ELECTRIC AND PNEUMATIC ACTIONS.

We have mentioned in connection with railway signalling that the signalman is sometimes relieved of the hard manual labour of moving signals and points by the employment of electric and pneumatic auxiliaries. The same is true of organs and organists. The touch of the keys has been greatly lightened by making the keys open air-valves or complete electric circuits which actuate the mechanism for pulling down the pallets. The stops, pedals, and couplers also employ "power." Not only are the performer's muscles spared a lot of heavy work when compressed air and electricity aid him, but he is able to have the console, or keyboard, far away from the pipes. "From the console, the player, sitting with the singers, or in any desirable part of the choir or chancel, would be able to command the working of the whole of the largest organ situated afar at the western end of the nave; would draw each stop in complete reliance on the sliders and the sound-board fulfilling their office; ... and—marvel of it all—the player, using the swell pedal in his ordinary manner, would obtain crescendo and diminuendo with a more perfect effect than by the old way."[31]

In cathedrals it is no uncommon thing for the different sound-boards to be placed in positions far apart, so that to the uninitiated there may appear to be several independent organs scattered about. Yet all are absolutely under the control of a man who is sitting away from them all, but connected with them by a number of tubes or wires.

The largest organ in the world is that in the Town Hall, Sydney. It has a hundred and twenty-six speaking stops, five manuals, fourteen couplers, and forty-six combination studs. The pipes, about 8,000 in number, range from the enormous 64-foot contra-trombone to some only a fraction of an inch in length. The organ occupies a space 85 feet long and 26 feet deep.

HUMAN REEDS.

The most wonderful of all musical reeds is found in the human throat, in the anatomical part called the larynx, situated at the top of the trachea, or windpipe.

Slip a piece of rubber tubing over the end of a pipe, allowing an inch or so to project. Take the free part of the tube by two opposite points between the first fingers and thumbs and pull it until the edges are stretched tight. Now blow through it. The wind, forcing its way between the two rubber edges, causes them and the air inside the tube to vibrate, and a musical note results. The more you strain the rubber the higher is the note.

The larynx works on this principle. The windpipe takes the place of the glass pipe; the two vocal cords represent the rubber edges; and the arytenoid muscles stand instead of the hands. When contracted, these muscles bring the edges of the cords nearer to one another, stretch the cords, and shorten the cords. A person gifted with a "very good ear" can, it has been calculated, adjust the length of the vocal cords to 1⁄17000th of an inch!

Simultaneously with the adjustment of the cords is effected the adjustment of the length of the windpipe, so that the column of air in it may be of the right length to vibrate in unison. Here again is seen a wonderful provision of nature.

The resonance of the mouth cavity is also of great importance. By altering the shape of the mouth the various harmonics of any fundamental note produced by the larynx are rendered prominent, and so we get the different vocal sounds. Helmholtz has shown that the fundamental tone of any note is represented by the sound oo. If the mouth is adjusted to bring out the octave of the fundamental, o results. a is produced by accentuating the second harmonic, the twelfth; ee by developing the second and fourth harmonics; while for ah the fifth and seventh must be prominent.

When we whistle we transform the lips into a reed and the mouth into a pipe. The tension of the lips and the shape of the mouth cavity decide the note. The lips are also used as a reed for blowing the flute, piccolo, and all the brass band instruments of the cornet order. In blowing a coach-horn the various harmonics of the fundamental note are brought out by altering the lip tension and the wind pressure. A cornet is practically a coach-horn rolled up into a convenient shape and furnished with three keys, the depression of which puts extra lengths of tubing in connection with the main tube—in fact, makes it longer. One key lowers the fundamental note of the horn half a tone; the second, a full tone; the third, a tone and a half. If the first and third are pressed down together, the note sinks two tones; if the second and third, two and a half tones; and simultaneous depression of all three gives a drop of three tones. The performer thus has seven possible fundamental notes, and several harmonics of each of these at his command; so that by a proper manipulation of the keys he can run up the chromatic scale.

We should add that the cornet tube is an "open" pipe. So is that of the flute. The clarionet is a "stopped" pipe.

Chapter XVI.

In the Patent Office Museum at South Kensington is a curious little piece of machinery—a metal cylinder mounted on a long axle, which has at one end a screw thread chased along it. The screw end rotates in a socket with a thread of equal pitch cut in it. To the other end is attached a handle. On an upright near the cylinder is mounted a sort of drum. The membrane of the drum carries a needle, which, when the membrane is agitated by the air-waves set up by human speech, digs into a sheet of tinfoil wrapped round the cylinder, pressing it into a helical groove turned on the cylinder from end to end. This construction is the first phonograph ever made. Thomas Edison, the "wizard of the West," devised it in 1876; and from this rude parent have descended the beautiful machines which record and reproduce human speech and musical sounds with startling accuracy.

We do not propose to trace here the development of the talking-machine; nor will it be necessary to describe in detail its mechanism, which is probably well known to most readers, or could be mastered in a very short time on personal examination. We will content ourselves with saying that the wax cylinder of the phonograph, or the ebonite disc of the gramophone, is generally rotated by clockwork concealed in the body of the machine. The speed of rotation has to be very carefully governed, in order that the record may revolve under the reproducing point at a uniform speed. The principle of the governor commonly used appears in Fig. 146. The last pinion of the clockwork train is mounted on a shaft carrying two triangular plates, A and C, to which are attached three short lengths of flat steel spring with a heavy ball attached to the centre of each. A is fixed; C moves up the shaft as the balls fly out, and pulls with it the disc D, which rubs against the pad P (on the end of a spring) and sets up sufficient friction to slow the clockwork. The limit rate is regulated by screw S.

THE PHONOGRAPH.

Though the recording and reproducing apparatus of a phonograph gives very wonderful results, its construction is quite simple. At the same time, it must be borne in mind that an immense amount of experimenting has been devoted to finding out the most suitable materials and forms for the parts.

The recorder (Fig. 147) is a little circular box about one and a half inches in diameter.[32] From the top a tube leads to the horn. The bottom is a circular plate, C C, hinged at one side. This plate supports a glass disc, D, about 1⁄150th of an inch thick, to which is attached the cutting stylus—a tiny sapphire rod with a cup-shaped end having very sharp edges. Sound-waves enter the box through the horn tube; but instead of being allowed to fill the whole box, they are concentrated by the shifting nozzle N on to the centre of the glass disc through the hole in C C. You will notice that N has a ball end, and C C a socket to fit N exactly, so that, though C C and N move up and down very rapidly, they still make perfect contact. The disc is vibrated by the sound-impulses, and drives the cutting point down into the surface of the wax cylinder, turning below it in a clockwork direction. The only dead weight pressing on S is that of N, C C, and the glass diaphragm.

As the cylinder revolves, the recorder is shifted continuously along by a leading screw having one hundred or more threads to the inch cut on it, so that it traces a continuous helical groove from one end of the wax cylinder to the other. This groove is really a series of very minute indentations, not exceeding 1⁄1000th of an inch in depth.[33] Seen under a microscope, the surface of the record is a succession of hills and valleys, some much larger than others (Fig. 151, a). A loud sound causes the stylus to give a vigorous dig, while low sounds scarcely move it at all. The wonderful thing about this sound-recording is, that not only are the fundamental tones of musical notes impressed, but also the harmonics, which enable us to decide at once whether the record is one of a cornet, violin, or banjo performance. Furthermore, if several instruments are playing simultaneously near the recorder's horn, the stylus catches all the different shades of tone of every note of a chord. There are, so to speak, minor hills and valleys cut in the slopes of the main hills and valleys.

The reproducer (Fig. 149) is somewhat more complicated than the recorder. As before, we have a circular box communicating with the horn of the instrument. A thin glass disc forms a bottom to the box. It is held in position between rubber rings, R R, by a screw collar, C. To the centre is attached a little eye, from which hangs a link, L. Pivoted at P from one edge of the box is a floating weight, having a circular opening immediately under the eye. The link passes through this to the left end of a tiny lever, which rocks on a pivot projecting from the weight. To the right end of the lever is affixed a sapphire bar, or stylus, with a ball end of a diameter equal to that of the cutting point of the recorder. The floating weight presses the stylus against the record, and also keeps the link between the rocking lever of the glass diaphragm in a state of tension. Every blow given to the stylus is therefore transmitted by the link to the diaphragm, which vibrates and sends an air-impulse into the horn. As the impulses are given at the same rate as those which agitated the diaphragm of the recorder, the sounds which they represent are accurately reproduced, even to the harmonics of a musical note.

THE GRAMOPHONE.

This effects the same purpose as the phonograph, but in a somewhat different manner. The phonograph recorder digs vertically downwards into the surface of the record, whereas the stylus of the gramophone wags from side to side and describes a snaky course (Fig. 151b). It makes no difference in talking-machines whether the reproducing stylus be moved sideways or vertically by the record, provided that motion is imparted by it to the diaphragm.

In Fig. 151c the construction of the gramophone reproducer is shown in section. A is the cover which screws on to the bottom B, and confines the diaphragm D between itself and a rubber ring. The portion B is elongated into a tubular shape for connection with the horn, an arm of which slides over the tube and presses against the rubber ring C to make an air-tight joint. The needle-carrier N is attached at its upper end to the centre of the diaphragm. At a point indicated by the white dot a pin passes through it and the cover. The lower end is tubular to accommodate the steel points, which have to be replaced after passing once over a record. A screw, S, working in a socket projecting from the carrier, holds the point fast. The record moves horizontally under the point in a plane perpendicular to the page. The groove being zigzag, the needle vibrates right and left, and rotating the carrier a minute fraction of an inch on the pivot, shakes the glass diaphragm and sends waves of air into the horn.

The gramophone is a reproducing instrument only. The records are made on a special machine, fitted with a device for causing the recorder point to describe a spiral course from the circumference to the centre of the record disc. Some gramophone records have as many as 250 turns to the inch. The total length of the tracing on a ten-inch "concert" record is about 1,000 feet.

THE MAKING OF RECORDS.

For commercial purposes it would not pay to make every record separately in a recording machine. The expense of employing good singers and instrumentalists renders such a method impracticable. All the records we buy are made from moulds, the preparation of which we will now briefly describe.

CYLINDER, OR PHONOGRAPH RECORDS.

First of all, a wax record is made in the ordinary way on a recording machine. After being tested and approved, it is hung vertically and centrally from a rotating table pivoted on a vertical metal spike passing up through the record. On one side of the table is a piece of iron. On each side of the record, and a small distance away, rises a brass rod enclosed in a glass tube. The top of the rods are hooked, so that pieces of gold leaf may be suspended from them. A bell-glass is now placed over the record, table, and rods, and the air is sucked out by a pump. As soon as a good vacuum has been obtained, the current from the secondary circuit of an induction coil is sent into the rods supporting the gold leaves, which are volatilized by the current jumping from one to the other. A magnet, whirled outside the bell-glass, draws round the iron armature on the pivoted table, and consequently revolves the record, on the surface of which a very thin coating of gold is deposited. The record is next placed in an electroplating bath until a copper shell one-sixteenth of an inch thick has formed all over the outside. This is trued up on a lathe and encased in a brass tube. The "master," or original wax record, is removed by cooling it till it contracts sufficiently to fall out of the copper mould, on the inside surface of which are reproduced, in relief, the indentations of the wax "master."

Copies are made from the mould by immersing it in a tank of melted wax. The cold metal chills the wax that touches it, so that the mould soon has a thick waxen lining. The mould and copy are removed from the tank and mounted on a lathe, which shapes and smooths the inside of the record. The record is loosened from the mould by cooling. After inspection for flaws, it is, if found satisfactory, packed in cotton-wool and added to the saleable stock.

Gramophone master records are made on a circular disc of zinc, coated over with a very thin film of acid-proof fat. When the disc is revolved in the recording machine, the sharp stylus cuts through the fat and exposes the zinc beneath. On immersion in a bath of chromic acid the bared surfaces are bitten into, while the unexposed parts remain unaffected. When the etching is considered complete, the plate is carefully cleaned and tested. A negative copper copy is made from it by electrotyping. This constitutes the mould. From it as many as 1,000 copies may be made on ebonite plates by combined pressure and heating.

Chapter XVII.

If we heat an open jar there is no pressure developed, since the air simply expands and flows out of the neck. But the air that remains in the jar, being less in quantity than when it was not yet heated, weighs less, though occupying the same space as before. If we took a very thin bladder and filled it with hot air it would therefore float in colder air, proving that heated air, as we should expect, tends to rise. The fire-balloon employs this principle, the air inside the bag being kept artificially warm by a fire burning in some vessel attached below the open neck of the bag.

Now, the sun shines with different degrees of heating power at different parts of the world. Where its effect is greatest the air there is hottest. We will suppose, for the sake of argument, that, at a certain moment, the air envelope all round the globe is of equal temperature. Suddenly the sun shines out and heats the air at a point, A, till it is many degrees warmer than the surrounding air. The heated air expands, rises, and spreads out above the cold air. But, as a given depth of warm air has less weight than an equal depth of cold air, the cold air at once begins to rush towards B and squeeze the rest of the warm air out. We may therefore picture the atmosphere as made up of a number of colder currents passing along the surface of the earth to replace warm currents rising and spreading over the upper surface of the cold air. A similar circulation takes place in a vessel of heated water (see p. 17).

LAND AND SEA BREEZES.

A breeze which blows from the sea on to the land during the day often reverses its direction during the evening. Why is this? The earth grows hot or cold more rapidly than the sea. When the sun shines hotly, the land warms quickly and heats the air over it, which becomes light, and is displaced by the cooler air over the sea. When the sun sets, the earth and the air over it lose their warmth quickly, while the sea remains at practically the same temperature as before. So the balance is changed, the heavier air now lying over the land. It therefore flows seawards, and drives out the warmer air there.

LIGHT AIR AND MOISTURE.

Light, warm air absorbs moisture. As it cools, the moisture in it condenses. Breathe on a plate, and you notice that a watery film forms on it at once. The cold surface condenses the water suspended in the warm breath. If you wish to dry a damp room you heat it. Moisture then passes from the walls and objects in the room to the atmosphere.

THE BAROMETER.

This property of air is responsible for the changes in weather. Light, moisture-laden air meets cold, dry air, and the sudden cooling forces it to release its moisture, which falls as rain, or floats about as clouds. If only we are able to detect the presence of warm air-strata above us, we ought to be in a position to foretell the weather.

We can judge of the specific gravity of the air in our neighbourhood by means of the barometer, which means "weight-measurer." The normal air-pressure at sea-level on our bodies or any other objects is about 15 lbs. to the square inch—that is to say, if you could imprison and weigh a column of air one inch square in section and of the height of the world's atmospheric envelope, the scale would register 15 lbs. Many years ago (1643) Torricelli, a pupil of Galileo, first calculated the pressure by a very simple experiment. He took a long glass tube sealed at one end, filled it with mercury, and, closing the open end with the thumb, inverted the tube and plunged the open end below the surface of a tank of mercury. On removing his thumb he found that the mercury sank in the tube till the surface of the mercury in the tube was about 30 inches in a vertical direction above the surface of the mercury in the tank. Now, as the upper end was sealed, there must be a vacuum above the mercury. What supported the column? The atmosphere. So it was evident that the downward pressure of the mercury exactly counterbalanced the upward pressure of the air. As a mercury column 30 inches high and 1 inch square weighs 15 lbs., the air-pressure on a square inch obviously is the same.

FORTIN'S COLUMN BAROMETER

is a simple Torricellian tube, T, with the lower end submerged in a little glass tank of mercury (Fig. 152). The bottom of this tank is made of washleather. To obtain a "reading" the screw S, pressing on the washleather, is adjusted until the mercury in the tank rises to the tip of the little ivory point P. The reading is the figure of the scale on the face of the case opposite which the surface of the column stands.

THE WHEEL BAROMETER

also employs the mercury column (Fig. 153). The lower end of the tube is turned up and expanded to form a tank, C. The pointer P, which travels round a graduated dial, is mounted on a spindle carrying a pulley, over which passes a string with a weight at each end. The heavier of the weights rests on the top of the mercury. When the atmospheric pressure falls, the mercury in C rises, lifting this weight, and the pointer moves. This form of barometer is not so delicate or reliable as Fortin's, or as the siphon barometer, which has a tube of the same shape as the wheel instrument, but of the same diameter from end to end except for a contraction at the bend. The reading of a siphon is the distance between the two surfaces of the mercury.

A VERY SIMPLE BAROMETER

is made by knocking off the neck of a small bottle, filling the body with water, and hanging it up by a string in the position shown (Fig. 154). When the atmospheric pressure falls, the water at the orifice bulges outwards; when it rises, the water retreats till its surface is slightly concave.

THE ANEROID BAROMETER.

On account of their size and weight, and the comparative difficulty of transporting them without derangement of the mercury column, column barometers are not so generally used as the aneroid variety. Aneroid means "without moisture," and in this particular connection signifies that no liquid is used in the construction of the barometer.

Fig. 155 shows an aneroid in detail. The most noticeable feature is the vacuum chamber, V C, a circular box which has a top and bottom of corrugated but thin and elastic metal. Sections of the box are shown in Figs. 156, 157. It is attached at the bottom to the base board of the instrument by a screw (Fig. 156). From the top rises a pin, P, with a transverse hole through it to accommodate the pin K E, which has a triangular section, and stands on one edge.

Returning to Fig. 155, we see that P projects through S, a powerful spring of sheet-steel. To this is attached a long arm, C, the free end of which moves a link rotating, through the pin E, a spindle mounted in a frame, D. The spindle moves arm F. This pulls on a very minute chain wound round the pointer spindle B, in opposition to a hairspring, H S. B is mounted on arm H, which is quite independent of the rest of the aneroid.

The vacuum chamber is exhausted during manufacture and sealed. It would naturally assume the shape of Fig. 157, but the spring S, acting against the atmospheric pressure, pulls it out. As the pressure varies, so does the spring rise or sink; and the slightest movement is transmitted through the multiplying arms C, E, F, to the pointer.

A good aneroid is so delicate that it will register the difference in pressure caused by raising it from the floor to the table, where it has a couple of feet less of air-column resting upon it. An aneroid is therefore a valuable help to mountaineers for determining their altitude above sea-level.

BAROMETERS AND WEATHER.

We may now return to the consideration of forecasting the weather by movements of the barometer. The first thing to keep in mind is, that the instrument is essentially a weight recorder. How is weather connected with atmospheric weight?

In England the warm south-west wind generally brings wet weather, the north and east winds fine weather; the reason for this being that the first reaches us after passing over the Atlantic and picking up a quantity of moisture, while the second and third have come overland and deposited their moisture before reaching us.

A sinking of the barometer heralds the approach of heated air—that is, moist air—which on meeting colder air sheds its moisture. So when the mercury falls we expect rain. On the other hand, when the "glass" rises, we know that colder air is coming, and as colder air comes from a dry quarter we anticipate fine weather. It does not follow that the same conditions are found in all parts of the world. In regions which have the ocean to the east or the north, the winds blowing thence would be the rainy winds, while south-westerly winds might bring hot and dry weather.

THE DIVING-BELL.

Water is nearly 773 times as heavy as air. If we submerge a barometer a very little way below the surface of a water tank, we shall at once observe a rise of the mercury column. At a depth of 34 feet the pressure on any submerged object is 15 lbs. to the square inch, in addition to the atmospheric pressure of 15 lbs. per square inch—that is, there would be a 30-lb. absolute pressure. As a rule, when speaking of hydraulic pressures, we start with the normal atmospheric pressure as zero, and we will here observe the practice.

The diving-bell is used to enable people to work under water without having recourse to the diving-dress. A sketch of an ordinary diving-bell is given in Fig. 158. It may be described as a square iron box without a bottom. At the top are links by which it is attached to a lowering chain, and windows, protected by grids; also a nozzle for the air-tube.

A simple model bell (Fig. 159) is easily made out of a glass tumbler which has had a tap fitted in a hole drilled through the bottom. We turn off the tap and plunge the glass into a vessel of water. The water rises a certain way up the interior, until the air within has been compressed to a pressure equal to that of the water at the level of the surface inside. The further the tumbler is lowered, the higher does the water rise inside it.

Evidently men could not work in a diving-bell which is invaded thus by water. It is imperative to keep the water at bay. This we can do by attaching a tube to the tap (Fig. 160) and blowing into the tumbler till the air-pressure exceeds that of the water, which is shown by bubbles rising to the surface. The diving-bell therefore has attached to it a hose through which air is forced by pumps from the atmosphere above, at a pressure sufficient to keep the water out of the bell. This pumping of air also maintains a fresh supply of oxygen for the workers.

Inside the bell is tackle for grappling any object that has to be moved, such as a heavy stone block. The diving-bell is used mostly for laying submarine masonry. "The bell, slung either from a crane on the masonry already built above sea-level, or from a specially fitted barge, comes into action. The block is lowered by its own crane on to the bottom. The bell descends upon it, and the crew seize it with tackle suspended inside the bell. Instructions are sent up as to the direction in which the bell should be moved with its burden, and as soon as the exact spot has been reached the signal for lowering is given, and the stone settles on to the cement laid ready for it."[34]

For many purposes it is necessary that the worker should have more freedom of action than is possible when he is cooped up inside an iron box. Hence the invention of the

DIVING-DRESS,

which consists of two main parts, the helmet and the dress proper. The helmet (Fig. 161) is made of copper. A breastplate, B, shaped to fit the shoulders, has at the neck a segmental screw bayonet-joint. The headpiece is fitted with a corresponding screw, which can be attached or removed by one-eighth of a turn. The neck edge of the dress, which is made in one piece, legs, arms, body and all, is attached to the breastplate by means of the plate P¹, screwed down tightly on it by the wing-nuts N N, the bolts of which pass through the breastplate. Air enters the helmet through a valve situated at the back, and is led through tubes along the inside to the front. This valve closes automatically if any accident cuts off the air supply, and encloses sufficient air in the dress to allow the diver to regain the surface. The outlet valve O V can be adjusted by the diver to maintain any pressure. At the sides of the headpiece are two hooks, H, over which pass the cords connecting the heavy lead weights of 40 lbs. each hanging on the diver's breast and back. These weights are also attached to the knobs K K. A pair of boots, having 17 lbs. of lead each in the soles, complete the dress. Three glazed windows are placed in the headpiece, that in the front, R W, being removable, so that the diver may gain free access to the air when he is above water without being obliged to take off the helmet.

By means of telephone wires built into the life-line (which passes under the diver's arms and is used for lowering and hoisting) easy communication is established between the diver and his attendants above. The transmitter of the telephone is placed inside the helmet between the front and a side window, the receiver and the button of an electric bell in the crown. This last he can press by raising his head. The life-line sometimes also includes the wires for an electric lamp (Fig. 162) used by the diver at depths to which daylight cannot penetrate.

The pressure on a diver's body increases in the ratio of 4⅓ lbs. per square inch for every 10 feet that he descends. The ordinary working limit is about 150 feet, though "old hands" are able to stand greater pressures. The record is held by one James Hooper, who, when removing the cargo of the Cape Horn sunk off the South American coast, made seven descents of 201 feet, one of which lasted for forty-two minutes.

A sketch is given (Fig. 163) of divers working below water with pneumatic tools, fed from above with high-pressure air. Owing to his buoyancy a diver has little depressing or pushing power, and he cannot bore a hole in a post with an auger unless he is able to rest his back against some firm object, or is roped to the post. Pneumatic chipping tools merely require holding to their work, their weight offering sufficient resistance to the very rapid blows which they make.

AIR-PUMPS.

Mention having been made of the air-pump, we append diagrams (Figs. 164, 165) of the simplest form of air-pump, the cycle tyre inflator. The piston is composed of two circular plates of smaller diameter than the barrel, holding between them a cup leather. During the upstroke the cup collapses inwards and allows air to pass by it. On the downstroke (Fig. 165) the edges of the cup expand against the barrel, preventing the passage of air round the piston. A double-action air-pump requires a long, well-fitting piston with a cup on each side of it, and the addition of extra valves to the barrel, as the cups under these circumstances cannot act as valves.

PNEUMATIC TYRES.