechanism Down Again, But Place\\nit Immediately into the cabinet, taking the same care that none\\nof the parts and especially the coin chute touches the woodwork\\nas you set it into place. See that the two screw holes in the top\\nplate correspond with the holes in the cabinet. Screw down firmly.\\non the mechanism is connected with the short chute\\nThe Loin at tached to cabinet by the sliding sleeve on the\\nUDper end of coin chute.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0105.jp2"}, "106": {"fulltext": "102 HANDBOOK OF THE PHONOGRAPH\\nOn the inside of the lower cabinet, to the right, just\\nover the money drawer, is a flat iron pawl. Slide\\nJ the key through the hole in the cabinet, on to the\\nwinding shaft, lifting the pawl at the same time. When the key\\nis in its proper position, the pawl drops into the groove on key.\\nThus the key is free to turn, but absolutely unremovable from\\nthe outside.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0106.jp2"}, "107": {"fulltext": "CHAPTER IX.\\nThe Edison M Coin Slot Phonograph.\\nT\\nHIS outfit consists of an Edison M Electric Phonograph\\nwith Automatic Reproducer, hearing tube, 24-inch\\npolished brass horn and horn support, automatic slot\\nattachment, storage battery and cords.\\nThe Phonograph mechanism and the\\nbattery are enclosed in a substantial\\noak cabinet, as shown. Weighs 130\\nlbs., height, 53m.; occupies a floor space\\nof 27^ x 16^ in. These machines\\nwhen placed in a store, hotel, or\\nplace of amusement usually prove a\\nsource of great profit to their fortunate\\nowner. Usually operated by a nickel.\\nMachines to be operated by special\\ncoins are also to be had. As they are\\nactuated by electricity, no winding is\\nnecessary. They run noiselessly and\\ncontinuously, and are a safe and profit-\\nable investment.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0107.jp2"}, "108": {"fulltext": "104 HANDBOOK OF THE PHONOGRAPH\\nInstructions for Operating the Edison M Coin Si ot\\nPhonograph.\\nThe Phono- is almost identical with the M Electric, and the\\ngraph same instructions apply as have been set forth\\nMechanism already in Chapter 6, Part II.\\nThe Coin is so nearly like that used in the M Concert Coin\\nSlot Slot Phonograph (described in the following chapter)\\nMechanism that the direction for operating apply word for word.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0108.jp2"}, "109": {"fulltext": "CHAPTER X.\\nThe Edison M Concert Coin Slot Phonograph.\\nTHIS outfit consists of a Concert Body, as described in\\nChapter 5, Part II, mounted on an M Ei^CTric motor.\\nIt is equipped with an Automatic Reproducer, automatic\\nslot attachment, hearing tube, 24-inch polished brass horn and\\nhorn support, together with complete storage battery and cords.\\nThe Phonograph mechanism and the battery are enclosed in a\\nhandsome oak cabinet, similar in ap-\\npearance to the M Coin Slot Cabinet,\\ndescribed in previous chapter. It stands\\n55 inches high, and occupies a floor\\nspace of 28 by 18 inches. The illustration\\nshows the door removed, in order to\\ndisplay interior of the cabinet.\\nAs it is actuated by electricity, no\\nwinding is necessary. Runs continuous-\\nly and without noise. Usually operated\\nby a nickel. Machines to be operated by\\nspecial coins are also to be had.\\nAs a novelty, the Edison Concert\\nCoin Slot Phonograph is the most at-", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0109.jp2"}, "110": {"fulltext": "106 HANDBOOK OF THE PHONOGRAPH\\ntractive and wonderful musical and talking machine ever put\\nbefore the public.\\nInstructions for Operating the Edison M Concert\\nCoin Slot Phonograph.\\nThe Phono- is almost the same as the M Electric, and the\\ngraph same instructions apply as have been already given\\nMechanism in Chapter 6, Part II.\\nThe Coin When the coin is dropped in the slot X it travels\\nSlot down the chute Y and stops at a point A under the\\nMechanism cover Z. This point A is between two slide pieces,\\nB and C, the ends of which project beyond the cover Z.\\nThe weight of the coin against slide piece B overcomes the\\npressure of the copper spring D, which is attached to the slide\\npiece B, and presses B against the copper contact E, which\\nmakes an electrical connection, thus starting the motor.\\nThe speaker arm will now travel over the wax cylinder until\\nthe projection (on which the lift lever works) comes into contact\\nwith the adjustable dog F on the horizontal rod G. When this\\ndog F is adjusted properly, the speaker arm projection when\\nstopped by it, will come just under the hook J on the vertical rod\\nK. Note that this rod K extends through the base into the\\nlower cabinet.\\nOn the left end of the rod G is the pulley P of the the return\\nattachment and clutch H. When the moving speaker arm engages\\ndog F, which is firmly fastened to rod G, the entire rod slides to\\nthe right, slowly propelled by the moving speaker arm, thus\\nengaging the clutch H with the pulley P.\\nThe return attachment will now wind up the cord until the\\nlever I raises the speaker arm (thus lifting the speaker from the\\nrecord) and, by striking against the hook J, lifts the vertical rod\\nK, causing the lever 1SL, (in the lower cabinet) to pull out the\\nslide C, releasing the coin which drops into the drawer M.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0110.jp2"}, "111": {"fulltext": "THE EDISON M CONCERT COIN SLOT PHONOGRAPH\\nI07\\n500000000\\n000000000000\\nr\\\\", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0111.jp2"}, "112": {"fulltext": "108 HANDBOOK OF THE PHONOGRAPH\\nThe pressure of the coin against the slide B being now\\nremoved, the copper spring D forces the slide back to its original\\nposition, breaking the electrical connection and stopping the motor,\\nthe momentum of which will carry the speaker arm back, or\\nnearly back to the point of starting. The slide C returns to its\\noriginal position by the weight of the rod K pressing down upon\\nit. When another coin is dropped in, the speaker arm is carried\\nfully back against the dog N, which disengages the clutch H\\nfrom the pulley P, thus allowing the cord to unwind, lowering\\nthe speaker arm and starting it off at the begining of the record.\\nThe dog N should be located so that it will strike the lever I\\n(thus disengaging the pulley on the return attachment) when the\\nspeaker in the speaker arm is exactly at the starting point.\\nThe automatic parts are all adjustable, and it only needs\\ncareful attention to the above instructions, together with watch-\\ning and studying the parts, to obtain absolutely perfect results.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0112.jp2"}, "113": {"fulltext": "CHAPTER XI.\\nBatteries.\\nv When the first M Electric Phonographs were put\\non the market they were supplied with the Grenet\\ntype of primary battery, using bi-chromate of\\npotash. There were many objections to this type of battery; chief\\namong them its short life, and consequent expense, its uncleanli-\\nness and the care needful to keep it in order. Other styles of\\nprimary batteries have come and gone. Some have been more\\nsuccessful than others by lacking one or more of the above\\nobjections. Not until the appearance of the Kdison-I,alande\\nBattery however, did the problem of efficiency, economy and\\ncleanliness appear to be anywhere near a practical solution. Here\\nare the principal points in favor of the Kdison-L,alande Batteries;\\npoints that place them far and away in the lead of all other\\nprimary batteries for use with the Edison M Electric\\nPhonograph\\ni st. High and constant avaii\u00c2\u00ababi,e electromotive force.\\n2d. No local action, and therefore, no loss of energy, while\\nthe cell is idle the chemical action in cell is less than one per\\ncent, per month.\\n3d. Extremely low internal resistance.\\n4th. Heavy current delivery, absolutely constant.\\n5th. Cheap materials for renewals, easily obtained. The", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0113.jp2"}, "114": {"fulltext": "HO HANDBOOK OF THE PHONOGRAPH\\nelements employed in the Edison-Lai ande cell are zinc, which\\nforms the negative pole, and black oxide of copper (Cu. O), the\\npositive pole of the battery. The exciting liquid is simply a\\nsolution of caustic potash.\\n6th. No attention or inspection required, until all the energy\\nof its elements is exhausted.\\n7th. Convenience of form, and freedom from noxious fumes\\nor chemical deposits. No creeping.\\n8th. No polarization.\\n9th. Will not freeze at lowest temperature.\\nThe Kdison-Lalande Batteries are made in many sizes and\\nstyles, but the V cell for portable work and the S cell for a\\npermanent installation recommend themselves especially for\\nPhonograph service. Here is a capital Exhibition battery, so\\nconstructed that it may be moved from place to place with the\\nleast possible trouble. It consists of four liquid-tight enameled\\nPortable Battery.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0114.jp2"}, "115": {"fulltext": "BATTERIES\\nIII\\nsteel cells, type V, capacity 150 ampere-hours, in a polished\\noak case, with a handy strap for carrying. It measures\\n13 x 13x9^ inches.\\nThis battery will run a Phonograph for 50 hours with a single\\ncharge, and as it is absolutely liquid tight, it is just the thing for\\ntravelling exhibition work. Weighs 36 pounds empty, and about\\n50 pounds charged.\\nFor stationary work, the S battery has been found to meet\\nall requirements. It consists of four Edison-I^alande cells, type\\nS (300 ampere-hours), with battery cords, in a lead-lined\\npolished oak box, size 25% x 8 x 15 inches.\\nS Battery,\\nThis battery will run the Phonograph for 100 hours with a\\nsingle charge. The matter of weight being a secondary consider-\\nation, the cells are larger and are of porcelain instead of enameled\\nsteel. Weighs about 90 pounds when charged. With double the\\ncapacity of the portable batteries, it costs but 25 per cent. more.\\nFor general convenience and efficiency it is equalled by the", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0115.jp2"}, "116": {"fulltext": "II2 HANDBOOK OF THE PHONOGRAPH\\nstorage battery only when the owner of the latter has exceptional\\nfacilities for recharging. In general, the primary battery is\\nrecommended, as it places the operator in control of the source of\\nhis power, thus insuring him a current at all times. This is\\neasily accomplished by his having on hand always a supply of\\nrenewals, with which he can recharge his own battery at any\\ntime.\\nAs implied by the name, these batteries store the\\nstorage energy with which they are charged and keep it\\nready for use at any time. With an electric light\\nor a power station near at hand, at which the batteries may be\\nrecharged, they are undoubtedly preferable to any form of primary\\nbattery. It will be found convenient to have two or more of the\\nmoderate size cells in preference to one large one. These cells are\\nheavy, the plates being of lead, immersed in dilute sulphuric acid.\\nTwo smaller cells are not only easier handled than one large one,\\nbut by having two or more, a fresh battery may be held always\\nin reserve, thus avoiding the embarrassment and annoyance of an\\nexhausted cell at an inopportune time. The storage battery\\nillustrated weighs thirty-five pounds, and measures 4 x 10 x 14\\ninches. It will run a Phonograph for 30 continuous hours.\\nWhen a new battery is received it should be\\ngiven a five-hour charge at the normal rate,\\nfe? n t or at a lower rate for a proportionately\\nJ! greater length of time. Whenever the bat-\\ntery is to be charged, the rubber screw caps\\nshould be taken off.\\nInstructions\\nof\\nStorage Batteries\\nIn connecting the charging wires (from a direct current cir-\\ncuit, NOT AN ALTERNATING) to the battery, great care\\nshould be taken that the positive wire is connected to the\\npositive pole of the battery, either directly or through the re-\\nsistance which is usually necessary, and the negative wire to the", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0116.jp2"}, "117": {"fulltext": "BATTERIES\\n113\\nnegative pole of the battery if connected in the reverse direction\\nvery serious injury to the battery will ensue.\\nThe height of the solution in the cell should be frequently\\nobserved and if there has been such a loss of solution either by\\nevaporation or spilling as to leave the tops of the plates exposed,\\nit should be replaced. If the loss has been occasioned by evapo-\\nration, pure water should be used\\nif the loss has been occasioned by\\nspilling, solution should be added\\nthe solution is dilute sulphuric acid\\nof a specific gravity of 1200 or\\n25 Beaume, as shown on the hy-\\ndrometer, at normal temperature\\n(6o\u00c2\u00b0F.). If it is not convenient to\\nprocure this solution already mixed\\nand ready for use, it should be\\nprepared by diluting commercial\\nsulphuric acid, or Oil of Vitriol\\nas it is more commonly called, with\\npure water. The acid, as well as\\nthe water, must be free from im-\\npurities such as iron, arsenic, nitric\\nor hydrochloric acid this is ab-\\nsolutely essential. When diluting, the acid must be poured\\ninto the water, not the water into the acid the proportions of\\nacid (of 1.840 specific gravity) and water are one to five (by\\nvolume). The acid must be added to the water slowly and with\\ngreat caution, on account of the heat generated the final density\\nof the solution (1200 specific gravity) must be read when the\\nsolution has cooled.\\nIn Phonograph work the battery should not be discharged\\nbelow 1.9 volts per cell on closed circuit. If a voltmeter is not\\navailable, the battery should be considered as discharged when\\nthe Phonograph shows the slightest tendency to run slowly", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0117.jp2"}, "118": {"fulltext": "114 HANDBOOK OF THE PHONOGRAPH\\nbecause of lack of power. Never, for any work, discharge below\\n1.80 volts per cell.\\nWhen the battery is being charged, the charge should con-\\ntinue until the voltage on each cell reaches 2^/2 volts with the\\nnormal charging current flowing. If a voltmeter is not available\\nthe charge should be continued until each cell has been gassing\\nor bubbling freely for at least twenty minutes.\\nSometimes, especially if the discharge has been at a very\\nlow rate and has extended over several days or more, the charge\\nshould be considerably prolonged, as at these rates much more\\nthan the normal capacity is taken from the cells.\\nThe rate of charge should never exceed the normal rate of\\nthe cell.\\nCells should never be allowed to stand discharged, but as\\nsoon as exhausted, should be immediately charged up. If, for\\nany reason, the battery is to remain idle for some time, it should\\nfirst be fully charged and then given a recharge, enough to cause\\nthe gassing to be very free, at least once a week.\\nIt is absolutely necessary that the source of\\nLhargingfrom current j s from a direct curren t system.\\nj% g THE ALTERNATING CURRENT CAN-\\nand Railway NQT BE USED Several met hods may be\\nemployed the simplest and cheapest, es-\\npecially if the battery is of moderate capacity (say up to 10\\namperes for eight hours) is from the incandescent light circuit,\\nwhich is almost always available sometimes, however, it is\\nnecessary to draw from either the 500-volt trolley circuit or an\\narc-light circuit.\\nIn the case of the incandescent light and the trolley circuits,\\nresistance will be necessary to reduce the potential to the proper\\namount it is generally most convenient to use lamps for this\\npurpose, the charging current being adjusted by varying the\\nnumber in circuit.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0118.jp2"}, "119": {"fulltext": "BATTERIES 115\\nCharging If an arc-light circuit is the only available charging\\nfrom Arc- source the method of connecting in the battery is\\nCircuits somewhat different than in the case of the other\\ncircuits. Here the battery is put directly in series with an entire\\ncircuit of lamps, which are in service either in the building or on\\nthe street. In order to insure that this circuit is not broken\\nwhen the battery is thrown in or out, a peculiarly constructed\\nswitch (called a consumer s switch) is required.\\nThe difficulty in the use of this source of current for charging\\nportable batteries lies in the care which must be exercised to avoid\\ninjury to persons or property from the high voltage of this class\\nof circuit. This method of charging is recommended only where\\nno other means are available, and should be employed by persons\\nfamiliar with electrical connections and the handling of high\\ntension wires.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0119.jp2"}, "120": {"fulltext": "CHAPTER XII.\\nRepeating Attachment.\\nA SIMPLE and ingenious mechanism by which the Spring\\nMotor, the Concert, the M and E Electric,\\nand the M Concert Phonographs may be made to\\nplay the same record continuously. Easily regulated. Nickel\\nplated and highly polished throughout.\\nAs attached to the Phonograph, the pulley A runs\\nInstructions continuously Wnen tne en f a reC ord is reached,\\nj/. 0r the wire B comes into contact with feed nut spring,\\nAdjusting causing tne winch c to engage the clutch D, both C\\nand D being on same shaft as pulley A. The cord is threaded\\nthrough E, F, G and H, I, J, (the latter being assembled on the\\nspeaker arm. The end of cord is tied into a hole in the speaker\\narm lift lever. When the winch C and clutch D are engaged, as\\nshown in cut, the winch winds up the cord, first raising the\\nspeaker arm lift lever (thus throwing the feed nut out) and then\\npulls the speaker arm back to starting point, until the feed nut\\nspring strikes the post K. This separates the winch from the\\nclutch and it stops winding up the cord, allowing the speaker\\narm to drop into position at the beginning of the record, which\\nstarts off to repeat.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0120.jp2"}, "121": {"fulltext": "REPEATING ATTACHMENT\\nII 7\\nT0 Adjust With reproducing ball at the beginning of record,\\nfor any see that clutch and winch are disconnected. Move\\nLength post K against feed nut spring. At end of record,\\nRecord slide post L to right or left as may be necessary, so\\nthat wire B just touches feed nut spring.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0121.jp2"}, "122": {"fulltext": "CHAPTER XIII.\\nBlanks and Records.\\nTHE Edison record of to-day is commonly termed a wax\\nrecord. There is nothing in its composition that\\njustifies the term, however, as the principal ingredient in\\nthe mixture from which the cylinders are moulded, is stearate of\\nsoda, a white chemical compound, hard and semi-transparent.\\nThese cylinders vary in color, from white to a dark brown, caused\\nby varying conditions in the process of making. This difference\\nin color has no bearing whatever on their quality. They are all\\nof the first grade. In fact, no other than the first grade is known\\nat the Edison Works.\\nThe cylinder as it is first moulded is known as a blank. The\\nEdison blank is chemically pure. It has no successful rival in\\nthe market. There is no talking machine company or infringer\\nwho does not recognize this fact, and there are no records worth\\nhaving, that are not made on Edison blanks. Other kinds are\\ngritty, harsh and unserviceable, and little if any cheaper.\\nAs delivered by the factory, blanks do not have surfaces\\nprepared for receiving a record. It is necessary to shave off one\\nor two turns to secure a perfectly true working surface. All\\nPhonographs except the Gem are furnished with a device for doing\\nthis. When once trued, the cylinder always remains true. This\\noperation is termed shaving, and is fully treated in the following", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0122.jp2"}, "123": {"fulltext": "BLANKS AND RECORDS\\nII 9\\nChapter. Further points are also given in Chapter 3, Part II, on\\nRecord Making.\\nThe cylinder, which is somewhat brittle, should be\\nhandled gently at first, until the operator becomes\\npractised.\\nHandling\\nCylinder\\nThrust the first and second finger of the right hand into the\\nthick end of the cylinder, and hold it fast by spreading the fingers\\napart, as shown in the cut. Touching the outside surface of a\\nprepared cylinder, or record as it is called, destroys the attract-\\niveness and generally\\nthe value of such\\nrecord. Slip the cylin-\\nder, beveled end fore-\\nmost, upon the taper-\\ning mandrel. Push it\\non the mandrel until\\nit holds firmly, by\\nfriction. The inside\\nof the cylinder is also\\nconical, to fit the taper\\nof the mandrel. Not\\ntoo tight, or it may crack the record nor yet again not too loose.\\nIf the latter happens, the cylinder revolves on the mandrel, mak-\\ning the record repeat. A warm cylinder should not be put on a cold\\nmandrel, nor a cold cylinder on a warm mandrel, nor should a\\ncylinder be left on the mandrel for any length of time when the\\nmachine is not in use. The first and third conditions cause the\\nthe compound to contract, resulting in the record binding so\\ntightly that it cannot be removed, and sometimes cracking it. To\\nremove a frozen record, put the Phonograph in a very warm\\nroom for a short time, which will cause the record to expand.\\nThe second condition above noted will make trouble by causing\\nthe record to expand and keep slipping on the mandrel. Slot", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0123.jp2"}, "124": {"fulltext": "120\\nHANDBOOK OF THE PHONOGRAPH\\nPhonographs are always equipped with rubber mandrels, thus\\nobviating the difficulties that result from exposure and sudden\\nchanges in temperature.\\nin boxes or cabinets made for the purpose, which\\nhave perpendicular pegs at fixed distances to pre-\\nvent cylinders from coming in contact with each\\nother. Over these pegs they are placed beveled\\nUse a camel s hair chip brush to remove dust or chips\\nfrom the surface. Do not attempt to blow them off. Never lay\\na record down on its side, or handle it other than as described.\\nWhile it does not absolutely ruin it to touch its surface, still\\nthe fingers leave a mark and press in the ever present dust so\\nas to be noticeably apparent in the reproduction.\\nCylinders\\nShould\\nbe Kept\\nend down.\\nHow to\\nWrap\\nRecords\\nSplit apart the cotton batting and fold back one end\\nso that the glazed outer surface, (which is slightly\\nrough) does not come in contact with the record.\\nThe cylinder is then rolled up, with the soft fibre\\nof the cotton toward the record. The record ticket is placed\\nbetween the cotton and a sheet of paraffine paper the number\\nand title of the record showing through the paraffine paper. The", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0124.jp2"}, "125": {"fulltext": "BLANKS AND RECORDS 121\\nends of the cotton and paper are then tucked inside the cylinder,\\nwhich, thus wrapped, should fit snugly in the record box.\\nWhen wrapped thus carefully, records are not likely to be\\ndamaged either when carried or when shipped by freight or\\nexpress.\\n_ records will last a long time and while they may\\nshow a growing harshness as they approach the\\n1 hundred mark, still they may be used over and over\\nagain without appreciable difference, except to a very discerning\\near. A cracked record may be repaired if handled deftly. Press\\nthe edges of the crack firmly together, using a magnifying glass to\\ndetermine when the joint is exact. Then heat a knitting needle\\nor table knife, and sear the edges of the crack on the inside of the\\nrecord. The writer has done this with such good luck that the\\nclick of the reproducing ball passing over the joint has been\\nhardly noticeable.\\nBroken records are beyond hope they are absolutely of no\\nvalue.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0125.jp2"}, "126": {"fulltext": "CHAPTER XIV.\\nShaving.\\nTHE mechanical work has been described in the directions\\nfor operating the different Phonographs. Here are some\\nimportant general points.\\nThe knife should always be allowed to pass over the entire\\nlength of the surface of the cylinder, otherwise there will remain\\na portion of the wax which is thicker than the rest, and if a new\\nadjustment of the knife be made to the right of the end of former\\ncut, it will not touch the surface to the left of it. If adjusted to\\nthe left, on reaching that part which was before unshaved the\\nknife will take too deep a chip, and tear instead of cutting the wax.\\nIf the chip chute becomes clogged, it will prevent shaving.\\nKeep the chute clean by raising the speaker arm from the straight\\nedge, moving the carriage to the extreme right, and striking it\\ngently against the back lug of the casting. Under no circum-\\nstance jar out the chips by striking the front of the speaker arm\\non the straight edge.\\nIf the slot in the face of the chip chute (through which the\\nsapphire knife projects and into which the chips or shavings feed)\\nbecomes clogged, apply the camel s hair chip brush or a wooden\\ntooth pick. Never touch the cutting edge of the sapphire with\\na knife or any metal tool.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0126.jp2"}, "127": {"fulltext": "SHAVING 123\\nIf desired, the chip chute can be removed entirely by unscrew-\\ning its set screw, and the knife will shave without obstruction.\\nThe thinnest possible shaving will leave the smoothest surface.\\nShave several times in preference to a single deep cut.\\nNew blank cylinders require trueing, as they do not have\\nprepared surfaces, and are likely to be eccentric. In trueing these,\\nset the knife on the highest part if any, of the blank. When once\\ntrued, blanks always remain cylindrical.\\nNever attempt to set the knife while the machine is in motion.\\nAfter very little practice the eye and ear of the operator will\\nbecome accustomed to the sound and appearance of a proper cut,\\nand will readily detect anything wrong. Other points are given\\nin Chapter j, Part HI. The Secret of Making Phonograph\\nRecords.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0127.jp2"}, "128": {"fulltext": "CHAPTER XV.\\nDictating.\\nA PERSON desiring to dictate letters, essays, or statements,\\nsimply places the cylinder on the mandrel of the instru-\\nment, and dictates at leisure. Should the dictator, at any\\ntime while dictating, desire to pause, all that is necessary is to\\nraise the lift lever on the speaker arm and cease talking. The\\nPhonograph gives these special advantages to the person dictating;\\nit is a silent and patient amanuensis, and is always ready to record\\nwhat is said it will take down exactly what is spoken to it, word\\nfor word, and the only care required is that the person talking to\\nthe machine articulates distinctly.\\nThe Edison Standard Speaker, (See Chapter 16, Part II)\\ncombining both recorder and reproducer, is generally used on\\ncommercial Phonographs.\\nIn dictating, the correspondent has frequent occasion to pause,\\nand in many cases loses the thread of his discourse. To stop\\nabruptly in the course of a dictation, it is only necessary to raise\\nthe lift lever without stopping the machine. In resuming, should\\nthe last few phrases be forgotten, lower the lift lever, and, raising\\nthe speaker lever, listen with the speaking tube. The action of\\nthe speaker lever throws the reproducer into the track some five\\nor six threads back of where the recorder stopped. After listen-", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0128.jp2"}, "129": {"fulltext": "DICTATING 125\\ning to the last few words, lower the speaker lever (thus bringing\\nthe recorder into position) and continue dictating (without\\nstopping the machine).\\nTo avoid errors, the names of persons and places should\\nalways be spelled out, unless the operator is familiar with them.\\nFor further particulars see Chapter 5, Part III. The Phonograph\\nas an Aid to the; Arts of Stenography and Typewriting.\\nThe speed of the main shaft for dictating should not be less\\nthan seventy or eighty revolutions per minute, at which speed it\\nwill take about four and one-half to five minutes to cover the\\nentire surface. Musical records should not be recorded at less\\nthan one hundred and twenty-five revolutions per minute. Until\\nthe eye becomes practiced the number of revolutions of the shaft\\ncan be determined by counting the revolutions of the set screw\\nin pulley.\\nShould the end of cylinder be reached before a letter is ended,\\nit is only necessary to say Continued, and finish upon another\\ncylinder.\\nThe advantages of the Phonograph for commercial work,\\nmay be summed up pithily and tersely in the following ten\\npoints\\n1. Speed. You may dictate as rapidly as you please, and\\nare never asked to repeat.\\n2. Convenience. You dictate alone at any hour that may\\nsuit you.\\n3. Saving of Operator s Time. During the dictation,\\ninstead of receiving notes, the operator can be employed upon\\nother work. Aside from this, the operator can make much better\\nspeed in typewriting from the Phonograph, than from shorthand\\nnotes.\\n4. Accuracy. The Phonograph can only repeat what has\\nbeen said to it.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0129.jp2"}, "130": {"fulltext": "126 HANDBOOK OF THE PHONOGRAPH\\n5. Independence. It is easy to replace a typewriter opera-\\ntor, but a good stenographer is hard to find.\\n6. Economy. The saving in your own and in your operator s\\ntime, will more than pay for a Phonograph in less than a year.\\n7. TiRELESSNESS. The Phonograph is always ready for\\nwork.\\n8. Simplicity. The method is simple. No time need be\\nlost in learning it, by either dictator or transcriber. You can\\ncommence work at once.\\n9. Control. The Phonograph is always perfectly under\\nthe control of both dictator and transcriber. The former cannot\\ndictate too fast for the latter.\\n10. Progressiveness. The largest and most progressive\\nbusiness houses in the country are using Phonographs, and\\nenthusiastically indorse them.\\nFor further details concerning the use of the Phonograph in\\nbusiness see Chapter 5, Part I/I, The Phonograph as an Aid\\nto the Arts op Stenography and Typewriting.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0130.jp2"}, "131": {"fulltext": "CHAPTER XVI.\\nSpeakers.\\nAs its name implies, is made for reproducing\\nThe Edison purposes only, and is of the greatest value to every\\nAutomatic user. For reproducing only, the Automatic\\nReproducer Reproducer is recommended as being superior to\\nthe Standard Speaker. For the information of those\\nnot acquainted with either, a brief\\ndescription follows. It has no record-\\ning sapphire nor can one be attached\\nto it. It does away with the use of\\nthe speaker adjusting screw, as it is\\nso constructed that it always tracks\\nthe thread of the record, overcoming\\nthe expansion and contraction of the\\nwax cylinder in different temperatures.\\nThus, when the track is once\\nfound, the reproducing ball remains\\nproperly adjusted, and the repro-\\nduction holds clear and firm through-\\nout. On account of always being in the track, it sounds much\\nlouder than the Standard Speaker, which may get out of track,\\nthus requiring adjustment by use of adjusting screw.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0131.jp2"}, "132": {"fulltext": "128\\nHANDBOOK OF THE PHONOGRAPH\\nThp F// s a com bination recording and reproducing device,\\nn. j i being equipped with two sapphires, one for record-\\nr. 7 ing and the other for reproducing. It was designed\\nfor recording and instant reproduction for dictation\\npurposes, thus obviating the neces-\\nsity of change of speakers. In\\ncombining these qualities, it was\\nnecessary to design and construct\\nit with rigid weights. Owing to its\\nrigid character, and the unequal\\nexpansion and contraction of the\\nwax cylinder, the reproducer some-\\ntimes loses the track of the record,\\nand requires to be adjusted by the\\nuse of the speaker adjusting screw.\\nTh ~Fdi n S ts name indicates, is especially adapted for\\nto recording purposes only. It is not constructed so\\nrigidly as the Standard Speaker, and consequently\\nadjusts itself automatically, making\\nan even and unvarying cut on the\\nsurface of the blank. It is furnished\\nwith a recording sapphire only, of the\\nhighest quality and most delicate\\nadjustment. The adept at record\\nmaking will find in this attachment\\nthe finest recording equipment that\\ncan be produced. It is used by all the\\nleading makers of high-priced Original\\nRecords.\\nThe Proper Complete and detailed instructions as to what\\nDiaphragms diaphragms are the best for recording different\\nTo Use volumes and qualities of sound, are given in Chapter\\n3, Part III, The Secret of Making Phonograph Records.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0132.jp2"}, "133": {"fulltext": "SPEAKERS I2 g\\njj All that is necessary is the know how and a\\nsmall bottle of stratena. Unscrew the soeaker-\\nj\\\\ Pi) \u00c2\u00a3Z1,\u00c2\u00a5* of*\\nJ clamp-ring A, and remove the tube-plate B. On\\n^f S top of the glass diaphragm you will find a thin\\ne rubber ring GG (called a gasket). If this gasket\\nhas become hard, do not use it again. Take it out. Then remove\\nthe glass diaphragm. On the under side of the diaphragm DD\\nis another gasket GG. If this has not become hard it can be\\nused again, otherwise throw it away.\\nSee that a rubber gasket is always placed under the diaphragm.\\nNow put the diaphragm into place on top of the gasket, being\\ncareful that it does not touch the side of the cup. This is import-\\nant. Now place another gasket on top of the glass, adjust tube-\\nplate in position and tighten the\\ne ^j^JLg* speaker-clamp-ring, which should not\\nD Lg\u00c2\u00a3^3L* zitt D be screwed in too tight or yet left\\n\\\\f _ i too loose. If too tight the diaphragm\\nceases to be sensitive. If too loose the\\nrecord will whistle or blast. There is\\nFist i\\na happy medium which you must\\nCross Section View. r\\ndiscover for yourself.\\nUnscrew the speaker-weight-limiting-screw C allowing the\\nspeaker- weight W to swing freely on the hinge pin K. Do not\\nallow the weight to touch the glass. If this is done it may crack\\nthe glass.\\nThe cross-head F (a small flat metal disc) hangs from a tiny\\nlink L from the reproducer arm H. If the glass diaphragm has\\nbeen broken, the cross-head should be scraped so that no cement\\nor bits of broken glass remain on it. It should also be washed\\nwith a clean cloth so that no dirt or oil remains on it. Benzine\\nwill do this thoroughly.\\nIf you are changing diaphragms (substituting either a thin-\\nner or thicker glass for the one in use) the stratena which cements\\nthe cross-head to the glass may be melted by applying heat to it.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0133.jp2"}, "134": {"fulltext": "130 HANDBOOK OF THE PHONOGRAPH\\nThe safest way is to heat the head of a nail fairly hot and press\\nit gradually against the glass under the cross-head. It may crack\\nthe glass but it is the surest way of detaching the cross-head.\\nThe new glass to be substituted must also be cleaned thoroughly\\n(preferably with benzine) as any oil or\\ndirt on either the diaphragm or the lg 2\\ncross-head makes it difficult to make\\na good joint wiih the cement.\\nDip the end of a match into the\\nstratena and drop a very small drop in\\nthe centre of the glass diaphragm.\\nLower the speaker-weight very very\\nslowly to the glass and then with the\\naid of a pin or some sharp pointed instrument, place the cross-\\nhead in position pressing it firmly. A small wedge of paper\\nunder the sapphire point will serve this purpose very nicely. Now\\nplace the weight-limiting-screw in position, then turn the speaker\\nso that it rests on the tube-plate as shown in Fig. 1 and allow\\nthe stratena to dry for at least an hour.\\nINDEX OF PARTS.\\nA Speaker-Clamp-Ring. H Reproducer Arm.\\nB Tube-Plate. I Reproducing Arm Pin.\\nC Limiting-Screw. J Sapphire.\\nD Diaphragm. K Speaker Lever.\\nK\u00e2\u0080\u0094 Hinge Pin. L\u00e2\u0080\u0094 Link.\\nF\u00e2\u0080\u0094 Cross-Head. W\u00e2\u0080\u0094 Speaker Weight,\\nG\u00e2\u0080\u0094 Rubber Gasket.\\nGreat care should be taken not to use the speaker until the\\nstratena has become thoroughly dry. These same instructions\\napply in the adjustment of the Edison Automatic Reproducer,\\nThe Edison Standard Speaker, and The Edison Recorder.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0134.jp2"}, "135": {"fulltext": "CHAPTER XVII.\\nA Word About Belts.\\nTHE slipping of the drive belt on the main shaft pulley is due\\nto the following conditions\\nAn Oily Belt is the most frequent cause. When\\noiling a Phonograph, absolutely no oil should be put on the\\nsurface of the pulley or on the belt. When this happens it not\\nonly makes the belt slip but softens the leather, thus causing it\\nto stretch very easily.\\nA I/)OSE Belt. In spite of great care used in selecting\\nmaterial, a belt is sometimes cut from a stretchy part of the leather,\\nor, again (as above noted) oil will cause the best belt to stretch\\nvery quickly. With ordinary care a belt will last a year without\\nthe need of renewal. A belt should not be renewed or shortened\\nunder the impression that it is too loose, until the idler pulley\\n(which is placed on every Phonograph for the very purpose of\\ntaking up the slack in a belt) touches, or nearly touches, the\\ndrive wheel inside the mechanism.\\nTo Shorten a Belt. Dampen it at the point where it is\\nalready joined. When the ends separate, dry thoroughly. Apply\\nstratena on the parts to be joined, overlap a quarter to a half an\\ninch as may be necessary and press firmly togetherf or an hour\\nor two. If the belt is oily it will be impossible to make the\\ncement stick. Buy a new one.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0135.jp2"}, "136": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0136.jp2"}, "137": {"fulltext": "PART THIRD\\nTHE OPENEER PAPERS", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0137.jp2"}, "138": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0138.jp2"}, "139": {"fulltext": "CHAPTER I.\\nWhat Mr. Openeer Heard.\\nLAST Christmas my wife and I were invited to a house party\\nat Larchmont, New York. The gray afternoon was deep-\\nening into dim dusk as the sleigh left the little station,\\nand the cold was intense. Our fifteen\\nminutes ride to the home of our host\\nchilled us through and through, and\\nas we fumbled with wraps and gloves\\nin the silent hall of the house, our\\nfeelings were divided between personal\\ndiscomfort and wonderment that no one was there to greet us.\\nSuddenly there piped up a thin little voice seeming to come from\\nnowhere. It grew louder and stronger, and we heard Merry\\nChristmas, merry, merry Christmas. Welcome, Mr. Openeer\\nwe are glad to see you. Welcome, Mrs. Openeer how is the\\nbaby? How did you leave Ponjo? (Ponjo is our dog). We\\nlooked around bewildered. The voice continued Take off your\\nwraps lay them on the table. James will see them safely laid\\naway. Astonishment gave way to curiosity,\\nand we drew aside a curtain and found the\\ncheery speaker to be a Phonograph. Then\\nthrough a half-open door we heard whisperings\\nand merry laughter as the uncanny little\\nmachine went on to sing for us a Christmas glee.\\nBefore it was finished the children of the house\\ncame running in laughing, followed by our\\nhostess and the other guests and we saw and", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0139.jp2"}, "140": {"fulltext": "136\\nHANDBOOK OF THE PHONOGRAPH\\nfelt heartily the double welcome that had been prepared for us.\\nThe surprise had all been planned. Our host had talked and\\nsung this Christmas greeting into the Phonograph the night before,\\nmaking a record with which the jolly little machine could\\ngreet each guest as he arrived. We saw it all when Jack Halsey\\nand his sister came, about five minutes later. Here comes\\nJack, called one of the children from the porte\\ncochere window and hastily adjusting the wax\\ncylinder ticketed Halsey, we waited in the\\ndining-room and den with half-open doors as\\nthey entered. Hello, Jack, said the Phono-\\ngraph behind the curtain, How d ye do, Clare?\\nGlad to see you. Come in and stay a while.\\nThey stopped and stared around, bewildered\\njust as we had done. Take off your things.\\nMerry Christmas. And then, without stopping, the wonderful\\ntoy began to play the banjo. Then, we, all of us burst in upon\\nthe astonished pair, and welcomed them amid shouts of laughter.\\nThe thing entertained us all next day. When we tired of\\nhearing our own voices fired back at us, we played the piano for\\nit. Then we made a quartette of ban joists\\nthen our host played the cornet then we sang\\nsolos, duets and choruses and the bally little\\nmocker, as Algy Dunraven called it, gave us\\nevery time as good as we gave it. Why, it was\\nperfectly wonderful\\nThen we were entertained with boughten\\nrecords. Selections by famous bands and\\norchestras, operatic, military marches and dance\\nmusic, all in perfect time, and loud and clear.\\nSongs by famous singers, speeches by famous men, funny talks\\nand dialect records. Why, we spent a delightful time. Our\\nhost told us confidentially that had he engaged the artists, per-\\nformers and bands to appear in person, a thousand dollars would", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0140.jp2"}, "141": {"fulltext": "WHAT MR. OPENEER HEARD\\n137\\nhave been a reasonable price for the entertainment that\\nwas provided for less than a tenth of that sum. And,\\nbest of all, he could repeat the whole programme the\\nvery next night if he wanted to. And we believed\\nevery word, because we heard it all ourselves.\\nI have since bought a Phonograph for myself\\nand have been repaid a hundred times for the invest-\\nment, by the fun and entertainment I ve got out of it.\\nMy advice to my friends is, Go and do likewise.\\nMy wife called on our next door neighbor the other day to\\nsympathize with her over the loss of their eight-year-old boy.\\nThey had bought a Phonograph, by the way, immediately on\\nhearing ours. Well, the conversation naturally was about the\\ndear little fellow who had just crossed over the Dark River. And\\nshe could not stop talking to my wife about his pretty eyes and\\ncurly hair hair and laughing voice.\\nIt s one of the greatest consolations\\nthat I have these, she said, going to\\nher record cabinet and carefully tak-\\ning from it three of the wax cylinders,\\nshe put one on the machine. The\\nnext moment it was as if Harry was\\nin the room. First came his merry\\nlaugh, then an aside. Dear mamma,\\ndo keep quiet while I speak my piece.\\nvoice, clear and strong\\nA tiny little seed am I,\\nIn the mold,\\nHidden from the great blue sky\\nAnd the cold.\\nI throw my little rootlets out\\nAnd feel around.\\nThere I almost turned about\\nIn the ground.\\nDid I hear a bluebird sing\\nCan it be?\\nIf I did it must be spring.\\nI ll go and see.\\nThen came a steady little", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0141.jp2"}, "142": {"fulltext": "138\\nHANDBOOK OF THE PHONOGRAPH\\nThen there sounded a clapping of hands and bits of conver-\\nsation. His mother sat there with tears in her eyes, but with\\na joyous look on her face. My precious first born, was all she\\nsaid. And one of the first things my wife did when she came\\nhome that afternoon was to take our poor little youngster and\\nmake half a dozen records of his chatter and baby-talk right away.\\nI fancy him listening to those talks twenty years from now\\nEut should he be taken from us in the meanwhile, I know I d\\nhold them as my most highly-prized possession.\\nI heard of a novel use for a Phonograph the other day.\\nTeaching languages what do you think of that My wife told\\nme about it. Somewhere in her afternoon calls she saw the whole\\nthing. There was a Phonograph grinding off a French cylinder\\nthat had been specially prepared by the visiting\\nteacher the day before J al tu as, il a, elle a,\\nnous avons, vous avez, ils ont, elles ont, over\\nand over and over. Then, Avez vous le pain,\\navez vous le pain, and so on through a long list\\nof words and phrases. Parrot like, perhaps, but\\nthere was the pronunciation and accent. Capital\\nThe children couldn t get away from it. Then\\ncame a German record, Der die das. des der des,\\ndem der dem, and so on. The broad a, the\\nshort i, the funny b in Konig, the elusive and\\ndifficult umlaut. Haben sie das brod. Wo ist mein Hut Ich\\nHebe dich, and little poems and couplets.\\nMan sieht sich, lernt sich kermen,\\nLiebt sich, muss sich trennen.\\nRather advanced for children, this; but I suppose their teacher\\nwas in love and felt a bit sentimental just then.\\nEin verhungert Huhnchen fand\\nBinen feinen Diamant\\nUnd verscharrt ihn in den Sand.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0142.jp2"}, "143": {"fulltext": "WHAT MR. OPEN3ER HEARD\\n139\\nThis was better. But the whole idea struck me\\nvery forcibly. The difficult pronunciation was there\\nalways on tap over and over, sinking deep into\\nthe minds and memories of the little youngsters,\\nand especially so because it was a novelty. Ah\\nthat s the point. New ideas appeal to children just\\nas much as to grown ups.\\nI look forward to the day when a great many\\nother things besides the languages will be taught through the\\naid of this marvelous little talking-machine.\\nWhile the field of the Phonograph is a wonderfully large one,\\nyet it reaches its limits, like everything else in\\nthis world for that matter. The recent attempt\\nof the Sophomores of Ithaca to give their ora-\\ntions by talking machines was very laughable.\\nThe Professors found out what was in the\\nwind and promptly vetoed it, but not before\\nseveral rehearsals had been held to demonstrate\\nits feasibility. The Freshies found it out, too,\\nand invaded one of their trials with pitchers of\\nwater, which they poured into the Phonograph\\nhorns with dire results. The practicability of\\nthe scheme is assured, however, and some\\nday we may hear of a commencement con-\\nducted entirely by machine talkers.\\nThis reminds me of an occurrence that\\nhappened several years ago, when the Phono-\\ngraph was first brought out. A very advanced\\nDominie at Hasbrouck Heights, N. J., con-\\nceived the idea of a novel Sunday evening\\nservice so he prepared his sermon a short\\none and several hymns and scripture readings", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0143.jp2"}, "144": {"fulltext": "140\\nHANDBOOK OF THE PHONOGRAPH\\nthe day before on a number of cylinders\\nand he actually held the meeting, as\\nadvertised. The affair created quite a\\nsensation indeed. Inside of a month the\\nRev. Mr. Dominie was preaching in a\\nchurch out West, preachings mind you,\\nno more Phonograph for him. Well, it\\nsimply proves the truth of the saying,\\nEverything in its proper place.\\nThe Phonograph for dictation in business\\noffices has long been a success. Instead of\\nof talking to a giddy and unreliable young\\nlady stenographer (not all of them, I assure\\nyou, O ye wives of busy husbands, but some-\\ntimes\u00e2\u0080\u0094quite often), the letter is talked, just\\nthe same, into the specially prepared cylinders,\\nuntil a dozen or so are ready for the typewriter\\nclerk. Then he is called from his work and\\ntranscribes the records at leisure. See He\\nis working all the time while you are\\ndictating. With hearing- tubes in his ears,\\nhe puts each cylinder on another Phono-\\ngraph in front of his typewriter, and pegs\\nright along. There s no loss of time.\\nHe is always working and he s much\\ncheaper than a stenographer and type-\\nwriter. The experiment has been tried\\nalso, with some successs, of sending the\\nrecord, just exactly as you ve talked into\\nit, by mail or express, directly to your corrrespondent.\\nIt has remained for Mrs. Openeer to discover the most novel\\nuse for the Phonograph as an entertainer. She gave a Voice\\nGuessing party last week, and we had all kinds of fun and", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0144.jp2"}, "145": {"fulltext": "WHAT MR. OPKNEKR HEARD\\n141\\njollity over the funny guesses. It s somewhat similar to a\\nPerfume Party. You know how that s done. Twelve or\\nfifteen little vials, all alike as to appearance, are filled with differ-\\nent perfumes. It adds to the perplexity of the guessers to include\\nvinegar, alcohol, benzine, turpentine, chloro-\\nform or kerosene. Then the contestants smell\\nand guess, and the winner of the prize is the\\none who has the longest correct list. My wife\\nconducted her party on a similar plan. Kach\\nguest made a three minutes talk into a\\nPhonograph in separate rooms (we borrowed\\ntwo other machines for the evening), and\\n\u00e2\u0096\u00a0ttf f H after every one had talked or sung, either in\\nnatural voice or disguised, we played the\\nrecords before all the assembled guests.\\nKach was provided with paper and pencil.\\nThe scheme was immense. You can\\nimagine the hilarity that greeted the wild\\nguesses when the results were declared.\\nA surprising number of the voices were\\nguessed correctly, however, and the\\nentertainment was voted by all to be a very happy success.\\nI tell you, my friends, it takes a Phonograph\\nevery time to be a fun-maker.\\nI represent a chemical syndicate. It s a\\nfar cry from sulphuric acid and by-products\\nto Phonographs, I know, but you will see\\nthe connection presently. There s a town\\nI strike when I m on the road where there is\\na most unique collection of stories: unpublished\\nunbound, 3^et indestructible, and most carefully\\npreserved. The genius who is making the collection does business", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0145.jp2"}, "146": {"fulltext": "142\\nHANDBOOK OF THE PHONOGRAPH\\nin Iyouisville, what street I won t say,\\nand whenever a drummer shoots a good\\nstory at him he says, Hold up come\\nhere, and then and there, on the spot,\\nhe embalms Mr. Drummer in wax and\\nlike a fly in amber, his funny tale is\\npreserved for all time. I ve sat by the\\nhour listening to stories and such\\nstories. Cylinder after cylinder, every\\none different. Kvery now and then I d\\nrecognize a fellow knight of the road some I\\nhadn t met for years, some dead. I do not\\nhesitate to say that Mr. Blank s collection of\\nstories hasn t an equal in the whole world.\\nSome of the mildest of them, revised and\\nexpurgated, are often heard in vaudeville\\nbut for the most part, the Louisville records\\nare to be heard only by the favored few who\\nare in the ring. I have lately heard of other\\ncollections, but none to equal that of the\\npioneer, Mr. Blank.\\nI told my wife about Blank s collection\\nthe last time I made home after a three week s\\nflier, and gave her a sketch very sketchy,\\nindeed of some of the yarns. She said,\\nCapital idea and before I knew what she\\nwas about she started what is now known to\\nmy friends as Openeer s Voice Album.\\nAs a novelty, it proves very interesting to\\nvisitors, and bids fair to be as popular as the\\nold-fashioned autograph collections, and, in fact, supplements\\nthat and the photograph album most beautifully. We limit our\\nfriends to a half-minute s talk, first announcing the name and", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0146.jp2"}, "147": {"fulltext": "WHAT MR. OPKNEKR HEARD\\n43\\nfollowing with a funny short talk, or a touch-\\ning sentiment, or a bit of poetry and really,\\nwe have a delightful way of entertaining our\\nguests, as any one who has made Phonograph\\nrecords for friends well knows.\\nThe hot and bloody work before Santiago,\\nin Cuba, has made one of my wife s Voice\\nAlbum records of inestimable value. Young\\nSmith, of the 71st New York, was my\\ncousin, and was among the first to try the effect of his voice on a\\nwax cylinder. His name comes out loud and clear, and then\\nthese words\\nOf all the fish in sea or lake\\nThe bloomin codfish takes the cake.\\nIts funny, but it s sad too for poor Smith\\nwas shot through the lungs with a Mauser\\nbullet and died seven days afterward.\\nWhen his father learned of the record we\\nhad of his voice, he bought the finest,\\nmost expensive Phonograph to be had and\\nwe gave him our cylinder, taking several\\ncopies or duplicates of it for ourselves and\\nhis friends. This is easily done, you know,\\nby connecting the speaker from the\\nPhonograph that is playing the original to\\nthe recorder of\\nanother machine,\\non which is a smooth\\nblank. Of course, this copy is a little\\nindistinct all duplicates are. The\\noriginal Edison records such as you buy\\nare always the best. But the copies we", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0147.jp2"}, "148": {"fulltext": "144\\nHANDBOOK OF THE PHONOGRAPH\\nmade were plain enough for us to distinguish Bert s voice, and\\nwe are proud of it, I can tell you, not only for the satisfaction\\nof having a hero record in our collection, but also that we\\nwere able to be of service to his father for the old gentleman\\nholds that cylinder as one of his choicest possessions on earth.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0148.jp2"}, "149": {"fulltext": "CHAPTER II.\\nHow We Gave a Phonograph Party.\\nIT was Charlotte s plan. The idea struck her suddenly (they\\nalways do come to her that way) during an evening we\\nwere spending over at the Openeer s. Young Mrs. Openeer\\nhad asked us to dine with them and play whist but after dinner\\nMr. Openeer started one of his Phonographs so that we could hear\\nan opera we had been talking about, and cards were entirely for-\\ngotten. It was delightful. They had lots of the wax records\\nalmost a complete score of the opera in question. The talk\\nnaturally turned on how it was all done, for it seemed perfectly\\nwonderful. So he showed us all about it, and that s how Char-\\nlotte s inspiration came.\\n1 I have it, I have it she whispered excitedly the moment we\\nleft the house, and she almost pushed me down the steps in her\\neagerness. We will give a Phonograph Party, and it will be\\nthe newest and most delightful thing out, and she straightway\\nunfolded the whole scheme as we crossed the street to our house.\\nBy the time we had climbed up to our room the schedule was\\ncomplete. I must say that Charlotte is a quick and ready thinker.\\nHer plan was fine. You see she teaches mathematics in the high\\nschool, while I have only a kindergarten class. She thought the\\nidea and I completed the practical arrangements and between us", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0149.jp2"}, "150": {"fulltext": "146\\nHANDBOOK OF THE PHONOGRAPH\\nwe planned an. entertainment\\nwhich I am sure will be long\\nremembered by our friends as\\na very happy evening.\\nWe sent out our invita-\\ntions the very next day, for\\nWednesday evening of the\\nfollowing week. To Beverly\\nDunlap s we added a line\\nBring your cornet. To\\nAlice Blank s Please bring\\nyour banjo. Will Hamilton s\\nalso had a banjo postscript,\\nand Nat Browton s a clari-\\nnet item. Charlotte had a\\nviolin and I a guitar, which, with the piano (fortunately an\\nupright), would give a variety of instrumental music for the\\noccasion. In each of the other notes, we wrote- the mystifying\\nwords Please bring your voice.\\nTo Mr. and Mrs. Openeer s invitation Charlotte insisted on\\nadding (as a matter of form only she explained to me), Please\\nbring your Phonographs for we had already enlisted their co-\\noperation, and Mr. Openeer had entered into our plan with en-\\nthusiasm. He loaned us not one, but two Phonographs for\\nconvenience sake, said he, one for recording and one for\\nreproducing. Saves the bother of changing speakers and horns.\\nHe also insisted on furnishing us with a plentiful supply of\\nsmooth wax cylinders or blanks as they are called at the same\\ntime offering us his services as an expert should we need him.\\nThe next few days saw us busy at every spare moment.\\nFirst we tried and experimented in every possible way with the\\nPhonograph, making record after record, until we found out just\\nhow to do it. It s wonderfully simple if you only know how", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0150.jp2"}, "151": {"fulltext": "HOW WE GAVE A PHONOGRAPH PARTY\\n147\\n(like everything else in this world for\\nthat matter) Mr. Openeer offered to\\nteach us, but we wanted to find out\\nall by ourselves and we did very\\nnicely by following the printed in-\\nstructions which he furnished us.\\nThen we had refreshments to prepare.\\nCharlotte gave way to my ideas in this\\nmatter, and my kindergarten training\\nsuggested that we get some jelly\\nglasses that were just the right size,\\ntwo and a half inches across and four\\ninches deep. Into these, we packed\\nour ice cream after we had made it, so that each guest\\nshould have a frozen record just\\nlike that great fib of Baron Mun-\\nchausen s. We also made ginger snaps\\nin the shape of a horn, by fashioning\\na cake cutter out of a strip of tin. All\\nour plans matured beautifully, except\\nthat Charlotte scorched two whole\\npans of ginger snaps, and let some\\nsalt get into the ice cream tins;\\nCharlotte was never good at those\\nthings.\\nBvery one of our guests came on\\nWednesday evening every one of\\nthem as curious as an original Eve (or Adam) and every one\\nof them delighted on learning what was in prospect. We com-\\nmenced right away with the cornet. It makes a fine loud record,\\nand we wanted to start off auspiciously. We had placed our\\nRecording Phonograph high up on a small table, so that the horn\\nwas about on a level with Mr. Dunlap s head, as he stood ready\\nto play. The shape of the horn, too, makes some little difference.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0151.jp2"}, "152": {"fulltext": "148\\nHANDBOOK OF THE PHONOGRAPH\\nMr. Openeer loaned us his recording horn for our party. It was\\nfully two feet long and shaped like a cone.\\nIt had no flare or bell on the end, which\\nwas about 6 or 7 inches across. Our equip-\\nment was really quite perfect. The second\\nPhonograph stood on one end of the large\\ntable and was fitted with a reproducing dia-\\nphragm or speaker as they call it. It also\\nhad a small fourteen-inch bell shaped horn,\\nwhich shape seems to spread the sound\\nbetter than the other. I attended to the\\nmachine, put on a new blank and started it,\\nwhile Charlotte started each performer. At\\nthe close of each record taking, I stopped\\nthe machine, took off the record and put it\\non the reproducing Phonograph, and we all heard what had just\\nbeen played into the other machine, reproduced with startling\\nand marvelous exactness.\\nI will say right here that a single Phonograph with two\\nspeakers and a bell shaped horn would have been all that was\\nabsolutely necessary. The only advantage of having two Phono-\\ngraphs was that it saved the delay (a very small matter) of\\nchanging the recording speaker for the reproducer after each\\nrecord was made.\\nAs directed by Charlotte, Mr. Dunlap stood about five feet\\naway, and played directly into the horn. He gave a short aria\\nfrom Maritana, playing it with considerable volume and with\\neven, well sustained notes, with but little attempt at expression.\\nHe used only half his record in a minute and a half, so Charlotte\\nwhispered Do you know any bugle calls? (Dunlap was in\\ncamp at Jacksonville all through the war). His laughing answer\\nDo I know any bugle calls by heart well, rather! made us\\nall laugh too. It was wonderful the way he made his cornet\\nfairly talk.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0152.jp2"}, "153": {"fulltext": "HOW WE GAVK A PHONOGRAPH PARTY\\n149\\nI can t get em up\\nI can t get em up\\nI can t get em up\\nIn the morning.\\nHis attempt ended in a storm of applause, which was repeated\\na few minutes later when I changed his record to the other Pho-\\nnograph and reproduced it. First came the aria, loud and clear\\nand distinct. Then a pause of a few seconds. Then a big manly\\nvoice said Do I know any bugle calls by heart Well, rather.\\nHow we all shouted! It did sound\\nso funny. Then came his bugle call\\nand a faint clapping of hands and\\nthen our real applause. Our first\\nrecord was a success\\nThen Nat Browton played his\\nclarinet and the reproduction was\\nso perfect that we could actually\\nhear his breathing. Those quick\\nlittle gasps for breath that I for one\\nhad never particularly noticed, un-\\ntil the reproduction of the record\\ncalled it to my attention. He played directly into the horn,\\nas close to it as he could.\\nThen we had several vocal solos. Each singer stood close to\\nthe horn, with the face almost within the opening. Charlotte\\ncautioned them all to sing rather loud and be particularly careful\\nto draw back the head while taking any high notes. Our bass\\nand baritone artists made highly successful records. Our tenor\\nsang The Holy City most beautifully, but his voice lacked\\nthat peculiar quality necessary for Phonograph record making.\\nThe tones of his voice were like the invisible rays of the spectrum\\nbeyond the violet it seemed impossible to record them. Char-\\nlotte discoursed learnedly about the number of vibrations per\\nand", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0153.jp2"}, "154": {"fulltext": "i5o\\nHANDBOOK OF THE PHONOGRAPH\\nsecond caused by his high C about a thousand I think she said.\\nMr. Openeer lessened his discomfiture by remarking that a\\nPhonograph tenor was an exceedingly rare phenomenon. As\\nrare as a Phonograph soprano he added bowing to Mrs. Openeer\\nwho was our next performer, and although my wife has a\\nbeautiful voice I have never yet\\ntaken a really good record of it.\\nWe made a passably fair\\nrecord of Mrs. Openeer s fine\\nsoprano voice by draping the\\nopening of the horn with mos-\\nquito netting; but it wasn t\\nreal good and we had to put it\\nin the same class with the\\ntenor s and also with Charlotte s\\nviolin record, which came next\\non the programme. The amateur\\nwill do well to avoid the sorrow that is almost inevitable in at-\\ntempting to make a record of a high tenor, a soprano or a violin.\\nThe most effective records we made during the entire evening\\nwere two chorus records. All stood close together in a bunch\\nabout three feet from the horn and sang Marching through\\nGeorgia, and it came out fine. Our success led us to try another,\\nOnward Christian Soldiers, and it was every bit as good. The\\npiano accompaniments of all our records\\nwere very good indeed. In every case the\\npiano stood about three feet distant, with its\\nopen back towards the Phonograph. A\\nsquare or a grand piano is not so well\\nadapted for this accompaniment work, al-\\nthough a solo may be recorded very nicely\\nby bringing the horn close up to the raised\\ncover of the instrument.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0154.jp2"}, "155": {"fulltext": "HOW WE GAVE A PHONOGRAPH PARTY\\n151\\nWe now removed our Recording Phonograph from its lofty-\\nperch, to accommodate our banjoists and also those of our guests\\nwho were to make talking records, and preferred to sit rather\\nthan stand. The banjo should be played as close to the horn as\\nis possible. We made several capital records, so loud and natural\\nas to tone quality that I would defy anyone listening with eyes\\nshut or in the next room to tell the difference.\\nThe talking records were mostly all good too. The per-\\nformers were cautioned to speak very distinctly, sounding the S s\\nand soft C s with particular emphasis. Some of them caused lots\\nof merriment when they were repro-\\nduced, owing to the funny and irrelevant\\nside remarks of the speakers most of\\nwhom had never talked into a Phono-\\ngraph, and seemed to forget that the\\nmachine would catch and repeat all that\\nwas said.\\nLast of all came the ginger-snap\\nhorns and the frozen records. The\\ntenor declared that these were the best of\\nall. He may have been perfectly honest\\n(for they were real good) or it may have\\nbeen gross flattery or yet again his fail-\\nure may have made him a little jealous\\nof the others. But, somehow, I didn t\\nexactly like his remark. I think on the\\nwhole, while perfectly polite and courte-\\nous to Charlotte and me, his hostesses,\\nwhat he said simply proved the proverb,\\nthe way to a man s heart is through\\nhis stomach for the rest of us agreed,\\nnot even counting in our frozen\\nrecords, that our Phonograph Party\\nhad been a grand success.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0155.jp2"}, "156": {"fulltext": "CHAPTER III.\\nThe Secret of Making Phonograph Records.\\nTHE secret of making Phonograph records is summed up\\nbriefly as follows experience and knowledge of the Art.\\nThe two go together. One is useless without the other.\\nWhat I know about it has been the result of a great deal of\\nexperimenting (such as you must do) combined with many\\nuseful hints and pointers and suggestions gathered from practical\\nPhonograph men (which I propose to tell you). You will then\\nknow all that I know, which, after all, isn t so much. What I\\ndon t know about it would fill books a negative way of express-\\ning my modesty, perhaps but, as in photography, the negative\\nprints the positive, so will my negative assertion serve to bring\\nout more clearly the details of that greatest of Phonographic\\nproblems the making of a perfect record.\\nLet s talk about the Recorder to begin with, for that is the\\nheart of the whole matter. Your recorder must be perfectly\\nadjusted and adapted for the particular kind of record you are\\ntaking. This is largely a matter of judgment and experience.\\nCertain musical instruments and certain qualities of voice, will\\nrecord with a squeak or a blast when a glass diaphragm of a\\ncertain thinness is used, and yet will record perfectly if a thicker\\nor thinner diaphram is substituted. Recorders are usually", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0156.jp2"}, "157": {"fulltext": "THE SECRET OE MAKING PHONOGRAPH RECORDS 153\\nequipped t with a No. 7 to a No. 8 diaphragm that is to say the\\nglass is from 7-1000 to 8-1000 of an inch thick. The rubber\\nwashers between which the diaphragm rests, may have become\\nhardened. Rubber does, you know, get either hard or sticky in\\ntime. This interferes with the free vibration of the diaphragm,\\nand consequently affects the clearness of the record, and new\\nwashers should be substituted. In changing washers or diaphragms\\nthe metal clamp-ring should not be screwed in too tight, nor yet\\nleft too loose. If too tight, the diaphragm ceases to be sensitive.\\nIf too loose, the record will whistle or blast. There is a happy\\nmedium which you must discover for yourself. See also that the\\ntiny metal arm is cemented firmly to the center of the glass if\\nnot, you will get a dull, rasping quality of sound that is very\\nunnatural. The sapphire recording point must have a sharp even\\nsurface, that it may readily engrave the surface of the cylinder.\\nGreat care should be taken in handling or laying down the\\nrecorder, that the sapphire stylus does not come into contact with\\na hard surface of any kind. A chipped stylus is a frequent cause\\nof poor records. I mention these points in detail as it is of the\\ngreatest importance that you become familiar with them. You ve\\ngot to know the tools you work with and especially the glass\\ndiaphragm, which is the most delicate and sensitive part.\\nNow, as to the various diaphragms to use. In making vocal\\nrecords, it depends entirely on the strength of voice of the singer\\nvarying all the way from an 8 down to a 6 glass. The thinner\\nthe diaphragm, the more sensitive it is. Take, for instance, a\\nsinger with a good loud voice. Use an 8 glass. Should the\\nrecord not come out strong and if it has no blasty defects, try a\\n7^, then a 7, or even a6^. The moment the record blasts, your\\ndiaphragm is too thin and over-sensitive for the voice. If at\\nfirst you don t succeed, try, try again It is a very apt motto to\\nadopt in record making.\\nFor a cornet, use an 8 or a 7 glass. Use an 8 or a 7^ for a\\nband record or an orchestra record. For a clarinet, try a 7 or", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0157.jp2"}, "158": {"fulltext": "154 HANDBOOK OF THE PHONOGRAPH\\na 6. For a piccolo a 6. For a banjo or xylophone record a 6\\nor a 5. For a violin, a6^ down to a 5. For talking records,\\nuse a 6 glass.\\nUpon the shape of your horn, also, depends in a great measure\\nyour success as a record maker. The horn should be pointed on\\nthe level with the head of the performer. In other words, the\\nPhonograph itself should be about on a level with the head.\\nThe best results for talking records are obtained by using the\\nmohair speaking tube. If the peculiar quality of a speaker s\\nvoice should make the record sound muffled, try the bell-shaped\\n14-inch brass horn with which most Phonographs are equipped\\nor the 26-inch japanned tin horn may also be used with good\\neffect. It all depends on the quality and loudness of the speaker s\\nvoice. The 26-inch japanned tin horn is also a good shape to use\\nfor banjo, violin, xylophone, cornet, band and orchestra records\\nalthough a regular special recording horn would be better. These\\nspecial horns are made of block tin, long and narrow in shape,\\nbeing from 20 to 26 inches long and not more than 6 inches across\\nthe end, perfectly conical in shape, with no flare or bell on the\\nend. They are the very best shape for all vocal records, and also\\nfor the piccolo or clarinet. While good records may be made\\nwith the regular shape 26-inch japanned tin horn, it is best not\\nto take any chances. In making records, strict attention must be\\npaid to the smallest details. The veriest trifle will sometimes\\nspoil the best attempt.\\nNext, the wax cylinder should be perfectly smooth and true.\\nMuch depends on the absolute smoothness of the wax blanks. If\\nyou do your own shaving, run the machine at the highest pos-\\nsible speed and do not cut too deep. If you do, it causes the\\nwax to chip, leaving a broken crackled surface on which a good\\nrecord cannot be made. Shave several times in preference to one\\ndeep cut. The Edison blanks you can buy already shaved are\\nsuperior to any possible work you can turn out yourself, as they\\nare shaved by a special machine running at a very high rate of", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0158.jp2"}, "159": {"fulltext": "THE SECRET OF MAKING PHONOGRAPH RECORDS 1 55\\nspeed and are absolutely accurate. Be very careful in handling\\nthe shaved blank, that no finger marks are left on its surface.\\nShould there be any residue of the shaving operation left on it,\\ntake the cotton in which the blank is wrapped, and tear open one\\nend, picking out the frayed edge to make a soft brush, and brush\\nthe blank gently, with a downward motion. Don t breathe or\\nblow on the surface to remove the wax dust. Better still for this\\npurpose is a soft wide camel s hair brush.\\nLastly, see that your Phonograph itself is in perfect running\\norder, well oiled and free from dust. This is an essential to\\nperfect work with any piece of machinery, and the Phonograph\\nis no exception in this respect. Any undue friction will make a\\ngrind or rumble, and will seriously mar your attempt by making\\nitself heard in the record you are making. If the machine makes\\ndiscordant records, or false tones, it may be that the belt is loose,\\nthus causing the main shaft to slip. If your Phonograph is an\\nelectric machine, the governor contact may be dirty. Care should\\nbe taken if you use a machine of the spring motor type, that\\nthe mechanism is always fully wound. A record made while the\\nmachine is running down will reproduce with a varying pitch, thus\\ndestroying all harmony. The proper speed for recording is about\\n125 revolutions per minute. This is easily ascertained by watch-\\ning the screw on the pulley, and counting and timing the turns.\\nAs to the room in which you take your records, it might be\\nwell to have no curtains or other soft hangings. In a perfectly\\nbare room, with no carpets or furniture or draperies, a record will\\nhave a certain ring to it, a peculiar resonant quality of sound that\\nsome prefer. One objection to stripping a room in this manner,\\nis that there is a greater likelihood of your records blasting. On\\nthe other hand a seasoned, room with just enough hangings to\\nbreak up any echoes, makes a richer, more mellow tone quality.\\nThis is largely a matter of individual taste and judgment and\\ncan only be determined by experimenting and watching results\\nvery carefully. All these are points that may seem to be un-", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0159.jp2"}, "160": {"fulltext": "156 HANDBOOK OF THK PHONOGRAPH\\nimportant, but if you are after success, you cannot afford to omit\\nthe smallest detail that might help you to secure the most satis-\\nfactory results.\\nAnd now for the record. If a vocal solo is to be recorded,\\nthe singer should stand immediately in front of the recording\\nhorn, not more than three or four inches from the opening, and\\nshould sing directly into it. The articulation should be very\\ndistinct. Avoid singing with too much expression. That voice\\nwill record best that has an even quality throughout the entire\\nregister. Some voices are full and rich and mellow in the lower\\nnotes, and thin or weak in the upper register. In all cases,\\nchoose the songs that are best suited for the singer s range of\\nvoice. When a high note is sung, the singer should draw back\\nthe head, away from the horn, so as to equalize the vibrations.\\nHither do this, or repress the voice so that the tones are covered.\\nShould the singer make a very strong and loud record, with a\\nblasty imperfection in only one or two spots, keep the same dia-\\nphragm, and try to remedy by drawing away from the horn at\\nthe high notes that blast in other words, correct the blasting,\\nif possible, by covering the objectionable tones rather than by\\nsubstituting a thicker diaphragm, which might make the whole\\nrecord weak. In general, the tones that cause the defect of blast-\\ning are open tones, the long i sound, the o as in love\\nthe word heart. These tones occurring on high notes, almost\\ninvariably cause trouble, even with experts in the art. Scientists\\nestimate that there are over a thousand sound waves per second in\\nin the high C of a tenor. To record high notes accurately and\\nnaturally is very difficult, on account of the exceeding rapidity of\\nof the vibration. A soprano high C being an octave higher is\\nstill more difficult to record. In fact, women s voices are the\\nleast satisfactory records for an amateur to attempt, on account\\nof the great amplitude as well as the rapidity of the vibrations.\\nIn making talking records, speak naturally, but with energy.\\nDo not force the voice too much. Articulate plainly, sounding", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0160.jp2"}, "161": {"fulltext": "THE SECRET OF MAKING PHONOGRAPH RECORDS 157\\nthe s s and c s with particular distinctness. In using the speaking\\ntube, the lips should just about touch the mouth piece. With\\nthe 14-inch horn, or the 26-inch japanned tin horn, the speaker\\nshould be from two to four inches away. Experiments will prove\\nthe proper position for each speaker. In making tests, announce\\nupon the record each change you try, so that the effect of each\\nexperiment may be traced when the record is reproduced.\\nIf a piano is used (and all musical records are vastly im-\\nproved by a piano accompaniment), it should be an upright, with\\nthe back of the instrument as close to the horn as the position of\\nthe performer will permit. This again is a matter of judgment, as\\nsome pianos are so much louder than others that they may be\\nplaced farther away, up to three or four feet. With a square or\\na grand piano, it is difficult to get real good results unless the\\ncover of the instrument is raised at an angle (so as to act as a\\nsounding board) and the horn placed very close. For vocal duets\\nand quartettes, the singers should stand with their heads as close\\ntogether as possible, directly in front of the horn. Good records\\nof choruses are not easily made, as the greater the number of\\nsingers, the more complicated do the sound waves become. In fact,\\na single voice or a single instrument will produce every time the\\nloudest record. The cornet is the best instrument for the amateur\\nto commence with; it should be placed from four to six feet away.\\nWatch the high notes carefully, or the record will blast. The\\nscheme of l flagging, high notes is a good one. Whenever such\\nhigh notes are played, lower a silk handkerchief in front of the\\nhorn. But better still, have the player enter into intelligent co-\\noperation with your efforts, and by repressing certain notes, he\\ncan aid you very materially. The most successful Phonograph\\nsingers or performers are those who watch results as carefully as\\nthe record maker does himself and regulate their efforts accord-\\ningly. They must realize every moment that they are making\\nrecords for the Phonograph, and not singing for an audience.\\nEvenness of tone is what tells.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0161.jp2"}, "162": {"fulltext": "158\\nHANDBOOK OF THE PHONOGRAPH\\nA piccolo or a clarinet should be within a foot of the record-\\ning horn. A violin or banjo as close as possible. Banjo duets\\nmake especially loud and clear records. A guitar or mandolin does\\nnot give satisfactory results. A xylophone should also be as near\\nas possible, with the upper octave closer to the horn than the lower.\\nIn making band or orchestra records, place the bass instru-\\nments, (such as tubas, altos and trombones) at a distance of five\\nfeet from the horn. These instruments all give tones having slow\\nvibrations, and consequently must be nearer the recording dia-\\nphragm to balance the other instruments having a greater energy\\nof tone vibrations. Cornets should be at the greatest distance,\\nabout fifteen feet. Place the other instruments in between pic-\\ncolo, five or six feet from horn clarinet, seven feet. Better omit\\nthe bass drum. It is likely to spoil the effect, as it does not\\nrecord well. If it is possible, have the cornets on the back row\\nwell elevated, so that the performers in front do not cut off or\\nblock the sound. In fact, it is well to elevate even the piano", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0162.jp2"}, "163": {"fulltext": "THE SECRET OF MAKING PHONOGRAPH RECORDS 159\\nabout two and one-half to three feet from the floor, so that it may\\nbe on a level with the recording horn, which, as before stated,\\npoints level with a singer s head. For record making at home,\\nwhere it would not be an easy matter to do this, the performers\\nshould sit rather than stand, so that the piano accompaniment\\nrecords with a true relative value to whatever it accompanies.\\nAs previously stated, experience in the art of record making\\nis the best teacher. The above instructions merely outline the\\nprincipal points to be observed. Follow them carefully, and give\\nparticular attention to the minutest details, as very frequently the\\nsmallest trifle will spoil what would be otherwise a highly sat-\\nisfactory record.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0163.jp2"}, "164": {"fulltext": "CHAPTER IV.\\nThe Phonograph as an aid to Language Study.\\nTHERE are two ways of learning a language. One, the\\nUniversity method of studying from a literary standpoint\\nlearning the grammar, learning to read but not learning\\nto speak in other words, through the eye.\\nThe other way is through the ear the natural method. Mark\\nTwain has told us what a wonderful country France is. Why\\neven the children speak French. This sage reflection, however,\\ndoes not avail those of us who, though fortunate in being born\\nAmericans, yet wish to speak the tongue of Johnny Crapaud with\\npure native accent. So, unless we go to Paris, we rely on a\\nteacher, whose excellence of method and accent shall prove either\\nour making or undoing as the case may be.\\nThe conversational system is generally conceded to be the\\nbest yet some teachers carry out this idea so far as to claim not\\nto teach the grammar. Both methods have their advantages and\\nweaknesses. The two methods may be combined by the use of\\nthe Phonograph, in such a way as to learn the grammar at the\\nsame time while learning to speak by hearing the Phonograph\\nspeak. This is really the ideal method.\\nEvery one knows that the secret of learning to speak in\\nforeign tongues is to hear the language constantly spoken. The\\nway to learn French, is to go to Paris. The next best thing", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0164.jp2"}, "165": {"fulltext": "THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY l6l\\nis to have a teacher constantly with you, to talk whenever you\\ndesire and say just what you wish to hear, repeating as many\\ntimes as wanted and no more a teacher that never gets tired and\\ndoes not have to be paid.\\nThe great adaptability of the Phonograph for this sort of\\nwork is readily apparent to any person understanding the machine.\\nIn learning any new subject, art, science or business, particu-\\nlarly languages, it is always a matter of surprise to consider the\\nsmall number of leading principles constituting the frame-work of\\nthe entire subject. When these principles are acquired, the\\nwhole subject becomes an open book. This idea is strictly illus-\\ntrated in language study. A vocabulary of iooo to 2000 words is\\nsufficient to cover all ordinary intercourse. A few ordinary pages\\nwill contain all these words and they will go on eight Phonograph\\ncylinders, allowing 250 words to each cylinder. If these are\\nplaced on a Phonograph and run across consecutively, without\\nstopping, it would only require about half an hour to hear them\\nall. Think of it all the words that you would require to know\\nof any foreign language could be spoken in half an hour.\\nBut, these words cannot be learned by rote. They must be\\nlearned in combinations of sentences, with changes in construc-\\ntion, according to their grammatical connection. The best way to\\nlearn them is undoubtly to hear them spoken constantly in these\\ncombinations.\\nTake any lesson from any language text-book, for example,\\nFrench, German or Spanish let the reading or conversation exer-\\ncise in the foreign tongue be dictated to the Phonograph by a\\nnative voice.\\nIf the pupil is studying with a teacher, so much the better.\\nNow after the lesson is over, and the teacher has dictated the\\nlesson, let the pupil go home and listen to that cylinder before\\nhe retires, listen several times, until he gets tired. Then, the first\\nthing next morning upon rising, start the Phonograph talking\\nand let it talk while dressing, killing two birds with one stone.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0165.jp2"}, "166": {"fulltext": "1 62 HANDBOOK OF THE PHONOGRAPH\\nHe can listen to that record seven or eight times in the morning,\\nwithout apparently consuming any time. Let him take another\\nlesson in French from the Phonograph when he comes home at\\nnight, two or three turns of the cylinder whenever he has the\\nopportunity. Every word on that cylinder will, in a remark ably\\nshort time, be committed to memory and so indelibly stamped\\nupon the mind that it becomes like his native tongue. He can\\nsoon reproduce in the exact tone of voice, accent and inflection of\\nthe machine and what the machine teaches him will be a faithful\\nreproduction of what the teacher has spoken into it, without the\\nslightest variation from his pronunciation. This is simply an\\nideal method.\\nLet the pupil take three or four pages of conversation in this\\nmanner and listen to it daily between lessons, repeating it over\\nafter the machine, imitating the accent given by the machine.\\nWhen he goes for the next lesson the teacher will be surprised at\\nthe readiness with which those sentences will flow from the pupil s\\nlips.\\nHaving learned the words in those sentences, it is an easy\\nmatter to adapt them to other sentences.\\nAny teacher of languages can put the lessons from any text-\\nbook upon the machine in this manner, for the benefit of the\\npupil. Of course, it is better if a special book is used, prepared\\nby a teacher who has given thought to this method of study.\\nThere is prominent Professor in New York, who has done this.\\nHe has been using the Phonograph in teaching French and Span-\\nish for the past ten years. Both his Spanish and his French books\\nare designed for this purpose and all his teaching is done in this\\nmanner. Pupils use his book, who do not use the machine, but\\nif they desire to use the machine in connection with it, there is\\nthe book and the system already prepared. The Professor fur-\\nnishes cylinders in Spanish dictated in his own voice. In French\\nthe cylinders are dictated by a native Frenchman. 20 lessons com-\\nprise the course, covering all that is contained in the book.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0166.jp2"}, "167": {"fulltext": "THE PHONOGRAPH AS AN AID TO LANGUAGE \u00c2\u00a9TUDY 1 63\\nWhen a student can talk fluently everything that is upon the\\nPhonograph in those twenty lessons, he knows enough of the\\nlanguage for all ordinary purposes. By having these records and\\na machine in his own home it is only a question of listening to\\nthem all, faithfully for a short while, until they will be learned.\\nThe pupil sits at the Phonograph with the open book before\\nhim. He sees just what the w r ord is, printed in foreign tongue,\\nwith the English translation underneath it. He has previously\\nread or studied what the book says about the pronunciation of the\\nletters, accents, the construction of the sentence and the gram-\\nmatical form. Then, having these things in his mind, he listens\\nto the sounds by hearing the machine speak them. Thus he culti-\\nvates the eye and ear at the same time. Then he imitates the\\nmachine and tries to pronounce the letters and the words exactly\\nas the machine pronounced them. He is not afraid to say them\\nover as many times as he wishes, or to make the machine go back\\nand repeat, many, many times, oftener than a teacher would be\\nwilling or able to repeat for him.\\nSuppose a student wishes to study several languages. He can\\nhave a set of French records, a set in Spanish and a set in Ger-\\nman, or in any other language, all at the same time. Having\\npurchased the cylinders and the machine, there is no further\\nexpense attached to it and the student can prosecute his studies\\nto any length, at his own pleasure.\\nNor is there the slightest difficulty in acquiring all the most\\ndifficult sounds in any of these languages. The German ich\\nand the French nasals, reproduce perfectly. Take the word\\nmarche in French, m-a-r-r-r-ch (pronounced like sh). The\\nbreath sound of ch, surprising as it may seem, can be reproduced,\\nif properly dictated, so that it will be heard through a large horn,\\nclear across a large room.\\nL,et a German teacher, with a full heavy voice, dictate to the\\nPhonograph Mein Kind, ich habe nicht daran gedacht, and\\nthe German guttural will be heard distinctly. The writer has a", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0167.jp2"}, "168": {"fulltext": "164 HANDBOOK OF THE PHONOGRAPH\\nFrench cylinder which begins, Monsieur Robert, est-il chez lui\\nNon, monsieur, il est sorti. Ou etiez vous hier? Hier soir j etais\\nau concert. Combien d argent avez vous dans votre portmonnaie\\nThese sentences soon became so fixed upon his mind from constant\\nPhonograph repetitions, that he could hear them ringing in his\\nears whenever the idea of French occurred to him. After a few\\ndays, about two pages of conversation contained on the first cylin-\\nder, could be repeated understandingly and with the exact accent\\nas given by the Phonograph, which had been previously talked\\ninto by a French teacher. This could not have been done in as\\nmany months with any ordinary method of teaching. French\\nteachers will all admit that many times they have pupils who study\\nwith them for years and yet cannot speak.\\nSay there are two hundred words made up into sentences on\\none cylinder. It takes about four minutes for a cylinder to run\\nthrough. Now, if those sentences are listened to over and over\\nagain, with the eyes on the printed book, following every word\\nas the machine speaks it, no better practice could be imagined. It\\nis far better than the disconnected practice obtained in conversation\\nwith persons, many of whose words are not comprehended. It\\nis useless to listen to talk in a foreign tongue, where the pronun-\\nciation is not understood and the meaning is a total blank. One-\\nhalf hour s practice listening to the Phonograph and studying out\\nthe meaning from the printed translation accompanying it, also\\nlearning the rules of construction as laid down in the text books\\nis worth more than a whole evening spent in disconnected\\nconversations.\\nTake a single sentence, for instance Yo deseo hablar\\nespanol. Repeat that sentence alone, many times, until every\\nsingle sound and inflection is perfectly clear to the mind. Then\\nturn to the grammatical rules given in the same lesson of the book\\nand learn the reason for everything which is being listened to.\\nAfter that is thoroughly learned, so that the student not only\\nunderstands the construction but can also repeat the full sentence", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0168.jp2"}, "169": {"fulltext": "THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY 1 65\\nwithout the aid of either book or Phonograph, then let him take\\nthe next sentence. When that is learned proceed to the next and\\nso on, until all are learned. Then let him start at the beginning\\nand repeat the first sentence, then the second, then the third\\nuntil he makes a mistake then go back to the beginning again\\nand repeat from the beginning. L,et him practice this until he\\ncan repeat the entire contents of that cylinder from memory.\\nThe pupil will thus commence from the beginning to acquire\\na special vocabulary, which, can be learned by no other way, except\\nby years of toil and perhaps waiting for the opportunity when he\\ncan go to Paris, or to Cuba, only to find when he arrives there,\\nthat he belongs to that class of Americans who, it is said, al-\\nthough they study French in this country, cannot speak or under-\\nstand a word of what is said to them on their arrival in Paris.\\nThe writer firmly believes that any one with a taste for lan-\\nguages can learn three languages in his own home, with the aid of\\na Phonograph easier than he can learn one without the aid of the\\ninstrument. An earnest student can learn without the aid of a\\nteacher. Of course, it is better to have a teacher too but much\\ntan be learned without a teacher, there is no doubt about that.\\nIf he could not have both a teacher and a Phonograph, and had\\nto choose between them, the writer would certainly take the\\nPhonograph.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0169.jp2"}, "170": {"fulltext": "CHAPTER V.\\nThe Phonograph as an Aid to the Arts of\\nStenography and Typewriting.\\nBeing a conversation and argument between Charles Freeman Johnson (a\\nshorthand reporter of considerable fame and prowess) and Mr. Openeer.\\nJOHNSON, said I one day, you re a hard headed practi-\\ncal business man what do you think of the Phonograph\\nin every day business It is an acknowledged factor as\\na home entertainer but what do you know about the Phono-\\ngraph for practical business use\\nMr. Openeer, he replied, I know a lot about it; I ve\\nbeen a shorthand reporter for twenty years.\\nNow, my friend Mr. Johnson isn t much of a talker his\\nbusiness is listening and he does a lot of it, (all the time writing\\nwhile other fellows are talking). So I said, in a bantering way,\\nto draw him out, Do you really think\\nDo I think, he grew hot right away, Do I think it s of\\nany use After using it for ten years in my business After\\ntraining hundreds of operators to earn their bread and butter by it\\nAfter seeing our court stenographers earning big money by report-\\ning cases with its amanuensis aid, which they could not other-\\nwise report without calling in the aid of other stenographers\\nHe paused for want of breath.\\nSay, Johnson, said I, don t talk to me at the rate of\\n250 a minute come down to 132 and tell me about it in a kindly\\nand christianlike manner.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0170.jp2"}, "171": {"fulltext": "THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 67\\nNo I don t think, he went on again ignoring my inter-\\nruption, I don t think the sun shines or the wind blows or that\\nit rains or snows. I know these things absolutely, and I also\\nknow absolutely that the Phonograph in its sphere is just as im-\\nportant a factor as the telegraph, the telephone, the typewriter\\nand the stenographer are in theirs. The time was when no tele-\\nphones were used, and not so very long ago there was no tele-\\ngraph and no typewriters, and a stenographer was a rarity now,\\nwe have all these things and we also have the Phonograph.\\nWhen Mr. Johnson warms up, he is really quite eloquent.\\nJohnson, said I, How does a typewriter come in on the\\nPhonograph question.\\n1 An operator becomes more expert through practicing from\\nPhonograph dictation just as shorthand students train them-\\nselves for the fastest shorthand reporting, by taking down short-\\nhand exercises from Phonograph dictation. He whipped a\\nletter from his pocket. Listen to this, he said.\\nMy Dear Mr. Johnson\\nWhen I wrote you last fall, I was thinking about buying a\\nPhonograph to be used as a dictator in this way you see I am a\\nstenographer, with a speed of 140 words a minute my object is\\nto increase my shorthand speed, so all I now need is some one to\\nread to me. My work being of such a nature, I cannot get any-\\nbody to read to me in the day, and when I get home at night it is\\ntoo late to have a person read to me even at a reasonable price,\\nshould I hire one. So the idea came to me to get a Phonograph.\\nNow I want to ask you a few questions concerning the Edi-\\nson Home Phonograph, as that is the one I shall buy, the one\\nfor thirty dollars.\\nWill it record my voice in such a manner that on being repro-\\nduced I can write it down in shorthand just as though a person\\nwere reading to me Will every word be reproduced distinctly", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0171.jp2"}, "172": {"fulltext": "1 68 HANDBOOK OF TH\u00c2\u00a3 PHONOGRAPH\\nprovided it is dictated distinctly If for instance, I take a clip-\\nping from a newspaper containing about one thousand words and\\ndictate the same to the Phonograph at a rate of 180 words per\\nminute could I make the Phonograph reproduce it at a rate of\\n190 words and also at a less rate? In other words, can I make\\nthe Phonograph reproduce the same record very fast or very slow;\\nand while being reproduced fast, can it be heard as distinctly as\\nwhen reproduced slow, and also vice versa\\nHow many times will I be able to use the same record, and\\nhow many times can a record be shaved and a new record taken\\nPlease tell me what size horn I shall buy. Can I dictate through\\na horn or is it necessary to use a speaking tube\\nIf the Phonograph can do as above asked, I want you to buy\\nme one.\\nYours very truly,\\nJohnson folded this letter up and put it back in his pocket\\nwith a satisfied air. I answered this letter, he said, and\\ntold him that he couldn t do better than to buy a Phonograph\\nright away, as it would do all he asked and more too. He can get\\n800 to 1000 words on a record, and can reshave it a hundred times\\nif he s careful about it.\\nThat is certainly very much to the point, said I, and\\nnow what else do you know.\\nI was stenographer in the famous Fair will case in San\\nFrancisco, probably one of the greatest cases ever tried in this\\ncountry, lasting over five months. I saw page after page of daily\\ntestimony and arguments forming an exact copy of the complete\\nproceedings ready by 9 o clock the same night; thousands of pages\\nin all, so that the judge and attorneys had the complete proceed-\\nings of each preceeding day before them upon starting work every\\nmorning. All this was done by one shorthand reporter, (your", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0172.jp2"}, "173": {"fulltext": "THK PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 69\\nhumble servant) and two typewriters with the aid of the Phono-\\ngraph in transcribing.\\nI also reported the proceedings of the Trans- Mississippi\\nCongress in 1894, both in St. Louis and in San Francisco\\nthe California Fruit Growers Association in Los Angelos in 1893,\\nthe American Publishing Association in Brooklyn in 1889 and\\nthe National Trotting Association, held in Buffalo in 1889 an( i\\nmany others. So I guess you ll believe that I know what I am\\ntalking about.\\nEvery person, no matter how ignorant, understands that it\\nwill require time to learn to become a good telegraph operator,\\nand it takes many months and years to become a good stenog-\\nrapher, and it seems funny that they should not think the same\\nway about the Phonograph.\\n1 1 Why should we spend time and money to learn telegraphy,\\nshorthand and typewriting and then have an idea that no time is\\nrequired to learn the Phonograph; the most delicate of all and one\\nof the most useful.\\nThe use of the .Phonograph must be learned, the same as\\nanything else. But how easy it is to learn, and to use, when you\\nknow how. Take the easiest of all the foregoing arts, typewriting.\\nEven that requires weeks to learn and months, perhaps years, to\\nbecome expert. But the Phonograph, while it does require a little\\ntime to learn, yet needs but a few days to learn everything about\\nit and only a few weeks practice to acquire all the dexterity in its\\nuse, that is necesssary to make it an indispensable adjunct to a\\nskilful person s life. Yes, indispensable to life for life is not\\nworth living without it to a man who really has much business\\nrequiring its use. I make the following broad statement without\\nthe slightest hesitation.\\n1 Every person engaged in work of any kind requiring dicta,\\ntion and typewriter transcription, can do this work with greater\\nease by dictating to the Phonograph than in any other manner.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0173.jp2"}, "174": {"fulltext": "170 HANDBOOK OF THK PHONOGRAPH\\nDo you mean that the Phonograph will entirely take the\\nplace of shorthand, said I.\\nNo, nothing of the kind. replied Johnson, I believe that\\nnot in a thousand years will this ever happen. There are many\\ncases where the dictation (from the circumstances of the case) can\\nbe done better in shorthand. For this reason the amanuensis\\nstenographer will never be entirely displaced. The telegraph has\\nnot been displaced by the telephone the elevated railroads have\\nnot displaced the surface lines, nor has the typewriter done away\\nwith handwriting. More pens are manufactured today than\\never before in the world s history. The greatest usefulness of\\nthe Phonograph for business purposes, lies in its value as an aid\\nin developing shorthand and typewriting. It will make more\\nwork and increase the number of typewritists and make better\\noperators of those who use it in their daily work, or in their\\npractice as students. In many cases perhaps, it will take the\\nplace of the amanuensis stenographer, as any good typewriter\\ncan do all the necessary work from it without the aid of any\\nshorthand whatever. But the same person doing the amanuensis\\nstenography, will become the phonographist, receving more pay,\\nfor an expert phonographist and typewritist is worth more pay\\nany time than an ordinary amanuensis stenographer. While it\\nshould increase the wages of the typewritist, it will save money\\nfor the employer, for far more work will be done by each operator.\\nIt should be a part of every stenographer s education to\\nunderstand the Phonograph thoroughly, to be able to dictate his\\nnotes, and, if a typewritist, to be able to transcribe from it. He\\nshould know everything pertaining to his art. The time is\\ncertainly coming when thousands of Phonographs will be in use\\nwhen the sight of a Phonograph in a business office will be as\\nfamiliar as the sight of a typewriting machine.\\nThere are 3,000 business colleges and shorthand schools in\\nthe United States, averaging say 150,000 students of shorthand\\nand typewriting. A large percentage of these will never pass the", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0174.jp2"}, "175": {"fulltext": "THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 171\\nline of mediocrity, because they have not the general education\\nand special talent required to make good stenographers. Yet all\\nof these could become good typewritists and fill money earning\\npositions, simply by learning the use of the Phonograph. With\\nthree months study, they could take positions. If they wish\\nto learn shorthand besides, they can get all the dictation practice\\nso necessary, by writing down in shorthand selected dictation\\nexercises previously dictated to the Phonograph. And it is so\\nmuch easier for this sort of work to be done from the Phonograph,\\nthat it will ultimately result in its being done in this manner, as\\nsoon as the public and the operators find out how much better\\nit is.\\n1 Every student of shorthand should own one of these\\nmachines and have it in his own house for practicing shorthand\\ndictation. It is far better than a human dictator. If the student\\nasks a sister, or brother, or a friend to read for him, they soon\\ntire out. Besides, the best of reading for practice is never quite\\nsatisfactory. But with a Phonograph, the student dictates any\\nof the exercises he wishes to practice, at his own rate of speed\\nthen lets the machine talk it back to him at whatever rate of speed\\nhe may choose and he practices taking it down in shorthand, over\\nand over again, as many times as he wishes, until he becomes\\nthoroughly expert.\\n1 The secret of speed in shorthand writing is constant\\npractice on the same exercise, writing a paragraph over and over\\nagain, until it becomes almost second nature to write it. For this\\npurpose, a Phonograph is simply ideal and it will not be long\\nbefore every business college and shorthand school in this country\\nwill have an equipment of Phonographs for the purpose of giving\\ntheir scholars dictation work, instead of paying teachers salaries\\nfor the purpose of reading dictation exercises to scholars, as they\\nnow do.\\n1 Now letus come to the question of what class of people\\nneeds the machine most, and who can use it the most readily. I", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0175.jp2"}, "176": {"fulltext": "172 HANDBOOK OF THK PHONOGRAPH\\nanswer, court stenographers. Why Because, they have the\\nmost work of this kind to do. How do they do it Well,\\nthey report in court all day long, we will say. A reporter takes\\nfrom 100 to 200 pages of shorthand notes a daj^. When court\\nadjourns, he goes to his office and reads his notes into the Phono-\\ngraph. He simply talks them off from his note book, just as fast\\nas he can possibly talk. It makes no difference to the type-\\nwritist how fast the dictator talks into the machine. He can try\\nhis skill in this direction and talk like lightning. As soon as\\nthe cylinder is full, it is turned over to the typewritist, who is\\nwaiting with another Phonograph and a typewriter. The reporter\\ngoes right on dictating another cylinder, as fast as he can talk.\\nThe typewritist meanwhile starts the first cylinder on her Phono-\\ngraph talking back to her. If too fast, she simply stops the\\nmachine until she catches up then she goes ahead again or she\\ncan set it back and repeat as many times as necessary.\\nWith a good t}^pewritist, no repeating is necessary, for the\\nreason that the reproduction can be regulated so that the talk\\nwill come off, not as fast as dictated, but at a very slow rate of\\nspeed. In this way an expert typewrtist can keep writing\\ncontinuously, without making any stops, all the time keeping up\\nwith the machine.\\n1 This develops great speed in typewriting and it is the\\nexperience of all operators using the Phonograph (until they be-\\ncome throughly expert with it) that they prefer writing in this\\nmanner. They can turn out more copy than in any other way,\\nwith more ease and comfort to themselves.\\nEvery typewritist knows how much pleasanter it is to write\\nfrom dictation than either from copying or from shorthand notes.\\nOne half of the transcriber s time is wasted in deciphering notes.\\nAn expert transcriber from dictation can do as high as eighteen\\npages an hour, while the same operator, transcribing from short-\\nhand notes, could not do more than ten pages an hour. This,\\nof course, is the highest degree of skill.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0176.jp2"}, "177": {"fulltext": "THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 73\\nWith the Phonograph, the typewritist is not compelled to\\nadapt her time to the reporter s, and it is a wonderful relief to\\nhim to know he can stop work at any moment, without wasting\\nthe time of another employee, in the middle of a sentence, or at\\nthe end, and go on again from the same place, whenever he is\\nready. He can be doing something else, while his work is being\\ntranscribed, releasing him from the drudgery of being tied down\\nto the operator, waiting for the slower transcription when he\\nknows he could talk so much faster.\\nIn dictating to an amanuensis stenographer, the time of the\\nemployee in taking notes is entirely wasted, for if the dictator\\nwere talking to the machine instead, the amanuensis would be\\nengaged in transcribing something else, or doing other work. In\\nother words, the Phonograph gives both dictator and transcriber\\nabsolute liberty as to time.\\nIf reporters can do this with the Phonograph, because\\nthey have so much of it to do, how much easier it should be for\\nother persons to use it, who have less work to do?\\nNot only is the Phonograph a benefit to the typewritist,\\nbut it is an educator to the person dictating. It will improve the\\nthe dictation of anyone using it. There are lawyers whose\\nspeeches at the bar are models of diction not requiring the\\nslightest change after delivery. But there are many others, if\\ntheir speeches were reported word for word as delivered, who\\nwould deny they ever uttered them. To such men, the habit of\\ndictating to a Phonograph would be invaluable for it would force\\nthem to think, before beginning to talk to put their language in\\nproper form for expression and not leave the auditor to imagine\\nfrom their disconnected words what they really mean to say.\\n1 As far as the talking quality of the Phonograph is con-\\ncerned, it is to-day perfectly satisfactory. If the cylinder is prop-\\nerly shaved so as to present a smooth and highly polished\\nsurface, and the record is properly dictated, in the right tone of\\nvoice, with the mouth at a proper distance from the speaking", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0177.jp2"}, "178": {"fulltext": "174 HANDBOOK OF THE PHONOGRAPH\\ntube, the reproduction will be perfect. It will be so clear that\\nno one can have the slightest difficulty in understanding it, quite\\nas well as if spoken in the ordinary manner.\\nDictating correctly, without mistakes or changes, is entirely\\na matter of habit. With a little practice a dictator can form the\\nwords in his mind, so as to utter them rapidly, without correction.\\nShould an error be made, it can be indicated to the typewritist\\nbefore it is written, by simply saying at once, mistake. If a\\nchange is required in matter dictated some time previously, it can\\nbe made readily by a simple memorandum on the slip of paper\\nused to number the cylinder, calling the typewritist s attention to\\nthe same. The typewritist, seeing the memorandum, will catch\\nthe change before commencing to write, by listening for the part\\nto be corrected.\\nNo judgment as to the usefulness of the talking machine\\nfor this work can be formed by listening to ordinary music, singing,\\nor comic speech records. These give no idea of the clearness of\\nreproduction for real work, with records properly made for the\\npurpose. When dictation is carefully and properly done, pitch\\nand timbre are in the record the accent is clear and distinct\\nevery change and inflection is noted, also the rise and fall of the\\nvoice all in fact, that is required for reproduction of the work.\\nAny typewritist with one week s practice in listening, can there-\\nafter distinguish every word spoken to the machine, without the\\nslightest difficulty.\\nNo one starting to use a Phonograph, should begin it with-\\nout carefully considering every detail, having full instructions\\nfrom those understanding it and having all the appliances\\nnecessary to make it a success. Where any failure is recorded,\\nit is always due, not to any inherent inability in the machine for\\nsuch work, but either to trifling mechanical defects, possible in\\nany piece of machinery, or else to lack of intelligence on the part\\nof either the dictator or the typewritist.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0178.jp2"}, "179": {"fulltext": "THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 75\\n1 1 If the first trial of the Phonograph is not pleasing, try it\\nagain and persevere at it. It is like every new exercise. The\\nfirst day of bicycle riding is unpleasant the first trial of skates\\non ice may be disastrous the first week of typewriting is very\\ndiscouraging. But stick to it. Give the Phonograph a thorough\\ntrial of two weeks. Then, if you do not like it, you may rest\\nassured it is only because you are doing something wrong and\\nrequire a little instruction from some expert operator to show\\nyou where the difficulty is.\\nOne machine is not enough there should be two. There\\nmust be a stock of cylinders, at least a dozen, and in a short-\\nhand reporter s office, as many as 150 cylinders should be on hand\\nready for use.\\nThere should be a separate shaving machine and some one\\nperson trained to shave cylinders, whose duty it is to see that\\nprepared cylinders are always ready for the dictator, standing in\\nthe proper receptacle alongside of the dictation machine.\\nThe machine should be thoroughly and regularly cleaned,\\nso as to require no attention by the dictator. Its running parts\\nshould be freed from wax and dirt daily, and carefully oiled.\\n1 The recorder and reproducer should be examined to see\\nthat they are in perfect order and should always be kept in\\nreceptacles provided for them, so that they are always ready when\\nwanted and never broken by being laid down in unexpected places.\\nWith the best of care, the glass diaphgrams are liable to be broken\\nby accidents for this reason, it is well to keep an extra recorder\\nand reproducer on hand for use, while a broken piece is being\\nrepaired.\\nMake it a rule never to touch the outside, or talking sur-\\nfaces of the cylinders with the hands, and never allow anything to\\nstrike them. Do not let the cylinders rub against one another.\\nRemember that the Phonograph, like the human voice,\\nbeing designed to perform most delicate work, is a very delicate\\ninstrument, requiring the best of care and skilful handling, such", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0179.jp2"}, "180": {"fulltext": "176 HANDBOOK OF THE PHONOGRAPH\\nas any person of ordinary intelligence is able to give and that\\nprovided simply a little thoughtful attention is given to all its\\ndetails, the results obtained are the most satisfactory and pleasing\\nof all the devices introduced into the work-a-day life of the\\nnineteenth century, for the aid of mankind in intellectual pur-\\nsuits.\\nThe best place for a typewritist to learn this work is in a\\nshorthand reporter s office, where there is plenty of work. The\\ntypewritist is then competent to fill any position where a talking\\nmachine is used. If such a typewritist, taking an interest in the\\nwork and thoroughly understanding the machine, will instruct\\nthe dictator how to use it (if not thoroughly conversant therewith)\\nit will work with great satisfaction.\\n1 A busy man s time and brains now-a-days are worth too\\nmuch for him to spend himself in the old ways of doing work, to\\nsay nothing of the saving of nerve power and physical energy,\\nwhen a Phonograph can be obtained for such a reasonable sum.\\nHe can have a machine at his house and another, perhaps two, at\\nhis office. He can go home at night, sit in his own room in ease\\nand comfort, and dictate at his leisure, taking the work to his\\noffice the next morning to be transcribed by the typewritist.\\nMany of the best shorthand reporters, all over the United\\nStates are now using this machine in their offices for transcribing\\ntheir notes, and hundreds of the machines are in use in business\\nhouses where the heads of the various departments have learned\\nto dictate their letters in that way, where they have long since\\npassed the stage of experiment so that they now say, under no\\ncircumstances would they go back to the old way of correspond-\\nence by dictating in shorthand.\\n1 The time is coming when business and professional men\\nwill be ashamed to admit that they have not sufficient intelligence\\nto dictate to the Phonograph, and when no typewritists or stenog-\\nraphers will consider their education complete without a thorough\\nknowledge of the machine and skill in using it.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0180.jp2"}, "181": {"fulltext": "CHAPTER VI.\\nThree Greek Roots.\\nPHONE the voice. Its use in such\\nCfJC02S7j English words as telephone, pho-\\nnetic, euphonious and megaphone,\\ntells the story of its meaning.\\nGRAPH to write. As used in\\nypCCCpELV* ra P hic telegraph, and autograph,\\nJ I its meaning is clearly explained.\\nHence, Phonograph: the voice to write. In other\\nwords, a device for writing or recording sound.\\nGRAM: that which is written. As in\\nypCC/JLLLCUz the wor ds grammar and telegram.\\nHence, Phonogram: the voice\\nthat which is written. That is to say, sound recorded; or,\\nas applied to Mr. Edison s invention, a Phonograph\\nRecord.\\nABOUT TALKING MACHINES IN GENERAL.\\nAT first there appears to be a wide choice when one decides\\nto buy a Talking Machine. Besides the Phonograph\\n(Thomas A. Edison s original invention), there are on\\nthe market a large variety of grams, graphs and phones,\\nsubsequent inventions or modifications of the Original Edison\\nPhonograph. Not content with copying the general features of", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0181.jp2"}, "182": {"fulltext": "178 HANDBOOK OF THE PHONOGRAPH\\nthe first Talking Machine, the names also for the various models\\nare adapted from the titles chosen by Mr. Edison to describe the\\nmachine he invented and the record it made, of hitherto unseen\\nsound waves. The result has been a confusion of names and the\\npublic is to-day at a loss to know exactly what does, and what\\ndoes not constitute a Phonograph, and a Phonogram or Record.\\nDIFFERENT TYPES OF TALKING MACHINES.\\nThe most sweeping classification of Talking Machines would\\nbe\\nThe Phonograph (Class 1).\\nAll other Talking Machines (Class 2).\\nThis would not be just, however, in classifying as to types\\nfor many well-known Talking Machines are very similar to the\\nPhonograph in their general characteristics the difference being\\nmainly in their structural inferiority and consequent inability to\\ndo fine work.\\nAs to types, therefore, there are but two Talking Machines\\none. using cylinders of wax or similar compositions, and the other,\\nflat discs of hard fibre or metal.\\nWith machines of the first type it is possible for any one to\\nmake a record, either of the voice, of musical instruments or, in\\nfact, of any kind of sound. The waves of sound, playing upon a\\nsensitive diaphragm, cause a sapphire stylus to engrave or indent\\nupon the smooth wax cylinder indentations corresponding to the\\npitch or intensity of the sound. The cylinder revolves as the\\nsound is continued, causing a succession of indentations to appear\\non the wax surface, in the shape of a long spiral groove. This\\nconstitutes a Phonogram a writing of sound a Record.\\nWhen the sapphire point is set back at the beginning of the groove\\nand the record revolves, it is vibrated by the indentations, making\\nthe sensitive diaphragm in turn to vibrate and to give off again\\nthe same sounds that caused the indentations.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0182.jp2"}, "183": {"fulltext": "THREE GREEK ROOTS 1 79\\nWith machines of the second type it is not possible to make\\nrecords except with very elaborate and costly machinery, and the\\nuse of chemicals and acids. The groove is first traced on a flat\\ndisc by a stylus, vibrating sinuously, that is, sideways, instead\\nof in-and-out as with machines of the first type. This groove is\\nafterwards bitten deeper by the use of acids thus destroying in a\\nmeasure the absolute value of the sound writing. It is as if a\\nchild with a black blunt lead pencil should trace over the delicate\\nstrokes of a fine signature. The inaccuracies of the result are\\nplain to the eye and ear. When the reproducing stylus is placed\\nat the beginning of the groove and the disc is revolved, a harsh,\\ngrating sound is heard, in addition to the sound waves recorded.\\nThis is known as the scratch of the needle and is pronounced\\nby musical experts to be a most radical objection not taking into\\nconsideration even the fact that with this type of machine one\\ncannot make his own records which is more than one half the\\nfun of owning a Talking Machine.\\nTHE CHOICE OF A TALKING MACHINE.\\nThat Talking Machine is best which is most complete.\\nViewed from the standpoint of absolute merit, the wax cylinder\\nmachines present the means for the widest enjoyment. With this\\ntype it is always possible for an amateur to make records, and\\nthey are superior in every way to the flat disc machine, with\\nits gritty scratch of the needle and its acid-etched record.\\nWith the complete wax cylinder Talking Machine, not only\\ncan records be reproduced that are especially prepared by experts\\nin the art, but also records that are made at home. Not only are\\nfamous singers, bands, instrumental soloists, actors and vaudeville\\nartists brought into your very home, but you have the enjoyment\\nof making records of your own voice, your children s voices, your\\nfriend s banjo, cornet and piano playing.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0183.jp2"}, "184": {"fulltext": "l8o HANDBOOK OF THE PHONOGRAPH\\nWith the choice thus narrowed down to complete machines\\nof the wax cylinder type, there yet remain two considerations\\nPrice and Quality.\\nIt is a well known fact that the cheapest goods are not\\nusually the best. A certain value must be asked for value given\\nin manufacture. A dollar watch is made to sell. It is a good\\nthing in its way, but for time-keeping it is a superfluity and a\\nsource of annoyance. A cheap bicycle is made to sell. It is a\\npretty thing to look at, but one buys a wheel to ride, not to put\\ninto a glass case. A cheap Talking Machine that is made to sell\\nwill make a noise its wheels will go around, but that is its limit.\\nIt is also a well known fact that a great man with a great\\nname and a great reputation, will use every power and exercise\\nevery care to uphold the high standard that the use of his name\\ndemands. There can be but one conclusion. To paraphrase the\\ncry of Islam, There is only one Talking Machine, and its name\\nis the Phonograph.\\nALWAYS LOOK FOR THE TRADE MARK.\\nAll Genuine Edison Phonographs bear the name of the in-\\nventor Thomas A. Edison. That is the hall-mark of the\\ngenuine article. Other Talking Machines may look like the\\nPhonograph may appear to run as true and as smooth as the\\nPhonograph may even be called, unscrupulously, by the same\\nname, but no one need be deceived.\\nThe signature of Mr. Edison is on every Phonograph with-\\nout it no other machine is genuine.\\nPhonographs are made with the delicacy and accuracy of a\\nscientific instrument. They run smooth and true and govern\\nperfectly. This explains their use by other companies in making\\nfine high-priced musical records.\\nEdison Records are the best in the world. Not only is the\\nbest talent obtainable employed in the music-rooms at the Edison", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0184.jp2"}, "185": {"fulltext": "THREE GREEK ROOTS l8l\\nLaboratory, but the records are made on Kdison Blanks. This\\nis a fact that speaks volumes to the Talking Machine expert.\\nKdison Blanks are chemically pure. They are recognized as\\nStandard the world over.\\nThey have no successful rival in the market. There is no\\nTalking Machine company or infringer who does not recognize\\nthis fact and there are no records worth having that are not made\\non Kdison Blanks. Other kinds are gritty, harsh and unservice-\\nable, and little, if any, cheaper. The following, from a recent\\npublication on the subject, covers the ground truthfully\\n1 While the ingredients that compose the Kdison Cylinder\\nare not unknown in the art, the secret of their chemical combina-\\ntion still remains with Mr. Kdison. Other cylinders, made in\\nimitation of his, and cast in the same form, lack the qualities\\nessential for record making and other characteristics that give a\\ncylinder permanent value.\\nRECAPITULATION.\\nA Phonograph, any style, playing an Kdison Record, any\\nkind, made on an Kdison Blank, is Perfection.", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0185.jp2"}, "186": {"fulltext": "n", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0186.jp2"}, "187": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0187.jp2"}, "188": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0188.jp2"}, "189": {"fulltext": "", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0189.jp2"}, "190": {"fulltext": "V\\nv^\\n111: 1\\nI\\n00\\nx", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0190.jp2"}, "191": {"fulltext": "V\\nsr^luLL^^\\ny* y\\n\u00e2\u0080\u009evn\\n.V s\\nV\\n^o\\n0\\n,Y\\n-s.\\n.tf\\nC *V\\nv* 1\\nO0 N\\nOo\\nN\\n,0 o\\nA\\nw\\nv^\\nv\\nv\\nO\\nJl1\\n0? *,*u\\nW V\\n%^k\\nw\\n4?\\nP\\n\\\\V cP", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0191.jp2"}, "192": {"fulltext": "LIBRARY OF CONGRESS", "height": "3657", "width": "2331", "jp2-path": "phonographhowtou00nati_0192.jp2"}}