When Edison invented the “Kinetoscope,” his ambition was, not only to produce movement by the aid of pictures, but sound by the aid of the phonograph. But it proved a hopeless quest; and accordingly Edison confined his efforts for the time being to the perfection of animated photography.

In an earlier chapter I have described some devices for imitating sound. In this chapter I am speaking, not of imitation, but of reproduction. In order to secure perfect combination of movement and sound, it is essential to secure absolute synchronism in the actuation of the camera and that of the talking machine. This was Edison’s insuperable difficulty. A single motor was utilised for both machines; but the phonograph was easier to stop and to restart than the camera, owing to the fact that the latter had to be driven at sufficient speed to secure 46 pictures per second.

The moving and singing picture machine known as the “Kinetograph,” which worked upon the automatic “nickel-in-the-slot” principle, had a very brief existence. It was placed in cigar shops, railway stations, and other convenient public places, but it failed to interest the public, and was withdrawn in a short time.

Yet Edison did not relinquish his original plan. He cherished the idea that combined pictorial and audible records were feasible, and for nineteen years he devoted his energies to the consummation of the task. It was only a short time ago that the great inventor announced that he had succeeded at last. In the meantime, however, he had been anticipated by industrious and energetic experimenters in Europe.

In 1908 an attempt to produce motion and sound was made commercially with the “Cinephone.” The solution presented in this apparatus is undoubtedly novel, but the results are very unsatisfactory, and its success is dependent entirely upon the skill of the operator. The “Cinephone” is designed to accompany the motions of acting with the sounds pertaining thereto. The pictures are fitted to the talking machine records—that is to say, the cinematographer merely takes a gramophone record and produces a film suitable thereto. Edison’s plan was far more comprehensive. His idea was to prepare the phonographic record at the same time as the film pictures were made—for example, while a football or baseball match was being cinematographed, the phonograph was to record the applause, cheers, shouts—in short, make as complete a record for the ear as the camera did for the eye.

The principle governing the operation of the Cinephone is extremely simple. An ordinary talking machine is employed, without any modification beyond the addition of a small box with a governing dial, and a similar dial in the pictures upon the screen. The dial in each instance is fitted with a revolving hand, similar to that of a clock, and all that the operator is called upon to do is to keep the respective hands in relative positions by the manipulation of the projector.

The talking machine is mounted upon a baseboard, which is extended in front a sufficient distance to carry a small box the front face of which is fitted with the dial. The clock-like hand is transparent, and when an electric lamp, or other suitable illuminant, is placed within the box, it becomes illuminated, so that its rotation may be followed easily. The circle described by the hand is indicated at its four quarters by a small transparent point, through which passes the light from within the box. These four spots of light can be eclipsed and revealed by the movement of a shutter lever. When the lights appear the operator knows that the talking machine is ready. The hand of the rotating dial is actuated by mechanism driven by the motor of the talking machine, through a horizontal spindle.

In the bottom left-hand corner of each picture thrown on the screen is a duplicate of the talking machine dial. The position of the hand on each successive picture varies correspondingly with that on the gramophone, because in the preparation of the pictures the speaking or singing characters have accompanied the gramophone with their acting. When the picture is shown the speed of projection gives a steady forward motion to the hand on the picture dial.

When the apparatus is brought into play in the moving picture theatre the talking machine is placed on the stage in such a way that its illuminated dial is visible to the cinematograph operator. The latter’s duty is to run the film through the machine at such a speed that the position of the hand on the picture dial keeps step with that of the talking machine dial. If this is done with precision, the action in the picture coincides with the sounds emitted from the talking machine.

This apparatus can be applied to any type of projector without any preliminary preparations whatever, and the mechanism of the latter has not to be modified or touched in any way. But, on the other hand, there are grave defects. Synchrony between picture and talking machine is dependent upon the operator, and until the latter has become accustomed to the combination, the results are disconcerting. It is no simple matter to keep the hands of the two dials rotating harmoniously. When the film lags behind the talking machine, a pronounced speeding up is requisite to bring the two hands into synchrony. The increased work thrown upon the operator is also far from being a negligible quantity. He has to watch the two dials intently, and cannot centre his mind upon the projector, as he should be free to do. More than once I have seen a film snap under the strain imposed in the effort to catch up with the talking machine, or the light has demanded attention, and the result has been far from pleasing. However, the appearance of the “Cinephone” served to stimulate inventive effort in this particular field, and proved to the public that the production of pictures that talked and sang, as well as moved, was by no means so forlorn a possibility as had been imagined generally.

The next attempt in the same direction met with better success—in the “Vivaphone,” perfected by the Hepworth Manufacturing Company, Limited. In this machine the two dials were eliminated in favour of a single electric control or synchroniser.

In the projecting box by the operator’s side is a small, compact case. This is the synchroniser, consisting primarily of a vertical needle, which can move to the right or to the left. The movement or deflection of this needle is effected by means of two electromagnets. One exerts a pull upon the needle towards the right, while the other draws it in the opposite direction. These two electromagnets are electrically connected to the cinematograph and to the talking machine respectively.

The attachments to the projector and the gramophone are very simple. The electrical contact device or commutator is attached to the handle to establish connection between the two parts of the apparatus. On the gramophone is another commutator (Fig. 14). It consists of an arm, one edge of which rests on the case of the talking machine, while the opposite end engages with the motor spindle of the gramophone projecting vertically through the turn-table.

The installation of this apparatus (Fig. 15) is likewise simple. The synchroniser A is placed in a convenient position in the operator’s box, while the gramophone B is set upon the stage. From the projecting handle commutator C a pair of wires are run and attached to the connections K in the synchroniser, while similarly a pair of wires are carried from the talking machine commutator to the connections G in the synchroniser. Two wires are led from the terminals B in the synchroniser to the battery F. Sufficient energy for the electric current is furnished from a 4 or 6 volt accumulator, such as is used in automobile practice, or from a dry storage battery. Ordinary bell wire suffices for the purposes of the connections. If the distance between the screen and the projecting box is very great it is advisable to introduce an auxiliary cell D in the gramophone circuit.

Behind the vertical needle of the synchroniser is a narrow transparent slot, which, when the synchrony is perfect, is covered by the needle itself. The upper end of the needle is fitted with two small glazed apertures or spectacle glasses, one on either side, fitted with red and green glass respectively. When the apparatus is in use the two electromagnets controlled by the cinematograph and the gramophone respectively exert a pull in opposite directions—the gramophone endeavours to draw the needle one way, and the projector electromagnet attempts to pull it in the other direction. If the projector is lagging, the needle moves over, bringing the red spectacle before the light aperture, and the red light thus shown warns the operator to accelerate the projector. On the other hand, if the projector is running too fast, the needle moves in the opposite direction and brings the green light into prominence. The degree of the deflection of the needle indicates how far the synchronisation is disturbed. When the opposing forces of the electromagnets are exactly equal, the needle maintains a vertical position, and shows absolute synchrony. It will be seen that the signalling system is very sensitive and accurate, and at the same time enables the operator to have complete control over projection. In fact this is the most perfect system of synchronising the pictures with the sounds emitted from the gramophone that has been yet produced in the combination of sound and movement. Some excellent subjects have been produced with this machine, one of the finest being the sound and movement reproduction of “Faust.”

But, after all, these devices are far from representing the ideal singing and talking cinematograph. The drawback is this: the conditions prevent the pictures being secured at the same moment that the relative sounds are being recorded by the gramophone.

While Edison was striving with the problem, French investigators were active, and the first practical success in the field must be credited to Monsieur Léon Gaumont, the head of the French cinematograph establishment of that name. He succeeded where Edison failed; or rather, he anticipated the famous American inventor by several years. It was as far back as November 7th, 1902, that Monsieur Gaumont introduced his achievement for the first time before the French Photographic Society. The apparatus was not yet perfect, but it served to demonstrate that the synchronous production of sound and movement by the aid of the cinematograph and the talking machine was within measurable distance of attainment. The demonstration was held primarily to show how perfect a synchronising mechanism had been evolved. The great difficulty encountered was in regard to the sensitive character of the material required for taking the records of sounds from a distance. The ordinary process then in vogue was far from being suitable. By the aid of several interested friends and collaborators, however, Monsieur Gaumont was able to conquer this obstacle, and on December 27th, 1910, the “Chronophone,” as the new invention is called, was submitted to the approval of the French Academy of Sciences and was regarded as eminently successful by that distinguished learned body.

Synchronism—both in producing and reproducing—between the cinematograph and the talking machine is secured by electrical connections between motors which furnish the requisite power for driving the two essential parts of the apparatus. In evolving such a combination as this the inventor had to bear in mind that portability and simplicity were two fundamental requisitions, so that resort to heavy, bulky, and intricate mechanism was quite out of the question. In comparison with the Cinephone and Vivaphone, the Chronophone appears somewhat complicated. But this is only relative. The apparatus is almost entirely automatic in its operation. Yet it can be operated by hand if necessary. If the latter method is adopted, the energy required to secure synchrony is derived from batteries or accumulators.

Synchrony is obtained by means of a patented system, which may be briefly described. The two motors required for driving the talking machine and the cinematograph respectively are of identical design, of approximately the same power, and are operated by the same direct current. The armatures of each motor are divided into sections, and the corresponding sections of the two armatures are connected together. By means of this arrangement the two armatures are rotated at the same speed, notwithstanding the slight differences in the mechanical resistance opposed to the machines.

The talking machine, driven by an electric motor, is of the disc type, fitted with two horns, so as to diffuse the sounds through the building. If the theatre is spacious the number of horns may be increased, while the sound waves projected into the hall may be intensified in volume by means of compressed air, as in the Auxetophone devised by the Hon. C. A. Parsons, which is also capable of considerable adjustment, so that the volume of sound may be accommodated to the acoustic properties of the building.

In comparison with the ordinary bioscope mechanism the Chronophone projector appears somewhat intricate, but here again everything has been simplified to a remarkable degree, while all adjustments are carried out automatically. The projector installation (Fig. 16), in addition to the lantern A and projecting mechanism B employed in the ordinary equipment, consists of a small motor C, which drives the projector mechanism proper and a differential D, whereby error between sound and movement is corrected, driven by a small motor E.

To start the apparatus, the first picture of the film, say that of the title, is placed in the film gate before the exposure aperture, and the needle of the talking machine sound box is placed on the first groove of the disc record. The talking machine motor is started, and the table carrying the record commences to revolve. Directly the needle reaches the point in the disc groove where the first sound wave has been recorded, an electrical contact is established, which is transmitted to the projector, and sets the latter in motion. But it may be that the speed is too much or not enough; the pictures move too slowly or too quickly, and the tone of the sound emitted by the talking machine is unnatural. In this case the operator moves the rheostat handle F over its contacts, this movement accelerating both the talking machine and the projector until the correct natural speed has been secured.

Again it may be that the pictures are slightly in advance of the phonograph, or vice versâ; the movements of the lips of the singer or actions of the performer do not coincide with the emission of sound. This error may be rectified instantly. There is a two-way commutator on the control board, which the operator moves in one direction or the other according to requirements. This instantly starts up the small dynamo E, the power of which is transmitted through belt and pulley to the differential gearing D, which works on the same shaft as that driving the projector. If the projector is lagging it is speeded up, so as to overtake the talking machine, or if the pictures are in advance of the sound, it is retarded until synchronism is restored. This device is particularly useful, inasmuch as the talking machine is somewhat sensitive to outside disturbance; if the machine is not set quite level, or receives a violent vibration, the needle jumps suddenly from one groove into another. By accelerating the projector this lead can soon be reduced without touching the talking machine in the slightest.

The operator need not follow the movement of the pictures upon the screen, or listen to the talking machine in order to ascertain that synchrony is perfect. He merely keeps his eye on an ingenious, simple “control board,” which is set up in a convenient position beside the projector operator. It includes a starting gear, whereby the talking machine is set in motion, and which in turn actuates the cinematograph by the disc electrical contact, an electric switch, a volt meter, which acts as a speed indicator, its readings, in fact, having a constant relation to the revolving speed of the talking machine turn-table; and a two-way commutator, where the differential motor is started up.

The differential gearing is somewhat interesting. It belongs to the four-wheel type. There are two driven cog wheels 1 and 2 keyed to the ends of the interrupted shaft of the projector motor, and between these two wheels, and set at right angles thereto, are two satellite wheels 3 and 4, which mesh with the former wheels. If the cinematograph and the talking machine are moving in exact synchrony, the wheels 1 and 2 run at similar speed, but in opposite directions, and in harmony with wheels 3 and 4. To the short end of the interrupted shaft a needle is attached, and when synchrony is prevailing this needle maintains a vertical position. Now, if the phonograph runs away from the projector, this needle moves either to the right or to the left, and as it slides over a graduated scale the operator can detect in an instant how many pictures the projector is lagging behind the talking machine. The cinematograph projector accordingly must be speeded up, and the operator moves the commutator on his control board in the desired direction. Then instead of the two satellite wheels meshing evenly with the two wheels 1 and 2, they become displaced, with the result that the shaft driving the projector is rotated more rapidly, and overtakes the talking machine, the needle on the dial meanwhile moving towards zero, until, when it reaches its vertical position, the differential gearing and its motor are stopped. If the projector should have advanced before the talking machine, it is retarded, the needle deflecting in the opposite direction and requiring to be restored to zero. It will be seen that the speed of the talking machine remains constant. Any correction that has to be made is effected by means of accelerating or retarding the speed of projection.

As, however, the records of movement and sound are made in synchrony, and in view of the fact that both projector and talking machine run at the same speed, if started simultaneously no displacement of one in relation to the other should result. The differential, however, provides a means of correcting any accidental displacement of the phonograph needle when reproduction is carried out.

The Gaumont apparatus has proved highly successful, and has been turned to useful account already; we have excerpts from operas, ballets, recitations, and so forth recorded and projected with a perfect relationship between sound and movement. Through the energy and perseverance of Monsieur Gaumont the value of animated pictures has received a decisive forward impetus.

Edison has devoted his energies in the solution of the problem to the perfection of a more sensitive material than the wax hitherto employed. Naturally he has confined his attention to adapting to this work the phonograph or cylinder talking machine in preference to the disc machine, the former being his own invention.

What is the future of the phono-cinematograph? In the first place, until the peculiar nasal sound is eliminated from the talking machine it will not prove popular. It is well-nigh impossible, unless a speaker or singer has peculiar characteristics, to identify voices on this instrument. Furthermore expression in tone is practically non-existent. Though the cinematographic world be flooded with talking and singing pictures, unless they are of some peculiar interest, the majority of picture-theatre lovers, after the first wave of excitement and curiosity, will patronise those establishments where they can see movement alone.