Vermont phÅ“nix. [volume] (Brattleboro, Vt.) 1834-1955, 1878-11-29
THE OPINIO
BLATCHFoRD, j.


On the 18th of October, 1867, Riley Bur-
dett. of Chicago. Illinois. the plaintiff in this
suit filed in the Patent Office an application
for a patent for an Improvement in reed
organs" The proposed specification was
sworn to by him on the 2Sth Of June, 1867.
As originally sworn to and filed, the specifca-
ton was in these words
"To all tchom 10 may concern:
''Be it known that l, Riley Burdett, Of Chi
cago, in the County of Cook, and State Of
| Illinois, have invented new and useful inn
provementin reed organs; and do hereby de-
| clare the following to be full, clear and eX-
act description of the same, reference being
had TO the accompanying drawings in which
| figure l is perspective view of one of my
reed celeste organs figure is diagram plan,
showing the relative arrangement of the
| reeds; figure is vertical transverse section
of my reed-board, &c.
"This invention consists first, in the ar
rangement of the reed-board; second, in a
method of tuning, by which peculiar quality
of tone is produced, and by which the power
| of the instrument is greatly increased without
| an increased resistance in the action, and
| without an increase of power being necessary
TO operate the bellows. The advantages gained
by my peculiar arrangement are, greatly
increased power and variety of tone. This is
| effected by the use of an additional set Of
| f.
| and running upward through the scale of the
instrument, and tuning the same in the pecu-
liar manner hereinafter described. No other
| reed musical instrument containing the same
number of reeds, so far as know, has ever
possessed so great variety or pleasing quail
ty of tone; while simplicity of construction,
compactness of form, and ease of operation,
are other excellencies of this arrangement not
found in others.
II will now describe particularly the con-
| struction of that part of my instrument which
forms the subject of this patent. The case,
bellows, pedals &c, may be, in general con-
struction and arrangement like those in COM
mon use, and therefore no special description
is required The foundation of the reed
board is also constructed in the usual manner,
but the reed-board proper, in itself, differs
from the ordinary reed-board in the following
particulars, viz The main board, A, con-
tains two sets of reeds, running through the
entire SCALE the back set of which is marked
a, and is tuned in a unison, or diapason, while
the front, or octave set marked b, is tuned an
octave above the diapason. In the arrange
ment of these reeds, it will be seen that the
lowest and longest reeds in the diapason and
the octave sets are placed with their vibrating
ends as near together as they can be- with
room only for the trackerpin, which commu-
nicates the motion of the key to the valve be-
meath the reeds. But the reeds contin-
ualy shorten as they advance upward in the
scale, there is necessarily vacant space left
between the diapason set and the octave
set b, which constantly enlarges itself, and
has heretofore been regarded as useless.
within this space, commencing on tenor +,
and running upward through the scale, 1
have introduced third set of reeds, L, which
forms the distinguishing feature of this in
strument. These are placed in tho reed
! board over the octave set b, and run oblique-
= ly to the foundation-board G, as shown in
fig. g. the vibrating ends resting on the same
base as the other sets of reeds and b. These
reeds are of the same size as the correspond
ing ones in the diapason a, and are tuned Ell
ther trife above or below the diapason, but
only sufficiently SO to produce a slightly wav-
ing and undulating quality or effect, without
producing any discord. A few trinls will en-
able any tuner of reed instruments to tune
these reeds SO as TO realize the best effect
This method of tuning will, when this set Of
E reeds, which have named the Harmonic
Celeste" is drawn and used in connection
: with the diapason, produce most wonder
J fully pleasing and captivating effect, while
= the power and beauty of both sets of reeds are
greatly augmented and enriched, in q manner
: which cannot be realized without being heard.
Zig. shows q top view of the reed-board
: proper wherein the location of the reeds ID
> shown with reference to the divergence of
|
> cave set b. and also the space afforded for the
introduction of the third set l.. Fig. ex.
II u hibits a transverse section of my reed and
u foundation boards. showing the arrangement
- of my reeds aud the valve connections. In
= this figure A is the reed board, G is the foun-
: dation- board, d is the valve-opening, Z is the
: valve, and are the throats, over which
: the reeds are located and placed. The valve
. L is retained in its proper place by the pins
; c and spring II, and is operated by the
: tracker-pin /, which rests upon its upper SUI
. face and passes upward through the reed
board to the under surface of the key n
o The swell-boards j and X, and stop-damperi
b and NJ, are raised, whenever desired, by
= the knee-stop G, fig. l, or by hand draw
. stop or bEsome-other convenient device.
. "Another important advantage arising from
y the introduction of the harmonic celeste
n n is, that a greater power and variety are at
u tanned than can be by the use OF any Of the
= octave coupling arrangements now in use.
~ These, while they augment the power by
~ drawing down octaves to the keys actual,
:, played, are Objectionable, inasmuch as they
offer more than double the resistance to the
key, and are thus often exceedingly undesira
BILE. In my instrument, no such objection
g can ever arise, as the pressure upon the key
,s is always the same, whether one or all thu
y y sets of reeds are used. This is of prime i'm
D. portance to the performer as the required
l. exertion becomes involuntary, and not mat
u ter of calculation, and thus the mind is no
u distracted from the proper feeling and eH
!, preston of the music performed.
~ ~ Having described my invention and it
- utility
10 'What 1 claim as new, and desire to secure
by letters patent of the United States, is
IL 81 The arrangement in q reed musical in
ia strument of the reed-board A, having tn
Of diapason set a, and its octave set b, and tn
nt additional set L, extending from about a
" tenor + upward through the scale, substan
v TALLY as and 10 the effect set forth.
< 80. The arrangement of the diapason-it
v octave set and the Harmonic Celeste l., tun
IN ed as described, as to procuce the effect Sc
8, forth.
ne ''3. Tuning the additional set L, in relatio
~ TO the diapason, in the manner set forth.
Z ~. The arrangement in a reed musical in
strument of set of reeds tuned after the man
a. ner of the set l., in relation TO and in con
H. neotion with one or more sets of reeds in tn
or same reed-board."
- On the 4th of November 1867, the applies
=, ton was rejected by the Patent Once. Tn
ha NV letter of rejection said; '"The apphcatio
~ above referred TO has been examined, and III
:, arrangement of the reed board claimed is fu
an ly anticipated in patent granted to Riley Bul
"a dett, January 9th, 1866 also patent granite
hs TO G. G.. Hunt, October 23d, 1855. In n
~ spect 10 the mode of tuning claimed, Ii
,Io ''VoiI Celeste" of the French, and 'und'
,a 1' muris" of the German, ''the former in II
great organ Of 81. Vincent de Paul, Paris An
the latter in the Church Of st. Vincent
IN Breslau, same as the manner CLAIM
We cd. Pt.cein saVinsA Magazine vol. 49, pas
15O I0LH HooDT' y 9 rejected"