IMPROVEMENTS IN PEDALS AND DAMPING APPARATUS FOR PIANOFORTES AND OTHER SIMILAR INSTRUMENTS
Year: 1869

page_text: LETTERS PATENT to William Robert Lake, of the "International
Patent Office," No. 8, Southampton Buildings, London, Consulting
Engineer, for the Invention of "IMPROVEMENTS IN PEDALS AND DAMPING
APPARATUS FOR PIANOFORTES AND OTHER SIMILAR INSTRUMENTS."-A com-
munication from abroad by Edward Zachariae, of Löhuberg, in the
Kingdom of Prussia.
COMPLETE SPECIFICATION filed by the said William Robert Lake at
the Office of the Commissioners of Patents, with his Petition and
Declaration, on the 8th October 1869, pursuant to the 9th Section
of the Patent Law Amendment Act, 1852.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, WILLIAM
ROBERT LAKE, of the "International Patent Office," No. 8, Southampton
Buildings, London, Consulting Engineer, send greeting.
WHEREAS I am in possession of an Invention for "IMPROVEMENTS IN
PEDALS AND DAMPING APPARATUS FOR PIANOFORTES AND OTHER SIMILAR INSTRU-
MENTS," and have petitioned Her Majesty to grant unto me, my executors,

page_text: administrators, and assigns Her Royal Letters Patent for the same, and
have made solemn Declaration that it has been communicated to mo
from abroad by Edward Zachariae, of Löhnberg, in the Kingdom of
Prussia.
NOW KNOW YE, that I, the said William Robert Lake, do hereby
declare that the following Complete Specification, under my hand and
seal, fully describes and ascertains the nature of the said Invention, and
in what manner the same is to be performed, in and by the following
statement, reference being had to the accompanying Drawings forming
a part of this Specification.
The said Invention relates to the damping of pianofortes. The
damping apparatus has hitherto been in one inseparable whole. My
apparatus for damping consists of so many separate parts that the
instrument is fully subjected to the will of the player, and in such a
manner that the highest demands of art are satisfied and a thoroughly
new style of playing the pianoforte is rendered possible. These objects
are effected by an improved pedal, as herein-after described.
The following description refers, firstly, to an apparatus to be attached
to pianofortes. The apparatus can be applied to instruments already in
use. The dampers and the levers connected with the dampers remain in
old instruments the same, only the existing lifting arrangement is
removed and the new pedal substituted.
In Sheet 1 nearly the whole pedal fall I, Figures 1, 2, 3, 4, is in a
case a fastened to the bottom of the piano; the other part of the
mechanism is enclosed in a smaller case or box 6, in which the pedal
steps are fastened.
These pedal steps, four in- number (B, T, A, V,
Figure 3), have a peculiar form and position; they are in front very large
and flat and padded on their under sides, (Figures 1 and 2.) The large
surfaces nearly touch each other, so that the foot can work one step or
two simultaneously. The pedal steps have also a peculiar movement;
they can be moved upward and downward by the foot, and in every
direction in several graduations, moving back automatically into their
normal position (in a horizontal line). Both feet are used; the left
foot governs principally the pedal steps B and T, and the right foot the
steps A and V. The pedal board D serves to give the feet a secure
position and control; this pedal board is placed before the steps, and is
of a suitable form with curved borders c, c, so that either the toes or the
heels can take their right position. As according to this novel system

page_text: the tocs are ordinarily placed under the pedal steps, and as it is
important to regulate the distance between the padded sides of the steps
and the toes, an arrangement is made whereby the pedal board D can be
raised or lowered. This is done through a frame D' in the lyro case,
Figures 2 and 3, placed on the axis d, d; this frame can be raised or
lowered in front. The said frame projects with two small arms f, Figures
2, 3, and 4, from the case; upon these arms the pedal board rests. A
brass screw pin connected with the frame D' and reaching to the upper
side of the case, is screwed below, and enters a nut in the frame D'; on
the top it has a button projecting from the case. With this mechanisni
the perfect regulation of the pedal board is rendered possible, as by
turning the screw the board can be raised or lowered at will (see
Figures 2 and 3). The pedal steps act as double-armed levers, and are
so arranged that they control the movement of the seven pedal
bars II', H, H³, H', II', Hº, HI, with their front and back arms. The
pedal steps move freely upon the axis K and are not (with the exception
of the pedal B, Figure 2, on which tho bar H' is fastened at its back
part through a link m²) connected directly with the pedal bars H³, H*,
H, H, H, H. The latter rest only upon the arms of the pedal steps in
the following manner :-Each pedal bar (with the exception of the
bar H) is screwed at its lower end upon a long wood piece i, Figures 1
and 3, which wood piece is placed above the back pedal arm, and fitted
on its under side with an adjusting button a. Meanwhile each wood
piece in the front projects into an arm, through which it is moved above
the front arm of cither of the pedal lever (Figures 1 and 3). Theso
wood pieces are shown in the Drawing by different colors, and the
manner in which they are placed upon the pedals can be clearly seen.
In the case is also a frame P (Figures 1 and 3) on the side walls of tho
case on the axis O, and connected behind with a large transverse piece,
upon which rest the bars H', H, H*, H³, H, H'. This transverse pieco
is fitted with a set of screws and buttons p. Upon the latter are
placed all the wood pieces i, which are screwed to the pedal bars.
This set of screws passing through a hole in the wood picce and pro-
jecting therefrom serve also as guides for the wood pieces i on the
pedal bars, Figure 1. The motion of the pedal bars is effected in the
following manner:-If the pedal B is raised by the toe the bar H³
ascends, because the wood piece i lies with its front arm or leg above
the front arm of the pedal B, Figure 3. Through this movement of the
pedal B the bar H is drawn down as this bar is fastened on the sido

page_text: behind the pedal arm on an axis m³, Figures 2 and 3. When the
pedal B is pressed down the bar H³ makes no movement whatever, as
the wood piece above the pedal arm behind has no striking button, and
is at some distance from the wood piece. The bar H is at the same time
raised, and in this case does the same work as in the old pedal arrange-
ment; the left pedal step, that is the bar, pushes the hammer work out
of its place. The effect of the upward movement of the pedal T is that
the two pedal bars H* and H* are raised, because the leg of each is placed
above the front arm of the pedal T, Figures 3 and 4. On the other hand
the pedal T rises in its movement to below the bars H and H³, as the
pedal arm behind is fitted with a large surface, so that it can take the
wood pieces of the two bars, Figure 3. If pedal A is raised it moves
the bars H³ and H upward, both having their legs above the front pedal
arm. If pedal A is moved downward it raises the bars Hand H³ as
the pedal arm behind with its large surface catches the two wood pieces
with the bars H* and H', Figure 3. The pedal V bears above its front
lever arm the leg of the bar H7, and gives it (in raising the bar) a move-
ment in the same direction. When the pedal is moved downward it
catches with its arm behind a tongue r on the large transverse piece of the
frame P, and effects by this the simultaneous raising of the bars H³, H³, H*,
H', H, H', as all these bars rest upon the piece, Figures 1 and 3. At the
bottom of the small case, tight under the front arm of the pedal lever T
and A, are two small levers u, with springs, Figure 1, having for their
purpose the regulation of the two pedals in descending. To the lever u,
which is held in its position by springs and clamps, are attached two
buffers; the buffer above keeps the pedal step in a horizontal position;
the second is some distance from the pedal step, and is for the purpose
of indicating to the foot the downward movement of the pedal step in
the second station.
The bars H³, H³, H³, Hº, H³, H', Figures 1 and 4, are screwed to
wood pieces (K', K³, K³, K³, Kº, K³,) which are guided at the front and
back on brass pins v, Figure 1. The wood piece with the bar forms the
load of a spiral spring w, which is placed upon a supporting board R.
The wood piece K lies not immediately upon the spiral spring, but upon
a wood plate t, on which latter the spiral spring presses from below
(Figures 1 and 4). In this wood piece a strong brass pin is fastened, which
is bent to a right angle and extends with its one side or leg backwards,
and is guided in a slot to the small bar, its other leg extending in a

page_text: vertical direction through the wood pieco K, having at its end a transverse
bar x. This brass pin W having its second guide in the wood piece K
transmits the action of the pedal work to the damper bars, the transverse
bar passing under a greater or smaller group of dampers for moving
the same. Let it be supposed that the bottom of the piano to be cut in
such a manner that the transverse bar with the brass pins W can pass
into the interior of the piano. The force of the spiral spring w is so great
that it can move the dampers from the strings, but this force is not so
great as to resist the load of the wood piece, and this spring therefore
is compressed. Now if a pedal bar and through this the wood piece is
raised the spring is unloaded and can act above, see Figures 1 and 4.
My object is therefore to brake the pedal in such a manner that
the one and the other spring can be loaded or unloaded at will.
The dampers are separated or divided by the eight cross bars x into
cight groups. The movement of these eight groups will be a manifold
onc, by which in every case an enlargement of the action is attained,
viz., one action is added to the other. This enlargement is attained by
one wood piece catching the other in its way, or by one pedal bar catching
the other in its movement so that the other must participate in such
movement. The small cross or transverse bars y', I³, I³, D', Ð³‚ Ð², I², I',
9, 9, 9, 9, are all for the purpose explained. In Figure 4 all the
small cross bars g¹, g³, g³, 9', 9º, 9°, I²‚ Ð³, I², I³, I", 9", are shown and tho
action is easy to be understood. For example we will take the pedal A;
its first movement upward (is the first station) raises the bars H³ and H®,
and if this movement is continued (to two stations) the wood piece K*
catches with its cross bar 9 the wood piece K', and at the same time the
wood piece K raises (through the cross bar 98) the wood pieco K'. The
action or effect is therefore increased at the right and the left. At the third
station of the pedal A the pedal bar He takes with its cross bar g" the cross
bar g, and by this means raises the pedal bar H³ and the wood piece K³,
by which the effect is once more increased at the right and left. If the
pedal A goes downward first the bars H and H are raised. If the
downward movement of the pedal A is continued to two stations the
wood piece K' catches K with its cross bar 9 for unloading the spiral
spring. If the downward movement is still further continued to bring it
into its lowest position (is three stations) the wood piece K' is moved
through the cross bar g³. The first effect (one station) was therefore
enlarged twofold at the right and at left. All the other pedals work
in the same manner; they work one into another, and the movement of

page_text: the one pedal is thereby communicated to one or more of the others.
Thus the greatest movement of the dampers is effected by the most
simple and gentle operation of the foot. The wood pieces which are
raised at the first station move upward if the movement is continued
to two and three stations without any further effect, the unloaded spiral
springs raise the brass pins W with the bars till after the effect in the
interior of the piano is attained; the dampers are at the right distance
from the springs. The compressed spiral spring is extended only during
the movement to the first station, then it reaches its limit and finds a solid
resistance. As the spiral spring has nearly sufficient force to resist the
load of the wood piece and the pedal bar the weight of these two latter
is nearly balanced through the spring, the consequence of this is that the
movement to the first station can be accomplished with great ease by
the toes. In the movement to the second station the spring finds its
resistance in the interior of the piano at the raised damper bars, and has
therefore no effect upon its late load. The pedal step has now to raise
and support the full weight of this load, so that the resistance to the toes
is perceptable, it being greater than in the first movement. Therefore a
very marked limit is produced between the first and the second move-
ment. The wood pieces K and K' differ totally from the others. The
first mentioned piece is not connected with a pedal bar or guided up and
down in brass pins, but is placed in the front of the box on the axis y,
and moves therefrom to the middle, where it is supported by the spiral
spring resting on the board R', Figures 2, 4, and 5. This wood piece K*
is moved either by K through the cross bar g¹ or by K³ through the cross
bar g according as the pedal B or the pedal T is in action. If the pedal
B and therefore K is raised the cross bar g' catches in the first movement
(half completed) the piece ², and causes the wood pieces to partake of
such movement. The point at which the bar catches the wood
pieces Ks lies so near to the axis of this wood piece that the latter rises
as fast as K', so that K at the end of the first station motion meets
the wood piece K¹. If therefore the pedal B is raised only a little (not
completely to station 1 but only half way) only the wood piece K' is
moved, but if the foot makes the movement to the first station completely
and somewhat quickly K is so caught and so quickly met that K'.and
K seem to be one pièce. It is different if the pedal T is raised; then
during the movement to the second station K³ the wood piece K³
catches with the cross bar q³, so that the latter partakes of the whole
movement in the ordinary manner. The small mechanism placed

page_text: beneath K is such that if K' and K' are raised simultaneously then K*.
instantaneously partakes of the movement. For this purpose a cross
piece is placed under K, the bridge L (Figure 4) is attached to the
connecting bar running from K' and also to K' and placed on a different
axis so that the bridge partakes of the movements of the wood pieces K¹
and K and is somewhat elastic without causing any straining or jamming.
In Figure 4 this connection with K' and K is shown in red lines.
Upon this bridge L is placed on an axis between two jaws the tongue Z
(Figure 4) which in its vertical position stands with its frame tight
under a brass pin m, the latter being placed in the wood piece K and in
a horizontal position, extending from the front to the back (Figure 2).
The tongue Z has at its lower part at the right and left a small leg.
A small wood plate (fork-shaped) is immediately connected with the
bridge L at its back part, and placed on an axis and pressed by a spiral
spring, so that its front part rests with its two front arms upon the two
legs of the tongue, and this tongue stands at right angles to the bridge L,
and the tongue is elastic against any pressure coming from the right or
left side, sec Figures 2, 4, 5. If K' and K are raised simultaneously the
bridge L is in a horizontal position and partakes of the movement, tho
tongue Z moves in a vertical direction, and presses with its point the
brass pin m and through this the wood piece K³ upward. In all other
cases the tongue will have no effect. As soon as K' is raised separately by
the bridge L leaves its horizontal position, the tongue Z leaves its vertical
position, and inclines to K³, passing the brass pin m without any effect.
If however K³ is raised first the tongues incline to K' and pass the brass
pin without any effect. In complicated motions it is often the case that
the tongue Z is pressed from the side to the brass pin m and that it
must pass downward along the brass pin in its original position. To
avoid pinching the tongue Z with the fork is so arranged that it
is elastic and can move away if pressed from the side. Its bevelled
surfaces passing the brass pin m; exactly the same arrangement is
found at K', which answers fully to the above description.
I will now describe the purpose of the pedal bar H'. Unlike all
other bars it is connected with the pedal step B by an axis m³ (Figure 2
and 3). If the pedal B is raised H moves downwards, and has no
effect during the movement to the first station. During the movement
to the second station the double-armed lever 1, Figure 2, catches II',
which moves from the back to the front and raises the main bar E (by

page_text: which through the arm e, Figure 1) K and K are moved. In this
manner the pedal B which at first raises K' and K transmits its further
movement to K' and K. If the pedal B is pressed down the bar H'
moves upward, and by pressing down upon the leg of an iron angle
piece effects the dislocation of the hammers. The pedal in this case has
near to the box a notch, in which a small brass bow 9 (Figure 2) is
so fastened on an axis that this bow can be pressed toward the box with
the toes. If the pedal B is now moved downward and the dislocation
of the hammers effected it will press the bow toward the box. The bow
then catches a small projecting plate and prevents the return of the
pedal. A slight pressure upon the pedal liberates the bow, which is
returned to its original position by the action of a small spring. In this
manner the foot, while the "una corda" is continued, can leave the
pedal step B and work with the other pedals. The above description
refers to the so called "great artists' pedal," in which the pedal steps
have several movements or motions upward and downward.
pedals B and V are exceptions, in so far that they allow only one
motion downward. B operates in this case the "una corda," and V, the
full work or mechanism.
The
The pedal mechanism is so constructed that the great pedal can be
changed to the small or the middle pedal, so that the pedal steps allow
only a simple movement upward and downward, or have only two
stations upward and downward. The box of the lyre has at its back
where the pedal bar projects a movable cover (see Figures 1 and 2),
which can be opened backward. This cover serves as a bar for removing
the pedal action, that is, it serves as a regulator for working the pedals.
On the wood pieces of the pedal bars H³, H', H³, and H', are placed
screws 8, Figure 1, which project above and push against the inner
surface of the cover during the raising of the wood piece (or the pedal
bars), they therefore strike against the bar and serve as regulators. The
four screws &¹ are so arranged that they strike (after the first pedal
motion) against the cover, which closes the box, and therefore prevents
the further movement of the pedals, that is, the small pedal. If the
cover S is raised some distance the screws &¹' strike against the cover
after the second pedal movement; therefore two stations are open, that
is, the middle pedal. If the cover is raised a little more the great pedal
is at work. Then the cover does not completely shut the box, but is
raised a slight distance; a spring which presses from below against the

page_text: cover gives the said cover an upward tendency. Mechanism must
therefore be provided which presses the cover down or raises it. This
mechanism consists in a slide, S, s, Figure 1, which is shown in the front
of the lyro upon the box passing through the same backward and
pressing with a bevelled surface in the front side of the cover, so that by
moving the slide the cover may be raised or sunk. The slide moves in
front, and it has for each of the three positions a peculiar notch. By
this means the measure of the movement or the right position of the
work is fixed or appointed. The mechanism can be so arranged that
only the small pedal will be operated, the parts which belong to the
grand pedal being eliminated. This small arrangement is shown in
Sheet 2 in the form in which it is applied to pianinos. The whole
mechanism is placed in a wooden frame (Figures 1, 2, 3, 4,) which is
attached in the proper position to the pianinos. The lower cross bar of
this frame supports the wooden bearings in which turn the axis of the
four pedal steps B, T, A, V. These pedal steps are formed like two-
armed levers, similar to those shown in the great pedal. The pedal
levers work in the same manner with the front as with the back arms,
and support the seven pedal bars H', H³, H³, H', H³, H, H', which arc
fitted below with plates and buttons resting upon the front and back
arm of the pedal lover, Figure 2, corresponding with the proportions of
the space; these seven pedal bars move in an upward direction in different
ways; each of them supports at its top end a small wood plate o³, o³, 0³,
o', 0, 0, 0, Figure 1, which is fitted with a button n', n³, n³, nº, n³, nº, n².
These buttons serve as regulating screws. The wood plates o¹, o³, o³, o*,
o, o, o', are guided at the front and at the back in brass pins; the pedal
bars are also guided at the lower parts through brass pins, which are
fastened upon the cross bar F of the wooden frame, Figures 1 and 2.
Above the buttons n³, n², n³, n, no, no, at the highest cross bar of the
frame are placed six angle pieces 10¹, 20³, 10%, 20%, 20%, 10%, on an axis. The
shorter leg of each of these angle pieces is in a horizontal line above the
button; for instance, 10' is above n'. The longer leg moves at the back
in a vertical line, and supports at its top end the cross bar i, so
that the mechanism by which the damping is divided into six groups
contains 6 presser bars. This arrangement relates to such pianinos
as have dampers with small bars placed between the hammer mechanism
and the springs. In order that they may be connected with the pedal
mechanism the damper bars are so lengthened through pins that they
reach from the bar i, which latter working from the front to the back

page_text: and being moved through the buttons n³, n³, n³, n', no, no, will work in
the wood plates o', o³, o³, o*, oº, o³, and raise the dampers in groups from
the strings Figures 1, 2, 3. The different effects of the double-armed pedal
levers are produced in the same manner as in the great pedal. The
principle of the movement remains the same. At the left side of the
pedal B the double-armed lever u (as shewn in Figures 1 and 4) rests
with its short arm upon the back arm of the pedal B, and reaches with
its long arm through an opening in the left wall of the wood frame for
moving the mechanism which effects the dislocation of the hammer
mechanism, or by the introduction of a band of cloth causes the pedal B
in its movement downwards to produce the unisons. The pedal bar H'
rests upon the back arm of the pedal V, Figures 1 and 4. If this pedal
in the front is moved downward the bar rises and elevates with its
button screwed to the upper wood plate o', the large cross bar P
which is fastened at the front of the top part of the frame Figure 3.
This bar reaches with six small arms to the six angle levers 10', w³, 10³, 20³,
10³, 10, and moves the whole damping mechanism, that is, it moves simul-
taneously all the damping groups. The step board D first described is
also placed here, and is attached in a similar manner.
The chief mechanism (with station movements of the pedals) is in its
application to pianinos composed in the same manner and according to
the same principles as that described for pianos, except that all parts
corresponding to the proportions of space are placed in a wooden frame.
Referring to the said connection of the mechanism with the dampers
such changes are made as set forth in the description of the small pedal,
and which shall now be more fully explained.
The small mechanism (without station movements) is in view of the
proportions of the space also executed in another form which is chiefly
employed in pianinos and table pianos. Figures 5, 6, and 7 show this
construction in reference to pianinos. The four pedal steps B, T, A, V,
work here also as double-armed levers which are connected with the four
pedal bars b, t, a, v, at the back through the axis, Figure 7. The bars
diverge and end under a cross bar R of the wood frame Figures 5 and 7.
This cross bar serves as a support for the axis of the four double-armed
levers y', y³, y³, y', Figures 6 and 7, which in a horizontal position with
the back arms reaches back, and with its front arms reaches above the
cross bar. Every pedal bar supports at its top end a strong brass
pin m', m³, m³, mt, (Figures 5, 6, 7,) which passes through the back arm

page_text: of the lever y, and is bent to a right angle, so that it operates as a
catching device. At the same time this brass pin serves for guiding
the pedal bars. The three pedal bars t, a, and support at their top
end a large cross piece o³, 0%, and o, which lies under R and is fitted
at its front end with buttons. This cross piece of the bart has the
two buttons n' and n³, that of the bar a has the buttons n³ and n*, and
the bar supports the button us. This description refers to that class of
pianinos in which the different parts do not lie between the hammer
mechanism and the strings, but where long wires in front of the hammer
effect the motion of the dampers, as in the so-called "bayonet"
damping. The strong cross board c is the table of the pianino, that is,
the strong bottom of the pianino whereon the keys rest and through
which must be conducted the strong metal pins in the back, that they
may act upon the dampers in groups. The cross bars h to * which are
raised through the pedal mechanism and which through the metal pins
are connected with the cross bars i, ³, ³, i, i, i, are placed in the higher
space of the piano; these latter n', nº, n³, n³, n³, nº, move the damper
wires. The whole movement of the mechanism is as follows:-When
the pedal B is raised the bar 6 with its brass pin m³ draws the back
arm of the lever y¹ downward; its front arm raises and clevates tho
cross bar into the upper space, Figures 5 and 6. When the pedal is
pressed downward the brass pin has no effect, but the back arm of the
pedal lever B moves the lever 2, through which in the well-known
manner tho dislocation of the hammer mechanism is effected. The
pedal T being raised it draws through the brass pin m³ of the bar t,
the lever y, and this raises in front the two cross bars h² and . When
the pedal T is moved downward the two buttons n' and n³ work through
the cross bar o. The button n¹ moves the front arm of the lever y¹
which serves here as an intermediate bar, and transmits the motion to
the piece, Figure 6. The button n³ acts directly upon . If the
bar a is conducted downward with the pedal A, y³ raises the cross
bars and . If with the reversed pedal motion the bar a is raised
o must work with the buttons n³ and n upon h³ and h*. If through
the pedal V, the bar is moved downward the lever y' transmits the
motion to h. In the other case the button n³ works upon an arm which
is connected with the great bar P. This bar P which rests on the axis L
has five arms p', p³, p³, p', p', which raise the cross bars h¹, hª, hª, hª, h³, hº,
simultaneously, sec Figure 6.

page_text: The arrangement herein described for pianinos can also be employed
in table pianos. The pedal bars and the lyre are then in a vertical
position, and the cross pieces o³, o³, o, and the levers y',y³, y³, y', must
be formed according to the inner parts of the piano mechanism. The
principle of the whole construction remains the same.
Having thus fully described the said Invention as communicated to
me by my foreign correspondent, I claim,―
First. The form and position of the pedal steps.
Second. The motion of the pedal steps in two different directions,
upward and downward, and the division of this motion into different
stations.
WILLIAM ROBERT LAKE. (L.S.)