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The PHONOGRAPH 
 
 and How to Use It 
 
 BEING A SHORT HISTORY OF ITS 
 INVENTION AND DEVELOPMENT 
 CONTAINING ALSO DIRECTIONS 
 HELPFUL HINTS AND PLAIN TALKS 
 AS TO ITS CARE AND USE, ETC. 
 
 Including also a Reprint of the 
 Openetr Papers and Phonograph Short Stories 
 
 Three Greek Roots 
 What Mr. Openeer Heard 
 How We Gave a Phonograph Party 
 The Secret of Making Phonograph Records 
 The Phonograph as an Aid to Language Study 
 The Phonograph as an Aid to the Arts of Stenography 
 and Typewriting 
 
 SET INTO TYPE AND IMPRINTED IN NEW YORK IN 
 THE YEAR M • D • C • C • C • C 
 
TWO CO Pit 
 
 Library of Cgb£*<jh% 
 Officii of tM 
 
 MAR2-1900 
 
 Wegl«t»r of Copyright* 
 
 *° N 
 
 55954 
 
 ' ^*c 
 
 <^ 
 
 Copyright 1900, by 
 
 Thk National Phonograph Company 
 
 All Rights Reserved 
 
 / 
 
 8I0ONB COPY, 
 
 V% 0-/3 
 
TABLE OF CONTENTS. 
 
 Part First. — The Phonograph. 
 
 Chapter I. History — Ancient, Medieval and Modern, n 
 
 Chapter II. Prophecy, 15 
 
 Chapter III. More Modern History, ... 20 
 
 Chapter IV. The Story of the Invention, ... 23 
 
 Chapter V. The First Phonograph, ... 25 
 
 Chapter VI. Pictorial and Commercial Histor}-, . . 27 
 
 Part Second. — How to Use It. 
 
 Introduction, . 
 Chapter I. The Gem, 
 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 Chapter 
 
 II. The Standard, 
 
 III. The Home, . 
 
 IV. The Spring Motor, 
 
 V. The Concert, . 
 
 VI. The "M" and "E' 
 
 VII. The "M" Concert, 
 
 Electric, 
 
 " Coin Slot, 
 Coin Slot, 
 Concert Coin Slot, 
 
 VIII. The' k H 
 
 IX. The"M" 
 
 X. The"M" 
 
 XI. Batteries, 
 
 XII. Repeating Attachment, 
 
 XIII. Blanks and Records, 
 
 XIV. Shaving, . 
 
 XV. Dictating, 
 
 XVI. Speakers, 
 
 XVII. A Word about Belts, 
 
 Part Third. — The Openeer Papers. 
 
 Chapter I. What Mr. Openeer Heard, 
 Chapter II. How We Gave a Phonograph Party, 
 Chapter III. The Secret of Making Phonograph Records, 
 Chapter IV. The Phonograph as an Aid to Language 
 
 Study, 
 
 Chapter V. The Phonograph as an Aid to the Arts 
 
 of Stenography and Typewriting, . 
 Chapter VI. Three Greek Roots, 
 
 4i 
 46 
 
 5i 
 60 
 68 
 78 
 80 
 
 9i 
 
 93 
 
 103 
 
 105 
 109 
 116 
 118 
 122 
 124 
 127 
 131 
 
 135 
 145 
 152 
 
 160 
 
 166 
 *77 
 
PART FIRST 
 
 THE PHONOGRAPH 
 
FOREWORD 
 
 Much has been written concerning the Phono- 
 graph since Thomas A. Edison startled the world 
 with the first tin foil machine •, a round generation 
 ago. The history of its development, step by step 
 would fill volumes. The earlier types have be- 
 come obsolete in the march of progress. It is the 
 purpose of this book to illustrate and describe , not 
 only the first distinctly practical Phonograph of 
 Commerce {the type M Electric Phonograph) but 
 all the subsequent types and styles ; together with 
 the various attachments which are now in every- 
 day use. 
 
 What with the diagrams and the plain instruc- 
 tions , it will be demonstrated that the Phonograph 
 is as easy to take care of and as simple to manage 
 as any mechanical movement that is thoroughly 
 understood by its operator. 
 
 [Ed.] 
 
CHAPTER I.— History. 
 
 ANCIENT. 
 
 From the beginning of Time, marHnd has 
 sought to reproduce by mechanical means, the 
 sounds of the Living World. Of the great antiq- 
 uity of musical instruments there are many 
 evidences ; but the first attempt to simulate the 
 human voice is doubtless the wonder- 
 ful statue of Memnon at Thebes, dating 
 back to the 18th Egyptian Dynasty, 
 B. C. 1490. Two colossal statues still 
 stand on the west bank of the Nile, 
 near the present village of Karnak, 'mid 
 the ruins of some eighteen 
 others. At one time, the 
 most northern gave forth 
 sounds at sunrise, supposed 
 to be Memnon 's morning sa- 
 lute to his mother Eos, the Goddess of Dawn. That this is more 
 than a mere fable seems to be attested by several cuniform inscrip- 
 tions on the base of the statue, placed there by famous travellers. 
 The statue was tumbled over by an earthquake in B. C. 27. 
 Strabo, one of the earliest globe trotters on record, visited Memnon 
 in the year 7 A. D., and writes rather cautiously of the voice, 
 calling it merely a noise. Other writers (among them Tacitus, re- 
 cording the visit of the Roman General Germanicus A. D. 79) 
 
12 HANDBOOK OF THE PHONOGRAPH 
 
 refer to the sound as distinctly musical ; while still other enthu- 
 siastic writers dignify it as a song. Among the notables whose 
 visits to the statue are recorded, are Titus Petronius Secundus, 
 a Roman Prefect, A. D. 82, and the Emperors Hadrian, A. D. 140, 
 and Septimius Severus, A. D. 194. 
 
 Several of the inscriptions (the earliest dating A. D. 65) ex- 
 press or imply the idea that Memnon when entire, could speak in 
 language ; but since his mutilation was reduced to inarticulate 
 sounds. The best of the lot is by one Asklepiodotus, the imperial 
 procurator : ' ' Know, O sea-born Thetis, thai Memnon could not 
 die. When the hot rays shed by his mother [Eos] fell brightly 
 upon him, his clear song rings out while the Spreading Nile parts 
 the Lybiarr hills from hundred gated Thebes." 
 
 The statue was restored A. D. 196, by Septimius Severus, 
 soon after his visit ; but alas ! the wonderful gift of speech had 
 departed. 
 
 MEDIEVAL. 
 
 During the next ten centuries, there are instances without 
 number of talking automatons that have been genuinely con- 
 structed to perform mechanical wonders, but the voices have been 
 produced by trickery; either a concealed person has talked through 
 tubes or by echo from a concealed position. 
 
 The first authentic talker appeared in the 13th century, when 
 Friar Roger Bacon, the early English Philosopher, constructed an 
 ingenious talking head. 
 
 Gerber, a German Monk of an earlier period than Bacon, is 
 said to have made a most wonderful brazen head that talked, as 
 did also Albertus Magnus; but there is so much that is legendary 
 interwoven in the records that all but Bacon's head may be fairly 
 put down as fables. Bacon's talking machine was doubtless sug- 
 gested by the Speaking Head of Orpheus, which was an awe in- 
 spiring enigma to the early Greeks ; but it is more than probable 
 
HISTORY 1 3 
 
 that this wonder was to be accounted for on the same principle as 
 the vocal power of the colossal statue of the Indian God, Siva 
 (the Destroyer) where a seat was provided for a priest tinder 
 the headgear of the figure. In the case of Memnon however, it 
 is generally conceded that the sounds were due to some artifice of 
 construction or peculiarity of material used rather than the decep- 
 tion of priests ; thus establishing it as the first talking statue. 
 The same may be said of Bacon's head. Its verity is vouched for 
 by early testimony, thus establishing it without doubt as the first 
 talking automaton. 
 
 MODERN. 
 
 From Bacon to Faber of the present time is a long step, with no 
 great achievement to chronicle, unless we except the famous duck 
 of Vaucanson, so often referred to as one of the mechanical won- 
 ders of the century. This was constructed in 1 740, and astonished 
 all beholders by not only quacking in a life-like manner, but by 
 waving its wings, pluming its feathers, eating grain and even 
 digesting its food. The crowning point of mechanical ingenuity 
 was reached by Herr Faber, a Vienna experimenter, who in i860 
 built a most elaborate talking man, which easily stands at the 
 head of all talking machines of the automaton class. 
 
 A brief description of Faber' s talking man may be of interest. 
 It has flexible lips of rubber, and also a rubber tongue, inge- 
 niously controlling vowels and consonants. In its throat is a tiny 
 fan wheel, by which the letter V is rolled. It has an ivory reed 
 for vocal cords. Its mouth is an oval cavity, the size of which is 
 regulated by sliding sections, rapidly operated from a key -board. 
 A tube is attached to its nose when it speaks French. It is really 
 a most wonderful piece of mechanism, but a hundred times more 
 complicated than Mr. Edison's Phonograph of 1887, or the per- 
 fected Phonograph of to-day. 
 
 But Faber and his predecessors were on the wrong track in 
 
14 HANDBOOK OF THE PHONOGRAPH 
 
 attempting to solve the problem of sound reproduction in this 
 manner, on its physical side. Faber sought a cause; Edison saw 
 an effect, and said, " The Thing is there, it has but to be found." 
 Faber started from the source of the sound, and built a mechan- 
 ism, reproducing the causes of the vibrations that made articulate 
 speech. It remained for Edison to start from the vibrations; to 
 obtain the mechanical effects of such vibrations ; to record them on 
 a pliable material and then to reproduce them. 
 
 Faber copied the movements of the vocal organs, Edison 
 studied a vibrating diaphragm, and reproduced the action of the 
 ear drum when acted upon by the vibration caused by the vocal 
 organs. 
 
 The reader whose interest has been aroused and who desires more complete and 
 detailed information concerning this and succeeding chapters can consult the following 
 authorities with profit. [Ed.] 
 
 George Ebers, Egypt. Vol. 2, pp. 268-272. 
 
 George Rawlinson, Story of Ancient Egypt, pp. 210-216. 
 
 J. A. Setronne, The Quarterly Review, 1875. 
 
 George B. Prescott, The Electric Telephone. 
 
 Count du Moncel, The Microphone and the Phonograph. 
 
 Thomas A. Edison, North American Review, 1878. 
 
 Thomas A. Edison, North American Review, 1888. 
 
 Geo. P. I,athrop, Harper's Monthly, 1890. 
 
 Chas. D. I^anier, Review of Reviews, 1893. 
 
 Johnson's Encyclopedia. 
 
 Encyclopedia Britannica. 
 
 Groves Dictionary of Music. 
 
CHAPTER II.— Prophecy. 
 
 LET us now step into the realms of literature, and note what 
 has been written of the Phonograph in the line of prophecy; 
 if indeed such fanciful predictions and visionary foreshadow- 
 ings as we shall quote can be justly termed prophetic. Yet all 
 prophecies are but vague foreseeings. To-day we are speculating 
 on human flight and ultra rapid transit in vacuo. We are guessing 
 and experimenting at many problems which may become realities 
 at any moment. Seeing by telephone is almost accomplished, 
 and wireless telegraphy is a fact. The unknown of to-day may 
 be known to-morrow. Fact springs from Fancy in the Present; 
 as it has in the Past, and as it will in the Future. So listen! 
 
 John Wilkins, Bishop of Chester, who died in I^ondon in 
 1672, was an accomplished theologian, scientist, mathematician 
 and physicist. In his work on Mathematic Magick (1651), he 
 says : ' ' Some have thought it possible to preserve the voice, or 
 any words spoken, in a hollow trunk or pipe, so when this pipe is 
 rightly opened the words will come out of it in the same order 
 wherein they were spoken." 
 
 This is perhaps a very rough anticipation of the Phonograph. 
 To charge a tube with words, as a cannon is loaded with powder 
 and shot, beforehand, to be rattled out like the frozen up tunes in 
 Baron Munchausen's trumpet when a thaw came — it was cer- 
 tainly a most original theory. 
 
 Again listen ! 
 
1 6 HANDBOOK OF THE PHONOGRAPH 
 
 In 1 620- 1 655 there lived a French poet and philosopher, by 
 name Savinien Cyrano de Bergerac, whose fame has been but 
 recently refurbished by the playhouse and M. Rostand. In 1656, 
 a year after his death, there was published his ' ' Histoire Com- 
 ique en Voyage dans la Lune," a manuscript written in 1649. It 
 describes adventures in the Moon, and comments on the manners 
 and customs of the lunar inhabitants. A hollow sky-rocket and 
 an explosion ; and the adventurer finds himself in the Moon. 
 The story combines the romantic plausibility of Jules Verne with 
 the gentle irony and ingenious wit of Dean Swift's " Gulliver." 
 
 Bergerac found the Lunarians had two kinds of speech. The 
 upper classes used songs without words; and the populace, the 
 speech of limb-motion. They lived on odors, for money used 
 couplets and quatrains ; their vegetables talked ; (the soliloquy 
 of a cabbage being one of the quaintest conceits of human 
 thought) . Their books are described as machine books ; as 
 follows : 
 
 * ' ' No sooner was his back turned [he speaks of his Guide, 
 whom he terms his " Spirit"] but I fell to consider attentively 
 my Books and their Boxes, that's to say, their Covers, which 
 seemed to me to be wonderfully Rich; the one was cut of a single 
 Diamond, incomparably more resplendent than ours ; the second 
 looked like a prodigious great Pear, cloven in two. My Spirit 
 had translated those Books into the Language of that World ; but 
 because I have none of their Print, I'll now explain to you the 
 Fashion of those two Volumes : 
 
 As I opened the Box, I found within somewhat of Metal 
 almost like to our Clocks, full of I know not what little Springs 
 and imperceptible Engines. It was a Book, indeed, but a Strange 
 and Wonderful Book, that had neither Leaves nor Letters. In fine, 
 it was a Book made wholly for the Ears and not the Eyes. So that 
 when any Body has a mind to read in it, he winds up the Machine 
 
 ^Translation by A. Novell, A.M., Iyondon, 1867 ; pp. 122-124. Doubleday & McClure 1899. 
 
PROPHECY 1 7 
 
 with a great many little Springs ; and he turns the Hand to the 
 Chapter he desires to hear, and straight, as from the Mouth of 
 Man, or a Musical Instrument, proceed all the distinct and different 
 Sounds, which the Lunar Grandees make use of for expressing 
 their Thoughts, instead of Language. 
 
 When I since reflected on this Miraculous Invention, I no 
 longer wondered that the Young-Men of that Country were more 
 knowing at Sixteen or Eighteen years Old, than the Gray-Beards 
 of our Climate; for knowing how to Read as soon as speak, they 
 are never without Lectures, in their Chambers, their Walks, the 
 Town, or Traveling ; they may have in their Pockets, or at their 
 Girdles, Thirty of these Books, where they need but wind up a 
 Spring to hear a whole chapter, and so, more, if they have a mind 
 to hear the Book quite through; living and dead, who entertain 
 you with Living Voices. This Present employed me about an 
 hour, and then hanging them to my Ears, like a pair of Pendants, 
 I went to Walking. ' ' 
 
 This last paragraph certainly reminds one of the hearing- 
 tube attachment, and conjures up the pictures of people one has 
 seen listening, which pleased expression, to the Phonograph of 
 to-day. 
 
 These are the earliest writings to be found that bear 
 prophetically upon the subject. Compare now with another 
 prophecy, written in 1878, after Edison's Phonograph had startled 
 the world. 
 
 * ' ' Then as to books, there seems some chance ere long the 
 printer's if not the publisher's occupation will be gone, and the 
 present unwieldy form of communication between an author and 
 his readers be abolished. What would not one give to have 
 the ' Christmas Carol ' bottled up forever in Dickens' own voice, 
 to be turned out at pleasure. Books, as Mr. Edison truly says, 
 would often be listened to where they are not read ; and the 
 
 * From " Nature," Vol. XVIII, p. 117. 
 
1 8 HANDBOOK OF THE PHONOGRAPH 
 
 possibilities of the instrument in this direction may be learned 
 from the fact that a book of 40,000 words might be recorded on 
 four cylinders, eight inches long, with a diameter of five inches. ' ' 
 
 Coming down to recent times we find in Tom Hood's "Comic 
 Annual" 1839, the following: "In this century of inventions, 
 when a self-acting drawing paper has been discovered for copying 
 visible subjects (referring to Daguerre's improvements in Photog- 
 raphy) who knows but that some future discoverer may find some 
 sort of writing paper to repeat what it hears" — a prophecy literally 
 fulfilled by the indented tin-foil sheet of the early Phonograph. 
 Then again in 1844, Captain Matthew F. Maury (the famous hy- 
 drographer, the father of the United States Weather Bureau of 
 to-day) wrote to a friend : * "What a pity it is that M. Daguerre, 
 instead of Photography, had not invented a process of writing by 
 merely speaking through a trumpet at a piece of paper. Instead 
 of saying ' I wrote you a letter ' the phrase would be ' I spoke you 
 a ream.' " The prophesying becomes more exact as the time for 
 the invention draws nearer. 
 
 Again, in 1855 (to quote from that happy essayist, George 
 Parsons Lathrop) in an obscure book called f ' ' Helionde, or Ad- 
 ventures in the Sun," there was printed another allusion to a 
 supposed invention of the same sort, to this effect. " Aleutedon 
 here informed me that authors had no occasion to employ manual 
 labor in their publications, for they had only to repeat their ideas 
 aloud, and the vibrations of the air differing accordingly to the 
 words used, set in motion a very delicate machinery , which stamped 
 indelibly the language expressed. Copies could afterward be 
 taken in any number. " It is interesting to note that even the 
 terms used to express these predictions are closely allied to the 
 true facts of the invention. 
 
 * See Memoirs, published in London in 1888. 
 
 tThis anonymous writer evidently had for his source of inspiration Bergerac's '* His- 
 toire Comique," an extract from which has been quoted in full.— [Ed.] 
 
PROPHECY 19 
 
 Again, we find in 1875, that Jean Ingelow wrote a fairy tale in 
 which there figures a strange instrument called an ' ' Acousti- 
 graph ' ' which recorded music of all kinds, and reproduced it 
 most weirdly and wonderfully. These instances may or may not 
 be called prophecies, but they are wonderfully akin to a super- 
 natural foreshadowing of the coming event, which is now to 
 happen so soon. 
 
CHAPTER III.— More Modern History. 
 
 MEANWHILE in the world of Physical Science there had 
 happened certain mechanical experiments and discover- 
 ies, which may be termed material prophecies, all of 
 which pointed to the birth of the idea. There was Duhamel in 
 the early 1700's with his lamp-blacked revolving cylinder, on 
 which he traced sound curves. Then in 1747, the Rev. J. Creed 
 proposed to make a machine to record extempore piano-forte or 
 organ voluntaries. Following up the same idea, Hohlfeld of Berlin 
 working with Euler, the mathematician, constructed in 1752 a 
 crude music recorder called the Melograph. About the same time, 
 another German mechanician, J. F. Unger, was also working on 
 a similar instrument, and he finally proved priority of conception, 
 dating his idea from 1745, even before Creed. Then one Pape of 
 Paris, attracted considerable attention in 1824, with a music re- 
 corder; followed by Carrey re, in 1827, with his Melographic piano, 
 in which the music as played was represented by certain signs im- 
 pressed in a very thin plate of lead. In 1836, Eisenmanger of 
 Paris, took out an English patent for an apparatus to record piano 
 music, using a depressed stylus and carbonized paper. Then 
 followed M. De Tressog of Paris in 1840, and Merzelo, an Italian 
 in 1856, each with apparatus of a similar nature. * 
 
 * The dreams of these early inventors have become realized. The closing year of the 
 19th Century finds many automatic devices for recording piano music, not only perfected, 
 but within the reach (at nominal prices) of the great music loving public. 
 
MORE MODERN HISTORY 21 
 
 All these machines, you will note, had for their object the 
 recording only of music, and especially the piano or organ ex- 
 temporizations. The growth of the perfected piano from the 
 early clavier and clavichord, and the use of these instruments by 
 the great German composers (Bach and Handl in the early 
 1700's, Haydn, Mozart and Beethoven, toward the close of the 
 century, Spohr, Chopin, Mendelssohn, Meyerbeer and Liszt, in 
 the i8oo's), all this musical activity combined, brought with it 
 the desire for an invention to record permanently the improviza- 
 tions of these great artists and composers. So it is that Art 
 fosters Science. 
 
 Following the keynote struck by Duhamel (the restless and 
 fruitless searchings and strivings thus far recorded being but 
 variations of the fundamental) the next note in the grand melody 
 of Progress was sounded by Leon Scott, working with Konig in 
 1856, with his Phonautograph ; recording the graphic traces of 
 vibrations in sinuous scratches upon a smoked surface (useless, 
 you will note particularly, for the purpose of reproduction of 
 sounds) . 
 
 Then came Fenby * with a patent, in 1863; closer and closer, 
 but as yet not practical for an exact recording, and still less so for an 
 exact reproduction of sound. Then came M. Charles Cros in April, 
 1877, (seven months before the date of the Edison patent, but 
 several months after patent was filed). He deposited with the 
 Academie des Sciences a sealed packet, which was opened at the 
 December sitting of the Academy. It contained a general de- 
 scription of a device similar to the gramophone of to-day, the in- 
 vention claimed by Berliner of telephone fame, in his patents of 
 1887-8. 
 
 In November, 1877, came the announcement of Mr. Edison 
 that the phonograph was an ACTUALITY. The culminating 
 
 * In 1863, F. B. Fenby, of Worcester, patented "The Electro Magnetic Phonograph" 
 (the same words which Edison employed some 14 years later). The scheme was compli- 
 cated and no machine was ever made.— Grove's Dictionary of Music, Vol. IV, 767. 
 
22 HANDBOOK OF THE PHONOGRAPH 
 
 point of a generation of vague strivings had been reached. The 
 fanciful foreshadowings of a hundred }^ears had suddenly found 
 fulfillment. The leading strings of centuries of thought con- 
 verged on the tin-foil covered cylinder, which echoed back through 
 Time, triumphantly to Cros, mockingly to Fenby and to Scott, 
 kindly to Duhamel, Creed and Unger, pityingly to Faber, Vau- 
 canson and Roger Bacon, respectfully to de Bergerac and the pro- 
 phets, and gramercy to Amenophis III, the Memnon maker. 
 
 It is wonderful indeed, to contemplate the events of the cen- 
 tury immediately preceding the birthday of the Phonograph. 
 They indicate the strange trend of human invention ; how it 
 pointed in a given direction during a given time ; how it needed 
 but the presence of the great inventor to bring forth the solid truth, 
 even as from an over-saturated solution there suddenly appears 
 the shining crystal when the exact condition has finally arrived. 
 
CHAPTER IV.— The Story of the Invention. 
 
 THE story of the invention is best told in Mr. Edison's own 
 words. In an article on ' ' The Perfected Phonograph ' ' 
 which he wrote for the North American Review in 1888, 
 Mr. Edison calls attention to the well known effects of certain 
 musical notes and chords upon sand, when loosely sprinkled on a 
 sounding board; in response to the sound waves, the sand sifts 
 itself into various geometric curves, differing according to pitch 
 and intensity. He speaks also of the fine line of sand that is left 
 high up on an ocean beach, as each breaker spends its force in its 
 uttermost ripple, and then recedes. He draws the following 
 parallel : 
 
 11 Yet, well known though these phenomena are, they appar- 
 ently never suggested until within a few years, that the sound waves 
 set going by a human voice, might be so directed as to trace an im- 
 pression upon some solid substance, with a nicety equal to that of 
 the tide in recording its flow upon the sand beach. ***** 
 
 1 ' My own discovery that this could be done came to me almost 
 accidentally while I was busy with experiments, having a dif- 
 ferent object in view. I was engaged upon a machine intended 
 to repeat Morse characters, which were recorded on paper by 
 indentations that transferred their message to another circuit 
 automatically, when passed under a tracing point connected with 
 a circuit closing apparatus. 
 
24 HANDBOOK OF THE PHONOGRAPH 
 
 1 ' In manipulating this paper, I found that when the indented 
 paper was turned with great swiftness, it gave off a humming 
 noise from the indentations, a musical rythmic sound resembling 
 that of human talk heard indistinctly. 
 
 ' * This led me to try fitting a diaphragm to the machine. I 
 saw at once that the problem of registering human speech so that 
 it could be repeated by mechanical means as often as might be 
 desired, was solved." — T. A. Edison. 
 
CHAPTER V.— The First Phonograph. 
 
 (From The N. Y. Sun of March ist, 1899.) 
 
 THE man who made the first phonograph was buried at 
 Schenectady on February 25, 1899. He was one of the 
 little band of men who worked with Thomas A. Edison at 
 Menlo Park, and through whose skill and faithful assistance were 
 developed many of the inventions which gave to Edison the name 
 of " The Wizard." It was in those days that Edison used to 
 become absorbed in the development of an idea, work at it without 
 rest or sleep for two or three days and nights and keep all those 
 about him busy at the same time. He would call in an organ 
 grinder from the streets to keep his men awake, or resort to some 
 other such device, and when the strain was finally over, charter a 
 boat and take all hands down the bay on a fishing excursion. 
 Among the most tireless of the men about ' ' The Wizard ' ' at 
 that time was John Kruesi, the man who made the first phono- 
 graph.* The idea came to Mr. Edison as an inspiration a few 
 days before, while he was experimenting with a telephone disc. 
 The disc was not enclosed and there was a sharp, pointed pin on 
 the back of it. 
 
 As Mr. Edison spoke against the face of the disc its vibrations 
 drove the pin into his finger. 
 
 * For many years Mr. Kruesi had been identified -with the General Electric Co. at 
 their Schenectady Works, filling a position of great importance.— [Ed.] 
 
26 HANDBOOK OF THE PHONOGRAPH 
 
 ' ' If the disc has power enough to prick my finger, ' ' thought 
 ' The Wizard ' , "it has power enough to make a record which 
 can be reproduced. ' ' 
 
 A few days later he called Kruesi to him, and putting into 
 his hands a rough sketch of the Phonograph, explained what the 
 thing was to do, and told him to make it. It was a roll 
 machine, the roll covered with tin foil to take the record. Kruesi 
 made the machine and brought it to Mr. Edison. Edison set it 
 going and spoke into it : 
 
 11 Mary had a little lamb, 
 It's fleece was white as snow ; 
 And everywhere that Mary went, 
 The lamb was sure to go. ' ' 
 
 Then he started it to repeat his words, expecting at the 
 best but a hoarse murmur in answer. He was almost awed when 
 he heard his words actually repeated in clear tones by the little 
 machine. That machine is now in the Patent Museum at South 
 Kensington, London, England. 
 
 EDISON WORKING ON THE PHONOGRAPH. 
 
CHAPTER VI. 
 Pictorial and Commercial History. 
 
 IN the preceding chapters there have been traced, first the 
 growth of the Idea; next, the events leading up to the Inven- 
 tion, and finally, the Invention. The growth of the Invention 
 itself, from the crude tin foil covered roll and rough apparatus of 
 
 THE PHONOGRAPH OF 1877— showing recording stylus indenting the 
 tin foil on a 5 inch cylinder. 
 
28 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 1877, to the lead soap record of to-day, (popularly termed the 
 "wax" cylinder) and the delicate and positive mechanism which 
 distinguishes the modern Phonograph can be told best by repro- 
 ducing the early prints. These pictures, though lacking in art, 
 tell the story of progress so plainly that, few explanatory words 
 are needful. 
 
 Then followed a period of nearly ten years during which the 
 Phonograph remained quiescent, the reason for which is given in 
 in the following quotation taken from Mr. Edison's article in 
 the North American Review, June 1888: <l Ten years ago I 
 
 THE PHONOGRAPH OF 1887— showing the use of the wax cylinder, elec- 
 tric motor works and recording and reproducing diaphragms arranged on a 
 swivel, for instant interchange. This is the "Spectacle'' model, so-called 
 from the resemblance of the Diaphragms to a pair of eye-glasses. 
 
PICTORIAL AND COMMERCIAL HISTORY 29 
 
 contributed to the North American Review a paper on ' The 
 Phonograph and its Future, ' in which I sketched the solution of 
 certain problems accomplished by my invention and predicted 
 some of the uses to which it would be put. Other weighty mat- 
 ters engaged much of my time and attention after that article was 
 published ; but the future of which I then spoke has now arrived, 
 and the predictions which I made at that time are now verified." 
 
 The improved " Spectacle Model " dating 1889. 
 
 About this time The North American Phonograph Co. started 
 to manufacture and market the Phonograph, offering it solely as 
 an office convenience; that is to say, as an amanuensis, in place 
 of a stenographer. On account of its high price, no thought was 
 taken of the enormous latent possibilities of the Phonograph as a 
 fun maker or home entertainer. It may be of interest to quote 
 from a catalogue of 1893, an( i a ^ so to reproduce the illustrations 
 of the different types of machines sold, together with prices. 
 
30 HANDBOOK OF THE PHONOGRAPH 
 
 THE EDISON PHONOGRAPH. 
 
 As the ideal amanuensis for office use. 
 
 In recommending the use of the Phonograph in 
 business offices, The North American Phono- 
 graph Company feel that the}' are advising the 
 introduction of a machine which will do all that is 
 claimed for it, and which will fill a position that was 
 as vacant, before the Phonograph was used, as the 
 one now filled by the typewriter was years ago. 
 
 THE PHONOGRAPH WILL SAVE YOUR 
 TIME AND YOUR MONEY. 
 
 You can talk faster than to a stenographer and 
 your typewriter can transcribe more quickly than 
 from stenographic notes, not being obliged to look at 
 the notes and find the place. 
 
 Your typewriter can begin to transcribe the first 
 of 3^our correspondence at the same time that you are 
 dictating the remainder, and the work is completed 
 sooner than if a stenographer had to wait until the 
 dictation was finished before beginning to transcribe. 
 
 THE PHONOGRAPH ADDS TO YOUR 
 CONVENIENCE. 
 
 You can dictate while your typewriter is absent or 
 doing other work. With more than one Phonograph 
 in the office different men can dictate their letters at 
 the same time, and one typewriter can transcribe 
 for all. 
 
 MOTOR BATTERIES, ETC. 
 
 The Phonograph is built in four different classes, 
 according to whether it is to be run by an Electric 
 Motor and Battery ; an Electric Motor attached to 
 an Electric Light Current ; a Water Motor ; or a 
 Foot Treadle. 
 
PICTORIAL AND COMMERCIAL HISTORY 
 
 31 
 
 This is an Electric Motor 
 Phonograph, an improve- 
 ment over the ' ' Spectacle 
 Model " . It is very nearly 
 the same as the " M " 
 Electric Phonograph of to-day, except for a few unimportant details. 
 Equipped with a battery, tubes, blanks and sundries, it sold for $190. The 
 same Phonograph wound for the electric light circuit sold for $170. 
 
 The Water Motor Phonograph sold for $150.00. 
 
32 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 This Phonograph, equipped with foot power treadle, sold for $140.00. 
 
PICTORIAL AND COMMERCIAL HISTORY 
 
 33 
 
 In 1895, The National Phonograph Co. took up the sale of 
 Phonographs and discarded the Treadle and Water Motor types. 
 Under its management the Electric Motor appeared in the follow- 
 ing form : 
 
 The Edison " M " Electric Phonograph. 
 
 and a new type was added which was called The Edison Spring 
 Motor Phonograph. 
 
 The Phonograph was now growing in popularity as a means 
 of amusement for the general public ; and in response to a wide 
 demand for a cheaper instrument, another style was added, also 
 of the clock work type, called the Edison Home Phonograph. 
 
34 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 J IIM — "J 
 
 The Edison Spring Motor Phonograph. 
 
 The Edison Home Phonograph. 
 
PICTORIAL AND COMMERCIAL HISTORY 
 
 35 
 
 In 1897, to keep pace with the growing popular demand, a 
 still cheaper Phonograph, called " The Standard " was put on the 
 market. 
 
 The Edison Standard Phonograph. 
 
36 
 
 HANDBOOK OF THK PHONOGRAPH 
 
 Early in 1899, a still more moderate priced machine, known 
 as "The Gem," was placed before the public. This machine 
 
 The Edison Gem Phonograph. 
 
 came as a revelation to the Phonograph world ; as an example 
 of what could be accomplished in small compass and for a 
 small price. 
 
PICTORIAL AND COMMERCIAL HISTORY 
 
 37 
 
 Following the Gem, came the announcement that Mr. Edison 
 had perfected the Phonograph, and had produced the " Concert," 
 a machine playing a record 5 inches in diameter (a return to the 
 
 The Edison Concert Phonograph. 
 
 size of the original tin foil covered record). So perfect is its 
 work, that seeing it dispels an illusion. 
 
 After hearing it there can be but one conclusion — Thomas 
 A. Edison is the Alpha and Omega of the Phonograph. 
 
PART SECOND 
 
 HOW TO USE IT 
 
INTRODUCTION. 
 
 NOT very many years ago a Phonograph cost five hundred 
 dollars. To-day the best Phonograph costs only one 
 hundred dollars ; and smaller instruments can be bought 
 all the way down to seven dollars and fifty cents. The reasons 
 for this are two-fold : improved method of manufacture and 
 tremendously increased output. 
 
 Phonographs differ from all other talking machines in that 
 they are offered to the public complete in every respect. With 
 the exception of the Gem, they all make records, reproduce 
 records and shave off records for use a second time. 
 
 Phonographs are made with the accuracy of a scientific 
 instrument. They run smooth, they run true and they run in 
 perfect time. They are made honestly. They are made to reflect 
 credit and to uphold the fame of the name that is behind them. Mr. 
 Edison's signature is on every Phonograph ; without it no other is 
 genuine. 
 
 Any one who knows about talking machines can tell the 
 difference at a glance, or by hearing the results. Any one who 
 does not know, can also tell. Look for the signature. 
 
 No amusement of modern times equals the Phonograph. 
 Every pleasure that sound can give is condensed on its cylin- 
 ders, and the priviledge of ' ' boxing ' ' your own and your 
 friends' voices for future use is a never failing source of amusement. 
 
42 HANDBOOK OF THE PHONOGRAPH 
 
 Its variety is inexhaustible, for as long as human genius keeps 
 on producing new music, new recitations, new instruments, the 
 Phonograph goes on making permanent the otherwise fleeting 
 pleasure. 
 
 The charm of the enjoyment depends on the clearness and 
 accuracy of the reproduction and for this reason the Phonograph 
 gives greater satisfaction than any other device sold for this 
 purpose. 
 
 TWO TYPES AND EIGHT STYLES. 
 
 Six styles are made that use the same records, the small 
 2% inch size. The other two styles use the large 5 inch records. 
 
 SPRING MOTOR TYPES. 
 
 The Edison Concert (plays the 5 inch Edison Concert 
 Records) . 
 
 The Edison Spring Motor. 
 The Edison Home. 
 The Edison Standard. 
 The Edison Gem. 
 
 ELECTRIC TYPES. 
 
 The Edison "M" Electric. 
 The Edison "E" Electric. 
 
 The Edison " M " Concert (plays the 5 inch Edison Concert 
 Records). 
 
 With the exception of the Gem they all do the same things, 
 but in different ways. They will record and reproduce human 
 speech and other forms of articulate sound. They will record 
 music and reproduce it afterwards. They will repeat what has 
 been sung, spoken or played by others to the machine. They 
 will shave off or prepare cylinders that once have had speeches 
 or songs recorded on them, so that every cylinder can be used 
 again and again for new records, if desired. 
 
INTRODUCTION 43 
 
 The Phonograph is the best of such instruments, because it 
 does these things simply and perfectly. It will sing for you, it 
 will play for you, it will repeat to you the music of famous bands 
 and orchestras, the sweet voices of famous singers, and the 
 precious voices of family and friends, even though they be dead. 
 It is a remembrance reduced to the visible presence. It pre- 
 serves what otherwise would have perished, and it entertains and 
 amuses people of all ages and stations beyond any device, 
 mechanical or otherwise, ever invented. 
 
 The world owes this wonderful invention, and its present 
 advanced developement, to the great genius of THOMAS A. 
 EDISON. 
 
 Description op Types and Styles. 
 
 The two types of Phonographs are the Spring Motor and the 
 Electric. The following briefly describes the eight different 
 styles ■• 
 
 The Edison Concert represents the perfection of 
 CONCERT the Phonograph. The motor is actuated by power- 
 ful triple springs ; will play from six to eight -of the 
 large 5 inch records with one winding. For volume of sound, 
 true tone quality and distinct articulation this Phonograph stands 
 alone. 
 
 The Edison Spring Motor is a high grade instru- 
 
 ?_ ment. The motive power of this machine is a 
 
 AlOTOR • • 
 
 powerful spring motor movement contained m the 
 
 machine itself, and wound with a crank. It plays fourteen 
 
 records with a single winding. 
 
 The Edison Home is also a spring motor machine 
 HOME made for popular home use. It works admirably, 
 
 having the same speaking and musical qualities, and 
 using the same devices to accomplish those results. The spring 
 
44 HANDBOOK OF THE PHONOGRAPH 
 
 motor is well made and differs from the larger motors only in not 
 running so long with a single winding. 
 
 The Edison Standard is a standard machine in 
 STANDARD every respect. It is built on the same general lines 
 
 as the Home, with the exception of a different 
 arrangement of the feed. The motor runs from two to three 
 records with one winding. It is durable, handsome and attract- 
 ive in appearance. 
 
 The Edison Gem is the cheapest genuine Phono- 
 G;EM graph on the market. It is compact, neat and sub- 
 
 stantial. Reproduces only, but with wonderful 
 clearness. Plays two records with one winding. 
 
 ^ The Edison "M" Electric Phonograph is actuated 
 
 ELECTRIC by an e i ectr j c mo tor, which forms part of the 
 ^ . machine t T/he power for running it is supplied by 
 
 a battery, which it not a part of the machine, but must be pur- 
 chased as an extra. The machine is perfect in all details, and 
 accurate and brilliant in reproduction. 
 
 The Edison "E" Electric Phonograph (for 
 CLASS B. electric light current), is furnished with an electric 
 
 motor wound for the no to 120 volt direct current. 
 The outfit is similar to the "M" Electric in every respect except 
 the motor. 
 
 The Edison "M" Concert Phonograph differs from 
 ^ * the Spring Motor Concert in the motive power.' 
 
 Power is supplied from a battery, as in the "M" 
 electric. Combines the perfection of the Concert with the con- 
 venience of the "M" electric. 
 
 In the descriptions of the Phonographs which appear in the 
 following pages, the Gem stands first in order. Its phenomenal 
 sales record in the first few months since it was brought out 
 
INTRODUCTION 45 
 
 proves its popularity and hence it leads in the prominence given 
 to the written instructions as to its use. 
 
 The Standard and the Home come next; taking these 
 positions from a comparison of the number in actual use. 
 
 The Spring Motor follows, although it was the first machine 
 of its type; with its clockwork mechanism. 
 
 Then the Concert; which is closely allied in general form to 
 the Spring Motor, differing only in the Phonograph body, and 
 in such changes that are needful to operate the 5 inch instead of the 
 2%. inch cylinder. 
 
 Finally the Electric Phonographs are treated ; followed by 
 chapters of general information as to the use and care of the va- 
 rious attachments and accessories, of which the Phonograph has a 
 large and ever increasing number. 
 
CHAPTER I. 
 The Edison Gem Phonograph. 
 
 THE Edison Gem is the cheapest genuine Phonograph on the 
 market. It is the best cheap talking machine. Its con- 
 struction is solid and substantial. Its works are enclosed 
 in enamelled iron base, tastefully decorated, and are well made. 
 Good gears, stiff spring, will run two records with one winding. 
 All studs and bearings are made of best steel. Its mechanism is 
 the acme of simplicity. Weighs 7^ pounds. Size of base 7^x 
 5% inches. It is equipped with a 10-inch japanned horn. Re- 
 produces only, but reproduces with wonderful loudness and clear- 
 ness. Plays the 2% inch record. 
 
THE EDISON GEM PHONOGRAPH 
 
 47 
 
 THE EDISON GEM PHONOGRAPH. 
 
 INDEX OF PARTS. 
 
 1. Mandrel (to hold Wax Cylinder), 
 
 assembled with Cylinder Shaft. 
 
 2. Cylinder Pulley (assembled with 
 
 gear). 
 
 3. Speaker Arm. 
 
 4. Back Rod. 
 
 5. Drive Belt. 
 
 6. Feed Nut Spring Screw. 
 
 7. Speaker Arm Lift Lever. 
 
 8. " Clamp Screws. 
 
 9. Tube Plate, under which is the 
 
 Speaker. 
 
 10. Speed Adjusting Screw. 
 
 11. Starting Knob. 
 
 Feed Screw Gear. 
 Body. 
 
 Straight Edge. 
 Winding Key. 
 Intermediate Gear. 
 Intermediate Gear Stud. 
 
 Nut. 
 
 Cylinder Shaft Center Set Screw. 
 Feed Screw Center. 
 
 21. Frame Holding Screws. 
 
 22. Back Rod Nut 
 
 23. Cylinder Rod Nut. 
 
 24. Drip Pan Screw. 
 
 25. Gov. Brake Angle-piece Screw. 
 
48 handbook of the phonograph 
 
 Instructions for Operating the Gem Phonograph. 
 
 Before winding or starting, see that all working parts are 
 free and clear from dirt and packing, particularly the gearwheels. 
 See that all set screws are tight, as sometimes these screws work 
 loose from the jars or knocks received in transportation. To get 
 at the interior mechanism, remove the drip pan by taking out the 
 round head screws (24) in each end of the iron base (13). 
 
 In moving the speaker arm (3) back and forth, always use 
 the lift lever (7), so that the arm slides on the straight edge (14). 
 Do not lift the entire arm, as the pin on back part of speaker arm 
 will strike the feed screw and damage the thread. 
 
 The Gem Phonograph, like every other good mechanism, 
 should be kept clean. This is absolutely essential as to the gearing. 
 Any foreign substance in the gear teeth or bearings, (such as grit 
 or packing or gummy oil), affects the regularity of the movement, 
 and consequently the speed regulation. If the machine does not 
 regulate perfectly, it shows in the varying pitch of the record 
 when played. 
 
 Apply oil sparingly but thoroughly to the following parts: 
 Back rod (4). Feed screw (not shown incut). Feed screw 
 centers (20). A ve?y little on the straight edge (14) rubbed on 
 with the finger. All motor shafts at their bearings. All gears, 
 especially the fine-toothed gear which engages the governor pin- 
 ion. Arbor on which main spring turns. Idler pulley, occasion- 
 ally, where tension spring holds it. Governor disc, occasionally. 
 No oil should be permitted to get on the belt (5), and oil must 
 not be smeared on the machine, as it will catch dust and make 
 trouble. When the oil on the gear teeth gets black and dirty, 
 wash it off with benzine before putting on new oil, which apply 
 sparingly. Use best Phonograph oil, to avoid gumming. Above 
 all, keep the machine clean. No mechanism will work perfectly 
 unless free from grit. 
 
 As a precautionary measure, it is well to look to the belt (5) 
 
THE EDISON GEM PHONOGRAPH 49 
 
 and speaker arm (3) before starting the machine. All machines 
 are completely adjusted before shipment from the factory. They 
 will sometimes, though not often, become disarranged in transit. 
 The tension of the belt should be moderate. The mandrel ( 1 ) 
 should work freely. A simple test is to throw off the belt (5) and 
 spin it gently with the fingers. The speaker arm (3) should also 
 slide freely on the back rod (4). 
 
 _ . ,. To adjust the wax cylinder, raise the lift lever (7) 
 
 To Adjust and glide it tQ the center of the slight e d ge ( I4 ) ? 
 
 J tn er as shown in cut. Don't uft entire arm. Slip 
 the wax cylinder, beveled end foremost, upon the tapering 
 mandrel, handling it very carefully. Push it on the mandrel 
 until it holds firmly ; not too tight, or it may crack the record, 
 nor yet too loose. If the latter happens, the cylinder revolves on 
 the mandrel, making the record repeat. 
 
 The wax cylinder, which is somewhat brittle, should be 
 handled gently at first, until the operator becomes practised. See 
 Chapter ij, Part II. , Blanks and Records. Do not leave the 
 cylinder upon the mandrel ( 1 ) of the Phonograph for any length 
 of time when the machine is not in use. 
 
 . To start the machine, push the starting knob (11). 
 
 Todtart Tq sto ^ pull Qut this knob> Tq regulate the speed, 
 
 a °^ turn thumb-screw (10). To increase speed, screw 
 
 thumb-screw in, and to decrease it, unscrew same. Observe this 
 carefully when reproducing music, as a different speed from that 
 at which the music was recorded will reproduce an entirely dif- 
 ferent pitch. The standard speed at which musical records are 
 taken is about 125 revolutions per minute. 
 
 Raise lift lever (7) to its highest point. Slip the 
 10 epro- wax C yh n der, beveled end foremost, upon the taper- 
 ing mandrel (1), and press it firmly, but not too 
 forcibly, into place. Place the horn on the speaker plate tube, 
 
50 HANDBOOK OF THK PHONOGRAPH 
 
 slide speaker arm (3) to point where record appears to begin, 
 and drop lift lever gently (7), after having first pushed in starting 
 the knob (11). 
 
 Although the reproducer ball usually adjusts itself to the 
 track or grove made by the stylus, it sometimes occurs that clear 
 reproduction is not at first obtained. To obviate this, jar the 
 machine gently ; which usually throws the reproducer ball into 
 track, or raise lift lever and drop it again gently until the repro- 
 duction sounds clearer. 
 
CHAPTER II. 
 The Edison Standard Phonograph. 
 
 THE Standard is the ideal talking machine. It is made 
 with the same careful precision that characterizes all 
 Phonographs, and is complete in every respect. Made 
 of iron, steel and brass, nickeled gears and mandrel. Black 
 enamel and gold finish. Encased in a handsome oak dust-proof 
 carrying case. Actuated by a spring motor that runs two to three 
 records with a single winding. Crank handle does not revolve 
 while the machine is running. Can be wound while in motion 
 without interfering with reproduction. 
 
 L,ight, durable and efficient. Absolutely noiseless. Regula- 
 tion perfect. Can be operated by a child, so simple is its mechan- 
 ism. Weighs 17 lbs. Size, 9 in. x 12 in. x 9^2 inches high. 
 Will record, will reproduce, will shave off. Fitted with instanta- 
 neous speaker clamps for instant interchange of speakers. 
 
 Tvso Speakers are included, free of charge with every Edison 
 Standard Phonograph: The Edison Automatic Reproducer and 
 the Edison Recorder ; also a sapphire shaving knife, a two-way 
 hearing tube a 14-inch polished brass horn, a camel's hair chip 
 brush, an oil can, a winding crank and an oak carrying case. 
 
 These parts are essential to a perfectly equipped and complete 
 talking machine outfit. The Standard is shipped only complete 
 as above. The only change made is to substitute a speaking tube 
 for the 14-inch polished brass horn, if so desired. 
 
52 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 The Edison Standard Phonograph. 
 
THE EDISON STANDARD PHONOGRAPH 
 
 53 
 
 THE EDISON STANDARD PHONOGRAPH 
 
 INDEX OP PARTS. 
 
 1. Brass Mandrel to hold wax cylin- 25. 
 
 der (assembled with Cylinder 26 
 
 Shaft). 2y * 
 
 2. Cylinder Shaft, (assembled with o' 
 
 Brass Mandrel). 
 
 3. Peed Spring. 2 9- 
 
 4. Feed Nut. 3°- 
 
 5. Feed Nut Screw. 3 1 - 
 
 6. Back Rod. 32. 
 
 7. Drive Belt. 33. 
 
 8. Feed Nut Spring Screw. 43. 
 
 9. Speaker Arm. 35. 
 
 10. Swinging-arm Center. 36. 
 
 11. Swinging-arm Center Set Screw. 37. 
 
 12. Swinging Arm. 38. 
 
 13. Locking Spring. 39. 
 
 14. Speaker Arm Lift Lever. 40. 
 
 15. Speaker Adjusting Screw. 41. 
 
 16. Speaker Lever. 42. 
 
 17. Speaker Clamp Screw. 43. 
 
 18. Speaker. 44. 
 
 19. Plate Tube. 45. 
 
 20. Knife Bar Adjusting Screw. 46. 
 
 21. Governor Adjusting Screw. 47. 
 
 22. Starting Lever. 48. 
 
 23. Hearing Tube. 49. 
 
 24. Speaking Tube. 50. 
 
 Chip Brush 
 
 Wax Cylinder, or Blank. 
 
 Swing-arm Spring Washer. 
 
 Swing-arm Spring Washer Screw 
 
 Chip Chute Thumb Screw. 
 
 Cylinder Shaft Pulley. 
 
 Feed Screw Cover. 
 
 Feed Screw Cover Screw. 
 
 Top Plate. 
 
 Speaker Arm Lift Screw. 
 
 Straight Edge Roller. 
 
 Straight Edge Roller Screw. 
 
 Winding Crank. 
 
 Speaker Clamps. 
 
 Cylinder Shaft Gear. 
 
 Intermediate Gear. 
 
 Feed Screw Gear. 
 
 Feed Screw Center Set Screw. 
 
 Intermediate Gear Stud Set Screw. 
 
 Cylinder Shaft Center Set Screw. 
 
 Cylinder Shaft Center. 
 
 Intermediate Gear Stud. 
 
 Feed Screw Center. 
 
 Frame Holding Screw. 
 
 Locking Spring Knob. 
 
 Back Rod Set Screw. 
 
54 HANDBOOK OF THE PHONOGRAPH 
 
 The Phonograph, like every other good mechanism, should 
 be cleaned and free from dust. Instructions as to oiling will be 
 found later in these directions. 
 
 See that the knife adjusting screw (20) is screwed entirely 
 back, or until the chip box rests against the casting of the speaker 
 arm, as it always should do except when shaving. This screw 
 controls the shaving knife, and draws it away or forces its cutting 
 edge against the wax cylinder. 
 
 As a precautionary measure, it is well to look to the belt, 
 the shaft (2), and the speaker arm, before starting the machine, 
 All machines are completely adjusted before shipment from the 
 factory. They will sometimes, though not often, become disar- 
 ranged in transit. The tension of the belt should be moderate. 
 
 Before winding or starting the machine, see that all working 
 parts are free, particularly that there is no dirt or packing in the 
 gear wheels, and that all set screws are tight. Sometimes these 
 screws work loose from the shock of travel. 
 
 The cylinder shaft (2) turns on centers (10 and 45), between 
 which it should run easily. If centers are too tight they will bind 
 the shaft, while if too loose, the end shake will destroy the 
 accuracy of the reproduction. There should be no end-shake here. 
 A simple test is to throw off the belt with the hand, and see if the 
 shaft will spin freely. The cylinder shaft centers are regulated 
 by set screws ( 1 1 and 24) , as shown in the drawing. The speaker 
 arm or carriage of the machine should work free on the back rod. 
 
 All bearings should be oiled, as mentioned before, and to 
 obtain the best results from the motor the gears must be kept 
 clean, particularly the fine-toothed gear which engages the gov- 
 ernor pinion. The governor disc (the flat metal plate against 
 which the horse shoe rocker works) must be oiled occasionally. 
 If necessary to adjust the governor, see to it that there is a slight 
 play between centers. If too tight there, regulation is impaired 
 and efficiency is diminished. 
 
 Under no circumstances should the governor disc, described 
 above, touch the adjacent gear. 
 
THE EDISON STANDARD PHONOGRAPH 
 
 55 
 
 NOTE:— For numbers not shown on this cut refer to cut of complete machine on 
 Page 53. 
 
 To Put the Wan Open swing arm (12), raise lift lever (14), 
 Cylinder on or to and slip the wax cylinder (26), beveled end 
 Remove It foremost, upon tapering brass mandrel (1). 
 
 Handling the 
 Cylinder 
 
 The wax cylinder, which is somewhat brittle, 
 should be handled gently at first, until the 
 operator becomes practised. See Chapter ij, 
 
 Part II , Blanks and Records. 
 
 Do not leave the cylinder upon the brass mandrel ( 1 ) of the 
 
 Phonograph for any length of time when the machine is not in use. 
 
 To Start or To start or stop, throw switch lever (22); to the 
 Stop right to stop and to the left to start. 
 
56 HANDBOOK OF THE PHONOGRAPH 
 
 The speed of the machine in revolutions of the 
 To Regulate main glia f t per m i nute j s regulated by the speed 
 the speed adjusting screw (21). To increase speed screw 
 the nut down, and to decrease it unscrew this nut. Observe this 
 carefully when reproducing music, as a different speed from that 
 at which the music was recorded will produce an entirely differ- 
 ent pitch. The standard speed at which musical records are 
 taken is about 125 revolutions per minute ; talking records, about 
 80 per minute. 
 
 NOTE: — For numbers not shown on this cut, refer to cut of complete machine on 
 page 53. 
 
 Raise lift lever (14) to its highest point. Push 
 P speaker lever (16) to its highest point, against ad- 
 
 justing screw (15). Open swing arm (12) wide. 
 Slip the wax cylinder (26), beveled end foremost, upon the 
 tapering brass mandrel (1), and press it firmly, but not forcibly, 
 into place. Close swing arm. Now place hearing tube (23), or 
 horn, on the speaker plate tube (19). Slide speaker arm to point 
 where record appears to begin, and drop lift lever (14), after 
 having first thrown lever (22) to the left. 
 
 With the Automatic Speaker the following adjustment is 
 unnecessary, as the reproducer ball adjusts itself to the track or 
 groove made by the stylus. With the Standard Speaker (a com- 
 bination speaker equipped with both recording and reproducing 
 
THE EDISON STANDARD PHONOGRAPH 57 
 
 sapphires), it sometimes occurs that clear reproduction is not at 
 first obtained. To obviate this, unscrew the adjusting screw (15) 
 until its point disappears in the lug, and while listening press the 
 speaker lever (16) upward with the thumb of the right hand, and 
 with the first and second fingers of the same hand turn the adjust- 
 ing screw (15) slowly down until you can hear the record distinct- 
 ly. This adjustment will bring the reproducer ball into the groove 
 of the record. 
 
 The machine is at rest. Open speaker clamps (38) 
 5~0 Record and insert recorder with its speaker lever (16) 
 pressed up against lug. Press up lift lever (14). 
 Open swing arm (12) wide. 
 
 Slip the wax cylinder (26), beveled end foremost, upon the 
 tapering brass mandrel ( 1 ) , and press it firmly, but not too forci- 
 bly into place. Close the swing arm. 
 
 Raise the speaker arm from the straight edge upon which it 
 rests in front, and slide to the left until directly over the beveled 
 end of the cylinder, or the point at which you wish the record to 
 commence. Again lower it to straight edge. Everything is now 
 ready to record. 
 
 Start the machine by pushing the starting lever (22) to the 
 left. The machine is now in motion. Place speaking tube or 
 horn upon the plate tube (19) of the speaker, lower lift lever (14) 
 
58 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 as far as possible and commence recording. Further instructions 
 are given in Chapter 75, Part II. , Dictating ; and Chapter 3 , 
 Part III, Record Making. 
 
 Every Phonograph except the Gem is equipped with 
 J? a l & a simple device for shaving off or smoothing blank 
 * cylinders, which preparation is necessary before a 
 
 blank can be used for recording. Here are the instructions for 
 operating the turning rest. Machine is at rest. Wax cylinder 
 firmly set upon mandrel. Hearing tube or horn removed. Fasten 
 back the speaker weight by passing rubber band around lower 
 end of weight and over the speaker arm, or what is better still, 
 remove speaker (18). 
 
 Lower the speaker arm about over the center of the cylinder 
 by dropping lift lever (14). Hold the end of the arm down firmly 
 with the thumb and forefinger of the left hand, while with the 
 same fingers of the right, screw down the button (20) which 
 controls the knife bar. This will bring the sapphire shaving knife 
 to the surface of the wax. As the depth of the cut to be taken is 
 very slight indeed, the knife must be set very gently into the wax, 
 as shallowly as possible. The machine is still at rest, with lift 
 lever (14) down. Now raise speaker arm, slide it back to the ex- 
 treme left, and start the Phonograph. When the shaving of 
 a cylinder is completed, see that the knife bar is screwed back 
 away from the cylinder, or it will cut the next record that is put 
 
THE EDISON STANDARD PHONOGRAPH 59 
 
 on the machine. This is managed by manipulating the button 
 
 (20). Further instructions are given in Chapter 14., Part II. , 
 Shaving. 
 
 . To stop recording, reproducing or shaving while 
 
 P the machine is running, raise the lift lever (14). 
 
 Apply oil sparingly but thoroughly to the following 
 Oiling parts : back-rod, feed screw, cylinder shaft centers 
 
 (10 and 45) feed screw center (47), roller on the 
 straight edge, all motor shafts at their bearings, all gears, arbor 
 on which main spring turns ; idler pulley, occasionally where 
 tension spring holds it ; governor disc, occasionally, winding shaft, 
 if necessary. No oil should be permitted to get on the belt, and 
 oil must not be smeared on the machine, as it will catch dust 
 and make trouble. When the oil on the gear teeth gets black and 
 dirty, wash it off with benzine before putting on new oil, which 
 apply sparingly. Use best Phonograph oil to avoid gumming. 
 Above all, keep the machine clean. No mechanism will work 
 perfectly unless free from grit. 
 
 
j^a?7hr :::. 
 
 The Edison Home Phonograph, 
 
 ACQ] ring and musical machine that does the 
 
 si git-priced instruments and superior to 
 
 al". ;:' :'•.: cke.17 :u.ic:::::es '.:: music I: is simple in COD- 
 bo operate and c o s tl ess bo nawntain 
 , ■ - six records with ■ single winding 
 
 1: is made ol steel md brass throughou t X; soft metal or 
 
 1 in black enamel and gold. Incased in oak 
 
 Eta ill x 12 in high. It weighs :> lbs. Will 
 
 ": Fitted with instantaneous 
 
 >vr.-k:: ; ? ?:.-.::: ::.::: .:' speakers. 
 
 '.: : the Edison /Luftoanatk Reproducer and the 
 Recordes also ■ ^infliire shaving knife an oak body box, 
 oak : a brass horn, a ti ing tube, 
 
 ink an 93 can and a came) s hair chip brash 
 ssf 
 
THE EDISON HOME PHONOGRAPH 
 
 6l 
 
 The Edison Home Phonograph. 
 
62 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 THE EDISON HOME PHONOGRAPH 
 INDEX OF PARTS. 
 
 Brass Mandrel to hold wax cylin- 
 der. (Assembled with Main 
 Shaft). 
 
 Main Shaft. (Assembled with 
 Brass Mandrel). 
 
 Feed Spring. 
 
 Feed Nut. 
 
 Feed Nut Screws. 
 
 Back Rod. 
 
 Drive Belt. 
 
 Main Shaft Center. 
 
 Main Shaft Center Set Screw. 
 
 Swing-arm Center. 
 
 Swing-arm Center Set Screw. 
 
 Swing-arm Center Adjusting 
 Screw. 
 
 Swing Arm. 
 
 Lock Bolt. 
 
 Lift Lever. 
 
 Speaker Adjusting Screw. 
 
 Speaker Adjusting Screw Lug. 
 
 Speaker Lever. 
 
 19. Speaker Clamps. 
 
 20. Speaker. 
 2i. Tube Plate. 
 
 22. Knife Adjusting Screw. 
 
 23. Speed Adjusting Screw. 
 
 24. Start-and-Stop Switch. 
 
 25. Hearing Tube. 
 
 26. Speaking Tube. 
 
 27. Chip Brush 
 
 28. Wax Cylinder, or Blank. 
 
 29. Swing-arm Spring Washer. 
 
 30. Spring-washer Set Screw. 
 
 31. Body-holding Screw Washers, 
 
 (metal and rubber). 
 
 32. Main Shaft Pulley. 
 
 33. Body-holding Screw. 
 
 34. Top Plate. 
 
 35. Home Phonograph Body. 
 
 36. Back Rod Set Screw. 
 
 37. Main Shaft Pulley Set Screws. 
 
 38. Body Cushions. 
 
the edison home phonograph 63 
 
 Instructions for Operating the Edison Home Phonograph. 
 
 Before winding or starting the machine, see that all working 
 parts are free, particularly that there is no dirt or packing in the 
 gear wheels, and that all set-screws are tight. Sometimes these 
 screws work loose from the shock of travel. 
 
 The Phonograph, like every other good mechanism, should 
 be clean and free from dust. Instructions as to oiling will be 
 found later in these directions. 
 
 See that knife adjusting screw (22) is screwed entirely back, 
 or until the stop pin rests against the casting of the speaker arm, 
 as it always should do except when shaving. This screw controls 
 the shaving knife, and draws it away or forces its cutting edge 
 against the wax cylinder. 
 
 As a precautionary measure, it is well to look to the belt (7), 
 the shaft (2), and the speaker arm, before starting the machine. 
 All machines are completely adjusted before shipment from the 
 factory. They will sometimes, though not often, become disar- 
 ranged in transit. The tension of the belt (7) should be moderate, 
 and the belt- tightening idler pulley (not shown in engraving but 
 easily found on the machine) should be in proper place against the 
 belt. The main shaft (2) turns on centers (8 and 10), between 
 which it should run easily. If centers are too tight they will bind 
 the shaft, while if too loose, the end-shake will destroy the 
 accuracy of the reproduction. There should be no end-shake 
 here. The shaft adjustment is regulated by the adjusting screw 
 (12) on the swing arm center. A simple test is to throw off the 
 belt with the hand, and see if the shaft will spin freely without 
 noise. The main shaft pulley (32) should of course be tight on 
 the shaft. Its set screw (37) regulates this. The main shaft 
 centers are regulated by set screws (9 and 11), as shown in draw- 
 ing. Care should be taken that the large end of the mandrel ( 1 ) 
 does not touch the center lug of the body casting. The thickness 
 
64 HANDBOOK OF THK PHONOGRAPH 
 
 of a piece of paper between the lug and mandrel is sufficient clear- 
 ance. The speaker arm or carriage of the machine should work 
 free on the back rod (6). 
 
 All bearings should be oiled, as mentioned before, and to 
 obtain the best results from the motor the gears must be kept clean, 
 particularly the fine-toothed gear which engages the governor 
 pinion. The governor disc (the flat metal plate against which the 
 horse shoe rocker works) must be oiled occasionally. If necessary 
 to adjust the governor, see to it that there is a slight play between 
 centers. If too tight there, regulation is impaired and efficiency 
 is diminished. 
 
 Under no circumstances should the governor disc, described 
 above, touch the adjacent gear. 
 
 . The first operation will undoubtedly be reproducing. 
 
 To Kepro- Raige Hft leyer ^^ to itg highest point< Push 
 
 speaker lever (18) to its highest point, against 
 speaker adjusting screw lug (17). Throw down lock bolt (14) 
 and open swing arm (13) wide. Slip the wax cylinder (28), 
 beveled end foremost, upon the tapering brass mandrel (1), and 
 press it firmly, but not too forcibly, into place. Close swing arm 
 and re-lock it. Now place hearing tube (25), or horn, on the 
 speaker tube plate (21), slide speaker arm to point where record 
 appears to begin, and drop lift lever (15), after having first thrown 
 start and stop switch (24) to the left. 
 
 With the Automatic Reproducer the following ajustment is 
 unnecessary, as the reproducer ball adjusts itself to the track or 
 groove made by the stylus. With the Standard Speaker (a com- 
 bination speaker equipped with both recording and reproducing 
 sapphires), it sometimes occurs that clear reproduction is not at 
 first obtained. To obviate this, unscrew the adjusting screw (16) 
 until its point disappears in the lug (17), and while listening press 
 the speaker lever (18) upward with the thumb of the right hand, 
 and with the first and second finders of the same hand turn the 
 
THE EDISON HOME PHONOGRAPH 65 
 
 adjusting screw (16) slowly down until you can hear the record 
 distinctly. This adjustment will bring the reproducer ball into 
 the groove of the record. 
 
 . The speed of the machine in revolutions of the main 
 
 % . shaft per minute is regulated by the speed adjusting 
 
 J P screw (23). To increase speed screw the nut down, 
 
 and to decrease it unscrew this nut. Observe this carefully when 
 
 reproducing music, as a different speed from that at which the 
 
 music was recorded will reproduce an entirely different pitch. 
 
 The standard speed at which musical records are taken is about 
 
 125 revolutions per minute ; talking records, about 80 per minute. 
 
 A very good way for the beginner to determine the number 
 
 of revolutions per minute, is to hold his finger lightly against the 
 
 main shaft pulley set screw (37), and count the revolutions by 
 
 his watch, for ten or more seconds. 
 
 The machine is at rest. Open speaker clamps (19) 
 
 To Record and insert recorder with its speaker lever (18) 
 
 pressed up against lug (17). Press up lift lever 
 
 (15). Throw down lock bolt (14), and open swing arm (13) 
 
 wide. 
 
 Slip the wax cylinder (28), beveled end foremost, upon the 
 tapering brass mandrel (1), and press it firmly, but not too forci- 
 bly into place. Close the swing arm, and re-lock it. 
 
 Raise the speaker arm from the straight edge upon which it 
 rests in front, and slide to the left until directly over the beveled 
 end of the cylinder, or the point at which you wish the record to 
 commence. Again lower it to straight edge. Everything is now 
 ready to record. 
 
 Start the machine by pushing the switch (24) to the left. 
 The machine is now in motion. Place speaking tube or horn upon 
 the tube plate (21) of the speaker, lower lift lever (15) as far as 
 possible and commence recording. Further instructions are given 
 
66 HANDBOOK OF THE PHONOGRAPH 
 
 in Chapter 15, Part II, Dictating ; and Chapter 3, Part HI, 
 Record Making. 
 
 The wax cylinder, which is somewhat brittle, should 
 nana ing ^ e j^y^Ug^ gently at first, until the operator becomes 
 Cylinder practised. See Chapter 13, Part II, Blanks and 
 
 Records. 
 Do not leave the cylinder upon the brass mandrel ( 1 ) of the 
 Phonograph for any length of time when the machine is not in 
 use. 
 
 Every Edison Home Phonograph is equipped with a 
 ^ & simple device for shaving off or smoothing blank 
 
 -^ cylinders, which preparation is necessary before a 
 
 blank can be used for recording. Here are the instructions for 
 operating the turning rest. Machine is at rest. Wax c}dinder 
 firmly set upon mandrel. Hearing tube or horn removed. 
 Speaker lever (18) set as for reproducing, that is, up against lug 
 (17). Fasten back the speaker weight by passing rubber band 
 around lower end of the weight and over the speaker arm. 
 
 Lower the speaker arm about over the center of the cylinder, 
 by dropping lift lever (15). Hold the end of the arm down firmly 
 with the thumb and forefinger of the left hand, while with the 
 same fingers of the right, screw down the button (22) which 
 controls the knife bar. This will bring the sapphire shaving 
 knife to the surface of the wax. As the depth of the cut to be 
 taken is very slight indeed, the knife must be set very gently into 
 the wax, as shallowly as possible. The machine is still at rest, 
 with lift lever (15) down. Now raise speaker arm, slide it back 
 to the extreme left, and start the Phonograph. 
 
 When the shaving of a cylinder is completed, see that the 
 knife bar is screwed back away from the cylinder, or it will cut 
 the next record that is put on the machine. This is managed by 
 manipulating the button (22). Further instructions are given in 
 Chapter 14., Part II, Shaving. 
 
THE EDISON HOME PHONOGRAPH 67 
 
 Apply oil sparingly but thoroughly to the following 
 Oiling parts: back-rod (6), main shaft feed screw (2), 
 
 main shaft centers (8 and 10), roller on the 
 straight edge, all motor shafts at their bearings, all gear teeth of 
 motor, arbor on which main spring turns, idler pulley occasion- 
 ally, where tension spring holds it, governor disc, occasionally, 
 winding shaft, if necessary. 
 
 No oil should be permitted to get on the belt, and oil must not 
 be smeared on the machine, as it will catch dust and make trouble. 
 When the oil on the gear teeth gets black and dirty, wash it off 
 with benzine before putting on new oil, which apply sparingly. 
 Use best Phonograph oil, to avoid gumming. Above all, keep the 
 machine clean. No mechanism will work perfectly unless free 
 from grit. 
 
CHAPTER IV. 
 
 The Edison Spring Motor Phonograph. 
 
 ACTUATED by powerful triple springs, which drive the 
 machine through fourteen records with a single winding. 
 No electricity or battery required. Winds noiselessly, 
 runs noiselessly, governs perfectly. Simple, but effective con- 
 struction, and in every respect a standard machine. Removable 
 hardened steel bearings, belt tightener, and other useful devices. 
 Includes oak [body and cover as shown. Finished in black and 
 gilt enamel, with nickel parts. Fitted with instantaneous speaker 
 clamps for instant interchange of speakers. 
 
 Weighs 43 pounds, complete, and is particularly recommended 
 for portable service. Size i6>^ in. long, ioj4 in. wide, 14 in. 
 high. 
 
 Two speakers are included, free of charge, with every Spring 
 Motor Phonograph : the Edison Automatic Reproducer and the 
 Edison Recorder ; also a sapphire shaving knife, oak body box, 
 oak cover, a 14-inch polished brass horn, two-way hearing tube, 
 a winding crank, an oil can and a camel's hair chip brush. 
 
 The Spring Motor Phonograph is shipped only complete as 
 above. The only change made is to substitute a speaking tube 
 for the 14-inch polished brass horn, if so desired. 
 
THE EDISON SPRING MOTOR PHONOGRAPH 
 
 6 9 
 
 The Edison Spring Motor Phonograph. 
 
7 o 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 THE EDISON SPRING MOTOR PHONOGRAPH 
 INDEX OF PARTS. 
 
 Brass Mandrel to hold wax cylin- 
 der. (Always assembled with 
 Main Shaft.) 
 
 Turning Rest, to shave cylinder. 
 
 Feed Spring. 
 
 Back Rod. 
 
 Sapphire Knife Spring Knob. 
 
 Main Shaft. (Always assembled 
 with Brass Mandrel.) 
 
 Main Shaft Pulley. 
 
 Drive Belt. 
 
 Start-and-Stop Switch. 
 
 Speed Adjusting Screw. 
 
 Swing Arm. 
 
 Swing-arm Center. 
 
 Straight Edge. 
 
 Speaker Arm. 
 
 Speaker. 
 
 Speaker Lever. 
 
 Speaker Adjusting Screw. 
 
 Speaker Arm Lift Lever. 
 
 19. Main Shaft Center. 
 
 20. Swing-arm Center Adjusting 
 
 Screw. 
 
 21. Back Rod Sleeve. 
 
 22. Top Plate. 
 
 23. Speaker Clamps. 
 
 24. Phonograph Body. 
 
 25. Body-holding Screws. 
 
 26. Shaving Knife Lever. 
 
 27. Winding Key Sleeve. 
 
 28. Feed Nut. 
 
 31. Speaker Adjusting Screw Lug. 
 
 33. Winding Key. 
 
 34. Lock Bolt. 
 
 35. Back Rod Set Screw. 
 
 36. Swing-arm Center Set Screw. 
 
 37. Main Shaft Center Set Screw. 
 
 38. Swing-arm Spring Washer. 
 
 39. Top Plate Lug. 
 
 40. Body-holding Screw Washers. 
 
THE EDISON SPRING MOTOR PHONOGRAPH 
 
 71 
 
 Instructions for Operating the Edison Spring Motor 
 
 Phonograph. 
 
 Machine at rest. Open speaker clamps (23) and 
 To Record insert recorder with the speaker lever (16) pressed 
 up against lug (31). 
 
 Press up speaker lever D, place the speaking tube C on the 
 Phonograph, and lower the lift lever H. 
 
 Press up lift lever (18). The numbers refer to cut on 
 page 70. Throw down the lock bolt (34) and open swing arm 
 (11) wide. 
 
 L^i • 
 
72 HANDBOOK OF THE PHONOGRAPH 
 
 Press down the lock bolt A and open the swing arm B. 
 
 Slip the wax cylinder, beveled end foremost, upon the taper- 
 ing brass mandrel (i), and press it firmly, but not too forcibly 
 into place. The numbers refer to cut on page 70. 
 
 Close the swing arm and relock it. 
 
 Raise the speaker arm (14), an inch is sufficient, from the 
 straight edge (13), upon which it rests in front, and slide to the 
 left until directly over the beveled end of the cylinder, or the point 
 at which you want the record to commence. Again lower it to 
 straight edge and push the speaker lever ( 16) up as far as it will go. 
 
 Start the machine by pushing the switch (9) to the 
 lo Start left until it strikes a g a i nst t he pin. 
 
 P Place the speaking tube upon the tube plate, 
 
 lower the lift lever (18) as far as possible, and commence dictation 
 to the machine. Should it become necessary to pause during the 
 dictation and before the end of the cylinder had been reached, 
 raise lift lever (only) until it closes against the speaker arm ; this 
 will disengage the feed nut from the fine thread upon the main 
 snaft, and at the same time raise the recording stylus from the 
 wax. 
 
 A fine white shaving will appear on the surface of the cylinder 
 where it has been passed over by the stylus. Remove the speak- 
 ing tube ; raise the speaker arm, and, throwing it back as far as 
 possible, dust off these shavings by holding the camel's hair chip 
 brush against the cylinder, and passing it very slowly from left 
 to right. This operation being completed, the record, as it is now 
 called, is ready to reproduce. For further instructions see Chapter 
 Z5, Part II, Dictating ; also Chapter 3, Part III, Record 
 Making. 
 
 Press the speaker lever D up, place the hearing tube 
 loRepro- ^ Qn the Pnonograpn) lower tne 1^ lever H> and 
 
 turn the adjusting screw F until the proper sound 
 is obtained. 
 
THE EDISON SPRING MOTOR PHONOGRAPH 
 
 73 
 
 Lift lever (18) up. The numbers refer to cut on page 70. 
 Open speaker clamps (23) and insert Automatic Reproducer. 
 Push the speaker lever (16) up against the point of the adjusting 
 screw (17). Now place the hearing tube on the tube plate, and 
 lower the speaker arm opposite the point where the record be- 
 gins, by dropping the lift lever (18). With the Automatic 
 Reproducer the following adjustment is unnecessary, as the 
 reproducer ball adjusts itself to the track or groove made by 
 the stylus. With the Standard Speaker (a combination speaker 
 equipped with both recording and reproducing sapphires), it 
 sometimes occurs that clear reproduction is not at first obtained. 
 To obviate this, unscrew the adjusting screw (17) until its point 
 disappears in the lug (31), and, while listening with the hearing 
 tube, press the speaker lever (16) upward with the thumb of the 
 right hand, and with the first and second fingers of the same hand 
 turn the adjusting screw (17) slowly down until you can hear the 
 record distinctly. This adjustment will bring the reproducing 
 ball into the groove of the record. 
 
74 HANDBOOK OF THE PHONOGRAPH 
 
 . . The speed of the machine in revolutions of the main 
 Keguiation g^ft p er m j nute j s re g U i a t e d by the speed adjust- 
 °J P ee ment screw (10). To increase speed unscrew this 
 nut, and to decrease it screw the nut down. 
 
 Observe this carefully when reproducing music, as a different 
 speed from that at which the music was recorded will reproduce 
 an entirely different pitch. The standard speed at which musical 
 records are taken is about 125 revolutions per minute. 
 
 . Although this device is not, strictly speaking, an 
 
 e . " important factor in the working of the Phonograph, 
 
 ■=> but merely an appliance for greatly increasing the 
 
 capacity of the cylinder, still a brief explanation of it, and of the 
 
 reasons for its use, seems advisable before again passing to the 
 
 details of instruction. 
 
 Operating Lower the lift lever H, press the knife button until 
 of burning the knife touches the cylinder, and press down the 
 Rest knife lever L, then raise lift lever H. Do not put 
 
 the Phonograph in motion to shave the cylinder until the knife 
 has been adjusted as above and carried to extreme left end of 
 cylinder, after which lower lift lever H. 
 
 Machine at rest. Wax Cylinder firmly set upon mandrel ; 
 hearing tube removed; speaker lever (16) pushed up. Fasten 
 
the kdison spring motor phonograph 75 
 
 back the speaker weight by passing rubber band around lower 
 end of the weight and over the speaker arm, about where the 
 figures (23) are shown on cut. Or remove speaker, as preferred. 
 
 Lower the speaker arm and lever (18) about over the center 
 of the cylinder. Hold the end of the arm down firmly with the 
 thumb and forefinger of the left hand, while with the same fingers 
 of the right gently press the button (5) of the knife lever down- 
 ward and toward the machine. Then press down the knife lever 
 (26) as far as it will go, then close lift lever (18) up into its slot 
 in the speaker arm, slide the arm to the extreme left, again lower 
 the lever (18) and start the machine. 
 
 When the turning off of a cylinder is completed, always see 
 that the knife lever (26) is thrown up and back as far as it will go. 
 Further instructions are given in Chapter 75, Part II, Dictating; 
 see also Chapter 13, Part II, Blanks and Records. 
 
 To Stop or to change to another part of the cylinder, 
 Temp or- raise the lift lever H, without stopping the 
 arily machine itself. 
 
 Always keep the entire machine perfectly clean and 
 Oiling free from dust. It is an essential to perfect work 
 
 with any piece of machinery, and the Phonograph is 
 no exception. 
 
76 HANDBOOK OF THE PHONOGRAPH 
 
 Apply oil sparingly but often to the following parts, never 
 over a drop at a time in any one place except where otherwise 
 specified. : end bearings of main shaft ; thread of main shaft 
 (several drops); back rod, (several drops); straight edge; the two 
 bearings of the winding shaft ; the teeth of the rachet wheel on 
 which pawl works ; the inside surface of the friction disc of gov- 
 ernor, where the leather touches it; the cupped centers at the end 
 of every gear shaft ; the governor shaft, where the governor-disc 
 sleeve moves on the shaft, if dry. 
 
 Three places will be found for oiling the barrels and to these 
 places several drops should be applied, (a) The main oil hole 
 is plainly marked on the large barrel. The other two are in the 
 hubs, (b) There is a square opening in the hub of the loose 
 barrel plate at the right hand end. By turning the winding shaft 
 the oil hole can be seen through this opening. (c) The oil hole 
 in the left-hand hub, if not in view, can be found by allowing the 
 machine to run part of one revolution. 
 
 Use best Phonograph oil only. 
 
 Keep gear teeth free from dirt, to prevent wear and noise. 
 Use benzine for this purpose if necessary, and afterwards apply a 
 drop of oil. Care should be taken not to get any oil upon the 
 drive belt, as it will cause it to stretch and slip loose. Oil only 
 where directed. In smearing oil upon any other part you simply 
 set a trap for dust. 
 
 Before winding or starting machine, see that all set 
 
 screws holding bushings, pinions and shafts are 
 Instructions tight They sometimes work loose from the j ar of 
 
 travel. 
 
 See that all working parts are free, and particularly that there 
 are no particles of wood or packing material in the mechanism. 
 
 The belt should not be too tight, but almost loose enough to 
 slip when main-shaft pulley (7) of the Phonograph is held station- 
 ary with the motor running and wound up tight. A new belt 
 
THE EDISON SPRING MOTOR PHONOGRAPH 77 
 
 should be brought to proper tension upon setting up machine the 
 first time. 
 
 If belt is too tight it will act as a break on the machine. 
 After being once stretched it will require little or no attention. 
 
 The tension of the belt is regulated by turning the thumb, 
 screw at the front of the motor below. This belt-tightening screw 
 should not be used when machine is in motion, as there is danger 
 of hitting the moving governor and disarranging the governor 
 springs. 
 
 Observe that the rubber cushions on top edge of the body box, 
 and body cushions (39) are in place, and that the main-shaft 
 pulley (7) of the Phonograph is directly above the drive pulley of 
 the spring motor, so that belt runs true. The belt must never 
 run on the flange of the wheel. Care should be observed to keep 
 the rubber cushions and washers of the spring motor in good 
 condition at all times. 
 
 The Phonograph should never be shipped with springs 
 wound up. 
 
 The sapphires upon the speaker and the turning rest are 
 perfectly adjusted before shipment 
 
 The bearings of the main shaft, called the centers, should be 
 snug but not tight. There must be no shake. 
 
 The sapphire recording and reproducing points should be 
 kept free from dust and wax scales by brushing, or they may be 
 touched with a little benzine on the finger tip. 
 
 Never attempt to slide the speaker arm from side to side 
 without either raising it or closing the lift lever, as you are liable 
 to damage the thread upon main shaft by scraping the twin nuts 
 across it. 
 
 Do not remove main shaft from machine unless it becomes 
 absolutely necessary, then use great care in drawing it out to 
 avoid injuring the thread. 
 
CHAPTER V. 
 
 The Edison Concert Phonograph. 
 
 MR. EDISON has perfected the Phonograph. Beginning 
 with the early tin foil machine, Mr. Edison has de- 
 veloped the Phonograph step by step, until to-day the 
 Phonograph stands on the pinnacle of perfection. It perfectly 
 reproduces human voice ; just as loud — just as clear — just as 
 sweet. It duplicates instrumental music with pure-toned 
 brilliancy and satisfying intensity. Used with Edison Concert 
 Records, its reproductions are free from all mechanical noises ; 
 only the music or voice is heard. It is strong and vibrant enough 
 to nil the largest concert hall. It is smooth and broad enough 
 for the parlor. It is made with the careful precision that charac- 
 terizes all Genuine Edison Phonographs. It is made to reflect 
 credit and to uphold the fame of the name of the man who stands 
 behind it. 
 
 The Edison Concert Phonograph is actuated by powerful 
 triple springs. It plays six to eight concert records with a single 
 winding. It is finished in black and gilt enamel, with nickel 
 parts. It has a polished oak body box and carrying cover. Size, 
 12x17x17 inches. Weighs 51 pounds. Size of mandrel, 4% 
 inches diameter by 5 inches long. Every Edison Concert Phono- 
 graph includes, free of charge, an automatic reproducer, a 
 recorder, a sapphire shaving knife, oak body box and cover, a 
 
THE EDISON CONCERT PHONOGRAPH 
 
 79 
 
 24-inch brass horn and stand, winding crank, speaking tube, oil 
 can and chip brush. 
 
 The Edison Concert Phonograph is built on the same body as 
 the Edison Spring Motor Phonograph described in the previous 
 chapter. The Phonograph top is also exactly the same, except 
 that the parts are larger, to admit the swing of the five-inch record. 
 
 are the same as in the preceding chapter. The 
 following is the only point that it is necessary 
 to emphasize especially : in closing swing arm of 
 the Edison Concert Phonograph, see that the pin 
 on swing arm enters hole on straight edge cast- 
 ing. Press the arm firmly with thumb, at the same time lock- 
 ing the lock bolt with first two fingers of same hand. 
 
 General In- 
 structions for 
 
 Operating 
 this Machine 
 
CHAPTER VI. 
 The Edison "M" and "E" Electric Phonographs. 
 
 THE Edison "M" Electric Phonograph, the most 
 approved type of Electric Phonograph, is equipped with 
 electric motor (wound for battery) and governor, and is 
 fitted with instantaneous speaker clamps, for instant interchange 
 of speakers. It sets in an oak body box. Weighs 65 pounds. 
 Finished in black, gold and nickel. Size, 20 in. long, 9^ in. 
 wide and 1 1 in. high. A Battery is not a part of the Phonograph, 
 but is an independent apparatus. Storage or primary (chemical) 
 battery may be used. The motor requires a steady current of 2% 
 volts and 2 amperes. Its uniform action and continuous power 
 supply recommends the "M" Electric Phonograph for all 
 occasions where these requisites are desired. 
 
 Two speakers are included, free of charge, with the "M" 
 Electric Phonograph : the Edison Automatic Reproducer and 
 the Edison Recorder ; also a sapphire shaving apparatus, a 
 14-inch polished brass horn, a two-way hearing tube, an oil can 
 and a camel's hair chip brush. The only change made in the 
 above equipment, is to substitute a speaking tube for the 14-inch 
 polished brass horn, if so desired. 
 
 The Edison "E" Electric Phonograph. In general appear- 
 ance and equipment this Phonograph is exactly the same as the 
 "M" Electric, but is furnished with an electric motor wound to 
 
THE EDISON M ' AND " E " ELECTRIC PHONOGRAPHS 8 1 
 
 The Edison "M" and "B" Electric Phonographs. 
 
32 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 THE EDISON 
 
 M 
 
 AND "E : 
 GRAPHS. 
 
 ELECTRIC PHONO- 
 
 INDEX OF PARTS. 
 
 Brass Mandrel to hold wax cylin- 
 der. (Assembled with Main 
 Shaft.) 
 
 Turning Rest, to shave cylinders. 
 
 Feed Spring. 
 
 Back Rod. 
 
 Sapphire Knife Spring Knob. 
 
 Main Shaft. (Always assembled 
 with Brass Mandrel.) 
 
 Main Shaft Pulley. 
 
 Governor Frame. 
 
 Governor Shaft. 
 
 Governor Shaft Center. 
 
 Swing Arm. 
 
 Swing-arm Center. 
 
 Straight Edge. 
 
 Speaker Arm. 
 
 Speaker. 
 
 Speaker Lever. 
 
 Speaker Adjusting Screw. 
 
 Speaker Arm Lift Lever. 
 
 19. Governor Adjustment Screw. 
 
 20. Governor Brake, or Switch. 
 
 21. Armature Pulley. 
 
 22. Armature Shaft Center. 
 
 23. Governor Block. 
 
 24. Phonograph Body. 
 
 25. Body-holding Screws. 
 
 26. Shaving Knife Lever. 
 
 27. Chip Box. 
 
 28. Feed Nut. 
 
 31. Speaker Adjusting Screw Lug. 
 
 33. Top Plate Cover. 
 
 34. Back Rod Sleeve. 
 
 35. Lock Bolt. 
 
 36. Governor Contact. 
 
 37. Top Plate. 
 
 38. Speaker Clamps. 
 
 39. Belt-tightening Screw. 
 
 40. Idler Pulley. 
 
 41. Governor Top Brush. 
 
THE EDISON " M " AND " E " ELECTRIC PHONOGRAPHS 83 
 
 run on the no to 120 volt Edison Direct Current. It is the most 
 convenient style of Phonograph made. The power is both con- 
 tinuous and handy, as connecting wires need only to be attached 
 to the nearest electric light connection. It is equipped with 
 resistance block fitted with lamps, attaching plug and cord. 
 
 Instructions for Operating the Edison ■ ' M " and ' ' E ' ' 
 Electric Phonographs. 
 
 The "E" electric is in every way similar to the "M" electric, 
 with the single exception of the motor, which is wound differently. 
 For instructions as to care of batteries, renewals and recharging, see 
 Chapter 11, Part II, BATTERIES. 
 
 Machine at rest. Open speaker clamps (38) and 
 To Record insert recorder with the speaker lever (16) pressed 
 
 up against lug (31). 
 Press up speaker lever D, place the speaking tube C on the 
 Phonograph, and lower the lift lever H. 
 
 Press up lift lever (18). The numbers refer to cut on 
 page 82. Throw down the lock bolt (35) and open swing' : arm 
 (n) wide. 
 
8 4 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 „Xo\ ~ :::::n * 
 
 Press down the lock bolt A and open swing arm B. 
 
 Slip the wax cylinder, beveled end foremost, upon the taper- 
 ing brass mandrel (i), and press it firmly, but not too forcibly 
 into place. The ?iumbers refer to cut on page 82. 
 
 Close the swing arm and relock it. 
 
 Raise the speaker arm (14), an inch is sufficient, from the 
 straight edge (13), upon which it rests in front, and slide to the 
 left until directly over the beveled end of the cylinder, or the 
 point at which you want the record to commence. Again lower 
 it to straight edge and push the speaker lever (16) up as far as it 
 will go. 
 
 Move the brake handle to the left or right as the 
 case may be. Obtain desired speed by turning 
 ■P governor adjusting screw M (see page 85). 
 Start the machine by pushing the brake handle (20) to the 
 left until it strikes against the pin. 
 
 Place the speaking tube upon the tube plate, lower the lift 
 lever (18) as far as possible, and commence dictation to the 
 machine. Should it become necessary to pause during the dicta- 
 tion and before the end of the cylinder has been reached, raise 
 
THE EDISON " M " AND " E " ELECTRIC PHONOGRAPHS 85 
 
 lift lever (only) until it closes against the speaker arm ; this will 
 disengage the feed nut from the fine thread upon the main shaft 
 and at the same time raise the recording stylus from the wax. 
 
 A white shaving will appear on the surface of the cylinder 
 where it has been passed over by the stylus. Remove the speak- 
 ing tube ; raise the speaker arm, and, throwing it back as far as 
 possible, dust off these shavings by holding the camel's hair chip 
 brush against the cylinder, and passing it very slowly from left to 
 right. This operation being completed, the record, as it is now 
 called, is read} r to reproduce. Further instructions are given in 
 Chapter 15, Part II, Dictating ; also Chapter 3, Part III, 
 Record Making. 
 
 Press the speaker lever D up, place the hearing tube 
 To Repro- -g Qn the Y honogrSLV ^ i ower t h e H£ t lever H, and 
 
 turn the adjusting screw F until the proper sound 
 is obtained. 
 
 Iyift lever (18) up. The ?iumbers refer to cut on page 82. 
 Open speaker clamps (38) and insert automatic reproducer. 
 Push the speaker lever (16) up against the point of the adjusting 
 screw (17). Now place the hearing tube on the tube plate, and 
 lower speaker arm opposite the point where the record begins, by 
 dropping the lift lever (18). With the Automatic Speaker the 
 
86 
 
 HANDBOOK OP THE PHONOGRAPH 
 
 following adjustment is unnecessary, as the reproducer ball adjusts 
 itself to the track or groove made by the stylus. With the 
 Standard Speaker (a combination speaker equipped with both 
 recording and reproducing sapphires), it sometimes occurs that 
 clear reproduction is not at first obtained. To obviate this, unscrew 
 the adjusting screw (17) until its point disappears in the lug (31) 
 and, while listening with the hearing tube, press the speaker lever 
 
 (16) upward with the thumb of the right hand, and with the 
 first and second fingers of the same hand turn the adjusting screw 
 
 (17) slowly down until you can hear the record distinctly. This 
 adjustment will bring the reproducing ball into the groove of 
 the record. 
 
 Regulation 
 of Speed 
 
 The speed of the machine in revolutions of the main 
 shaft per minute is regulated by the speed adjust- 
 ment screw (19). To increase speed unscrew this 
 nut, and to decrease it screw the nut down. 
 
 Observe this carefully when reproducing music, as a different 
 speed from that at which the music was recorded will reproduce 
 an entirely different pitch. The standard speed at which musical 
 records are taken is about 125 revolutions per minute. 
 
87 
 
 The governor speed (top) brush (41) on the speed- adjusting 
 spring should rest against the under side of the contact disc (35) 
 only. It must never touch the hub of the disc. 
 
 _,, ^ Although this device is not, strictly speaking, an 
 
 important factor in the working of the Phonograph, 
 * ( but merely an appliance for greatly increasing the 
 
 capacity of the cylinder, still a brief explanation of it, and of the 
 reasons for its use, seems advisable before again passing to the 
 details of instruction. 
 
 Operation Lower the lift lever H, press the knife button until 
 of Turning the knife touches the cylinder, and press down the 
 Rest knife lever L,, then raise lift lever H. Do not put 
 
 the Phonograph in motion to shave the cylinder until the knife 
 has been adjusted as above and carried to extreme left end of 
 cylinder, after which lower lift lever H. 
 
 Machine at rest. Wax cylinder firmly set upon mandrel ; 
 hearing tube removed; speaker lever (16) pushed up. Fasten 
 back the speaker weight by passing rubber band around lower end 
 of the weight and over the speaker arm, about where the figures 
 (38) are shown on cut. Or remove speaker, as preferred. 
 
 Lower the speaker arm and lever (18) about over the center 
 of the cylinder. Hold the end of the arm down firmly with the 
 thumb and forefinger of the left hand, while with the same fingers 
 
88 HANDBOOK OF THE PHONOGRAPH 
 
 of the right gently press the button (5) of the knife lever down- 
 ward and toward the machine. Then press down the knife lever 
 (26) as far as it will go, then close lift lever (18) up into its slot 
 in the speaker arm, slide the arm to extreme left, again lower the 
 lever (18) and start the machine. 
 
 When the turning off of a cylinder is completed, always see 
 that the knife lever (26) is thrown up and back as far as it will. 
 Further instructions are given in Chapter 14., Part II, Shaving. 
 
 Handling The wax cylinder, which is somewhat brittle, should 
 the be handled gently at first, until the operator becomes 
 
 Cylinder practised. See Chapter ij, Part II, Blanks. 
 
 or to change to another part of the cylinder. 
 
 . ° * Raise the lift lever H, without stopping the 
 
 Temporarily machine itself . 
 
 Always keep the entire machine perfectly clean and 
 Oiling free from dust. It is an essential to perfect work 
 
 with any piece of machinery, and the Phonograph is 
 no exception in this respect. 
 
 Phonograph oil should be applied sparingly every two or three 
 days to the following parts : "Oil hole," back of governor block; 
 base of governor shaft ; small hole in top of governor frame ; top 
 center bearing of armature shaft ; bearings of idler pulleys under 
 which the main belt turns ; end bearings of main shaft ; thread of 
 main shaft; back rod; a little upon the straight edge. Care should 
 be taken not to get any oil upon the belts, as it makes them slip 
 and stretch loose very quickly. Use as little oil as possible at the 
 top of the governor, as spreading down it gets upon the contact 
 and tends to make the motor govern badly. Oil only where 
 directed. In smearing it upon any other part you simply set a 
 trap for dust. 
 
THE EDISON ' ' M " AND ' ' E ' ' ELECTRIC PHONOGRAPHS 89 
 
 To Tighten Main Belt. — Loosen the two body- 
 uenera n- ]j j^i n g screws (25) which fasten the machine to the 
 s rue ions tQ ^ ^ate, an( j turn belt- tightening screw (39) which 
 is under the mandrel, inward. 
 
 To Tighten Governor Belt. — Slightly loosen the four 
 screws which hold the wooden governor block (23) to the top 
 plate, the holes for which are slotted, and slide the entire governor 
 to the left until sufficient tension is obtained. 
 
 Belts should be kept moderately tight to prevent slipping ; if 
 too tight extra power is required to start the machine. 
 
 The sapphires upon the speaker and the turning rest are 
 perfectly adjusted before shipment. 
 
 The copper brushes, both motor and governor, should be kept 
 clean by the use of benzine. Never oil them, or the commutator 
 or contact on which they rest. These parts must be perfectly dry 
 and bright. When necessary to clean, use care not to spread or 
 displace the fine wires of the brushes. 
 
 The bearings of the shafts, called the centers, should be snug 
 but not tight. There should be no shake. 
 
 Keep battery wire contacts bright and clean, and see that the 
 wire is held tightly at its terminals. 
 
 The sapphire recording and reproducing points should be 
 kept free from dust and wax scales by brushing, or they may be 
 touched with a little benzine on the finger tip. 
 
 When the machine is used indiscriminately for both recording 
 aud reproducing, do not leave the speaker lever (16) down 
 except while recording. 
 
 Never attempt to slide the speaker arm from side to side 
 without either raising it or closing the lift lever, as you are liable 
 to damage the thread upon main shaft by scraping the feed nuts 
 across it. 
 
 To use your power economically, be sure to cut off current 
 from the motor when not in use. Do not allow any metallic sub- 
 
go HANDBOOK OF THE PHONOGRAPH 
 
 stance to come in contact with either the speaker sapphires or 
 the knife. 
 
 Do not remove main shaft from machine unless it becomes 
 absolutely necessary, then use great care in drawing it out to 
 avoid injuring the thread. 
 
CHAPTER VII. 
 
 The Edison a M" Concert Phonograph. 
 
 THIS consists of a Concert body (see description of the 
 Concert Phonograph, Chapter 5, Part II), mounted on 
 an " M" electric motor, asdescribed in preceding chapter. 
 It rests in an oak body box 20 inches long and g% wide. It 
 stands 14 inches high, weighs 73 pounds, and is finished in black, 
 gold and nickel. Is equipped with electric motor (wound for 
 battery) and governor, and is fitted with instantaneous speaker 
 clamps, for instant interchange of speakers. The battery is not a 
 part of the Phonograph, but is an independent apparatus. Storage 
 or primary (chemical) battery may be used. The motor requires 
 a steady current of 2^ volts and 2 amperes. On account of its 
 uniform action, continuous power supply, volume of sound, true 
 tone quality, and distinct articulation, the "M" Concert 
 Phonograph is recommended for important work where the highest 
 results are sought. 
 
 Two speakers are included, free of charge, with the "M" 
 Concert Phonograph ; the Edison Automatic Reproducer and 
 the Edison Recorder: also a sapphire shaving apparatus, a 24-inch 
 polished brass horn and stand, an oil can and a camel's hair chip 
 brush. 
 
 "> 
 
9 2 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 this machine are the same as in the preceeding 
 chapter. The following is the only point that is 
 necessary to emphasize especially : in closing 
 swing arm of the Edison ' ' M " Concert Phono- 
 graph, see that the pin on swing arm enters hole 
 on straight edge casting. Press the arm firmly with thumb, at 
 the same time locking the lock bolt with first two fingers of 
 same hand. 
 
 General 
 Instructions 
 
 for 
 Operating 
 
CHAPTER VIII. 
 The Edison " H " Coin Slot Phonograph. 
 
 AN automatic Coin Slot Phonograph that is almost as effective 
 as the higher priced machines. The machine is a Home:, 
 requiring to be wound by the customer each time a coin 
 is dropped in. It is simple in construction, easy of adjustment 
 and costless to maintain. Every detail in construction has been 
 worked out with the greatest care and precision. The slot mech- 
 anism is an improvement over any other on the market, and is 
 solid and substantial in every particular. 
 
 Equipped with a winding stop, thus preventing overwinding 
 by careless customers. The slot locks automatically while the 
 machine is playing. The only care it needs is the occasional 
 changing of the record. Most of the machines are operated by a 
 nickel ; but machines to be operated by special coins are also to be 
 had. Base measures 18^ x 12 inches. Height, 21 inches. 
 Weight, 45 pounds. Is equipped with a 14-inch brass horn and 
 and Edison Automatic Reproducer. 
 
 Instructions for Setting Up and Adjusting the ' ' H " 
 Coin Suot Phonograph, 
 
 First open the large box containing the cabinet. Set it on a 
 convenient stand or table. Unlock the lower swinging front. Pull 
 
HANDBOOK OF THK PHONOGRAPH 
 
 The Edison "H » Coin Slot Phonograph. 
 
THE EDISON "H" COIN SLOT PHONOGRAPH 95 
 
 out the brass knob to release the catch that fastens the glass cover. 
 Raise glass cover till it is held back, wide open, by the swinging 
 catch on the left. 
 
 Be sure to remove any dust or excelsior packing that may 
 have accumulated, from all parts of cabinet. The cabinet is now 
 ready to receive the movement. 
 
 .. Next open the smaller box containing the move- 
 
 Unpacktng ment Yqu wiU gee for yourself> a f te rward, the 
 
 delicacy of the mechanism. We tell you about it now so that 
 no jamb, or knock, or twist, or blow shall be given to the coin 
 chute or tripping mechanism or any other parts. The greatest 
 possible care is exercised in packing and shipping this movement. 
 It is first encased in a temporary stand or cabinet, which in turn is 
 floated in a heavy outer packing case with thick layers of packing 
 between the two boxes, thus making it impossible for the move- 
 ment to be damaged in transit. Remove the inner cabinet from 
 the packing box, side marked top up, and remove the wood 
 screws. This allows the upper half of cabinet to be taken off, 
 leaving the movement screwed to the lower half of the stand, 
 with the sides exposed. It leaves the factory already assembled 
 (except coin chute as noted hereafter) ready to run, and 
 thoroughly tested. 
 
 Make all adjustments in the order given in the following 
 instructions : don't touch this piece or that piece, before you have 
 followed out exactly the directions for each part. Study each part 
 carefully and intelligently as you adjust it, and you will find no 
 difficulty in setting up the whole Phonograph. Once properly 
 assembled, the coin slot mechanism works perfectly, and, if care- 
 fully treated, requires no attention other than changing the record 
 and emptying the money drawer. 
 
 Accidents and misuse, however, are contingencies that must 
 be considered ; and the following suggestions and explanations 
 are made so that you may be enabled to readjust the machine 
 yourself in case of anything happening to it. 
 
9 6 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 ^ . Place the mechanism on a table before you, still 
 
 liA . in its temporary stand. Study it carefully. Don't 
 
 attempt to put it into the cabinet until you have 
 looked at it carefully from the front, from behind, on all sides. 
 The stand is purposely made open front and back, so that the 
 working of all parts may be watched and studied. This open 
 unobstructed view will enable you to see how simple and perfect 
 the mechanism is. 
 
 Untie the parts carefully that are fastened with cord, oil gears 
 and centers as instructed in Directions for Operating Edison 
 Home Phonograph. The Coin Slot Phonograph is built up from 
 the Home, so you must first follow the general Home instructions 
 down to To Reproduce. 
 
 The polished nickeled coin chute with sliding sleeve is packed 
 with the horn and other small parts in the large box, inside the 
 cabinet. Adjust the coin chute A (Fig. i.) to the projecting piece 
 B at the back of the movement, with the screw that is tied to it. 
 
 Particular care must be observed that the coin chute is set so 
 that it does not touch the two prongs C and D on the coin lever. 
 
THE EDISON " H ' ' COIN SLOT PHONOGRAPH 97 
 
 The coin lever must play freely, without rubbing or even touch- 
 ing the chute. Any friction at this point will throw the working 
 of the machine entirely out. 
 
 The winding is the next operation. At the first turn of the 
 key, the speaker arm is lifted by the action of the friction lever B 
 (Fig. i.) This friction lever plays upon the winding shaft. The 
 proper amount of friction is regulated by the brass clamp F, by 
 means of the adjusting screw as shown on the clamp. It should 
 be just tight enough to lift up the speaker arm, and keep it raised 
 during the entire operation of winding. If too tight it makes the 
 machine wind hard. 
 
 ^ „ The raising of the speaker arm plays two important 
 
 , „ 7 . parts ; ist, disengaging the feed nut from the main 
 Mechanism \ ' ' , *? \* . « . 
 
 shaft, and 2d, putting the return mechanism into 
 
 operation. The lever G (Fig. 1.) comes into contact with the 
 
 lugs H H on the sprocket chain, which carries the speaker arm 
 
 back to the proper starting point. This is easily determined 
 
 by shifting the lever G back and forth on the speaker arm, and 
 
 then clamping it firmly by the thumb nut I in upper end, so that 
 
 the reproducer will be exactly over the beginning of the record at 
 
 the moment the sprocket lugs leave the lever G. This return 
 
 movement also unlocks the slot in the cabinet, as explained under 
 
 heading "Starting." 
 
 is shown in Fig. 2. This is the device by which 
 1 tie 01 op overwinding is avoided, thus prolonging the life of 
 Winding ^ ma i nS p r i n g. Fig. 3. shows the relative position 
 Mechanism of the gtop j and the pin Ky after the operation of 
 winding. The pin K is against the stop J, thus stopping the wind- 
 ing. Note that the pin K is on the winding gear and the stop J is 
 on the spring barrel. While winding, the gear wheel and pin K 
 revolve in the direction shown by arrows, the spring barrel remain- 
 ing stationary. Three and a half turns of the winding key make 
 the gear wheel and pin K revolve once. On the first revolution 
 
9 8 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 F;§.2. 
 
 the stop J presents the slot I, to the pin K, thus allowing the wind- 
 ing to continue. On the 2nd revolution the stop J presents the 
 slot M to the pin K, thus continuing the winding. On the 3rd 
 revolution J is stopped by the pin K coming in contact at N. 
 The correct adjustment of stop J must be such that it does not stop 
 the winding until the spring is wound to its full capacity (but not 
 too tight). After winding, make sure that the spring is wound 
 fully by looking into the spring barrel on its left side, from the 
 front of the mechanism. 
 
 Adjustments 
 
 Stop Winding 
 Mechanism 
 
 As the best results are obtained when the full 
 force of the spring is exerted upon the mechanism, 
 it is highly important that the spring should be 
 coiled up tight in the spring barrel, or nearly so. 
 If such is not the case, the stop J (Fig. 2.) has 
 
 been moved or jarred by shipment, and has stopped the winding 
 
THE EDISON " H "COIN SLOT PHONOGRAPH 
 
 99 
 
 • operation with the spring not fully wound. To remedy, turn the 
 stop J on its central pivot so that the pin K will come into slot M, 
 thus permitting another revolution of the winding gear and pin 
 K, equal to $% turns of the winding key. 
 
 Should the opposite happen, that is, the spring become fully 
 wound before the pin K touches the stop J, at the point N, let 
 the machine run until the stop J passes the pin K, then turn the 
 stop to position shown in figure 3. 
 ^ Should the return mechanism fail to return, or the coin in the 
 
 j slot fail to start the machine, or the record stop playing half way 
 through, the remedy is simple. Remove the record and revolve 
 the shaft in the opposite direction, or toward the front, until the 
 stop J disengages itself from the pin K, so that it can be adjusted 
 as in Fig. 2 ; that is, so that the pin K fits into the slot M, thus 
 permitting another revolution of the winding gear, equal to 3% 
 turns of the key. 
 
IOO HANDBOOK OF THE PHONOGRAPH 
 
 The importance of these winding adjustments cannot be em- 
 phasized too much. 
 
 As noted in the instruction card, the nickel is dropped 
 Starting into the slot after the machine is wound. This 
 
 prevents the possibility of ''working" the machine 
 twice with one nickel. The coin is caught on the prongs C D 
 (Fig. i) of the coin lever, its weight acting on a series of levers 
 (as explained later under the heading "Stopping"), thus releasing 
 the governor brake and starting the mechanism. The nickel stays 
 on the coin lever until the record is played through, when it is 
 released and falls into the money drawer. The machine is so 
 planned that you cannot wind it as long as the coin remains on the 
 coin lever. Once started by the nickel, it plays the record through. 
 You cannot stop it, you cannot rewind it. Not until the nickel 
 drops out of the coin lever will the machine stop. It is then 
 ready to wind again. 
 
 The starting of the machine and the movement of 
 
 • n ° C • " the speaker arm locks the slot in the cabinet instantly . 
 ing Device The lug Q ^^ ^ on thfi kver Q Qn the speaker 
 
 arm releases a spring lever attached to the cabinet work, and 
 throws a pin across the slot, thus making it impossible to drop in 
 another nickel until the machine is rewound. As explained 
 under its heading, the winding operation carries the speaker arm 
 back to its original position ; and by so doing, unlocks the slot 
 and the machine is ready for the next nickel. 
 
 It is important that the slot locking device is always in 
 working order ; for if it gets out of adjustment and allows of 
 another nickel being dropped before the machine is rewound, or 
 while it is winding, it locks the winding shaft immediately. 
 Should this occur, trip the prong C on the rear end of the coin 
 lever. This throws the nickel out, unlocks the winding shaft, 
 and permits the machine to be wound properly. 
 
THE EDISON "h" COIN SLOT PHONOGRAPH IOI 
 
 To stop the machine when the record is played to 
 Stopping the end, adjust the wire P (Fig. i) by means of 
 
 the thumb screw in the speaker arm, so that it just 
 comes into contact with the lever Q at the proper time, thus 
 throwing the nickel out of the coin lever and stopping the 
 mechanism. The coin lever is balanced on the shaft R (See also 
 Fig. 2). The adjustment of the balance is made by moving the 
 weight S (Fig. 1) on the front end of the coin lever. On the 
 other end of shaft R (Fig. 2) near the governor is a disc T with 
 a small pin which works in a slot in the brake lever U. This 
 brake lever comes into contact with the governor disc V, thus 
 stopping the machine. 
 
 While the nickel is on the coin lever the end of the 
 To Adjust brake lever U (Fig. 2) should jusi clear the gov- 
 ernor disc V, thus allowing it to revolve freely. 
 When the nickel drops into the coin drawer, the weight S (Fig. 1) 
 tips down its end of the coin lever, causing shaft R (Fig. 2) to 
 turn, thus throwing pin in disc T upward, causing the brake lever 
 U to press upward upon the governor disc V. If the pressure is 
 not sufficient to stop the governor immediately, loosen the set 
 screw in T, and turn disc toward the front, until the proper pres- 
 sure of brake on governor disc is obtained. 
 
 When you have mastered the movement thoroughly, shift the 
 machine to the permanent cabinet. Take out the screws from top 
 plate, and lift the machine out of the temporary stand, very care- 
 fully. Don't Set the Mechanism Down Again, But Place 
 it Immediately into the cabinet, taking the same care that none 
 of the parts and especially the coin chute touches the woodwork 
 as you set it into place. See that the two screw holes in the top 
 plate correspond with the holes in the cabinet. Screw down firmly. 
 
 . on the mechanism is connected with the short chute 
 
 The Loin at tached to cabinet by the sliding sleeve on the 
 UDper end of coin chute. 
 
102 HANDBOOK OF THE PHONOGRAPH 
 
 .. On the inside of the lower cabinet, to the right, just 
 
 * over the money drawer, is a flat iron pawl. Slide 
 J the key through the hole in the cabinet, on to the 
 
 winding shaft, lifting the pawl at the same time. When the key 
 is in its proper position, the pawl drops into the groove on key. 
 Thus the key is free to turn, but absolutely unremovable from 
 the outside. 
 
CHAPTER IX. 
 
 The Edison "M" Coin Slot Phonograph. 
 
 T 
 
 HIS outfit consists of an Edison "M" Electric Phonograph 
 with Automatic Reproducer, hearing tube, 24-inch 
 polished brass horn and horn support, automatic slot 
 attachment, storage battery and cords. 
 The Phonograph mechanism and the 
 battery are enclosed in a substantial 
 oak cabinet, as shown. Weighs 130 
 lbs., height, 53m.; occupies a floor space 
 of 27^ x 16^ in. These machines 
 when placed in a store, hotel, or 
 place of amusement usually prove a 
 source of great profit to their fortunate 
 owner. Usually operated by a nickel. 
 Machines to be operated by special 
 coins are also to be had. As they are 
 actuated by electricity, no winding is 
 necessary. They run noiselessly and 
 continuously, and are a safe and profit- 
 able investment. 
 
104 HANDBOOK OF THE PHONOGRAPH 
 
 Instructions for Operating the Edison ' ' M " Coin Si<ot 
 
 Phonograph. 
 
 'The Phono- is almost identical with the "M" Electric, and the 
 graph same instructions apply as have been set forth 
 Mechanism already in Chapter 6, Part II. 
 
 The Coin is so nearly like that used in the "M" Concert Coin 
 
 Slot Slot Phonograph (described in the following chapter) 
 
 Mechanism that the direction for operating apply word for word. 
 
CHAPTER X. 
 
 The Edison "M" Concert Coin Slot Phonograph. 
 
 THIS outfit consists of a Concert Body, as described in 
 Chapter 5, Part II, mounted on an "M" Ei^CTric motor. 
 It is equipped with an Automatic Reproducer, automatic 
 slot attachment, hearing tube, 24-inch polished brass horn and 
 horn support, together with complete storage battery and cords. 
 The Phonograph mechanism and the battery are enclosed in a 
 handsome oak cabinet, similar in ap- 
 pearance to the " M " Coin Slot Cabinet, 
 described in previous chapter. It stands 
 55 inches high, and occupies a floor 
 space of 28 by 18 inches. The illustration 
 shows the door removed, in order to 
 display interior of the cabinet. 
 
 As it is actuated by electricity, no 
 winding is necessary. Runs continuous- 
 ly and without noise. Usually operated 
 by a nickel. Machines to be operated by 
 special coins are also to be had. 
 
 As a novelty, the Edison Concert 
 Coin Slot Phonograph is the most at- 
 
106 HANDBOOK OF THE PHONOGRAPH 
 
 tractive and wonderful musical and talking machine ever put 
 before the public. 
 
 Instructions for Operating the Edison "M" Concert 
 Coin Slot Phonograph. 
 
 The Phono- is almost the same as the "M" Electric, and the 
 graph same instructions apply as have been already given 
 Mechanism in Chapter 6, Part II. 
 
 The Coin When the coin is dropped in the slot X it travels 
 
 Slot down the chute Y and stops at a point A under the 
 
 Mechanism cover Z. This point A is between two slide pieces, 
 B and C, the ends of which project beyond the cover Z. 
 
 The weight of the coin against slide piece B overcomes the 
 pressure of the copper spring D, which is attached to the slide 
 piece B, and presses B against the copper contact E, which 
 makes an electrical connection, thus starting the motor. 
 
 The speaker arm will now travel over the wax cylinder until 
 the projection (on which the lift lever works) comes into contact 
 with the adjustable dog F on the horizontal rod G. When this 
 dog F is adjusted properly, the speaker arm projection when 
 stopped by it, will come just under the hook J on the vertical rod 
 K. Note that this rod K extends through the base into the 
 lower cabinet. 
 
 On the left end of the rod G is the pulley P of the the return 
 attachment and clutch H. When the moving speaker arm engages 
 dog F, which is firmly fastened to rod G, the entire rod slides to 
 the right, slowly propelled by the moving speaker arm, thus 
 engaging the clutch H with the pulley P. 
 
 The return attachment will now wind up the cord until the 
 lever I raises the speaker arm (thus lifting the speaker from the 
 record) and, by striking against the hook J, lifts the vertical rod 
 K, causing the lever 1SL, (in the lower cabinet) to pull out the 
 slide C, releasing the coin which drops into the drawer M. 
 
THE EDISON "M" CONCERT COIN SLOT PHONOGRAPH 
 
 I07 
 
 500000000 
 
 000000000000 
 
 r\ 
 
108 HANDBOOK OF THE PHONOGRAPH 
 
 The pressure of the coin against the slide B being now 
 removed, the copper spring D forces the slide back to its original 
 position, breaking the electrical connection and stopping the motor, 
 the momentum of which will carry the speaker arm back, or 
 nearly back to the point of starting. The slide C returns to its 
 original position by the weight of the rod K pressing down upon 
 it. When another coin is dropped in, the speaker arm is carried 
 fully back against the dog N, which disengages the clutch H 
 from the pulley P, thus allowing the cord to unwind, lowering 
 the speaker arm and starting it off at the begining of the record. 
 The dog N should be located so that it will strike the lever I 
 (thus disengaging the pulley on the return attachment) when the 
 speaker in the speaker arm is exactly at the starting point. 
 
 The automatic parts are all adjustable, and it only needs 
 careful attention to the above instructions, together with watch- 
 ing and studying the parts, to obtain absolutely perfect results. 
 
CHAPTER XI. 
 
 Batteries. 
 
 v . When the first "M" Electric Phonographs were put 
 
 / on the market they were supplied with the Grenet 
 type of primary battery, using bi-chromate of 
 potash. There were many objections to this type of battery; chief 
 among them its short life, and consequent expense, its uncleanli- 
 ness and the care needful to keep it in order. Other styles of 
 primary batteries have come and gone. Some have been more 
 successful than others by lacking one or more of the above 
 objections. Not until the appearance of the Kdison-I,alande 
 Battery however, did the problem of efficiency, economy and 
 cleanliness appear to be anywhere near a practical solution. Here 
 are the principal points in favor of the Kdison-L,alande Batteries; 
 points that place them far and away in the lead of all other 
 primary batteries for use with the Edison "M" Electric 
 Phonograph : 
 
 i st. High and constant avaii«abi,e electromotive force. 
 
 2d. No local action, and therefore, no loss of energy, while 
 the cell is idle — the chemical action in cell is less than one per 
 cent, per month. 
 
 3d. Extremely low internal resistance. 
 
 4th. Heavy current delivery, absolutely constant. 
 
 5th. Cheap materials for renewals, easily obtained. The 
 
HO HANDBOOK OF THE PHONOGRAPH 
 
 elements employed in the Edison-Lai ande cell are zinc, which 
 forms the negative pole, and black oxide of copper (Cu. O), the 
 positive pole of the battery. The exciting liquid is simply a 
 solution of caustic potash. 
 
 6th. No attention or inspection required, until all the energy 
 of its elements is exhausted. 
 
 7th. Convenience of form, and freedom from noxious fumes 
 or chemical deposits. No creeping. 
 
 8th. No polarization. 
 
 9th. Will not freeze at lowest temperature. 
 
 The Kdison-Lalande Batteries are made in many sizes and 
 styles, but the ''V" cell for portable work and the "S" cell for a 
 permanent installation recommend themselves especially for 
 Phonograph service. Here is a capital "Exhibition" battery, so 
 constructed that it may be moved from place to place with the 
 least possible trouble. It consists of four liquid-tight enameled 
 
 Portable Battery. 
 
BATTERIES 
 
 III 
 
 steel cells, type ''V," capacity 150 ampere-hours, in a polished 
 oak case, with a handy strap for carrying. It measures 
 13 x 13x9^ inches. 
 
 This battery will run a Phonograph for 50 hours with a single 
 charge, and as it is absolutely liquid tight, it is just the thing for 
 travelling exhibition work. Weighs 36 pounds empty, and about 
 50 pounds charged. 
 
 For stationary work, the "S" battery has been found to meet 
 all requirements. It consists of four Edison-I^alande cells, type 
 "S" (300 ampere-hours), with battery cords, in a lead-lined 
 polished oak box, size 25% x 8 x 15 inches. 
 
 S" Battery, 
 
 This battery will run the Phonograph for 100 hours with a 
 single charge. The matter of weight being a secondary consider- 
 ation, the cells are larger and are of porcelain instead of enameled 
 steel. Weighs about 90 pounds when charged. With double the 
 capacity of the portable batteries, it costs but 25 per cent. more. 
 For general convenience and efficiency it is equalled by the 
 
II2 HANDBOOK OF THE PHONOGRAPH 
 
 storage battery only when the owner of the latter has exceptional 
 facilities for recharging. In general, the primary battery is 
 recommended, as it places the operator in control of the source of 
 his power, thus insuring him a current at all times. This is 
 easily accomplished by his having on hand always a supply of 
 renewals, with which he can recharge his own battery at any 
 time. 
 
 As implied by the name, these batteries store the 
 storage energy with which they are charged and keep it 
 
 ready for use at any time. With an electric light 
 or a power station near at hand, at which the batteries may be 
 recharged, they are undoubtedly preferable to any form of primary 
 battery. It will be found convenient to have two or more of the 
 moderate size cells in preference to one large one. These cells are 
 heavy, the plates being of lead, immersed in dilute sulphuric acid. 
 Two smaller cells are not only easier handled than one large one, 
 but by having two or more, a fresh battery may be held always 
 in reserve, thus avoiding the embarrassment and annoyance of an 
 exhausted cell at an inopportune time. The storage battery 
 illustrated weighs thirty-five pounds, and measures 4 x 10 x 14 
 inches. It will run a Phonograph for 30 continuous hours. 
 
 When a new battery is received it should be 
 given a five-hour charge at the normal rate, 
 fe? n t' or at a lower rate for a proportionately 
 J! ' greater length of time. Whenever the bat- 
 
 tery is to be charged, the rubber screw caps 
 should be taken off. 
 
 Instructions 
 
 of 
 Storage Batteries 
 
 In connecting the charging wires (from a direct current cir- 
 cuit, NOT AN ALTERNATING) to the battery, great care 
 should be taken that the positive wire is connected to the 
 positive pole of the battery, either directly or through the re- 
 sistance which is usually necessary, and the negative wire to the 
 
BATTERIES 
 
 113 
 
 negative pole of the battery ; if connected in the reverse direction 
 very serious injury to the battery will ensue. 
 
 The height of the solution in the cell should be frequently 
 observed and if there has been such a loss of solution either by 
 evaporation or spilling as to leave the tops of the plates exposed, 
 it should be replaced. If the loss has been occasioned by evapo- 
 ration, pure water should be used ; 
 if the loss has been occasioned by 
 spilling, solution should be added ; 
 the solution is dilute sulphuric acid 
 of a specific gravity of 1200 , or 
 25 ° Beaume, as shown on the hy- 
 drometer, at normal temperature 
 (6o°F.). If it is not convenient to 
 procure this solution already mixed 
 and ready for use, it should be 
 prepared by diluting commercial 
 sulphuric acid, or " Oil of Vitriol " 
 as it is more commonly called, with 
 pure water. The acid, as well as 
 the water, must be free from im- 
 purities such as iron, arsenic, nitric 
 or hydrochloric acid ; this is ab- 
 solutely essential. When diluting, the acid must be poured 
 into the water, not the water into the acid ; the proportions of 
 acid (of 1.840 specific gravity) and water are one to five (by 
 volume). The acid must be added to the water slowly and with 
 great caution, on account of the heat generated ; the final density 
 of the solution (1200 specific gravity) must be read when the 
 solution has cooled. 
 
 In Phonograph work the battery should not be discharged 
 below 1.9 volts per cell on closed circuit. If a voltmeter is not 
 available, the battery should be considered as discharged when 
 the Phonograph shows the slightest tendency to run slowly 
 
114 HANDBOOK OF THE PHONOGRAPH 
 
 because of lack of power. Never, for any work, discharge below 
 1.80 volts per cell. 
 
 When the battery is being charged, the charge should con- 
 tinue until the voltage on each cell reaches 2^/2 volts with the 
 normal charging current flowing. If a voltmeter is not available 
 the charge should be continued until each cell has been gassing 
 or bubbling freely for at least twenty minutes. 
 
 Sometimes, especially if the discharge has been at a very 
 low rate and has extended over several days or more, the charge 
 should be considerably prolonged, as at these rates much more 
 than the normal capacity is taken from the cells. 
 
 The rate of charge should never exceed the normal rate of 
 the cell. 
 
 Cells should never be allowed to stand discharged, but as 
 soon as exhausted, should be immediately charged up. If, for 
 any reason, the battery is to remain idle for some time, it should 
 first be fully charged and then given a recharge, enough to cause 
 the gassing to be very free, at least once a week. 
 
 It is absolutely necessary that the source of 
 Lhargingfrom current j s from a direct curren t system. 
 
 j% .? g THE ALTERNATING CURRENT CAN- 
 
 and Railway NQT BE USED Several met hods may be 
 
 employed ; the simplest and cheapest, es- 
 pecially if the battery is of moderate capacity (say up to 10 
 amperes for eight hours) , is from the incandescent light circuit, 
 which is almost always available ; sometimes, however, it is 
 necessary to draw from either the 500-volt trolley circuit or an 
 arc-light circuit. 
 
 In the case of the incandescent light and the trolley circuits, 
 resistance will be necessary to reduce the potential to the proper 
 amount ; it is generally most convenient to use lamps for this 
 purpose, the charging current being adjusted by varying the 
 number in circuit. 
 
BATTERIES 115 
 
 Charging If an arc-light circuit is the only available charging 
 from Arc- source the method of connecting in the battery is 
 
 Circuits somewhat different than in the case of the other 
 circuits. Here the battery is put directly in series with an entire 
 circuit of lamps, which are in service either in the building or on 
 the street. In order to insure that this circuit is not broken 
 when the battery is thrown in or out, a peculiarly constructed 
 switch (called a consumer's switch) is required. 
 
 The difficulty in the use of this source of current for charging 
 portable batteries lies in the care which must be exercised to avoid 
 injury to persons or property from the high voltage of this class 
 of circuit. This method of charging is recommended only where 
 no other means are available, and should be employed by persons 
 familiar with electrical connections and the handling of high 
 tension wires. 
 
CHAPTER XII. 
 
 Repeating Attachment. 
 
 A SIMPLE and ingenious mechanism by which the Spring 
 Motor, the Concert, the "M" and "E" Electric, 
 and the " M ' ' Concert Phonographs may be made to 
 play the same record continuously. Easily regulated. Nickel 
 plated and highly polished throughout. 
 
 As attached to the Phonograph, the pulley A runs 
 Instructions continuously . Wnen tne en & f a reC ord is reached, 
 
 j/. 0r . the wire B comes into contact with feed nut spring, 
 Adjusting causing tne winch c to engage the clutch D, both C 
 and D being on same shaft as pulley A. The cord is threaded 
 through E, F, G and H, I, J, (the latter being assembled on the 
 speaker arm. ) The end of cord is tied into a hole in the speaker 
 arm lift lever. When the winch C and clutch D are engaged, as 
 shown in cut, the winch winds up the cord, first raising the 
 speaker arm lift lever (thus throwing the feed nut out) and then 
 pulls the speaker arm back to starting point, until the feed nut 
 spring strikes the post K. This separates the winch from the 
 clutch and it stops winding up the cord, allowing the speaker 
 arm to drop into position at the beginning of the record, which 
 starts off to repeat. 
 
REPEATING ATTACHMENT 
 
 II 7 
 
 T0 Adjust With reproducing ball at the beginning of record, 
 
 for any see that clutch and winch are disconnected. Move 
 
 Length post K against feed nut spring. At end of record, 
 
 Record slide post L to right or left as may be necessary, so 
 
 that wire B just touches feed nut spring. 
 
CHAPTER XIII. 
 Blanks and Records. 
 
 THE Edison record of to-day is commonly termed "a wax 
 record." There is nothing in its composition that 
 justifies the term, however, as the principal ingredient in 
 the mixture from which the cylinders are moulded, is stearate of 
 soda, a white chemical compound, hard and semi-transparent. 
 These cylinders vary in color, from white to a dark brown, caused 
 by varying conditions in the process of making. This difference 
 in color has no bearing whatever on their quality. They are all 
 of the first grade. In fact, no other than the first grade is known 
 at the Edison Works. 
 
 The cylinder as it is first moulded is known as a blank. The 
 Edison blank is chemically pure. It has no successful rival in 
 the market. There is no talking machine company or infringer 
 who does not recognize this fact, and there are no records worth 
 having, that are not made on Edison blanks. Other kinds are 
 gritty, harsh and unserviceable, and little if any cheaper. 
 
 As delivered by the factory, blanks do not have surfaces 
 prepared for receiving a record. It is necessary to shave off one 
 or two turns to secure a perfectly true working surface. All 
 Phonographs except the Gem are furnished with a device for doing 
 this. When once trued, the cylinder always remains true. This 
 operation is termed shaving, and is fully treated in the following 
 
BLANKS AND RECORDS 
 
 II 9 
 
 Chapter. Further points are also given in Chapter 3, Part II, on 
 Record Making. 
 
 The cylinder, which is somewhat brittle, should be 
 handled gently at first, until the operator becomes 
 practised. 
 
 Handling 
 Cylinder 
 
 Thrust the first and second finger of the right hand into the 
 thick end of the cylinder, and hold it fast by spreading the fingers 
 apart, as shown in the cut. Touching the outside surface of a 
 prepared cylinder, or record as it is called, destroys the attract- 
 iveness and generally 
 the value of such 
 record. Slip the cylin- 
 der, beveled end fore- 
 most, upon the taper- 
 ing mandrel. Push it 
 on the mandrel until 
 it holds firmly, by 
 friction. The inside 
 of the cylinder is also 
 conical, to fit the taper 
 of the mandrel. Not 
 too tight, or it may crack the record ; nor yet again not too loose. 
 If the latter happens, the cylinder revolves on the mandrel, mak- 
 ing the record repeat. A warm cylinder should not be put on a cold 
 mandrel, nor a cold cylinder on a warm mandrel, nor should a 
 cylinder be left on the mandrel for any length of time when the 
 machine is not in use. The first and third conditions cause the 
 the compound to contract, resulting in the record binding so 
 tightly that it cannot be removed, and sometimes cracking it. To 
 remove a "frozen" record, put the Phonograph in a very warm 
 room for a short time, which will cause the record to expand. 
 The second condition above noted will make trouble by causing 
 the record to expand and keep slipping on the mandrel. Slot 
 
120 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 Phonographs are always equipped with rubber mandrels, thus 
 obviating the difficulties that result from exposure and sudden 
 changes in temperature. 
 
 in boxes or cabinets made for the purpose, which 
 have perpendicular pegs at fixed distances to pre- 
 vent cylinders from coming in contact with each 
 other. Over these pegs they are placed beveled 
 Use a camel's hair chip brush to remove dust or chips 
 from the surface. Do not attempt to blow them off. Never lay 
 a record down on its side, or handle it other than as described. 
 While it does not absolutely ruin it to touch its surface, still 
 the fingers leave a mark and press in the ever present dust so 
 as to be noticeably apparent in the reproduction. 
 
 Cylinders 
 Should 
 be Kept 
 
 end down. 
 
 How to 
 
 Wrap 
 
 Records 
 
 Split apart the cotton batting and fold back one end 
 so that the glazed outer surface, (which is slightly 
 rough) does not come in contact with the record. 
 The cylinder is then rolled up, with the soft fibre 
 of the cotton toward the record. The record ticket is placed 
 between the cotton and a sheet of paraffine paper ; the number 
 and title of the record showing through the paraffine paper. The 
 
BLANKS AND RECORDS 121 
 
 ends of the cotton and paper are then tucked inside the cylinder, 
 which, thus wrapped, should fit snugly in the record box. 
 
 When wrapped thus carefully, records are not likely to be 
 damaged either when carried or when shipped by freight or 
 express. 
 
 _ , records will last a long time ; and while they may 
 
 / show a growing harshness as they approach the 
 
 1 hundred mark, still they may be used over and over 
 
 again without appreciable difference, except to a very discerning 
 ear. A cracked record may be repaired if handled deftly. Press 
 the edges of the crack firmly together, using a magnifying glass to 
 determine when the joint is exact. Then heat a knitting needle 
 or table knife, and sear the edges of the crack on the inside of the 
 record. The writer has done this with such good luck that the 
 click of the reproducing ball passing over the joint has been 
 hardly noticeable. 
 
 Broken records are beyond hope ; they are absolutely of no 
 value. 
 
CHAPTER XIV. 
 Shaving. 
 
 THE mechanical work has been described in the directions 
 for operating the different Phonographs. Here are some 
 important general points. 
 
 The knife should always be allowed to pass over the entire 
 length of the surface of the cylinder, otherwise there will remain 
 a portion of the wax which is thicker than the rest, and if a new 
 adjustment of the knife be made to the right of the end of former 
 cut, it will not touch the surface to the left of it. If adjusted to 
 the left, on reaching that part which was before unshaved the 
 knife will take too deep a chip, and tear instead of cutting the wax. 
 
 If the chip chute becomes clogged, it will prevent shaving. 
 Keep the chute clean by raising the speaker arm from the straight 
 edge, moving the carriage to the extreme right, and striking it 
 gently against the back lug of the casting. Under no circum- 
 stance jar out the chips by striking the front of the speaker arm 
 on the straight edge. 
 
 If the slot in the face of the chip chute (through which the 
 sapphire knife projects and into which the chips or shavings feed) 
 becomes clogged, apply the camel's hair chip brush or a wooden 
 tooth pick. Never touch the cutting edge of the sapphire with 
 a knife or any metal tool. 
 
SHAVING 123 
 
 If desired, the chip chute can be removed entirely by unscrew- 
 ing its set screw, and the knife will shave without obstruction. 
 
 The thinnest possible shaving will leave the smoothest surface. 
 Shave several times in preference to a single deep cut. 
 
 New blank cylinders require trueing, as they do not have 
 prepared surfaces, and are likely to be eccentric. In trueing these, 
 set the knife on the highest part \ if any, of the blank. When once 
 trued, blanks always remain cylindrical. 
 
 Never attempt to set the knife while the machine is in motion. 
 
 After very little practice the eye and ear of the operator will 
 become accustomed to the sound and appearance of a proper cut, 
 and will readily detect anything wrong. Other points are given 
 in Chapter j, Part HI. The Secret of Making Phonograph 
 Records. 
 
CHAPTER XV. 
 
 Dictating. 
 
 A PERSON desiring to dictate letters, essays, or statements, 
 simply places the cylinder on the mandrel of the instru- 
 ment, and dictates at leisure. Should the dictator, at any 
 time while dictating, desire to pause, all that is necessary is to 
 raise the lift lever on the speaker arm and cease talking. The 
 Phonograph gives these special advantages to the person dictating; 
 it is a silent and patient amanuensis, and is always ready to record 
 what is said ; it will take down exactly what is spoken to it, word 
 for word, and the only care required is that the person talking to 
 the machine articulates distinctly. 
 
 The Edison Standard Speaker, (See Chapter 16, Part II) 
 combining both recorder and reproducer, is generally used on 
 commercial Phonographs. 
 
 In dictating, the correspondent has frequent occasion to pause, 
 and in many cases loses the thread of his discourse. To stop 
 abruptly in the course of a dictation, it is only necessary to raise 
 the lift lever without stopping the machine. In resuming, should 
 the last few phrases be forgotten, lower the lift lever, and, raising 
 the speaker lever, listen with the speaking tube. The action of 
 the speaker lever throws the reproducer into the track some five 
 or six threads back of where the recorder stopped. After listen- 
 
DICTATING 125 
 
 ing to the last few words, lower the speaker lever (thus bringing 
 the recorder into position) and continue dictating (without 
 stopping the machine). 
 
 To avoid errors, the names of persons and places should 
 always be spelled out, unless the operator is familiar with them. 
 For further particulars see Chapter 5, Part III. The Phonograph 
 as an Aid to the; Arts of Stenography and Typewriting. 
 
 The speed of the main shaft for dictating should not be less 
 than seventy or eighty revolutions per minute, at which speed it 
 will take about four and one-half to five minutes to cover the 
 entire surface. Musical records should not be recorded at less 
 than one hundred and twenty-five revolutions per minute. Until 
 the eye becomes practiced the number of revolutions of the shaft 
 can be determined by counting the revolutions of the set screw 
 in pulley. 
 
 Should the end of cylinder be reached before a letter is ended, 
 it is only necessary to say ' 'Continued," and finish upon another 
 cylinder. 
 
 The advantages of the Phonograph for commercial work, 
 may be summed up pithily and tersely in the following ten 
 points : 
 
 1. Speed. You may dictate as rapidly as you please, and 
 are never asked to repeat. 
 
 2. Convenience. You dictate alone at any hour that may 
 suit you. 
 
 3. Saving of Operator's Time. During the dictation, 
 instead of receiving notes, the operator can be employed upon 
 other work. Aside from this, the operator can make much better 
 speed in typewriting from the Phonograph, than from shorthand 
 notes. 
 
 4. Accuracy. The Phonograph can only repeat what has 
 been said to it. 
 
126 HANDBOOK OF THE PHONOGRAPH 
 
 5. Independence. It is easy to replace a typewriter opera- 
 tor, but a good stenographer is hard to find. 
 
 6. Economy. The saving in your own and in your operator's 
 time, will more than pay for a Phonograph in less than a year. 
 
 7. TiRELESSNESS. The Phonograph is always ready for 
 work. 
 
 8. Simplicity. The method is simple. No time need be 
 lost in learning it, by either dictator or transcriber. You can 
 commence work at once. 
 
 9. Control. The Phonograph is always perfectly under 
 the control of both dictator and transcriber. The former cannot 
 dictate too fast for the latter. 
 
 10. Progressiveness. The largest and most progressive 
 business houses in the country are using Phonographs, and 
 enthusiastically indorse them. 
 
 For further details concerning the use of the Phonograph in 
 business > see Chapter 5, Part I/I, The Phonograph as an Aid 
 to the Arts op Stenography and Typewriting. 
 
CHAPTER XVI. 
 Speakers. 
 
 As its name implies, is made for reproducing 
 The Edison purposes only, and is of the greatest value to every 
 Automatic user. For reproducing only, the Automatic 
 Reproducer Reproducer is recommended as being superior to 
 
 the Standard Speaker. For the information of those 
 not acquainted with either, a brief 
 description follows. It has no record- 
 ing sapphire nor can one be attached 
 to it. It does away with the use of 
 the speaker adjusting screw, as it is 
 so constructed that it always tracks 
 the thread of the record, overcoming 
 the expansion and contraction of the 
 wax cylinder in different temperatures. 
 Thus, when the "track" is once 
 found, the reproducing ball remains 
 properly adjusted, and the repro- 
 duction holds clear and firm through- 
 out. On account of always being in the track, it sounds much 
 louder than the Standard Speaker, which may get out of track, 
 thus requiring adjustment by use of adjusting screw. 
 
128 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 Thp F//' * s a com bination recording and reproducing device, 
 n. j i being equipped with two sapphires, one for record- 
 r. 7 ing and the other for reproducing. It was designed 
 
 ' for recording and instant reproduction for dictation 
 
 purposes, thus obviating the neces- 
 sity of change of speakers. In 
 combining these qualities, it was 
 necessary to design and construct 
 it with rigid weights. Owing to its 
 rigid character, and the unequal 
 expansion and contraction of the 
 wax cylinder, the reproducer some- 
 times loses the track of the record, 
 and requires to be adjusted by the 
 use of the speaker adjusting screw. 
 
 Th ~Fdi n ^ S * ts name indicates, is especially adapted for 
 to / recording purposes only. It is not constructed so 
 
 rigidly as the Standard Speaker, and consequently 
 adjusts itself automatically, making 
 an even and unvarying cut on the 
 surface of the blank. It is furnished 
 with a recording sapphire only, of the 
 highest quality and most delicate 
 adjustment. The adept at record 
 making will find in this attachment 
 the finest recording equipment that 
 can be produced. It is used by all the 
 leading makers of high-priced Original 
 Records. 
 
 The Proper Complete and detailed instructions as to what 
 
 Diaphragms diaphragms are the best for recording different 
 
 To Use volumes and qualities of sound, are given in Chapter 
 
 3, Part III, The Secret of Making Phonograph Records. 
 
SPEAKERS I2 g 
 
 jj All that is necessary is the "know how" and a 
 
 . small bottle of stratena. Unscrew the soeaker- 
 
 j\ Pi) £Z1,¥* of* 
 J clamp-ring A, and remove the tube-plate B. On 
 
 <-, ^f S top of the glass diaphragm you will find a thin 
 
 * e ' rubber ring GG (called a gasket). If this gasket 
 
 has become hard, do not use it again. Take it out. Then remove 
 the glass diaphragm. On the under side of the diaphragm DD 
 is another gasket GG. If this has not become hard it can be 
 used again, otherwise throw it away. 
 
 See that a rubber gasket is always placed under the diaphragm. 
 Now put the diaphragm into place on top of the gasket, being 
 careful that it does not touch the side of the cup. This is import- 
 ant. Now place another gasket on top of the glass, adjust tube- 
 plate in position and tighten the 
 e ^j^JLg* speaker-clamp-ring, which should not 
 
 D - Lg£^3L* zitt D be screwed in too tight or yet left 
 
 \f *; _ i ' ' too loose. If too tight the diaphragm 
 
 ! | ceases to be sensitive. If too loose the 
 
 record will whistle or blast. There is 
 Fist i 
 
 . ' . a happy medium which you must 
 
 Cross Section View. ,. r ,, 
 
 discover for yourself. 
 
 Unscrew the speaker-weight-limiting-screw C allowing the 
 speaker- weight W to swing freely on the hinge pin K. Do not 
 allow the weight to touch the glass. If this is done it may crack 
 the glass. 
 
 The cross-head F (a small flat metal disc) hangs from a tiny 
 link L from the reproducer arm H. If the glass diaphragm has 
 been broken, the cross-head should be scraped so that no cement 
 or bits of broken glass remain on it. It should also be washed 
 with a clean cloth so that no dirt or oil remains on it. Benzine 
 will do this thoroughly. 
 
 If you are changing diaphragms (substituting either a thin- 
 ner or thicker glass for the one in use) the stratena which cements 
 the cross-head to the glass may be melted by applying heat to it. 
 
130 HANDBOOK OF THE PHONOGRAPH 
 
 The safest way is to heat the head of a nail fairly hot and press 
 it gradually against the glass under the cross-head. It may crack 
 the glass but it is the surest way of detaching the cross-head. 
 The new glass to be substituted must also be cleaned thoroughly 
 (preferably with benzine) as any oil or 
 dirt on either the diaphragm or the lg ' 2 * 
 cross-head makes it difficult to make 
 a good joint wiih the cement. 
 
 Dip the end of a match into the 
 stratena and drop a very small drop in 
 the centre of the glass diaphragm. 
 Lower the speaker-weight very very 
 slowly to the glass and then with the 
 aid of a pin or some sharp pointed instrument, place the cross- 
 head in position ; pressing it firmly. A small wedge of paper 
 under the sapphire point will serve this purpose very nicely. Now 
 place the weight-limiting-screw in position, then turn the speaker 
 so that it rests on the tube-plate as shown in Fig. 1 , and allow 
 the stratena to dry for at least an hour. 
 
 INDEX OF PARTS. 
 
 A — Speaker-Clamp-Ring. H — Reproducer Arm. 
 
 B — Tube-Plate. I — Reproducing Arm Pin. 
 
 C — Limiting-Screw. J — Sapphire. 
 
 D — Diaphragm. K — Speaker Lever. 
 
 K— Hinge Pin. L— Link. 
 
 F— Cross-Head. W— Speaker Weight, 
 G— Rubber Gasket. 
 
 Great care should be taken not to use the speaker until the 
 stratena has become thoroughly dry. These same instructions 
 apply in the adjustment of the Edison Automatic Reproducer, 
 The Edison Standard Speaker, and The Edison Recorder. 
 
CHAPTER XVII. 
 A Word About Belts. 
 
 THE slipping of the drive belt on the main shaft pulley is due 
 to the following conditions : 
 
 An Oily Belt is the most frequent cause. When 
 oiling a Phonograph, absolutely no oil should be put on the 
 surface of the pulley or on the belt. When this happens it not 
 only makes the belt slip but softens the leather, thus causing it 
 to stretch very easily. 
 
 A I/)OSE Belt. — In spite of great care used in selecting 
 material, a belt is sometimes cut from a stretchy part of the leather, 
 or, again (as above noted) , oil will cause the best belt to stretch 
 very quickly. With ordinary care a belt will last a year without 
 the need of renewal. A belt should not be renewed or shortened 
 under the impression that it is too loose, until the idler pulley 
 (which is placed on every Phonograph for the very purpose of 
 taking up the slack in a belt) touches, or nearly touches, the 
 drive wheel inside the mechanism. 
 
 To Shorten a Belt. — Dampen it at the point where it is 
 already joined. When the ends separate, dry thoroughly. Apply 
 stratena on the parts to be joined, overlap a quarter to a half an 
 inch as may be necessary and press firmly togetherf or an hour 
 or two. If the belt is oily it will be impossible to make the 
 cement stick. Buy a new one. 
 
PART THIRD 
 
 THE OPENEER PAPERS 
 
CHAPTER I. 
 What Mr. Openeer Heard. 
 
 LAST Christmas my wife and I were invited to a house party 
 at Larchmont, New York. The gray afternoon was deep- 
 ening into dim dusk as the sleigh left the little station, 
 and the cold was intense. Our fifteen 
 minutes' ride to the home of our host 
 chilled us through and through, and 
 as we fumbled with wraps and gloves 
 in the silent hall of the house, our 
 feelings were divided between personal 
 discomfort and wonderment that no one was there to greet us. 
 Suddenly there piped up a thin little voice seeming to come from 
 nowhere. It grew louder and stronger, and we heard ' ' Merry 
 Christmas, merry, merry Christmas. Welcome, Mr. Openeer ; 
 we are glad to see you. Welcome, Mrs. Openeer ; how is the 
 baby? How did you leave Ponjo?" (Ponjo is our dog). We 
 looked around bewildered. The voice continued : ' ' Take off your 
 wraps ; lay them on the table. James will see them safely laid 
 away." Astonishment gave way to curiosity, 
 and we drew aside a curtain and found the 
 cheery speaker to be — a Phonograph. Then 
 through a half-open door we heard whisperings 
 and merry laughter as the uncanny little 
 machine went on to sing for us a Christmas glee. 
 Before it was finished the children of the house 
 came running in laughing, followed by our 
 hostess and the other guests ; and we saw and 
 
136 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 felt heartily the double welcome that had been prepared for us. 
 The surprise had all been planned. Our host had talked and 
 sung this Christmas greeting into the Phonograph the night before, 
 making a ' 'record" with which the jolly little machine could 
 greet each guest as he arrived. We saw it all when Jack Halsey 
 and his sister came, about five minutes later. "Here comes 
 Jack," called one of the children from the porte 
 cochere window ; and hastily adjusting the wax 
 cylinder ticketed ' ' Halsey, ' ' we waited in the 
 dining-room and den with half-open doors as 
 they entered. "Hello, Jack," said the Phono- 
 graph behind the curtain, "How d'ye do, Clare? 
 Glad to see you. Come in and stay a while.' ' 
 They stopped and stared around, bewildered 
 just as we had done. "Take off your things. 
 Merry Christmas." And then, without stopping, the wonderful 
 toy began to play the banjo. Then, we, all of us burst in upon 
 the astonished pair, and welcomed them amid shouts of laughter. 
 The thing entertained us all next day. When we tired of 
 hearing our own voices fired back at us, we played the piano for 
 it. Then we made a quartette of ban joists : 
 then our host played the cornet ; then we sang — 
 solos, duets and choruses ; and the ' ' bally little 
 mocker," as Algy Dunraven called it, gave us 
 every time as good as we gave it. Why, it was 
 perfectly wonderful ! 
 
 Then we were entertained with boughten 
 records. Selections by famous bands and 
 orchestras, operatic, military marches and dance 
 music, all in perfect time, and loud and clear. 
 Songs by famous singers, speeches by famous men, funny talks 
 and dialect records. Why, we spent a delightful time. Our 
 host told us confidentially that had he engaged the artists, per- 
 formers and bands to appear in person, a thousand dollars would 
 
WHAT MR. OPENEER HEARD 
 
 137 
 
 have been a reasonable price for the entertainment that 
 was provided for less than a tenth of that sum. And, 
 best of all, he could repeat the whole programme the 
 very next night if he wanted to. And we believed 
 every word, because we heard it all ourselves. 
 
 I have since bought a Phonograph for myself ; 
 and have been repaid a hundred times for the invest- 
 ment, by the fun and entertainment I've got out of it. 
 My advice to my friends is, ' ' Go and do likewise. ' ' 
 My wife called on our next door neighbor the other day to 
 
 sympathize with her over the loss of their eight-year-old boy. 
 
 They had bought a Phonograph, by the way, immediately on 
 
 hearing ours. Well, the conversation naturally was about the 
 
 dear little fellow who had just crossed over the Dark River. And 
 
 she could not stop talking to my wife about his pretty eyes and 
 
 curly hair hair and laughing voice. 
 
 "It's one of the greatest consolations 
 
 that I have these," she said, going to 
 
 her record cabinet ; and carefully tak- 
 ing from it three of the wax cylinders, 
 
 she put one on the machine. The 
 
 next moment it was as if Harry was 
 
 in the room. First came his merry 
 
 laugh, then an aside. "Dear mamma, 
 
 do keep quiet while I speak my piece. ' ' 
 
 voice, clear and strong : 
 
 " A tiny little seed am I, 
 
 In the mold, 
 Hidden from the great blue sky 
 
 And the cold. 
 I throw my little rootlets out 
 
 And feel around. 
 There ! I almost turned about 
 
 In the ground. 
 Did I hear a bluebird sing ? 
 
 Can it be? 
 If I did it must be spring. 
 
 I'll go and see." 
 
 Then came a steady little 
 
138 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 Then there sounded a clapping of hands and bits of conver- 
 sation. His mother sat there with tears in her eyes, but with 
 a joyous look on her face. ' ' My precious first born," was all she 
 said. And one of the first things my wife did when she came 
 home that afternoon was to take our poor little youngster and 
 make half a dozen records of his chatter and baby-talk right away. 
 I fancy him listening to those "talks" twenty years from now ! 
 Eut should he be taken from us in the meanwhile, I know I'd 
 hold them as my most highly-prized possession. 
 
 I heard of a novel use for a Phonograph the other day. 
 Teaching languages — what do you think of that ? My wife told 
 me about it. Somewhere in her afternoon calls she saw the whole 
 thing. There was a Phonograph grinding off a French cylinder 
 that had been specially prepared by the visiting 
 teacher the day before : "J' al > tu as, il a, elle a, 
 nous avons, vous avez, ils ont, elles ont," over 
 and over and over. Then, " Avez vous le pain, 
 avez vous le pain, ' ' and so on through a long list 
 of words and phrases. Parrot like, perhaps, but 
 there was the pronunciation and accent. Capital ! 
 The children couldn't get away from it. Then 
 came a German record, "Der die das. des der des, 
 dem der dem," and so on. The broad a, the 
 short i, the funny b in Konig, the elusive and 
 difficult umlaut. ' ' Haben sie das brod. Wo ist mein Hut ? Ich 
 Hebe dich," and little poems and couplets. 
 
 " Man sieht sich, lernt sich kermen, 
 Liebt sich, muss sich trennen." 
 
 Rather advanced for children, this; but I suppose their teacher 
 was in love and felt a bit sentimental just then. 
 
 ' • Ein verhungert Huhnchen fand 
 Binen feinen Diamant 
 Und verscharrt ihn in den Sand.'' 
 
WHAT MR. OPEN3ER HEARD 
 
 139 
 
 This was better. But the whole idea struck me 
 very forcibly. The difficult pronunciation was there 
 — always on tap — over and over, sinking deep into 
 the minds and memories of the little youngsters, 
 and especially so because it was a novelty. Ah ! 
 that's the point. New ideas appeal to children just 
 as much as to "grown ups." 
 
 I look forward to the day when a great many 
 
 other things besides the languages will be taught through the 
 
 aid of this marvelous little talking-machine. 
 
 While the field of the Phonograph is a wonderfully large one, 
 
 yet it reaches its limits, like everything else in 
 
 this world for that matter. The recent attempt 
 
 of the Sophomores of Ithaca to give their ora- 
 tions by talking machines was very laughable. 
 
 The Professors found out what was in the 
 
 wind and promptly vetoed it, but not before 
 
 several rehearsals had been held to demonstrate 
 
 its feasibility. The Freshies found it out, too, 
 
 and invaded one of their trials with pitchers of 
 
 water, which they poured into the Phonograph 
 horns with dire results. The practicability of 
 the scheme is assured, however, and some 
 day we may hear of a commencement con- 
 ducted entirely by machine talkers. 
 
 This reminds me of an occurrence that 
 happened several years ago, when the Phono- 
 graph was first brought out. A very advanced 
 Dominie at Hasbrouck Heights, N. J., con- 
 ceived the idea of a novel Sunday evening 
 service ; so he prepared his sermon — a short 
 one — and several hymns and scripture readings 
 
140 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 the day before on a number of cylinders ; 
 and he actually held the meeting, "as 
 advertised." The affair created quite a 
 sensation indeed. Inside of a month the 
 Rev. Mr. Dominie was preaching in a 
 church out West, — preachings mind you, — 
 no more Phonograph for him. Well, it 
 simply proves the truth of the saying, 
 " Everything in its proper place." 
 
 The Phonograph for dictation in business 
 offices has long been a success. Instead of 
 of talking to a giddy and unreliable young 
 lady stenographer (not all of them, I assure 
 you, O ye wives of busy husbands, but some- 
 times—quite often), the letter is talked, just 
 the same, into the specially prepared cylinders, 
 until a dozen or so are ready for the typewriter 
 clerk. Then he is called from his work and 
 transcribes the records at leisure. See ? He 
 is working all the time while you are 
 dictating. With hearing- tubes in his ears, 
 he puts each cylinder on another Phono- 
 graph in front of his typewriter, and pegs 
 right along. There's no loss of time. 
 He is always working and he's much 
 cheaper than a "stenographer and type- 
 writer." The experiment has been tried 
 also, with some successs, of sending the 
 record, just exactly as you've talked into 
 it, by mail or express, directly to your corrrespondent. 
 
 It has remained for Mrs. Openeer to discover the most novel 
 use for the Phonograph as an entertainer. She gave a ' ' Voice 
 Guessing party ' ' last week, and we had all kinds of fun and 
 
WHAT MR. OPKNEKR HEARD 
 
 141 
 
 jollity over the funny guesses. It's somewhat similar to a 
 
 "Perfume Party." You know how that's done. Twelve or 
 
 fifteen little vials, all alike as to appearance, are filled with differ- 
 ent perfumes. It adds to the perplexity of the guessers to include 
 vinegar, alcohol, benzine, turpentine, chloro- 
 form or kerosene. Then the contestants smell 
 and guess, and the winner of the prize is the 
 one who has the longest correct list. My wife 
 conducted her party on a similar plan. Kach 
 guest made a three minutes' talk into a 
 Phonograph in separate rooms (we borrowed 
 two other machines for the evening), and 
 
 ■ttf f H after every one had talked or sung, either in 
 
 natural voice or disguised, we played the 
 
 records before all the assembled guests. 
 
 Kach was provided with paper and pencil. 
 
 The scheme was immense. You can 
 
 imagine the hilarity that greeted the wild 
 
 guesses when the results were declared. 
 
 A surprising number of the voices were 
 
 guessed correctly, however, and the 
 
 entertainment was voted by all to be a very happy success. 
 
 I tell you, my friends, it takes a Phonograph 
 
 every time to be a fun-maker. 
 
 I represent a chemical syndicate. It's a 
 far cry from sulphuric acid and by-products 
 to Phonographs, I know, but you will see 
 the connection presently. There's a town 
 I strike when I'm on the road where there is 
 a most unique collection of stories: unpublished 
 unbound, 3^et indestructible, and most carefully 
 preserved. The genius who is making the collection does business 
 
142 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 in Iyouisville, what street I won't say, 
 and whenever a drummer shoots a good 
 story at him he says, ' * Hold up — come 
 here," and then and there, on the spot, 
 he embalms Mr. Drummer in wax ; and 
 like a fly in amber, his funny tale is 
 preserved for all time. I've sat by the 
 hour listening to stories ; and such 
 stories. Cylinder after cylinder, every 
 one different. Kvery now and then I'd 
 recognize a fellow knight of the road ; some I 
 hadn't met for years, some dead. I do not 
 hesitate to say that Mr. Blank's collection of 
 stories hasn't an equal in the whole world. 
 Some of the mildest of them, revised and 
 expurgated, are often heard in vaudeville ; 
 but for the most part, the ' ' Louisville records " 
 are to be heard only by the favored few who 
 are in the ring. I have lately heard of other 
 collections, but none to equal that of the 
 pioneer, Mr. Blank. 
 
 I told my wife about Blank's collection 
 the last time I made home after a three week's 
 flier, and gave her a sketch — very sketchy, 
 indeed — of some of the yarns. She said, 
 ' ' Capital idea ! ' ' and before I knew what she 
 was about she started what is now known to 
 my friends as "Openeer's Voice Album." 
 As a novelty, it proves very interesting to 
 visitors, and bids fair to be as popular as the 
 old-fashioned autograph collections, and, in fact, supplements 
 that and the photograph album most beautifully. We limit our 
 friends to a half-minute's talk, first announcing the name and 
 
WHAT MR. OPKNEKR HEARD 
 
 43 
 
 following with a funny short talk, or a touch- 
 ing sentiment, or a bit of poetry ; and really, 
 we have a delightful way of entertaining our 
 guests, as any one who has made Phonograph 
 records for friends well knows. 
 
 The hot and bloody work before Santiago, 
 in Cuba, has made one of my wife's Voice 
 Album records of inestimable value. Young 
 Smith, of the 71st New York, was my 
 cousin, and was among the first to try the effect of his voice on a 
 wax cylinder. His name comes out loud and clear, and then 
 these words : 
 
 "Of all the fish in sea or lake 
 The bloomin' codfish takes the cake." 
 
 Its funny, but it's sad too ; for poor Smith 
 was shot through the lungs with a Mauser 
 bullet and died seven days afterward. 
 When his father learned of the record we 
 had of his voice, he bought the finest, 
 most expensive Phonograph to be had ; and 
 we gave him our cylinder, taking several 
 copies or duplicates of it for ourselves and 
 his friends. This is easily done, you know, 
 by connecting the ' ' speaker ' ' from the 
 Phonograph that is playing the original to 
 the ' ' recorder ' ' of 
 another machine, 
 on which is a smooth 
 
 blank. Of course, this copy is a little 
 
 indistinct — all duplicates are. The 
 
 original Edison records such as you buy 
 
 are always the best. But the copies we ^ 
 
144 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 made were plain enough for us to distinguish Bert's voice, and 
 we are proud of it, I can tell you, not only for the satisfaction 
 of having a hero record in our collection, but also that we 
 were able to be of service to his father ; for the old gentleman 
 holds that cylinder as one of his choicest possessions on earth. 
 
CHAPTER II. 
 
 How We Gave a Phonograph Party. 
 
 IT was Charlotte's plan. The idea struck her suddenly (they 
 always do come to her that way) during an evening we 
 were spending over at the Openeer' s. Young Mrs. Openeer 
 had asked us to dine with them and play whist ; but after dinner 
 Mr. Openeer started one of his Phonographs so that we could hear 
 an opera we had been talking about, and cards were entirely for- 
 gotten. It was delightful. They had lots of the wax records — 
 almost a complete score of the opera in question. The talk 
 naturally turned on how it was all done, for it seemed perfectly 
 wonderful. So he showed us all about it, and that's how Char- 
 lotte's inspiration came. 
 
 1 ' I have it, I have it ' ' she whispered excitedly the moment we 
 left the house, and she almost pushed me down the steps in her 
 eagerness. ' ' We will give a Phonograph Party, and it will be 
 the newest and most delightful thing out, ' ' and she straightway 
 unfolded the whole scheme as we crossed the street to our house. 
 By the time we had climbed up to our room the schedule was 
 complete. I must say that Charlotte is a quick and ready thinker. 
 Her plan was fine. You see she teaches mathematics in the high 
 school, while I have only a kindergarten class. She thought the 
 idea and I completed the practical arrangements ; and between us 
 
146 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 we planned an. entertainment 
 which I am sure will be long 
 remembered by our friends as 
 a very happy evening. 
 
 We sent out our invita- 
 tions the very next day, for 
 Wednesday evening of the 
 following week. To Beverly 
 Dunlap's we added a line 
 "Bring your cornet.' ' To 
 Alice Blank's "Please bring 
 your banjo. Will Hamilton's 
 also had a ' ' banjo ' ' postscript, 
 and Nat Browton's a "clari- 
 net" item. Charlotte had a 
 violin and I a guitar, which, with the piano (fortunately an 
 upright), would give a variety of instrumental music for the 
 occasion. In each of the other notes, we wrote- the mystifying 
 words " Please bring your voice." 
 
 To Mr. and Mrs. Openeer's invitation Charlotte insisted on 
 adding (as a matter of form only she explained to me), "Please 
 bring your Phonographs ; " for we had already enlisted their co- 
 operation, and Mr. Openeer had entered into our plan with en- 
 thusiasm. He loaned us not one, but two Phonographs ' ' for 
 convenience sake," said he, "one for recording and one for 
 reproducing. Saves the bother of changing speakers and horns. ' ' 
 He also insisted on furnishing us with a plentiful supply of 
 smooth wax cylinders or blanks as they are called ; at the same 
 time offering us his services as an expert should we need him. 
 
 The next few days saw us busy at every spare moment. 
 First we tried and experimented in every possible way with the 
 Phonograph, making record after record, until we found out just 
 how to do it. It's wonderfully simple if you only know how 
 
HOW WE GAVE A PHONOGRAPH PARTY 
 
 147 
 
 (like everything else in this world for 
 that matter) . Mr. Openeer offered to 
 teach us, but we wanted to find out 
 all by ourselves ; and we did very 
 nicely by following the printed in- 
 structions which he furnished us. 
 Then we had refreshments to prepare. 
 Charlotte gave way to my ideas in this 
 matter, and my kindergarten training 
 suggested that we get some jelly 
 glasses that were just the right size, 
 two and a half inches across and four 
 inches deep. Into these, we packed 
 our ice cream after we had made it, so that each guest 
 should have a " frozen record" just 
 like that great fib of Baron Mun- 
 chausen's. We also made ginger snaps 
 in the shape of a horn, by fashioning 
 a cake cutter out of a strip of tin. All 
 our plans matured beautifully, except 
 that Charlotte scorched two whole 
 pans of ginger snaps, and let some 
 salt get into the ice cream tins; 
 Charlotte was never good at those 
 things. 
 
 Bvery one of our guests came on 
 Wednesday evening ; every one of 
 
 them as curious as an original Eve (or Adam) and every one 
 of them delighted on learning what was in prospect. We com- 
 menced right away with the cornet. It makes a fine loud record, 
 and we wanted to start off auspiciously. We had placed our 
 Recording Phonograph high up on a small table, so that the horn 
 was about on a level with Mr. Dunlap's head, as he stood ready 
 to play. The shape of the horn, too, makes some little difference. 
 
148 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 Mr. Openeer loaned us his recording horn for our party. It was 
 fully two feet long and shaped like a cone. 
 It had no flare or bell on the end, which 
 was about 6 or 7 inches across. Our equip- 
 ment was really quite perfect. The second 
 Phonograph stood on one end of the large 
 table and was fitted with a reproducing dia- 
 phragm or speaker as they call it. It also 
 had a small fourteen-inch bell shaped horn, 
 which shape seems to spread the sound 
 better than the other. I attended to the 
 machine, put on a new blank and started it, 
 while Charlotte started each performer. At 
 the close of each record taking, I stopped 
 the machine, took off the record and put it 
 on the reproducing Phonograph, and we all heard what had just 
 been played into the other machine, reproduced with startling 
 and marvelous exactness. 
 
 I will say right here that a single Phonograph with two 
 speakers and a bell shaped horn would have been all that was 
 absolutely necessary. The only advantage of having two Phono- 
 graphs was that it saved the delay (a very small matter) of 
 changing the recording speaker for the reproducer after each 
 record was made. 
 
 As directed by Charlotte, Mr. Dunlap stood about five feet 
 away, and played directly into the horn. He gave a short aria 
 from ' ' Maritana, ' ' playing it with considerable volume and with 
 even, well sustained notes, with but little attempt at expression. 
 He used only half his record in a minute and a half, so Charlotte 
 whispered " Do you know any bugle calls?" (Dunlap was in 
 camp at Jacksonville all through the war). His laughing answer 
 " Do I know any bugle calls by heart ? well, rather! " made us 
 all laugh too. It was wonderful the way he made his cornet 
 fairly talk. 
 
HOW WE GAVK A PHONOGRAPH PARTY 
 
 149 
 
 " I can't get 'em up 
 I can't get 'em up 
 I can't get 'em up 
 In the morning. ' ' 
 
 His attempt ended in a storm of applause, which was repeated 
 a few minutes later when I changed his record to the other Pho- 
 nograph and reproduced it. First came the aria, loud and clear 
 and distinct. Then a pause of a few seconds. Then a big manly 
 voice said " Do I know any bugle calls by heart ? Well, rather." 
 How we all shouted! It did sound 
 so funny. Then came his bugle call 
 and a faint clapping of hands and 
 then our real applause. Our first 
 record was a success ! 
 
 Then Nat Browton played his 
 clarinet ; and the reproduction was 
 so perfect that we could actually 
 hear his breathing. Those quick 
 little gasps for breath that I for one 
 had never particularly noticed, un- 
 til the reproduction of the record 
 
 called it to my attention. He played directly into the horn, 
 as close to it as he could. 
 
 Then we had several vocal solos. Each singer stood close to 
 the horn, with the face almost within the opening. Charlotte 
 cautioned them all to sing rather loud and be particularly careful 
 to draw back the head while taking any high notes. Our bass 
 and baritone artists made highly successful records. Our tenor 
 sang " The Holy City " most beautifully, but his voice lacked 
 that peculiar quality necessary for Phonograph record making. 
 The tones of his voice were like the invisible rays of the spectrum 
 beyond the violet ; it seemed impossible to record them. Char- 
 lotte discoursed learnedly about the number of vibrations per 
 
 and 
 
i5o 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 second caused by his high C — about a thousand I think she said. 
 Mr. Openeer lessened his discomfiture by remarking that a 
 Phonograph tenor was an exceedingly rare phenomenon. "As 
 rare as a Phonograph soprano ' ' he added bowing to Mrs. Openeer 
 who was our next performer, ' ' and although my wife has a 
 beautiful voice I have never yet 
 taken a really good record of it. ' ' 
 We made a passably fair 
 record of Mrs. Openeer' s fine 
 soprano voice by draping the 
 opening of the horn with mos- 
 quito netting; but it wasn't 
 real good and we had to put it 
 in the same class with the 
 tenor' s ; and also with Charlotte' s 
 violin record, which came next 
 on the programme. The amateur 
 
 will do well to avoid the sorrow that is almost inevitable in at- 
 tempting to make a record of a high tenor, a soprano or a violin. 
 The most effective records we made during the entire evening 
 were two chorus records. All stood close together in a bunch 
 about three feet from the horn and sang " Marching through 
 Georgia, ' ' and it came out fine. Our success led us to try another, 
 ' ' Onward Christian Soldiers, ' ' and it was every bit as good. The 
 piano accompaniments of all our records 
 were very good indeed. In every case the 
 piano stood about three feet distant, with its 
 open back towards the Phonograph. A 
 square or a grand piano is not so well 
 adapted for this accompaniment work, al- 
 though a solo may be recorded very nicely 
 by bringing the horn close up to the raised 
 cover of the instrument. 
 
HOW WE GAVE A PHONOGRAPH PARTY 
 
 151 
 
 We now removed our Recording Phonograph from its lofty- 
 perch, to accommodate our banjoists and also those of our guests 
 who were to make talking records, and preferred to sit rather 
 than stand. The banjo should be played as close to the horn as 
 is possible. We made several capital records, so loud and natural 
 as to tone quality that I would defy anyone listening with eyes 
 shut or in the next room to tell the difference. 
 
 The talking records were mostly all good too. The per- 
 formers were cautioned to speak very distinctly, sounding the S's 
 and soft C's with particular emphasis. Some of them caused lots 
 of merriment when they were repro- 
 duced, owing to the funny and irrelevant 
 side remarks of the speakers ; most of 
 whom had never talked into a Phono- 
 graph, and seemed to forget that the 
 machine would catch and repeat all that 
 was said. 
 
 Last of all came the ginger-snap 
 horns and the ' ' frozen records. ' ' The 
 tenor declared that these were the best of 
 
 all. He may have been perfectly honest 
 (for they were real good) or it may have 
 been gross flattery ; or yet again his fail- 
 ure may have made him a little jealous 
 of the others. But, somehow, I didn't 
 exactly like his remark. I think on the 
 whole, while perfectly polite and courte- 
 ous to Charlotte and me, his hostesses, 
 what he said simply proved the proverb, 
 "the way to a man's heart is through 
 his stomach ;" for the rest of us agreed, 
 not even counting in our "frozen 
 records," that our Phonograph Party 
 had been a grand success. 
 
CHAPTER III. 
 The Secret of Making Phonograph Records. 
 
 THE secret of making Phonograph records is summed up 
 briefly as follows : — experience and knowledge of the Art. 
 The two go together. One is useless without the other. 
 What I know about it has been the result of a great deal of 
 experimenting (such as you must do) combined with many 
 useful hints and pointers and suggestions gathered from practical 
 Phonograph men (which I propose to tell you). You will then 
 know all that I know, which, after all, isn't so much. What I 
 don't know about it would fill books ; a negative way of express- 
 ing my modesty, perhaps ; but, as in photography, the negative 
 prints the positive, so will my negative assertion serve to bring 
 out more clearly the details of that greatest of Phonographic 
 problems — the making of a perfect record. 
 
 Let's talk about the Recorder to begin with, for that is the 
 heart of the whole matter. Your recorder must be perfectly 
 adjusted and adapted for the particular kind of record you are 
 taking. This is largely a matter of judgment and experience. 
 Certain musical instruments and certain qualities of voice, will 
 record with a squeak or a blast when a glass diaphragm of a 
 certain thinness is used, and yet will record perfectly if a thicker 
 or thinner diaphram is substituted. Recorders are usually 
 
THE SECRET OE MAKING PHONOGRAPH RECORDS 153 
 
 equipped t with a No. 7 to a No. 8 diaphragm ; that is to say the 
 glass is from 7-1000 to 8-1000 of an inch thick. The rubber 
 washers between which the diaphragm rests, may have become 
 hardened. Rubber does, you know, get either hard or sticky in 
 time. This interferes with the free vibration of the diaphragm, 
 and consequently affects the clearness of the record, and new 
 washers should be substituted. In changing washers or diaphragms 
 the metal clamp-ring should not be screwed in too tight, nor yet 
 left too loose. If too tight, the diaphragm ceases to be sensitive. 
 If too loose, the record will whistle or blast. There is a happy 
 medium which you must discover for yourself. See also that the 
 tiny metal arm is cemented firmly to the center of the glass ; if 
 not, you will get a dull, rasping quality of sound that is very 
 unnatural. The sapphire recording point must have a sharp even 
 surface, that it may readily engrave the surface of the cylinder. 
 Great care should be taken in handling or laying down the 
 recorder, that the sapphire stylus does not come into contact with 
 a hard surface of any kind. A chipped stylus is a frequent cause 
 of poor records. I mention these points in detail as it is of the 
 greatest importance that you become familiar with them. You've 
 got to know the tools you work with ; and especially the glass 
 diaphragm, which is the most delicate and sensitive part. 
 
 Now, as to the various diaphragms to use. In making vocal 
 records, it depends entirely on the strength of voice of the singer ; 
 varying all the way from an 8 down to a 6 glass. The thinner 
 the diaphragm, the more sensitive it is. Take, for instance, a 
 singer with a good loud voice. Use an 8 glass. Should the 
 record not come out strong and if it has no blasty defects, try a 
 7^, then a 7, or even a6^. The moment the record blasts, your 
 diaphragm is too thin and over-sensitive for the voice. ' ' If at 
 first you don't succeed, try, try again !" It is a very apt motto to 
 adopt in record making. 
 
 For a cornet, use an 8 or a 7 glass. Use an 8 or a 7^ for a 
 band record or an orchestra record. For a clarinet, try a 7 or 
 
154 HANDBOOK OF THE PHONOGRAPH 
 
 a 6. For a piccolo a 6. For a banjo or xylophone record a 6 
 or a 5. For a violin, a6^ down to a 5. For talking records, 
 use a 6 glass. 
 
 Upon the shape of your horn, also, depends in a great measure 
 your success as a record maker. The horn should be pointed on 
 the level with the head of the performer. In other words, the 
 Phonograph itself should be about on a level with the head. 
 The best results for talking records are obtained by using the 
 mohair speaking tube. If the peculiar quality of a speaker's 
 voice should make the record sound muffled, try the bell-shaped 
 14-inch brass horn with which most Phonographs are equipped ; 
 or the 26-inch japanned tin horn may also be used with good 
 effect. It all depends on the quality and loudness of the speaker's 
 voice. The 26-inch japanned tin horn is also a good shape to use 
 for banjo, violin, xylophone, cornet, band and orchestra records ; 
 although a regular special recording horn would be better. These 
 special horns are made of block tin, long and narrow in shape, 
 being from 20 to 26 inches long and not more than 6 inches across 
 the end, perfectly conical in shape, with no flare or bell on the 
 end. They are the very best shape for all vocal records, and also 
 for the piccolo or clarinet. While good records may be made 
 with the regular shape 26-inch japanned tin horn, it is best not 
 to take any chances. In making records, strict attention must be 
 paid to the smallest details. The veriest trifle will sometimes 
 spoil the best attempt. 
 
 Next, the wax cylinder should be perfectly smooth and true. 
 Much depends on the absolute smoothness of the wax blanks. If 
 you do your own shaving, run the machine at the highest pos- 
 sible speed ; and do not cut too deep. If you do, it causes the 
 wax to chip, leaving a broken crackled surface on which a good 
 record cannot be made. Shave several times in preference to one 
 deep cut. The Edison blanks you can buy already shaved are 
 superior to any possible work you can turn out yourself, as they 
 are shaved by a special machine running at a very high rate of 
 
THE SECRET OF MAKING PHONOGRAPH RECORDS 1 55 
 
 speed and are absolutely accurate. Be very careful in handling 
 the shaved blank, that no finger marks are left on its surface. 
 Should there be any residue of the shaving operation left on it, 
 take the cotton in which the blank is wrapped, and tear open one 
 end, picking out the frayed edge to make a soft brush, and brush 
 the blank gently, with a downward motion. Don't breathe or 
 blow on the surface to remove the wax dust. Better still for this 
 purpose is a soft wide camel's hair brush. 
 
 Lastly, see that your Phonograph itself is in perfect running 
 order, well oiled and free from dust. This is an essential to 
 perfect work with any piece of machinery, and the Phonograph 
 is no exception in this respect. Any undue friction will make a 
 grind or rumble, and will seriously mar your attempt by making 
 itself heard in the record you are making. If the machine makes 
 discordant records, or false tones, it may be that the belt is loose, 
 thus causing the main shaft to slip. If your Phonograph is an 
 electric machine, the governor contact may be dirty. Care should 
 be taken if you use a machine of the spring motor type, that 
 the mechanism is always fully wound. A record made while the 
 machine is running down will reproduce with a varying pitch, thus 
 destroying all harmony. The proper speed for recording is about 
 125 revolutions per minute. This is easily ascertained by watch- 
 ing the screw on the pulley, and counting and timing the turns. 
 
 As to the room in which you take your records, it might be 
 well to have no curtains or other soft hangings. In a perfectly 
 bare room, with no carpets or furniture or draperies, a record will 
 have a certain ring to it, a peculiar resonant quality of sound that 
 some prefer. One objection to stripping a room in this manner, 
 is that there is a greater likelihood of your records blasting. On 
 the other hand a " seasoned," room with just enough hangings to 
 break up any echoes, makes a richer, more mellow tone quality. 
 This is largely a matter of individual taste and judgment ; and 
 can only be determined by experimenting and watching results 
 very carefully. All these are points that may seem to be un- 
 
156 HANDBOOK OF THK PHONOGRAPH 
 
 important, but if you are after success, you cannot afford to omit 
 the smallest detail that might help you to secure the most satis- 
 factory results. 
 
 And now for the record. If a vocal solo is to be recorded, 
 the singer should stand immediately in front of the recording 
 horn, not more than three or four inches from the opening, and 
 should sing directly into it. The articulation should be very 
 distinct. Avoid singing with too much expression. That voice 
 will record best that has an even quality throughout the entire 
 register. Some voices are full and rich and mellow in the lower 
 notes, and thin or weak in the upper register. In all cases, 
 choose the songs that are best suited for the singer's range of 
 voice. When a high note is sung, the singer should draw back 
 the head, away from the horn, so as to equalize the vibrations. 
 Hither do this, or repress the voice so that the tones are covered. 
 Should the singer make a very strong and loud record, with a 
 blasty imperfection in only one or two spots, keep the same dia- 
 phragm, and try to remedy by drawing away from the horn at 
 the high notes that blast ; in other words, correct the blasting, 
 if possible, by covering the objectionable tones rather than by 
 substituting a thicker diaphragm, which might make the whole 
 record weak. In general, the tones that cause the defect of blast- 
 ing are open tones, the long " i " sound, the " o " as in " love '■ 
 the word ' ' heart. ' ' These tones occurring on high notes, almost 
 invariably cause trouble, even with experts in the art. Scientists 
 estimate that there are over a thousand sound waves per second in 
 in the high C of a tenor. To record high notes accurately and 
 naturally is very difficult, on account of the exceeding rapidity of 
 of the vibration. A soprano high C being an octave higher is 
 still more difficult to record. In fact, women's voices are the 
 least satisfactory records for an amateur to attempt, on account 
 of the great amplitude as well as the rapidity of the vibrations. 
 
 In making talking records, speak naturally, but with energy. 
 Do not force the voice too much. Articulate plainly, sounding 
 
THE SECRET OF MAKING PHONOGRAPH RECORDS 157 
 
 the s's and c's with particular distinctness. In using the speaking 
 tube, the lips should just about touch the mouth piece. With 
 the 14-inch horn, or the 26-inch japanned tin horn, the speaker 
 should be from two to four inches away. Experiments will prove 
 the proper position for each speaker. In making tests, announce 
 upon the record each change you try, so that the effect of each 
 experiment may be traced when the record is reproduced. 
 
 If a piano is used (and all musical records are vastly im- 
 proved by a piano accompaniment), it should be an upright, with 
 the back of the instrument as close to the horn as the position of 
 the performer will permit. This again is a matter of judgment, as 
 some pianos are so much louder than others that they may be 
 placed farther away, up to three or four feet. With a square or 
 a grand piano, it is difficult to get real good results unless the 
 cover of the instrument is raised at an angle (so as to act as a 
 sounding board) , and the horn placed very close. For vocal duets 
 and quartettes, the singers should stand with their heads as close 
 together as possible, directly in front of the horn. Good records 
 of choruses are not easily made, as the greater the number of 
 singers, the more complicated do the sound waves become. In fact, 
 a single voice or a single instrument will produce every time the 
 loudest record. The cornet is the best instrument for the amateur 
 to commence with; it should be placed from four to six feet away. 
 Watch the high notes carefully, or the record will blast. The 
 scheme of ' l flagging, ' ' high notes is a good one. Whenever such 
 high notes are played, lower a silk handkerchief in front of the 
 horn. But better still, have the player enter into intelligent co- 
 operation with your efforts, and by repressing certain notes, he 
 can aid you very materially. The most successful Phonograph 
 singers or performers are those who watch results as carefully as 
 the record maker does himself and regulate their efforts accord- 
 ingly. They must realize every moment that they are making 
 records for the Phonograph, and not singing for an audience. 
 Evenness of tone is what tells. 
 
158 
 
 HANDBOOK OF THE PHONOGRAPH 
 
 A piccolo or a clarinet should be within a foot of the record- 
 ing horn. A violin or banjo as close as possible. Banjo duets 
 make especially loud and clear records. A guitar or mandolin does 
 not give satisfactory results. A xylophone should also be as near 
 as possible, with the upper octave closer to the horn than the lower. 
 
 In making band or orchestra records, place the bass instru- 
 ments, (such as tubas, altos and trombones) at a distance of five 
 feet from the horn. These instruments all give tones having slow 
 vibrations, and consequently must be nearer the recording dia- 
 phragm to balance the other instruments having a greater energy 
 of tone vibrations. Cornets should be at the greatest distance, 
 
 about fifteen feet. Place the other instruments in between ; pic- 
 colo, five or six feet from horn ; clarinet, seven feet. Better omit 
 the bass drum. It is likely to spoil the effect, as it does not 
 record well. If it is possible, have the cornets on the back row 
 well elevated, so that the performers in front do not cut off or 
 block the sound. In fact, it is well to elevate even the piano 
 
THE SECRET OF MAKING PHONOGRAPH RECORDS 159 
 
 about two and one-half to three feet from the floor, so that it may 
 be on a level with the recording horn, which, as before stated, 
 points level with a singer's head. For record making at home, 
 where it would not be an easy matter to do this, the performers 
 should sit rather than stand, so that the piano accompaniment 
 records with a true relative value to whatever it accompanies. 
 
 As previously stated, experience in the art of record making 
 is the best teacher. The above instructions merely outline the 
 principal points to be observed. Follow them carefully, and give 
 particular attention to the minutest details, as very frequently the 
 smallest trifle will spoil what would be otherwise a highly sat- 
 isfactory record. 
 
CHAPTER IV. 
 The Phonograph as an aid to Language Study. 
 
 THERE are two ways of learning a language. One, the 
 University method of studying from a literary standpoint ; 
 learning the grammar, learning to read but not learning 
 to speak ; in other words, through the eye. 
 
 The other way is through the ear ; the natural method. Mark 
 Twain has told us what a wonderful country France is. ' ' Why 
 even the children speak French." This sage reflection, however, 
 does not avail those of us who, though fortunate in being born 
 Americans, yet wish to speak the tongue of Johnny Crapaud with 
 pure native accent. So, unless we go to Paris, we rely on a 
 teacher, whose excellence of method and accent shall prove either 
 our making or undoing as the case may be. 
 
 The conversational system is generally conceded to be the 
 best ; yet some teachers carry out this idea so far as to claim not 
 to teach the grammar. Both methods have their advantages and 
 weaknesses. The two methods may be combined by the use of 
 the Phonograph, in such a way as to learn the grammar at the 
 same time while learning to speak by hearing the Phonograph 
 speak. This is really the ideal method. 
 
 Every one knows that the secret of learning to speak in 
 foreign tongues is to hear the language constantly spoken. The 
 way to learn French, is to "go to Paris." The next best thing 
 
THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY l6l 
 
 is to have a teacher constantly with you, to talk whenever you 
 desire and say just what you wish to hear, repeating as many 
 times as wanted and no more ; a teacher that never gets tired and 
 does not have to be paid. 
 
 The great adaptability of the Phonograph for this sort of 
 work is readily apparent to any person understanding the machine. 
 
 In learning any new subject, art, science or business, particu- 
 larly languages, it is always a matter of surprise to consider the 
 small number of leading principles constituting the frame-work of 
 the entire subject. When these principles are acquired, the 
 whole subject becomes an open book. This idea is strictly illus- 
 trated in language study. A vocabulary of iooo to 2000 words is 
 sufficient to cover all ordinary intercourse. A few ordinary pages 
 will contain all these words and they will go on eight Phonograph 
 cylinders, allowing 250 words to each cylinder. If these are 
 placed on a Phonograph and run across consecutively, without 
 stopping, it would only require about half an hour to hear them 
 all. Think of it ; all the words that you would require to know 
 of any foreign language could be spoken in half an hour. 
 
 But, these words cannot be learned by rote. They must be 
 learned in combinations of sentences, with changes in construc- 
 tion, according to their grammatical connection. The best way to 
 learn them is undoubtly to hear them spoken constantly in these 
 combinations. 
 
 Take any lesson from any language text-book, for example, 
 French, German or Spanish ; let the reading or conversation exer- 
 cise in the foreign tongue be dictated to the Phonograph by a 
 native voice. 
 
 If the pupil is studying with a teacher, so much the better. 
 Now after the lesson is over, and the teacher has dictated the 
 lesson, let the pupil go home and listen to that cylinder before 
 he retires, listen several times, until he gets tired. Then, the first 
 thing next morning upon rising, start the Phonograph talking 
 and let it talk while dressing, — killing two birds with one stone. 
 
1 62 HANDBOOK OF THE PHONOGRAPH 
 
 He can listen to that record seven or eight times in the morning, 
 without apparently consuming any time. Let him take another 
 lesson in French from the Phonograph when he comes home at 
 night, two or three turns of the cylinder whenever he has the 
 opportunity. Every word on that cylinder will, in a remark ably 
 short time, be committed to memory and so indelibly stamped 
 upon the mind that it becomes like his native tongue. He can 
 soon reproduce in the exact tone of voice, accent and inflection of 
 the machine — and what the machine teaches him will be a faithful 
 reproduction of what the teacher has spoken into it, without the 
 slightest variation from his pronunciation. This is simply an 
 ideal method. 
 
 Let the pupil take three or four pages of conversation in this 
 manner and listen to it daily between lessons, repeating it over 
 after the machine, imitating the accent given by the machine. 
 When he goes for the next lesson the teacher will be surprised at 
 the readiness with which those sentences will flow from the pupil's 
 lips. 
 
 Having learned the words in those sentences, it is an easy 
 matter to adapt them to other sentences. 
 
 Any teacher of languages can put the lessons from any text- 
 book upon the machine in this manner, for the benefit of the 
 pupil. Of course, it is better if a special book is used, prepared 
 by a teacher who has given thought to this method of study. 
 There is prominent Professor in New York, who has done this. 
 He has been using the Phonograph in teaching French and Span- 
 ish for the past ten years. Both his Spanish and his French books 
 are designed for this purpose and all his teaching is done in this 
 manner. Pupils use his book, who do not use the machine, but 
 if they desire to use the machine in connection with it, there is 
 the book and the system already prepared. The Professor fur- 
 nishes cylinders in Spanish dictated in his own voice. In French 
 the cylinders are dictated by a native Frenchman. 20 lessons com- 
 prise the course, covering all that is contained in the book. 
 
THE PHONOGRAPH AS AN AID TO LANGUAGE ©TUDY 1 63 
 
 When a student can talk fluently everything that is upon the 
 Phonograph in those twenty lessons, he knows enough of the 
 language for all ordinary purposes. By having these records and 
 a machine in his own home it is only a question of listening to 
 them all, faithfully for a short while, until they will be learned. 
 
 The pupil sits at the Phonograph with the open book before 
 him. He sees just what the w r ord is, printed in foreign tongue, 
 with the English translation underneath it. He has previously 
 read or studied what the book says about the pronunciation of the 
 letters, accents, the construction of the sentence and the gram- 
 matical form. Then, having these things in his mind, he listens 
 to the sounds by hearing the machine speak them. Thus he culti- 
 vates the eye and ear at the same time. Then he imitates the 
 machine and tries to pronounce the letters and the words exactly 
 as the machine pronounced them. He is not afraid to say them 
 over as many times as he wishes, or to make the machine go back 
 and repeat, many, many times, oftener than a teacher would be 
 willing or able to repeat for him. 
 
 Suppose a student wishes to study several languages. He can 
 have a set of French records, a set in Spanish and a set in Ger- 
 man, or in any other language, all at the same time. Having 
 purchased the cylinders and the machine, there is no further 
 expense attached to it and the student can prosecute his studies 
 to any length, at his own pleasure. 
 
 Nor is there the slightest difficulty in acquiring all the most 
 difficult sounds in any of these languages. The German ' ' ich ' ' 
 and the French nasals, reproduce perfectly. Take the word 
 "marche" in French, m-a-r-r-r-ch (pronounced like sh). The 
 breath sound of ch, surprising as it may seem, can be reproduced, 
 if properly dictated, so that it will be heard through a large horn, 
 clear across a large room. 
 
 L,et a German teacher, with a full heavy voice, dictate to the 
 Phonograph " Mein Kind, ich habe nicht daran gedacht," and 
 the German guttural will be heard distinctly. The writer has a 
 
164 HANDBOOK OF THE PHONOGRAPH 
 
 French cylinder which begins, " Monsieur Robert, est-il chez lui ? 
 Non, monsieur, il est sorti. Ou etiez vous hier? Hier soir j'etais 
 au concert. Combien d' argent avez vous dans votre portmonnaie ?' ' 
 These sentences soon became so fixed upon his mind from constant 
 Phonograph repetitions, that he could hear them ringing in his 
 ears whenever the idea of French occurred to him. After a few 
 days, about two pages of conversation contained on the first cylin- 
 der, could be repeated understandingly and with the exact accent 
 as given by the Phonograph, which had been previously talked 
 into by a French teacher. This could not have been done in as 
 many months with any ordinary method of teaching. French 
 teachers will all admit that many times they have pupils who study 
 with them for years and yet cannot speak. 
 
 Say there are two hundred words made up into sentences on 
 one cylinder. It takes about four minutes for a cylinder to run 
 through. Now, if those sentences are listened to over and over 
 again, with the eyes on the printed book, following every word 
 as the machine speaks it, no better practice could be imagined. It 
 is far better than the disconnected practice obtained in conversation 
 with persons, many of whose words are not comprehended. It 
 is useless to listen to talk in a foreign tongue, where the pronun- 
 ciation is not understood and the meaning is a total blank. One- 
 half hour's practice listening to the Phonograph and studying out 
 the meaning from the printed translation accompanying it, also 
 learning the rules of construction as laid down in the text books 
 is worth more than a whole evening spent in disconnected 
 conversations. 
 
 Take a single sentence, for instance " Yo deseo hablar 
 espanol." Repeat that sentence alone, many times, until every 
 single sound and inflection is perfectly clear to the mind. Then 
 turn to the grammatical rules given in the same lesson of the book 
 and learn the reason for everything which is being listened to. 
 After that is thoroughly learned, so that the student not only 
 understands the construction but can also repeat the full sentence 
 
THE PHONOGRAPH AS AN AID TO LANGUAGE STUDY 1 65 
 
 without the aid of either book or Phonograph, then let him take 
 the next sentence. When that is learned proceed to the next and 
 so on, until all are learned. Then let him start at the beginning 
 and repeat the first sentence, then the second, then the third — 
 until he makes a mistake ; then go back to the beginning again 
 and repeat from the beginning. L,et him practice this until he 
 can repeat the entire contents of that cylinder from memory. 
 
 The pupil will thus commence from the beginning to acquire 
 a special vocabulary, which, can be learned by no other way, except 
 by years of toil and perhaps waiting for the opportunity when he 
 can go to Paris, or to Cuba, only to find when he arrives there, 
 that he belongs to that class of Americans who, it is said, al- 
 though they study French in this country, cannot speak or under- 
 stand a word of what is said to them on their arrival in Paris. 
 
 The writer firmly believes that any one with a taste for lan- 
 guages can learn three languages in his own home, with the aid of 
 a Phonograph easier than he can learn one without the aid of the 
 instrument. An earnest student can learn without the aid of a 
 teacher. Of course, it is better to have a teacher too — but much 
 tan be learned without a teacher, there is no doubt about that. 
 If he could not have both — a teacher and a Phonograph, and had 
 to choose between them, the writer would certainly take the 
 Phonograph. 
 
CHAPTER V. 
 
 The Phonograph as an Aid to the Arts of 
 Stenography and Typewriting. 
 
 Being a conversation and argument between Charles Freeman Johnson (a 
 shorthand reporter of considerable fame and prowess) and Mr. Openeer. 
 
 JOHNSON," said I one day, "you're a hard headed practi- 
 cal business man ; what do you think of the Phonograph 
 in every day business ? It is an acknowledged factor as 
 a home entertainer ; but what do you know about the Phono- 
 graph for practical business use ? ' ' 
 
 "Mr. Openeer," he replied, "I know a lot about it; I've 
 been a shorthand reporter for twenty years. ' ' 
 
 Now, my friend Mr. Johnson isn't much of a talker ; his 
 business is listening ; and he does a lot of it, (all the time writing 
 while other fellows are talking). So I said, in a bantering way, 
 to draw him out, ' ' Do you really think — ' ' 
 
 " Do I think," he grew hot right away, " Do I think it's of 
 any use ? After using it for ten years in my business ? After 
 training hundreds of operators to earn their bread and butter by it ? 
 After seeing our court stenographers earning big money by report- 
 ing cases with its amanuensis aid, which they could not other- 
 wise report without calling in the aid of other stenographers ? ' ' 
 He paused for want of breath. 
 
 "Say, Johnson," said I, "don't talk to me at the rate of 
 250 a minute ; come down to 132 and tell me about it in a kindly 
 and christianlike manner. ' ' 
 
THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 67 
 
 "No I don't think," he went on again ignoring my inter- 
 ruption, " I don't think the sun shines or the wind blows or that 
 it rains or snows. I know these things absolutely, and I also 
 know absolutely that the Phonograph in its sphere is just as im- 
 portant a factor as the telegraph, the telephone, the typewriter 
 and the stenographer are in theirs. The time was when no tele- 
 phones were used, and not so very long ago there was no tele- 
 graph and no typewriters, and a stenographer was a rarity ; now, 
 we have all these things and we also have the Phonograph." 
 
 When Mr. Johnson warms up, he is really quite eloquent. 
 
 "Johnson," said I, " How does a typewriter come in on the 
 Phonograph question." 
 
 1 ' An operator becomes more expert through practicing from 
 Phonograph dictation ; just as shorthand students train them- 
 selves for the fastest shorthand reporting, by taking down short- 
 hand exercises from Phonograph dictation." He whipped a 
 letter from his pocket. ' ' Listen to this, ' ' he said. 
 
 My Dear Mr. Johnson : — 
 
 When I wrote you last fall, I was thinking about buying a 
 Phonograph to be used as a dictator : in this way ; you see I am a 
 stenographer, with a speed of 140 words a minute ; my object is 
 to increase my shorthand speed, so all I now need is some one to 
 read to me. My work being of such a nature, I cannot get any- 
 body to read to me in the day, and when I get home at night it is 
 too late to have a person read to me even at a reasonable price, 
 should I hire one. So the idea came to me to get a Phonograph. 
 
 Now I want to ask you a few questions concerning the Edi- 
 son Home Phonograph, as that is the one I shall buy, the one 
 for thirty dollars. 
 
 Will it record my voice in such a manner that on being repro- 
 duced I can write it down in shorthand just as though a person 
 were reading to me ? Will every word be reproduced distinctly 
 
1 68 HANDBOOK OF TH£ PHONOGRAPH 
 
 provided it is dictated distinctly ? If for instance, I take a clip- 
 ping from a newspaper containing about one thousand words and 
 dictate the same to the Phonograph at a rate of 180 words per 
 minute ; could I make the Phonograph reproduce it at a rate of 
 190 words and also at a less rate? In other words, can I make 
 the Phonograph reproduce the same record very fast or very slow; 
 and while being reproduced fast, can it be heard as distinctly as 
 when reproduced slow, and also vice versa ? 
 
 How many times will I be able to use the same record, and 
 how many times can a record be shaved and a new record taken ? 
 Please tell me what size horn I shall buy. Can I dictate through 
 a horn or is it necessary to use a speaking tube ? 
 
 If the Phonograph can do as above asked, I want you to buy 
 me one. 
 
 Yours very truly, 
 
 Johnson folded this letter up and put it back in his pocket 
 with a satisfied air. "I answered this letter," he said, "and 
 told him that he couldn't do better than to buy a Phonograph 
 right away, as it would do all he asked and more too. He can get 
 800 to 1000 words on a record, and can reshave it a hundred times 
 if he's careful about it. 
 
 "That is certainly very much to the point," said I, "and 
 now what else do you know. ' ' 
 
 ' ' I was stenographer in the famous Fair will case in San 
 Francisco, probably one of the greatest cases ever tried in this 
 country, lasting over five months. I saw page after page of daily 
 testimony and arguments forming an exact copy of the complete 
 proceedings ready by 9 o'clock the same night; thousands of pages 
 in all, so that the judge and attorneys had the complete proceed- 
 ings of each preceeding day before them upon starting work every 
 morning. All this was done by one shorthand reporter, (your 
 
THK PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 69 
 
 humble servant) , and two typewriters with the aid of the Phono- 
 graph in transcribing. 
 
 " I also reported the proceedings of the Trans- Mississippi 
 Congress in 1894, both in St. Louis and in San Francisco ; 
 the California Fruit Growers Association in Los Angelos in 1893, 
 the American Publishing Association in Brooklyn in 1889 and 
 the National Trotting Association, held in Buffalo in 1889 '■> an( i 
 many others. So I guess you'll believe that I know what I am 
 talking about. 
 
 ' ' Every person, no matter how ignorant, understands that it 
 will require time to learn to become a good telegraph operator, 
 and it takes many months and years to become a good stenog- 
 rapher, and it seems funny that they should not think the same 
 way about the Phonograph. 
 
 1 1 Why should we spend time and money to learn telegraphy, 
 shorthand and typewriting and then have an idea that no time is 
 required to learn the Phonograph; the most delicate of all and one 
 of the most useful. 
 
 " The use of the .Phonograph must be learned, the same as 
 anything else. But how easy it is to learn, and to use, when you 
 know how. Take the easiest of all the foregoing arts, typewriting. 
 Even that requires weeks to learn ; and months, perhaps years, to 
 become expert. But the Phonograph, while it does require a little 
 time to learn, yet needs but a few days to learn everything about 
 it and only a few weeks practice to acquire all the dexterity in its 
 use, that is necesssary to make it an indispensable adjunct to a 
 skilful person's life. Yes, indispensable to life ; for life is not 
 worth living without it to a man who really has much business 
 requiring its use. I make the following broad statement without 
 the slightest hesitation. 
 
 1 ' Every person engaged in work of any kind requiring dicta, 
 tion and typewriter transcription, can do this work with greater 
 ease by dictating to the Phonograph than in any other manner." 
 
170 HANDBOOK OF THK PHONOGRAPH 
 
 * ' Do you mean that the Phonograph will entirely take the 
 place of shorthand," said I. 
 
 " No, nothing of the kind." replied Johnson, " I believe that 
 not in a thousand years will this ever happen. There are many 
 cases where the dictation (from the circumstances of the case) can 
 be done better in shorthand. For this reason the amanuensis 
 stenographer will never be entirely displaced. The telegraph has 
 not been displaced by the telephone ; the elevated railroads have 
 not displaced the surface lines, nor has the typewriter done away 
 with handwriting. More pens are manufactured today than 
 ever before in the world's history. The greatest usefulness of 
 the Phonograph for business purposes, lies in its value as an aid 
 in developing shorthand and typewriting. It will make more 
 work and increase the number of typewritists and make better 
 operators of those who use it in their daily work, or in their 
 practice as students. In many cases perhaps, it will take the 
 place of the amanuensis stenographer, as any good typewriter 
 can do all the necessary work from it without the aid of any 
 shorthand whatever. But the same person doing the amanuensis 
 stenography, will become the phonographist, receving more pay, 
 for an expert phonographist and typewritist is worth more pay 
 any time than an ordinary amanuensis stenographer. While it 
 should increase the wages of the typewritist, it will save money 
 for the employer, for far more work will be done by each operator. 
 
 "It should be a part of every stenographer's education to 
 understand the Phonograph thoroughly, to be able to dictate his 
 notes, and, if a typewritist, to be able to transcribe from it. He 
 should know everything pertaining to his art. The time is 
 certainly coming when thousands of Phonographs will be in use ; 
 when the sight of a Phonograph in a business office will be as 
 familiar as the sight of a typewriting machine. 
 
 " There are 3,000 business colleges and shorthand schools in 
 the United States, averaging say 150,000 students of shorthand 
 and typewriting. A large percentage of these will never pass the 
 
THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 171 
 
 line of mediocrity, because they have not the general education 
 and special talent required to make good stenographers. Yet all 
 of these could become good typewritists and fill money earning 
 positions, simply by learning the use of the Phonograph. With 
 three months' study, they could take positions. If they wish 
 to learn shorthand besides, they can get all the dictation practice 
 so necessary, by writing down in shorthand selected dictation 
 exercises previously dictated to the Phonograph. And it is so 
 much easier for this sort of work to be done from the Phonograph, 
 that it will ultimately result in its being done in this manner, as 
 soon as the public and the operators find out how much better 
 it is. 
 
 1 ' Every student of shorthand should own one of these 
 machines and have it in his own house for practicing shorthand 
 dictation. It is far better than a human dictator. If the student 
 asks a sister, or brother, or a friend to read for him, they soon 
 tire out. Besides, the best of reading for practice is never quite 
 satisfactory. But with a Phonograph, the student dictates any 
 of the exercises he wishes to practice, at his own rate of speed ; 
 then lets the machine talk it back to him at whatever rate of speed 
 he may choose and he practices taking it down in shorthand, over 
 and over again, as many times as he wishes, until he becomes 
 thoroughly expert. 
 
 1 ' The secret of speed in shorthand writing is constant 
 practice on the same exercise, writing a paragraph over and over 
 again, until it becomes almost second nature to write it. For this 
 purpose, a Phonograph is simply ideal ; and it will not be long 
 before every business college and shorthand school in this country 
 will have an equipment of Phonographs for the purpose of giving 
 their scholars dictation work, instead of paying teachers salaries 
 for the purpose of reading dictation exercises to scholars, as they 
 now do. 
 
 1 ' Now letus come to the question of what class of people 
 needs the machine most, and who can use it the most readily. I 
 
172 HANDBOOK OF THK PHONOGRAPH 
 
 answer, court stenographers. Why ? Because, they have the 
 most work of this kind to do. How do they do it ? Well, 
 they report in court all day long, we will say. A reporter takes 
 from 100 to 200 pages of shorthand notes a daj^. When court 
 adjourns, he goes to his office and reads his notes into the Phono- 
 graph. He simply talks them off from his note book, just as fast 
 as he can possibly talk. It makes no difference to the type- 
 writist how fast the dictator talks into the machine. He can try 
 his skill in this direction and talk ' like lightning. ' As soon as 
 the cylinder is full, it is turned over to the typewritist, who is 
 waiting with another Phonograph and a typewriter. The reporter 
 goes right on dictating another cylinder, as fast as he can talk. 
 The typewritist meanwhile starts the first cylinder on her Phono- 
 graph talking back to her. If too fast, she simply stops the 
 machine until she catches up ; then she goes ahead again ; or she 
 can set it back and repeat as many times as necessary. 
 
 ' ' With a good t}^pewritist, no repeating is necessary, for the 
 reason that the reproduction can be regulated so that the talk 
 will come off, not as fast as dictated, but at a very slow rate of 
 speed. In this way an expert typewrtist can keep writing 
 continuously, without making any stops, all the time keeping up 
 with the machine. 
 
 1 ' This develops great speed in typewriting ; and it is the 
 experience of all operators using the Phonograph (until they be- 
 come throughly expert with it) , that they prefer writing in this 
 manner. They can turn out more copy than in any other way, 
 with more ease and comfort to themselves. 
 
 ' ' Every typewritist knows how much pleasanter it is to write 
 from dictation than either from copying or from shorthand notes. 
 One half of the transcriber's time is wasted in deciphering notes. 
 An expert transcriber from dictation can do as high as eighteen 
 pages an hour, while the same operator, transcribing from short- 
 hand notes, could not do more than ten pages an hour. This, 
 of course, is the highest degree of skill. 
 
THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 73 
 
 " With the Phonograph, the typewritist is not compelled to 
 adapt her time to the reporter's, and it is a wonderful relief to 
 him to know he can stop work at any moment, without wasting 
 the time of another employee, in the middle of a sentence, or at 
 the end, and go on again from the same place, whenever he is 
 ready. He can be doing something else, while his work is being 
 transcribed, releasing him from the drudgery of being tied down 
 to the operator, waiting for the slower transcription ; when he 
 knows he could talk so much faster. 
 
 " In dictating to an amanuensis stenographer, the time of the 
 employee in taking notes is entirely wasted, for if the dictator 
 were talking to the machine instead, the amanuensis would be 
 engaged in transcribing something else, or doing other work. In 
 other words, the Phonograph gives both dictator and transcriber 
 absolute liberty as to time. 
 
 "If reporters can do this with the Phonograph, 'because 
 they have so much of it to do,' how much easier it should be for 
 other persons to use it, who have less work to do? 
 
 ' ' Not only is the Phonograph a benefit to the typewritist, 
 but it is an educator to the person dictating. It will improve the 
 the dictation of anyone using it. There are lawyers whose 
 speeches at the bar are models of diction ; not requiring the 
 slightest change after delivery. But there are many others, if 
 their speeches were reported word for word as delivered, who 
 would deny they ever uttered them. To such men, the habit of 
 dictating to a Phonograph would be invaluable ; for it would force 
 them to think, before beginning to talk ; to put their language in 
 proper form for expression and not leave the auditor to imagine 
 from their disconnected words what they really mean to say." 
 
 1 ' As far as the talking quality of the Phonograph is con- 
 cerned, it is to-day perfectly satisfactory. If the cylinder is prop- 
 erly shaved so as to present a smooth and highly polished 
 surface, and the record is properly dictated, in the right tone of 
 voice, with the mouth at a proper distance from the speaking 
 
174 HANDBOOK OF THE PHONOGRAPH 
 
 tube, the reproduction will be perfect. It will be so clear that 
 no one can have the slightest difficulty in understanding it, quite 
 as well as if spoken in the ordinary manner. 
 
 Dictating correctly, without mistakes or changes, is entirely 
 a matter of habit. With a little practice a dictator can form the 
 words in his mind, so as to utter them rapidly, without correction. 
 Should an error be made, it can be indicated to the typewritist 
 before it is written, by simply saying at once, 'mistake.' If a 
 change is required in matter dictated some time previously, it can 
 be made readily by a simple memorandum on the slip of paper 
 used to number the cylinder, calling the typewritist' s attention to 
 the same. The typewritist, seeing the memorandum, will catch 
 the change before commencing to write, by listening for the part 
 to be corrected. 
 
 " No judgment as to the usefulness of the talking machine 
 for this work can be formed by listening to ordinary music, singing, 
 or comic speech records. These give no idea of the clearness of 
 reproduction for real work, with records properly made for the 
 purpose. When dictation is carefully and properly done, pitch 
 and timbre are in the record ; the accent is clear and distinct ; 
 every change and inflection is noted, also the rise and fall of the 
 voice ; all in fact, that is required for reproduction of the work. 
 Any typewritist with one week's practice in listening, can there- 
 after distinguish every word spoken to the machine, without the 
 slightest difficulty. 
 
 " No one starting to use a Phonograph, should begin it with- 
 out carefully considering every detail, having full instructions 
 from those understanding it and having all the appliances 
 necessary to make it a success. Where any failure is recorded, 
 it is always due, not to any inherent inability in the machine for 
 such work, but either to trifling mechanical defects, possible in 
 any piece of machinery, or else to lack of intelligence on the part 
 of either the dictator or the typewritist. 
 
THE PHONOGRAPH IN STENOGRAPHY AND TYPEWRITING 1 75 
 
 1 1 If the first trial of the Phonograph is not pleasing, try it 
 again and persevere at it. It is like every new exercise. The 
 first day of bicycle riding is unpleasant ; the first trial of skates 
 on ice may be disastrous ; the first week of typewriting is very 
 discouraging. But stick to it. Give the Phonograph a thorough 
 trial of two weeks. Then, if you do not like it, you may rest 
 assured it is only because you are doing something wrong and 
 require a little instruction from some expert operator to show 
 you where the difficulty is. 
 
 " One machine is not enough ; there should be two. There 
 must be a stock of cylinders, at least a dozen, and in a short- 
 hand reporter's office, as many as 150 cylinders should be on hand 
 ready for use. 
 
 ' ' There should be a separate shaving machine and some one 
 person trained to shave cylinders, whose duty it is to see that 
 prepared cylinders are always ready for the dictator, standing in 
 the proper receptacle alongside of the dictation machine. 
 
 ' ' The machine should be thoroughly and regularly cleaned, 
 so as to require no attention by the dictator. Its running parts 
 should be freed from wax and dirt daily, and carefully oiled. 
 
 1 ' The recorder and reproducer should be examined to see 
 that they are in perfect order and should always be kept in 
 receptacles provided for them, so that they are always ready when 
 wanted and never broken by being laid down in unexpected places. 
 With the best of care, the glass diaphgrams are liable to be broken 
 by accidents ; for this reason, it is well to keep an extra recorder 
 and reproducer on hand for use, while a broken piece is being 
 repaired." 
 
 ' ' Make it a rule never to touch the outside, or talking sur- 
 faces of the cylinders with the hands, and never allow anything to 
 strike them. Do not let the cylinders rub against one another. 
 
 " Remember that the Phonograph, like the human voice, 
 being designed to perform most delicate work, is a very delicate 
 instrument, requiring the best of care and skilful handling, such 
 
176 HANDBOOK OF THE PHONOGRAPH 
 
 as any person of ordinary intelligence is able to give ; and that 
 provided simply a little thoughtful attention is given to all its 
 details, the results obtained are the most satisfactory and pleasing 
 of all the devices introduced into the work-a-day life of the 
 nineteenth century, for the aid of mankind in intellectual pur- 
 suits. 
 
 ! ' The best place for a typewritist to learn this work is in a 
 shorthand reporter's office, where there is plenty of work. The 
 typewritist is then competent to fill any position where a talking 
 machine is used. If such a typewritist, taking an interest in the 
 work and thoroughly understanding the machine, will instruct 
 the dictator how to use it (if not thoroughly conversant therewith) , 
 it will work with great satisfaction." 
 
 1 'A busy man's time and brains now-a-days are worth too 
 much for him to spend himself in the old ways of doing work, to 
 say nothing of the saving of nerve power and physical energy, 
 when a Phonograph can be obtained for such a reasonable sum. 
 He can have a machine at his house and another, perhaps two, at 
 his office. He can go home at night, sit in his own room in ease 
 and comfort, and dictate at his leisure, taking the work to his 
 office the next morning to be transcribed by the typewritist. 
 
 ' ' Many of the best shorthand reporters, all over the United 
 States are now using this machine in their offices for transcribing 
 their notes, and hundreds of the machines are in use in business 
 houses where the heads of the various departments have learned 
 to dictate their letters in that way, where they have long since 
 passed the stage of experiment ; so that they now say, under no 
 circumstances would they go back to the old way of correspond- 
 ence by dictating in shorthand. 
 
 1 ' The time is coming when business and professional men 
 will be ashamed to admit that they have not sufficient intelligence 
 to dictate to the Phonograph, and when no typewritists or stenog- 
 raphers will consider their education complete without a thorough 
 knowledge of the machine and skill in using it." 
 
CHAPTER VI. 
 Three Greek Roots. 
 
 PHONE : the voice. Its use in such 
 CfJC02S7j — English words as telephone, pho- 
 netic, euphonious and megaphone, 
 tells the story of its meaning. 
 
 GRAPH : to write. As used in 
 ypCCCpELV* § ra P hic > telegraph, and autograph, 
 J I ' its meaning is clearly explained. 
 
 Hence, Phonograph: the voice — to write. In other 
 words, a device for writing or recording sound. 
 
 GRAM: that which is written. As in 
 
 ypCC/JLLLCUz the wor ds grammar and telegram. 
 
 -'' Hence, Phonogram: the voice — 
 
 that which is written. That is to say, sound recorded; or, 
 
 as applied to Mr. Edison's invention, a Phonograph 
 
 Record. 
 
 ABOUT TALKING MACHINES IN GENERAL. 
 
 AT first there appears to be a wide choice when one decides 
 to buy a Talking Machine. Besides the Phonograph 
 (Thomas A. Edison's original invention), there are on 
 the market a large variety of "grams," "graphs" and "phones," 
 subsequent inventions or modifications of the Original Edison 
 Phonograph. Not content with copying the general features of 
 
178 HANDBOOK OF THE PHONOGRAPH 
 
 the first Talking Machine, the names also for the various models 
 are adapted from the titles chosen by Mr. Edison to describe the 
 machine he invented and the record it made, of hitherto unseen 
 sound waves. The result has been a confusion of names ; and the 
 public is to-day at a loss to know exactly what does, and what 
 does not constitute a Phonograph, and a Phonogram or Record. 
 
 DIFFERENT TYPES OF TALKING MACHINES. 
 
 The most sweeping classification of Talking Machines would 
 be : 
 
 The Phonograph (Class 1). 
 
 All other Talking Machines (Class 2). 
 
 This would not be just, however, in classifying as to types ; 
 for many well-known Talking Machines are very similar to the 
 Phonograph in their general characteristics ; the difference being 
 mainly in their structural inferiority and consequent inability to 
 do fine work. 
 
 As to types, therefore, there are but two Talking Machines — 
 one. using cylinders of wax or similar compositions, and the other, 
 flat discs of hard fibre or metal. 
 
 With machines of the first type it is possible for any one to 
 make a record, either of the voice, of musical instruments or, in 
 fact, of any kind of sound. The waves of sound, playing upon a 
 sensitive diaphragm, cause a sapphire stylus to engrave or indent 
 upon the smooth wax cylinder indentations corresponding to the 
 pitch or intensity of the sound. The cylinder revolves as the 
 sound is continued, causing a succession of indentations to appear 
 on the wax surface, in the shape of a long spiral groove. This 
 constitutes a Phonogram — a "writing of sound" — a Record. 
 When the sapphire point is set back at the beginning of the groove 
 and the record revolves, it is vibrated by the indentations, making 
 the sensitive diaphragm in turn to vibrate and to give off again 
 the same sounds that caused the indentations. 
 
THREE GREEK ROOTS 1 79 
 
 With machines of the second type it is not possible to make 
 records except with very elaborate and costly machinery, and the 
 use of chemicals and acids. The groove is first traced on a flat 
 disc by a stylus, vibrating sinuously, that is, sideways, instead 
 of in-and-out as with machines of the first type. This groove is 
 afterwards bitten deeper by the use of acids ; thus destroying in a 
 measure the absolute value of the sound writing. It is as if a 
 child with a black blunt lead pencil should trace over the delicate 
 strokes of a fine signature. The inaccuracies of the result are 
 plain to the eye and ear. When the reproducing stylus is placed 
 at the beginning of the groove and the disc is revolved, a harsh, 
 grating sound is heard, in addition to the sound waves recorded. 
 This is known as the "scratch of the needle" and is pronounced 
 by musical experts to be a most radical objection ; not taking into 
 consideration even the fact that with this type of machine one 
 cannot make his own records ; which is more than one half the 
 fun of owning a Talking Machine. 
 
 THE CHOICE OF A TALKING MACHINE. 
 
 That Talking Machine is best which is most complete. 
 Viewed from the standpoint of absolute merit, the wax cylinder 
 machines present the means for the widest enjoyment. With this 
 type it is always possible for an amateur to make records, and 
 they are superior in every way to the "flat disc" machine, with 
 its gritty "scratch of the needle" and its acid-etched record. 
 
 With the complete wax cylinder Talking Machine, not only 
 can records be reproduced that are especially prepared by experts 
 in the art, but also records that are made at home. Not only are 
 famous singers, bands, instrumental soloists, actors and vaudeville 
 artists brought into your very home, but you have the enjoyment 
 of making records of your own voice, your children's voices, your 
 friend's banjo, cornet and piano playing. 
 
l8o HANDBOOK OF THE PHONOGRAPH 
 
 With the choice thus narrowed down to complete machines 
 of the wax cylinder type, there yet remain two considerations — 
 Price and Quality. 
 
 It is a well known fact that the cheapest goods are not 
 usually the best. A certain value must be asked for value given 
 in manufacture. A dollar watch is made to sell. It is a good 
 thing in its way, but for time-keeping it is a superfluity and a 
 source of annoyance. A cheap bicycle is made to sell. It is a 
 pretty thing to look at, but one buys a wheel to ride, not to put 
 into a glass case. A cheap Talking Machine that is made to sell 
 will make a noise ; its wheels will go around, but that is its limit. 
 
 It is also a well known fact that a great man with a great 
 name and a great reputation, will use every power and exercise 
 every care to uphold the high standard that the use of his name 
 demands. There can be but one conclusion. To paraphrase the 
 cry of Islam, "There is only one Talking Machine, and its name 
 is the Phonograph. ' ' 
 
 ALWAYS LOOK FOR THE TRADE MARK. 
 
 All Genuine Edison Phonographs bear the name of the in- 
 ventor — Thomas A. Edison. That is the hall-mark of the 
 genuine article. Other Talking Machines may look like the 
 Phonograph ; may appear to run as true and as smooth as the 
 Phonograph ; may even be called, unscrupulously, by the same 
 name, but no one need be deceived. 
 
 The signature of Mr. Edison is on every Phonograph ; with- 
 out it no other machine is genuine. 
 
 Phonographs are made with the delicacy and accuracy of a 
 scientific instrument. They run smooth and true and govern 
 perfectly. This explains their use by other companies in making 
 fine high-priced musical records. 
 
 Edison Records are the best in the world. Not only is the 
 best talent obtainable employed in the music-rooms at the Edison 
 
THREE GREEK ROOTS l8l 
 
 Laboratory, but the records are made on Kdison Blanks. This 
 is a fact that speaks volumes to the Talking Machine expert. 
 
 Kdison Blanks are chemically pure. They are recognized as 
 Standard the world over. 
 
 They have no successful rival in the market. There is no 
 Talking Machine company or infringer who does not recognize 
 this fact and there are no records worth having that are not made 
 on Kdison Blanks. Other kinds are gritty, harsh and unservice- 
 able, and little, if any, cheaper. The following, from a recent 
 publication on the subject, covers the ground truthfully : 
 
 1 ' While the ingredients that compose the Kdison Cylinder 
 are not unknown in the art, the secret of their chemical combina- 
 tion still remains with Mr. Kdison. Other cylinders, made in 
 imitation of his, and cast in the same form, lack the qualities 
 essential for record making and other characteristics that give a 
 cylinder permanent value." 
 
 RECAPITULATION. 
 
 A Phonograph, any style, playing an Kdison Record, any 
 kind, made on an Kdison Blank, is Perfection. 
 
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