The Edison phonograph monthly (Dec 1914-Dec 1915)

EDISON PHONOGRAPH MONTHLY, SEPTEMBER, 1915 MECHANISM OF THE NEW "B" TYPE OF EDISON DIAMOND DISC PHONOGRAPH Synopsis of an Address by John P. Constable of the Edison Laboratory at the Dealers' Convention. A SIMPLE mechanism with few wearing parts, one that is easily adjusted and repaired, operates noiselessly and gives all the high standard of regulation and other good qualities of the old type motor. The direct gear drive and the advantage of this combined with the fewer wearing parts was also brought up. To make this operate successfully a very high grade of machine work is necessary. The greater care and attention to details in manufacturing of these parts was also pointed out. •Next, the reasons for the adoption of the tivo ball governor instead of three ball were given, namely: more easily balanced, both for standing and running balance, insures quiet operation, and also the theoretical consideration which led to the discovery that the governor must be correctly proportioned to the main spring, which it has to govern. The adjustment of the governor was spoken of and particular attention called to the guide roller on the governor sleeve, it being particularly brought out that this roller should never be removed, especially on the two ball governor. The roller should always be adjusted centrally in the slot, touching neither side, and when this adjustment is made no trouble will be experienced. The practice of removing the roller, it was pointed out, was very bad and likely to cause the governor to be ruined by sudden starting and stopping, as this roller is put in the governor to prevent "tripping" after a sudden stop or start. The graphiting of the main springs with dry graphite was very carefully gone into and the reasons for adoption of dry graphite noted. Instructions were also given on how to put in a spring and take one out of a spring barrel and how to graphite same with dry graphite. This latter point being very important it was suggested that graphite should be blown into the spring after the machine is assembled and the spring has been about onethird wound up. This method has proved very successful in curing "chugging," sluggish starting and sometimes bad regulation. It was also pointed out that the graphite, when once properly in the spring, would never have to be renewed. A standard "250" mechanism was completely disassembled and the various adjustments noticed and then assembled again. The pos.ition of the governor and the governor worm-wheel were spoken of and the adjustment of the governor frictionfork and the friction-felt. The matter of lubrication was gone into thor oughly, emphasis was laid on the necessity of using the proper oil on the various parts. Attention was called to the fact that we are putting out an oil and a grease for lubricating these mechanisms and also a special graphite, which are adapted most perfectly to the various parts which they are to lubricate. THE CARE USED IN PRODUCING EDISON RECORDS Extracts from Address of A. M. Kennedy of the Edison Laboratory at the Dealers' Convention. Delivered on Tuesday, Aug. loth. IN addition personally to seeing to it that only worthy music is recorded, Mr. Edison listens to a trial record of every voice and every instrumental artist, before these artists are accepted for Edison records. The reputation or press notices of the artist has nothing to do with his decision, for Mr. Edison weighs only the pureness of voice and the correctness of interpretation, or the musical ability. His note-book of voice-trials shows some unfavorable comments on artists well-known and some favorable on obscure artists. A few of his comments, taken from one of his recent notebooks are indicative of the thoroughness of Mr. Edison's tests: "Voice pretty good, but his interpretation is dead and monotonous." "Tell him to put some action in his singing — not one continuous, monotonous intonation without change in volume." "He will be a good singer when he can put snap in it." "All her notes are singularly pure, but she interprets very poorly — very monotonous and nondramatic." "She also has a bad shake." "What a pity it is that a woman with a voice like this should have been educated by so brainless a teacher." "Outside the shake, I believe I could make a star of her in 48 hours." "This is the only clear-cut flute I ever heard — it is perfect in every note and fine quality all through." "Better get four or six records from this man." Comment on a voice singing on American operatic stage: "Dead — shakes — don't want him." Comment on voice singing in Royal Opera, Berlin: "Poor timbre — poor interpretation — breaks — can't use." Comment on an artist unknown to the public: "She is good — nearly all sustained notes are clear. Think in proper selections she would be a valuable addition to our artis.s." "This is nearly the limit." "Congratulate (the discoverer of this voice) on his fine appreci