Art of and Apparatus for Generating and Distributing Music Electrically.
Year: 1897

page_text: Date of Application, 6th Apr., 1897--Accepted, 21st Aug., 1897
Art of and Apparatus for Generating and Distributing Music
Electrically.
A communication from abroad by THADDEUS CAHILL, of New York City, State of New
York, United States of America.
T, ROBERT ALEXANDER SLOAN, of the Firm of Sloan & Lloyd Barnes, of Castle
Chambers, Castle Street, Liverpool in the county of Lancaster, Patent Agent, do
hereby declare the nature of this invention and in what manner the same is to
be performed, to be particularly described and ascertained in and by the following
statement:
The principle objects of my invention are to generate music electrically with tones
of good quality and great power, and with perfect musical expression, and to distribute
music, electrically generated, from a central station to translating instruments located
at different points and all receiving their music from the same music-generating
apparatus. And my invention consists in the parts, improvements, combinations and
methods hereinafter described and claimed.
More particularly the objects of my invention are (a) to generate by a practical
apparatus different series of rhythmic electrical vibrations, answering to the different
notes of music, with great power; (b) to produce pure electrical elemental tones, or
at all events, elemental tones free from harshness; (c) to produce musical notes and
chords, with any timbre desired, out of their electrical elements; (d) to afford facility
to the performer to govern the expression perfectly; and (e) to distribute music
electrically produced, from one central station to many translating instruments
located in different places, so that many persons, each in his own place, can enjoy
the music produced by a distant performer.
Music, as ordinarily generated, exists first in the vibrations of tuned sounding
bodies. Thus, in an organ, the music exists first in the vibrations of the air confined
in the pipes, from which it is cominunicated through the external atmosphere to the
auditory apparatus of the listener. So the music of a piano-forte or a violin exists
first in the vibrations of the strings, then in the vibrations of the sound-board, and
finally in the vibrations of the air. Such vibrations of material substances, cognizable
by the sense of hearing when air is interposed between the sounding body and the
car of the listener, constitute music in the ordinary sense of that word. Such musical
vibrations of the air, it is well known, can be copied electrically, by suitable
telephonic apparatus, and transmitted from one point to another. But the electrical
vibrations thus produced, by copying with telephones the musical vibrations of the
air, are, it is well known, almost infinitely weak. I produce by my system musical
electrical vibrations of as good a quality and of enormously greater power. Mine is
a system of producing what may be emphatically terined electrical music, in
contradistinction to the music produced mechanically by the vibrations of sounding
bodies, as above mentioned; for by my system, in its preferred form, I generate in
the first instance electrical vibrations corresponding to the different elemental tones
lesired; these elemental electrical vibrations are readily made to be of great power;
out of them I synthesize composite electrical vibrations answering to the different
notes and chords required; the amplitude of these electrical vibrations, as electrical

page_text: vibrations, is governed at will by the performer, so that any expression desired is
given to the music; and the electrical vibrations thus produced and governed,
circulating through coils of wire surrounding magnets lying adjacent to sound-board-
attached armatures, cause the magnets to pull upon the armatures and sound-board
with a constantly-varying force, so that the sound-board and the surrounding air are
set in vibration. The music, it will thus be seen, is by my invention first generated
and controlled in the form of electrical vibrations; and these electrical vibrations,
constituting, as we may say, electrical music, are then translated into audible aerial
vibrations, or music in the common sense of the word. The tones which I thus
produce are of excellent quality; they are perfectly sustained; their power is
completely controlled by the touch upon the keys, so that the performer has ample
facility for expression; and-most important of all- the music is produced not only
by an instrument or instruments at the place where the performer is, but also by
other instruments at other places, suitably connected with the central vibration-
generating apparatus.
I generate, as before said, electrical tones corresponding to the various notes of
music. By electrical tones, I mean electrical undulations corresponding to those
vibrations of the air which we call tones. Various ways of producing electrical
vibrations are known, and any suitable mode may be used in carrying out my
invention. Among the many known ways of generating electrical vibrations, I will
mention a few: The vibrations of a string or of a pipe, actuating a telephonic or
microphonic apparatus, produce electrical vibrations, which when translated into
aerial vibrations are recognized by the ear as tones of good quality. But these tones,
though of good quality, and though many times more powerful than the vibrations
which telephones copying music from the air produce, are yet quite weak. On the
other hand, by rotating an electric circuit, or a coil or coils belonging to a circuit, in
a magnetic field; or by rotating a magnet or magnetic field in the presence of a
circuit, or of a coil or coils, or by interrupting an electric current either wholly or
partially, electrical vibrations are readily produced of great power; but the electrical
tones produced in these ways, though powerful, are not well suited for musical
purposes. They are apt to be either positively bad, musically considered, that is,
harsh and disagreeable; or when not harsh, poor and insipid.
It is a fact well known to physicists that the quality of a tone depends upon the
particular tone-partials entering into it and their strengths with relation to each
other. A pure tone is a sine function. It is an elemental tone, non-composite and
irreducible. A pure tone, particularly in the lower and middle range, is always poor
and insipid; it is wanting in color and effectiveness; it makes little impression upon
the ear. Every tone except a pure tone is composed of or reducible to a plurality of
pure tones or sine function vibrations, bearing certain mathematical relations to each
other. The different pure tones or elemental tones entering into the composition of
a single musical note, considered by the ear and by musicians as a single tone,
are called its partial tones, tone-partials, or more shortly, its partials. The first
partial, by way of distinction, is called the fundamental or ground-tone, and the
other partials are called overtones. A tone is agreeable when it is formed of
accordant partials; it is disagreeable when formed of discordant partials; it is
colorless and insipid when overtones are wanting. It is a known fact that the
first, second, third, fourth, fifth and sixth partials are harmonious; and in
the tones of a good piano-forte, particularly in the middle and lower range, all
these partials are strong. On the other hand, the seventh, ninth and other odd-
numbered upper partials are disagreeable and need to be eliminated or suppressed.
For various reasons, which it is not necessary to enter upon here, the strings of a
piano-forte are readily made to give good tones, in which the lower barmonious
partials are strong, and the discordant partials, such as the seventh, ninth, etc., are
either very weak or entirely absent. But in producing electrical tones in a circuit
by interrupting it in the ordinary manner, with a vibrating fork or reed, or a make-
and-break wheel, or other similar device, the disagreeable overtones I have always
found to be present in such force that the tone is harsh and unmusical. The same

page_text: is true, but to a less degree, when electrical tones are produced by vibrating or
rotating a circuit in the presence of a magnet, or a magnet in the presence of a
circuit; the tones thus produced, as before said, are in general either harsh and
disagreeable, or when not harsh, insipid.
Now, I have found a practical way by which electrical tones of the best quality and
of great power can be produced, which is briefly as follows: I first produce in any
suitable way, (as for example, by interrupting electric circuits,) periodic electric
vibrations of frequencies corresponding to the fundamental tone and to certain
agrecable overtones of the composite tone or note desired; I then purify these
vibrations, suppressing their harsher components, (such as the seventh and ninth
partials); and I combine the vibrations, thus purged of their disagreeable elements,
into composite vibrations answering to notes and chords. Thus I obtain electrical
tones of good musical quality and of great power. The mechanical and electrical
devices which I prefer to use for this purpose are described fully hereinafter.
The method and the mechanism by which I control the loudness of the tones at
the will of the performer, according to the requirements of correct musical expression,
will be more conveniently explained after the general scheme of the electric circuits
has been made clear.
For converting or translating the electrical tones or electrical tone-undulations,
produced in the manner above described, into audible aerial vibrations, I employ
preferably, an apparatus having a sound-board with a bridge, one or more soft-iron
armatures attached to or connected with the bridge, and one or more magnets, (but
preferably a plurality of them,) lying in proximity to the armature attached to the
bridge and pulling upon it; said magnets being wound with coils of insulated wire,
through which the electrical undulations corresponding to music and which I some-
times term herein electrical music, circulate. The vibratory currents in the coils
produce vibratory changes in the pull exerted by the coil-wound magnets upon the
sound-board and so set it in vibration. A number of these vibration-translating
devices, situated in different places, are connected with the same electrical-music
producing arrangement, so that the music produced by one artist is distributed to
many hearers in different places.
My invention may be carried out in various ways and by variously modified devices.
I shall first describe in detail the apparatus which I consider best; and after that,
will call attention briefly to some of the many modifications and alternative
constructions that may be made use of in carrying out essential features of my
invention.
In the accompanying drawings, Figure 1 is a diagrammatic plan view, illustrating
the general scheme, and arrangement of the pitch-shafts hereinafter described,
corresponding to the twelve notes of the chromatic scale, and the rheotome cylinders
carried by said pitch-shafts and corresponding respectively to different octaves of the
note for which the pitch-shafts carrying them stand; and in this view the main
driving shaft, with its bearings, supports, etc., is removed; Figure 2 is a side elevation
of the device of Figure 1; Figure 3 is a sectional view, partly in elevation, on the
line x, x, Figure 1; Figure 4 is a diagrammatic sectional view on the line x, x¹,
Figure 1, illustrating an arrangement of parts for driving the pitch-shafts, each with
the requisite velocity; Figure 5 is a diagrammatic view of an individual pitch-shaft,
with its attached rheotome-cylinders, corresponding respectively to different octaves
of the note for which such pitch-shaft stands; Figure 6 is a similar view of an
individual rheotome-cylinder, with its different sets of insulating and conducting
sections, corresponding to different partials of the note for which such rheotome-
cylinder stands; Figure 7 is a similar view, illustrating a portion, to-wit, the portion
corresponding to the first partial, of each of the rheotome-cylinders carried by a pitch-
shaft, and corresponding to the different octaves of the note for which such pitch-
shaft stands, the remaining portions of each of said rheotomie-cylinders, corresponding
to the higher partials of such notes being broken away; Figure 8 is a detail section
through one of the rheotome-cylinders, illustrating the arrangement of the brushes
and related parts; Figure 9 is a detail sectional view, in a plane parallel to the plane

page_text: of Figure 8, illustrating one of the brush-holders; Figure 9* is a top view of a brush-
holder, brush-holder rod, and supporting bracket; Figure 10 is a detail side elevation
of the device illustrated in Figure 8; Figure 11 is a detail, a longitudinal section,
illustrating a rheotome-cylinder blank grooved; Figures 11^, 11 and 11° are cross-
sections on the lines x1 x1, x2x2, and x³ ³, Figure 11, illustrating the section of
different portions of the rheotome-cylinder blank, slotted to receive the insulating
sections, and Figure 11" shows the same with the insulating sections in place;
Figure 11 is a diagrammatic detail view, illustrating the preferred arrangement of
rheotome and inductorium having two rheotome-controlled primaries, connected in
such a manner that the current circulates through them alternately and in opposite
directions; Figure 12 is a detail sectional elevation in a plane parallel to the length
of one of the keys of the key-board of the instrument, showing the arrangement of
key-controlled electrical contacts; Figure 13 is a diagrammatic view, partly in section,
partly in elevation, illustrating the arrangement of circuits controlled by a key and
serving to produce a composite tone; Figure 14 is a similar view, illustrating the
arrangement of a plurality of groups of circuits, each group controlled by its own key,
and all alike connected with the vibration-translating devices; Figure 15 is a sectional
view, partly in elevation, illustrating a key-controlled expression device, whereby the
loudness of the tone governed according to the pressure upon the key; Figure 16
is a detail sectional elevation, illustrating my preferred form of vibration-translating
device.
Figures 1 to 16 illustrate the preferred construction; the remaining figures
illustrate various modifications.
Figure 17 is a detail view, partly in section, partly in elevation, illustrating an
alternative construction for the expression-device shown in Figure 15.
Figures 18,
19, 20, 21 and 22 are diagrammatic views, in general similar to Figure 13, illustrating
various modifications of the circuits, each of which modifications is fully described in
its proper place in the description following.
Figures 23 to 29 inclusive illustrate a modified arrangement of the inductional
undulation-generating devices, in which the rotatory rate-governors are of soft-iron,
rotating in the presence of coils wound about magnets; the electrical undulations
being with this form of device produced directly by the rotation of the rate-governors
and in the first instance, whereas in the preferred device, illustrated in Figures 13
and 14 and the other views preceding, the rotatory rate-governors, although they
produce electrical undulations by or in consequence of their rotations, (or, to put it
otherwise, serve by their rotations to cause the production of electrical undulations,)
first produce vibrations in a circuit by affecting the resistance of said circuit, which
vibrations in said circuit by induction produce undulations in a circuit or circuits in
inductive relation to the rheotome-interrupted circuit. Figure 23 is a side elevation,
illustrating so much of the device as is necessary for the generating of a single
composite tone, of six partials; and Figures 24, 25, 26, 27, 28 and 29 are detail
sectional elevations on the lines x¹ x', x²x², x³ x³, x²x², x³ x and xx, illustrating
respectively the different rotatory rate-governors which serve respectively for the
first, second, third, fourth, fifth and sixth partial tones. In Figures 25, 26, 27 and 28
the wire coils are omitted.
The drawings are for the most part diagrammatic. They are intended and
adapted to make clear the essential principles and features of the invention. But
they are not made to scale, and they do not attempt to represent sizes and
proportions of parts. In many of the figures, parts varying greatly in size, (such as
the different rheotome-cylinders,) are shown all of the same size; and things in fact
small, are in some cases shown large in order to render them clear. To attempt to
show working proportions correctly, or even to show relative sizes accurately, in the
small space afforded by the official sheet, would lead only to a great increase in
the number of sheets, and would tend to obscure rather than assist an explanation
of the essential features. And generally, in the drawings, inductoriums, dynamos,
batteries, condensers, etc., are represented in the usual diagrammatic mode, rather

page_text: than by geometric projection, as the former mode represents the arrangement of
circuits more clearly than the latter and in less space.
I generate, it will be remembered, electrical undulations answering to the various
notes ordinarily employed in music. I contemplate generating these undulations in
two different ways, to-wit, (a) by interrupting electric currents periodically, and (b)
by rotating circuits in the presence of magnets or magnets in the presence of
circuits. I shall first describe the arrangement of current-interrupting devices that I
have contrived. See particularly Figures 1, 2, 4, 5, 6, 7, 8 and 13. The apparatus,
as shown in the drawings, comprehends a multiplicity of rheotome devices, one
complex rheotome device for each note; each such complex rheotome device being in
effect and substance a plurality of rheotomes having interruption frequencies
corresponding to the vibration-frequencies belonging to the ground tone and to
certain harmonics of the note for which it serves. The form of rheotome device
that I prefer to use, is a rotating cylinder, having a plurality of sets or series of
conducting and insulating sections, with brushes bearing upon it. Each of these
cylinders, in the preferred form of device illustrated in the drawings, (subject to
certain exceptions in the highest octaves hereinafter pointed out,) is furnished with
six sets of alternate conducting and insulating sections. See Figures 1, 5, 6 and 13.
The first set, marked p¹, corresponds to the ground-tone or first partial of the note
for which the rheotome stands; the second set, marked p², corresponds to the second
partial of the note, being the octave above the ground tone; the third set, marked p³,
corresponds to the third partial of the note, being the fifth above the octave of the
ground tone; the fourth set, marked p', corresponds to the fourth partial of the note,
being the fifteenth or double octave above the ground tone; the fifth set marked p",
corresponds to the fifth partial of the note being the third above the double octave
of the ground; and the sixth set, marked p', corresponds to the sixth partial of the
note, being the fifth above the double octave of the ground. The vibration-frequency
of a rheotome is the number of current vibrations that it produces in unit time; in
other words, pitch and vibration-frequency are identical, the latter being simply the
mathematical expression of the former. With a rheotome-cylinder rheotome, the
vibration-frequency is equal to the angular velocity of the movement of the cylinder
with relation to the brushes, divided by the angle which a single pair of sections, one
insulating and the other conducting, subtends. The six sets of alternate insulating
and conducting sections, p¹, p², p³, p', p³ and p", constituting a single rheotome-
cylinder, with their brushes n, n, hereinafter described, are in effect and substance,
it will be seen, six simple rheotomes, having vibration-frequencies standing to each
other as one, two, three, four, five and six, serving to furnish respectively the first,
second, third, fourth, fifth and sixth partials of the note for which they stand, and
contrived in such a manner that they can never get out of tune in the least.
Whatever number of vibrations the set of alternate conducting and insulating
sections p', produces in unit time, the set marked p² produces twice as many; the
set 3, three times as many; the set p', four times as many; the set p³, five times as
many; and the set p, six times as many. Thus supposing the set marked pl to
have, as in Figure 13, two insulating sections and two conducting sections; the
set p², would have four insulating sections and four conducting sections; the set p³,
would have six; the set pt, would have eight; the set p³, ten; and the set po, twelve.
The brushes n, n, the arrangement of which is hereinafter more fully described,
bear upon the sets of alternate conducting and insulating sections, and make and
break connection with them. The electrical connections and the arrangement of the
circuits will be described hereinafter.
Having thus pointed out the distinguishing characteristics of one of my preferred
rheotome devices, it will now be convenient to describe the whole series and
aurangement of rheotomes. And in this connection the mechanism by which the
theotome-cylinders are mounted and by which they are driven, each at the proper
speed, must be adverted to. There is (a) a bed-plate, or main-frame for supporting
the various movable parts; (b) a main driving-shaft, and suitable supports therefor;
(c) twelve pitch-shafts, corresponding respectively with the twelve notes of the

page_text: .
See Figures 1, 2 and 3.
The bed-plate or main-frame for the rheotomes consists essentially of heavy
longitudinal ribs, H, H, each of which is a double-T in cross-section, and heavy.
transverse connecting ribs, H1, H2 and H³, lying at right angles to the ribs H, H, and
rising vertically some distance above said ribs H, II. The top surfaces of the
transverse ribs, H³, H2, H3, are planed true. The boxes, k, k, which support the
- various pitch-shafts hereinafter described are set upon and bolted to the top surfaces
of these transverse ribs. Wooden planks, Ho, Ho, well dried and lacquered, and
'suitably braced, extend across from the ribs H, H, transverse to said ribs and parallel
with the ribs H1, H2 and H³, being supported by the ribs H, H. They form a
platform or floor to which the brush-holding brackets, no, no, hereinafter described
are firmly attached.
THE MAIN DRIVING-SHAFT AND ITS SUPPORTS.
Heavy hangers, H7, H7, see Figures. 2 and 3, are attached to the transverse
ribs H2 and H³, being each secured firmly to its supporting rib by means of
studs H8, and bolts H°. Each of the hangers, H', supports a split box, H2, which is
held in place by a cap-piece, H2, which latter is held in place by suitable bolts. The
main driving-shaft, H23, is set in the boxes, H21, H2, supported by the
castings, H7, H. The main driving-pulley, H", is attached firmly to this shaft, and
is suitably connected by a belt or otherwise with a suitable driving engine, adapted
to run at a very uniform velocity. The main driving-shaft, H23, carries in addition
to the pulley, H2, before mentioned, twelve other pulleys, C, C¹, D, D', E, F, F,
.G, G, A, A¹ and B, which serve respectively to drive the twelve pitch-shafts
.hereinafter described.
THE PITCH-SHAFTS.
The twelve pitch-shafts, marked respectively c, c¹, d, d¹, e, f, f, g, g¹, a, a¹ and b,
are all exactly alike, as shown in the drawings. Each is mounted in boxes, k, h, k,
set upon the ribs H1, H2 and H³, as before mentioned, and held in place by studs
and nuts, k¹, k¹, and each carries a pulley, k². Belts, k³, k³, (omitted in most of the
figures, but shown in Figure 4,) connect the pulleys k², k', belonging to the pitch-
shafts, with the driving-pulleys, C, C, D, etc., carried by the main driving-shaft; the
whole arrangement being such that the twelve pitch-shafts, c, c, d, d, e, f, f², g, g',
a, a¹ and b, are connected respectively with the twelve driving pulleys, C, C, D, D¹,
E, F, F, G, G¹, A, A and B, so that said pulleys, C, C¹, D, D¹, E, F, F¹, G, G¹,
A, A and B, respectively drive the pitch-shafts marked respectively, c, c¹, d, d¹, e,
f, f, g, g, a, al and b. The twelve pulleys, k², k³, k², etc., belonging to the twelve

page_text: pitch-shafts respectively, are made preferably all of exactly the same diameter; and
the twelve driving pulleys, C, C, D, D, E, F, F, G, G¹, A, A and B, are made to
differ in diameter in the same proportions in which the vibration-frequencies of the
twelve notes, c, c-sharp, d, d-sharp, e, f, f-sharp, g, g-sharp, a, a-sharp and b,
differ from each other in equal temperament. Or the diameters of the different
pulleys, 2, 2, may be made to differ as desired, the diameters of the corresponding
driving pulleys, C, C, D, D, E, F, F, G, G, A, A and B, being made such that in
the result said driving pulleys, C, C, D, D, E, F, F, G, G¹, A, A1 and B, give to
the pitch-shafts, c, c', d, d, e, f, f¹, y, I¹, a, a¹ and b, driven respectively by them,
angular velocities proportional to the vibration-frequencies in equal temperament of
the twelve notes, c, c-sharp, d, d-sharp, e, f, f-sharp, g, g-sharp, a, a-sharp and b,
for which the twelve pitch-shafts respectively stand. Making the twelve
pulleys, k², k2, etc., attached respectively to the twelve pitch-shafts all of the same
diameter, however, and making the differences in pitch by the different diameters
given to the driving pulleys, C, C, D, D, E, F, F, G, G', A, A1 and B, the
diameters of the twelve pulleys last mentioned, expressed in units, (for example,
eighths of an inch,) may be made substantially as follows, to-wit: diameter of
pulley C, 258.7; of pulley C, 273.9; of pulley D, 290.3; of pulley D', 307.4;
of pulley E, 325.9; of pulley F, 345.3; of pulley F', 365.8; of pulley G, 387.6;
of pulley G, 410.4; of pulley A, 435.0; of pulley A¹, 460.7; of pulley B, 488.2.
After the twelve pulleys, C, C, etc., have been thus made of diameters
corresponding to the vibration-frequencies of the pitch-shafts driven by them, any
want of perfection in tuning can be readily corrected by filing a little either tho
proper pulley on the main driving-shaft H23, which will flatten the notes of the
pitch-shaft driven by the pulley filed; or the pulley 2, 3, of the pitch-shaft may be
filed, which will sharpen the pitch of the notes controlled by such pitch-shaft. The
pitch-shafts should, of course, be well mounted and well lubricated, so that they will
run with as little friction as may be; and the belts connecting the pitch-shaft
pulleys, ², k², with the driving pulleys, C, C, D, D¹, etc., should be drawn taut, so
that the slip, or at least the difference in rate of slip of the belts aforesaid will be
negligible. For any material difference in the rate of slip of the balts, 3, , would
tend to throw the instrument out of tune. And finally, the main driving-shaft, H23,
which carries the pulleys, C, C¹, D, D¹, etc., must be given such a velocity that it
will bring the whole set of pitch-shafts, with the rheotomes carried by them, up to
the pitch desired. When the rheotome-cylinders are made exactly like those
illustrated in the accompanying drawings with respect to the number of insulating
and conducting sections in each, giving the driving-shaft, H23, such a velocity that
the pitch-shaft c, will make 960 revolutions per minute, would bring the whole up
very close to concert pitch; that is to say, the rheotome-cylinder 16, carried by the
the pitch-shaft c, would give a middle-c having 256 vibrations per second.
The different rheotome-cylinders correspond in the preferred construction
illustrated in the drawings, each to one of the notes which the apparatus is adapted
to produce. The twelve pitch-shafts, c, c, d, d¹, etc., it will be remembered, which
correspond respectively to the twelve notes of the chromatic scale, carry each seven
rheotome-cylinders, marked respectively, 2, 4, 8, 16, 32, 64 and 128, which serve to
give the different octaves of the note for which the pitch-shaft carrying them
stands. Each rheotome-cylinder, as we have seen, consists of a plurality of sets of
insulating and conducting sections, as p and p2, etc., having vibration-frequencies
corresponding to different partials of the note which their rheotome-cylinder serves
to produce. Each rheotome-cylinder, as represented in the drawings, in fact
constitutes with its brushes, a plurality of rheotomes, corresponding to different
partials of the note for which such rheotome stands. In the device, as figured in the
drawings, each of the rheotome-cylinders has in its first-partial set, p¹, a number of
nsulating sections and also a number of conducting sections, equal to the number
expressed by the figure or figures with which the cylinder is marked in the drawings,
o-wit, the cylinder 2 has in its first-partial set of insulating and conducting
sections p¹,
two insulating sections and two conducting sections; the

page_text: cylinder 4, has four; the cylinder 8 has eight; the cylinder 16 has sixteen ;
the cylinder 32 has thirty-two; the cylinder 64 has sixty-four; and the
cylinder 128 has a hundred and twenty eight. In the second-partial set, p²,
each of these cylinders has just twice as many insulating and conducting sections as
it has in its first-partial set; in its third-partial set, p³, it has three times as many as
it has in its first-partial set; in its fourth-partial set, p', four times as many; in its
fifth-partial set, p, five times as many; and in the sixth-partial set, p', it has six
times as many insulating and conducting sections as it has in its first-partial
set p. But whether the cylinders 2, 4, 8, 16, 32, 64 and 128, shall have
respectively two, four, eight, sixteen, thirty-two, sixty-four and a hundred and
twenty-eight insulating and conducting sections, each in its first-partial set, is, of
course, unimportant, except in regard to the matter of slip of belts hereinafter
pointed out; the important point isthat the vibration-frequencies of said cylinders 2,
4, 8, 16, 32, 4 and 128, shall stand to each other as two, four, eight, sixteen,
thirty-two, sixty-four and a hundred and twenty-eight.
It will now be understood that the eighty-four rheotome-cylinders illustrated in
Figure 1, correspond to the eighty-four notes of a seven-octave piano-forte; the seven
rheotome-cylinders carried by the pitch-shaft c, correspond to the seven C's; the
seven carried by the pitch-shaft c¹, correspond to the seven C-sharps; the seven
carried by the pitch-shaft d, correspond to the seven D's; the seven carried by the
pitch-shaft, correspond to the seven D-sharps; the seven carried by the pitch-
shaft e, correspond to the seven E's; the seven carried by the pitch-shaft f, correspond
to the seven "s; the seven carried by the pitch-shaft f¹, correspond to the seven
F-sharps; the seven carried by the pitch-shaft g', correspond to the seven G-sharps;
the seven carried by the pitch-shaft a, correspond to the seven A's; the seven
carried by the pitch-shaft a¹, correspond to the seven A-sharps; and the seven carried
by the pitch-shaft b, correspond to the seven B's. The twelve rheotome-cylinders
marked 2, carried by the twelve pitch-shafts, give the twelve notes of the chromatic
scale in the lowest octave; the twelve cylinders marked 4, give the second octave;
the twelve cylinders marked 8, give the third octave; the twelve cylinders marked 16,
give the fourth octave; the twelve cylinders marked 32, give the fifth octave; the
twelve cylinders marked 64, give the sixth octave; and the twelve cylinders marked
128 give the twelve notes of the chromatic scale in the seventh octave. And the sets
of insulating and conducting sections, p¹, p², P³, 14, p and p", belonging to the
different rheotome cylinders serve, as before explained, to give respectively the first,
second, third, fourth, fifth and sixth partials of the note for which the cylinder to
which they belong stands.
The general scheme of the rheotome-cylinders having been made clear, it will be
convenient, before explaining the electrical connections to describe the inechanical
construction of a rheotome-cylinder. The rheotome-cylinders may be made in other
ways than that which I am about to describe. No very especial importance is
attached to the particular mode of construction which I follow; nevertheless, it may
be best to describe it. The rheotome cylinder is first bored to admit the pitch-shaft ;
it is then turned true; annular grooves are then cut in it, dividing it into longitudinal
sections, P1, P2, P3, P4, P5 and Po, corresponding to the sets of insulating and
conducting sections, p³, p², p³, p', p³ and p, making the blank as in Figure 11; the
purpose of these annular grooves is to render the operation of slotting easier; the
different lengthwise portions, P, P2, P3, P4, P5 and Po, are then slotted out, so as to
make spaces sufficient to admit the insulating section, p, p, giving the blank the form
illustrated in the detail sections Figures 114, 11B and 11c, in which P, P, are the
conducting sections; then the insulating sections, p, p, are filled in between the
conducting sections, as in Figure 11D; the whole is made cylindrical; the insulating
sections, p, p, are fastened firmly in place by strong binding wires m¹, m³, (omitted in
most of the figures, but shown in Figure 10,) wrapped tightly around the whole. The
insulating sections, p, p, may be made of any suitable material. They may be made
cheaply of hard, tough wood, well oiled and seasoned. A somewhat more expensive
but much more enduring construction, is to employ metal sections, insulated from the

page_text: adjacent conducting parts of the rheotome-cylinder. Brushes n, n, (omitted from
Figures 1 and 2, and shown diagrammatically only in some of the other views, but
clearly illustrated in Figures 8, 9 and 10,) lie on each side of the rheotome-cylinders
and bear against said cylinders, as shown in the drawings. The brushes, n, n, are
supported each by a brush-holder, which consists essentially of a casting ¹, shaped
as shown, and mounted upon a conducting-rod n². The casting n' is channeled out
so that it admits (a) the brush n, (b) a flat tension-adjusting spring n³, and (c) a
clamp-piece or clamp, nt. A clamping-screw 25, furnished with a lock-nut, holds the
clamp n up tight against the brush n and flat-spring n². By loosening the screw n³,
the brush, n, may be slipped up and down, as required for adjusting. The centre-
rod n³, is supported by a metal bracket no, which is itself bolted fast to one of the
planks Ho, before mentioned. Bolts n, n, furnished with lock-nuts, n', n³, serve to
hold the springs n³, n³ at any tension that may be necessary to give the brushes the
required closeness of contact. No special importance, however is attached to these
details of construction. A skilled electrician can vary them to any extent.
THE ARRANGEMENT OF THE ELECTRICAL CIRCUITS.
We are now in a position to explain the arrangement of the electrical circuits.
I shall first explain the arrangement of circuits for a single rheotome-cylinder and
will show how a rheotome-cylinder is made to produce electrical undulations
equivalent to a rich and incisive musical tone. And after the arrangement of circuits
by which this is done for a single note has been made clear, we will be in a position
to follow the arrangement by which the different notes are produced, as desired, and
with the power desired, and at a multiplicity of places simultaneously.
As stated in the introductory part of this specification, I first generate electrical
vibrations corresponding in periodicity to different partial tones of the musical note
desired; I purify these vibrations corresponding to the different sets of partials,
purging thein of their harsher components; I then combine the purified vibrations
answering to tone-partials of the note desired, into one series or set of composite
electrical undulations; I then transfer these composite electrical undulations by
induction to a circuit which we may for convenience's sake term the line-circuit;
and with this line-circuit I connect the receiving magnets of the vibration-
translating devices. This is the preferred mode of carrying out my invention, but it
may be varied greatly.
Figure 13, which is a diagrammatic view, shows the arrangement of circuits which I
prefer to use. Po N, is a large dynamo, whose armature has a small resistance and a
low coefficient of self-induction; said dynamo supplies current to all the rheotome
devices. p, p2 p³, p^, p³ and pº, are the different sets of insulating and conducting
sections, belonging to a rheotome-cylinder and serving to give respectively the first,
second, third, fourth, fifth and sixth partials of the note for which such cylinder
stands, as before fully explained, n, n, are the brushes bearing on these different
sets of insulating and conducting sections. The keys are marked r, r, r. These
keys are preferably made and arranged like the keys of a pianoforte; but they may
be arranged in any suitable way whatever. The part of a key, r, seen in section in
Figure 13, is the part behind the fulcrum. When the part in front of the fulcrum,
which the operator touches, is depressed, the part seen in section in Figure 13, rises.
Each key,, controls a sliding circuit-closer,, made of suitable metal or other
conducting material and shaped as illustrated in Figure 12. The horizontal limb of
the sliding circuit-closer 1, is connected by a conducting contractile spring, 2, with
a metal bar, ; and with this bar one pole, Po, of the dynamo P N, is connected by
a wire P. The upper ends of the sliding circuit-closers ¹¹, lie, when their keys
are in their normal positions, in contact with the non-conducting strip, 4, which is
attached to the non-conducting bar, Contact-pieces, 7, 7, having their front
surfaces in the same plane with the front surface of the non-conducting strip, lie
immediately above the different sliding circuit-closers, r¹, r; and each key when
depressed, raises its sliding circuit-closer 1 from its normal position of contact with
the non-conducting strip r³, to a position of contact with the corresponding contact
B

page_text: piece. 81, 82, 83, 84, 8³ and 80 are coils of insulated wire, corresponding to the sets
of insulating and conducting sections p¹, p², p³, p, p' and p^, before mentioned of a
rheotome-cylinder; each of such coils has one end connected with the proper
brush n; and each of them has its non-brush-connected end connected by a wire
with the contact-piece, which corresponds with the key that stands for the note
which the rheotome-cylinder produces. One pole of the dynamo PN, we have
already seen is connected with the bar, 3; the other pole of said dynamo is
connected with all the rheotomne-cylinders. One way of making this connection,
is to connect one pole of the dynamo with the main-frame formed of
parts H, H, H1, H2 and H³, as before described. From the main-frame, the current will
conduct through the boxes, k, k, to the pitch-shafts, and rheotome-cylinders carried
by them. The connection, however, may be made in any suitable way whatever. In
the diagrammatic view, Figure 13, the connection between the dynaino and the
The connections being as
rheotome-cylinder is represented as made by a wire.N³.
described, it will be seen that when any key r, is depressed, the circuit is closed
from the pole Pº of the dynamo through the wire P22 to the bar 73; and from this
bar through the spring 72 and sliding circuit-closer r¹, belonging to the particular
key depressed, to the contact-piece, belonging to such key, and from this
contact-piece through the wire 77 and coils 81, 82, 83, 8, 8 and 8 to the
brushes n, n; and from these brushes through the various sets of insulating and
conducting sections p¹, p², p³, p, p' and p³, belonging to the rheotome-cylinder
which gives the note for which the key depressed stands; and through such
rheotome-cylinder to the pitch-shaft which carries it, and thence by the wire N° back
to the other pole N of the dynamo P' N..
The different sets of insulating and conducting sections, p¹, p², p³, p', p' and p³,
have as before fully explained interruption-frequencies standing to each other as the
numbers one, two, three, four, five and six; and the set p' has an interruption-
frequency equal to the vibration-frequency of the note for which the key r, controlling
it stands; so that the effect of depressing a key is to cause powerful electrical
vibrations in the coils 81, 82, 83, 84, 83 and 86, corresponding in periodicity respectively
to the first, second, third, fourth, fifth and sixth partials of the note for which the
key controlling them stands. Proximate to the several coils 81, 82, 83, 84, 85 and 8,
are other coils, S', S2, S³, S*, S' and S", respectively; the coil S1 being in the inductive
field of coil s¹; S in the field of 82; S3 in the field of 8; S* in the field of &; S³ in
the field of 83; and So in the field of 8°. The several coils S¹, S³, S³, S4, S*
and S respectively, form closed circuits with other coils marked respectively,
T1, T2, T, T4, T5 and Tº. Proximate to the several coils T1, T2, T3, T4, T
and T, and within their respective inductive fields, are other coils, t, 2, t³, t', '
and to, respectively; and the several coils t¹, t2, 13, t, ts and to respectively, form
closed circuits with other coils marked u', u², u³, u', u' and u respectively.
Proximate to the several coils u', u², u³, u, u and u last mentioned, and within
their respective inductive fields, are other coils U1, U2, U³, U', U³ and U°,
which are connected together in series, and form a closed circuit with another
coil, V.
The electrical vibrations in the coils 81, 82, 83, 84, 85 and 88, having vibration-
frequencies corresponding respectively to the first, second, third, fourth, fifth and
sixth partials of the note for which the key controlling them stands, are abrupt,
harsh and disagreeable; they generate, however, by induction, electrical undulations
less abrupt and less harsh in the closed circuits, S¹ T1, S² T², S³ T³, S* T*, S* T*
and S6 T, which correspond respectively to and lie severally within the inductive
influences of the aforesaid coils, 81, 82, 83, 84, 83 and 8* respectively. The electrical
undulations in the circuits, S¹ T₁, S² T², S³ T³, S₁ T", S³ T and Sº Tº, generate by
induction electrical undulations of the same periodicities, but less harsh, in the
closed circuits, t¹ u¹, to u², ta u³, tu, t' us and tou, which correspond respectively
to and lie severally within the inductive influences of the several circuits S¹ T,
S2T2, S³ T³, etc. Thus the abrupt and harsh vibrations generated in the circuits of
the coils, 8, 82, 83, 84, 8 and 8", by the current-interrupting action of the rheotome-

page_text: cylinder, become smooth and round vibrations in the circuits t¹ u¹, 12 u², t³ u³, etc.
The modus operandi of the tone-purifying process will be adverted to hereinafter.
From the circuits t¹ u¹, t2, u², t³ u³, tu', t'u' and tu, the electric undulations in
such different circuits, corresponding respectively to the first, second, third, fourth,
fifth and sixth partials of the tone desired, are transferred by induction to the circuit
formed of the coils, U¹, U2, U, U', U³, U and V; so that composite electrical
undulations, answering to a clear, rich and powerful musical tone are generated in the
circuit last mentioned.
Proximate to the coil V, and in inductive relation to it, is another coil V¹, one
terminal of which is connected with the line-wire W, and the other terminal of which
is connected with the contact-piece 70, Le'onging to the corresponding key r. The
bar is connected by a wire G with buried plates or equivalent ground-connection G³.
The line-wire W is connected with the coils w, w, surrounding the magnet-cores w¹ w¹,
belonging to the vibration-translating devices; and through said coils w, w, the line-
wire W, is connected with suitable buried plates or equivalent ground-connections, G², G²,
so that the earth is made to serve as a return. Thus the circuit of any of the
coils, V1 V1, it will be seen, is completed when the corresponding key r is depressed,
(a) through the line-wire W, (b) through the coils w, w, surrounding the magnet-
cores of the vibration-translating devices, (c) through the ground-connection, G², G²,
belonging to the vibration-translating devices, (d) through the earth, serving as a
return conductor, and (e) through the ground-connection, G³, wire G*, and bar 3,
and the contractile spring 2, sliding circuit closer, and contact-piece 8,
corresponding to the key depressed.
A few rheotome-cylinders and keys only are illustrated in the general view,
Figure 14, which is merely a diagrammatic view. But it is to be understood that
there is a key for every rheotome-cylinder and that every key and rheotome-cylinder
has, in my preferred form of device, connections exactly similar to those illustrated in
Figure 13 and 14, subject to the qualification that in the highest octave, served by
the rheotome-cylinders marked 128 (and which rheotome-cylinders have, it will be
remembered, only two sets of insulating and conducting sections, p¹and p², answering
to the ground-tone and the second partial,) the coils 83, 84, 85 and 86, S3, S', S5 and S,
T3, T4, T and T", ³, t, t' and t°, u³, ut, u' and u', and U³, U', U' and U°, are of course
omitted; and in the next to the highest octave, served by the rheotome-cylinders
marked 64, (which rheotome-cylinders have, it will be remembered, but four sets of
insulating and conducting sections, to-wit, p, p, p³ and p, answering to the first,
second, third, and fourth partials,) the coils & and s', S and S, T and T, t' and to,
us and us, and U' and U", are of course omitted.
Each key, it will be seen, when depressed, serves (a) to close the rheotome-
interrupted circuits, 81, 82, 83, 84, 8' and 85, corresponding to it, and (b) to close the
circuit of the coil V', in which the composite musical note corresponding to it is
generated, so that said coil discharges its vibrations into the line-wire W, and receiving-
coils w, w, of the vibration-translating devices. Each of the keys serves also to control
the amplitude of the vibrations thus transferred to the line by its coil V', so that the
note is produced by the translating devices piano or forte as desired. It remains to
describe how this is done.
I
OF THE MAKING OF THE TONES PIANO OR FORTE, AS DESIRED.
vary the loudness of the tones, in my preferred form of apparatus, by varying the
inductive relation subsisting between vibration-transferring and vibration-receiving.
circuits. The apparatus illustrated for this purpose in Figure 15, consists essentially
of two parts, the one electrical, the other mechanical, to-wit, (a) an arrangement of
inductive bodies, suitably mounted, and serving by their relative movement to vary
the strength of the vibratory currents, and (b) a hammer and a friction-driver action
therefor, whereby the hammer is caused to deliver a blow, when the key is depressed,
with greater or less force, according to the pressure upon the key, on one of the
movable inductive bodies before mentioned, thus moving said inductive body with
I vary the loudness of the tones, in my preferred form of apparatus, by varying the
inductive relation subsisting between vibration-transferring and vibration-receiving.
circuits. The apparatus illustrated for this purpose in Figure 15, consists essentially
of two parts, the one electrical, the other mechanical, to-wit, (a) an arrangement of
inductive bodies, suitably mounted, and serving by their relative movement to vary
the strength of the vibratory currents, and (b) a hammer and a friction-driver action
therefor, whereby the haminer is caused to deliver a blow, when the key is depressed,
with greater or less force, according to the pressure upon the key, on one of the
inovable inductive bodies before mentioned, thus moving said inductive body with

page_text: relation to the other inductive body, a greater or less distance, according to the
pressure upon the key, so as to make the tone loud or soft, as desired. Figure 15
illustrates the arrangement of parts for a single key only. There is a similar set of
parts for each key, except that the friction-driver, the rails and framing hereinafter
described, shown in section in Figure 15, serve for all. 21 is a soft iron core, well
laminated. Heads 22, 22, are very firmly attached to this score; and the coil V,
before mentioned, whose electrical connections, illustrated in Figures 13 and 14, have
been already fully described, is wound tightly around the core 21, near its upper end,
and inside the heads 22, 22. The core 21, carrying the coil V, slides up and down
easily, but closely, in a guide-piece 23, which is screwed fast to the rail 24. The
coil V, whose electrical connections, (illustrated in Figures 13 and 14,) have been
already fully described, is wound around a hollow bobbin 31, which is attached to the
lower surface of the rail 33. The hollow bobbin 31 is concentric with the coil V and
core 21, and is of sufficient diameter inside to admit the core 21, and coil V. A hole 34,
cnt in the rail 33, admits the core 21, when said core carries the coil V, up into the center
of the coil V. To the foot of the core 21 is attached a cup-piece 26, containing a
cushion 27, of rubber, felt, or other suitable resilient material. A metal hammer 35,
covered with felt or other suitable resilient material, and having a weight about equal
to the weight of the core 21 and coil V, serves when the key is depressed, to strike upon
the resilient material 27, attached to the core 21, and thus to throw the core 21 and
coil V upwards towards the coil VI, a greater or less distance according to the pressure
with which the key is depressed. A inagnet-controlled check R³ serves to hold the
core 21 and coil V, so long as the key is depressed, in whatever position they may be
thrown into by the blow of the hammer 35. The core 21 lies normally with its lower
head, 22, resting upon a cushion of felt 25, which cushion lies down upon the top-
surface of the guide-piece 23. In its normal position, in which it appears in.
Figure 15, the coil V lies remote from the coil Vi; and when the coil V thus lies
remote from the coil V, the influence of the coil V on the coil V₁ is weak; weak
currents only are generated in the coil V₁; and the tones given off by the vibration-
generating devices are soft. But when the coil V is movel up int the centre of the
coil V, the influence of the coil V on the coil V₁ is strong; strong currents are
generated in the coil V₁; and the tones given off by the vibration-translating
devices are loud. Thus every degree of loudness from pianissimo to fortissimo can
be given to the tones given off by the vibration-translating devices, simply by varying
the mutual induction of the coils V and V1. The core 21 and coil V are moved by
the action of the key-controlled hammer 35 into different positions with relation to
the coil, according to the force with which the key is depressed. The whole
arrangement is such that when the key is depressed, the haminer 35 strikes the
core 21 a blow more or less forcible according to the pressure upon the key, thus
moving the core 21 and coil greater or less distances from their normal
positions, towards the coil VI, according to the pressure upon the key.
It remains to describe the action by which the key controls the hammer. We may
consider the hammer 35 as, in a certain sense the equivalent of a common piano-
forte hammer, the essential difference being in the way in which the blow is utilized
to affect the loudness of the tone. Many actions have been invented and are well
known for controlling the piano-forte hammers by the keys. Some of these are
power actions, and others depend entirely upon the force exerted by the fingers upon
the keys. I prefer to use a power action, and of the friction-driver variety, because
such actions are simple in construction, effective in operation, and perfectly sympa-
thetic. But any other suitable action whatever may be used. By saying that a
friction-driver action is sympathetic, I mean that the force which it exerts is always
proportional to the force which is exerted upon it-a point of great importance. A
convenient arrangement of friction-driver action is that illustrated in Figure 15, and
before inentioned. is the key, which controls the electrical connections illustrated
in Figures 13 and 14 and before fully described, as well as the mechanical action
now about to be described. R³ is a bell-crank lever, which is fulcrumed by means
of a flange R', screwed fast to the rail R¹. A push-rod R" connects the key r, with

page_text: the horizontal arm of the bell-crank lever Rs. Said lever R, is connected by a
tracker R2, with the fly-carrying lever R2, hereinafter described. The trackers R¹²,
belonging to the different keys diverge as they run back from the bell-crank levers, R³,
to the fly-carrying levers R. The office of the bell-cranks R* and trackers R12,
is to connect the keys, lying close together, with the expression-actions, which
require much more space; and any of the well known devices, such as roller-
boards, fan-boards, etc., used in pipe organs for similar purposes may, of course,
be used instead.
The hammer 35 is carried by a shank 37, which is fulcrummed by means of a
flange 38, screwed fast to the rail 39. R¹³ is a hollow cylinder or drum, mounted
upon a shaft R, turned true, and rotated in the direction of the arrow in any suitable
inanner, as for example, by an electric motor. Said friction-driver R, serves as a
friction-driver for all the actions, of which one only, it will be remembered, is seen in
Figure 15. R5 is the contact-piece, which is centered by means of a pin R16, set in
the contact-piece-carrying lever R17; it is connected by a link R13 with the hammer-
shank 37. The surface of the contact-piece R15, lying proximate to the friction-
driver Rs, is curved on the center-pin Rio, as a center. The contact-piece-carrying
lever R, serves to move the contact-piece towards and away from the friction-
driver R. It is supported by a flange R, screwed fast to the rail 39. A light
expansive spring R, holds the lever R17 in the position illustrated in Figure 15,
with its lower end resting against the adjustable stop R21; so that the contact-
piece Rs lies normally in close proximity to, but clear of the friction-driver R¹³. The
stop R is made adjustable by making the hole through which the bolt or screw, R5ɔ,"
attaching said stop to the rail R¹, passes, elliptical or elongated, so that when the
screw R is loosened, the stop R can be slipped into the position desired and
locked in that position, by tightening the screw R50.
A lever R, fulcrumed by a flange R23, screwed fast to the rail R24, and held by the
contractile spring R45, normally against the adjustable stop R, has its lower end
connected by the tracker R12 with the vertical arm of the bell-crank lever R³, so that
said bell-crank lever, when rocked by the depressing of the key, rocks the lever R²²,
moving its upper end to the left. The lever I carries the fly-lever R2, the front
end of which lies normally in close proximity to the nose R20 of the contact-piece-
carrying lever R17. R27 is the check-piece, pin-jointed to the contact-piece at its
lower end, and having its upper end lying intermediate the lever R22 and the fixed
check-rail R28 R29 is the fly-releaser, which is pin-jointed below to the contact-
piece R and above to the bridle-lever R30, which latter is fulcrumed by means of a
flange R³¹, screwed fast to the rail R². The fly-releaser R2) carries a pin, R³³, which
serves as hereinafter described to knock the fly-lever out of engagement with the
nose R2 of the contact-piece-carrying lever R. R is a wrought-iron bell-crank
lever, fulcrummed by means of a flange R3, attached to the rail R. The vertical arm
of said bell-crank lever carries at its lower extremity a check-piece or clutch, R³. A
light contractile spring R38 holds the bell-crank lever R³ normally in the position
illustrated in Figure 15, with its vertical arm resting against the adjustable stop R,
so that the check-piece R37 lies very close to, but not in contact with the core 21,
which core it will be remembered carries the coil V. The check-piece R37 lies between
the upper and the lower jaws of the guide-piece 23, almost filling the space between
them, so that its up and down movement is negligible: An electro-magnet R40,
screwed fast to the rail R, and having one terminal connected with the contact-
piece, and its other terminal connected through a resistance R with the pole N
of the generator P° N, so that its circuit is closed by the key r, whenever said key is
acted upon by the performer, lies below the horizontal arm of the bell-crank R, in
proximity to it. The magnet R, when thus energized, by the closing of its circuit,
pulls upon the bell-crank R and presses the check-piece R against the coil-
carrying core 21, with considerable force, whenever the key is depressed.
The operation is as follows: The key r, when depressed by the performer in front
of the fulcrum, rises back of the fulcrum, raising the sliding circuit-closer ** from its
normal position of contact with the insulating strip, up into contact with “

page_text: the contact-piece 7°, thereby closing the circuits of the rheotome-affected
coils, 81, 82, 83, 84, 85 and 80, and of the coil V₁, in the manner already described, and
also closing the circuit of the clutch-magnet R40, so that said magnet presses the
check-piece Rs firmly against the core 21. At the same time, said key raises the
push rod R, tilting the bell-crank lever K³, and thus through the tracker R12, tilting
the lever R2 and pressing the fly-lever R25 against the nose R2 of the contact-piece-
carrying lever R, so that the contact-piece-carrying lever moves upon its center
until its movement is arrested by the contact-piece R coming in contact with the
friction driver R¹³. Thus the contact-piece is pressed against the friction-driver with
a force great or small according to the pressure upon the key. Immediately the
contact-piece R¹³ comes in contact with the friction-driver R¹³, the friction-driver
exerts a traction upon the contact-piece great or small according to the pressure upon
the key, moving the contact-piece in the direction of the arrow, Figure 15. The
contact-piece R15, when thus moved draws down the fly-releaser R20, and throws up
the hammer-shank 37 and hammer 35. Thus the hammer rises with a force great
or small according to the pressure upon the key, until when the hammer gets close to
the resilient cushion 27, attached to the core 21, the pin R33, carried by the fly-
releaser R20, comes in contact with the fly-lever R, and moves it down
out of engagement with the nose R20 of the contact-piece-carrying
lever R17. At this instant several operations take place practically simultaneously:
(a) the hammer 35, covered with felt 36, strikes the resilient cushion 27, attached to
the core 21, transferring its momentum to the core 21 and coil V, so that they start
up towards the coil V₁, while the hammer itself first comes to rest and then returns
to its normal position; (b) on the freeing of the fly-lever R23 by the action of the
fly-releaser R20, the back end of the key r moves upward a little, so raising the push-
rod R and tilting the levers R8 and R*, until the further movement of the parts is
arrested by the lever R coming in contact with the contact-piece-connected check-
piece R, which is thus pressed firmly against the check-rail R28, so that a check is
opposed to the movement of the contact-piece R¹ and hammer 35, sufficient to
prevent the hammer from rebounding, after it returns to its normal position; and
(c) the core 21 and coil V, having been set moving, as before described, by the blow
of the felt-covered hammer 35 upon the resilient cushion 27, attached to the core 21,
move upward for an instant, when they come to rest under the opposing forces of
gravity and the friction resulting from the application of the check R37, in a position
of proximity to or remoteness from the coil V', dependent upon the force with which
the key was depressed. If the key be depressed gently, the contact-piece is pressed
against the friction-driver lightly; the friction-driver pulls upon it lightly; the hammer
moves lightly and taps the resilient cushion 27 gently; so that the core 21 and
coil V move but a short distance towards the coil V1, when they come to rest. But if
the key be depressed very forcibly, the contact-piece is pressed hard against the
friction-driver, so that the friction-driver pulls upon it strongly; the hammer, thus
forcibly impelled, moves with great rapidity and delivers a vigorous blow upon the
resilient cushion 27, which sends the core 21 and coil V instantly up into the center
of the coil V. If the key be depressed with any intermediate degree of force, the
hammer delivers a proportional blow, and the coil 21 and core V assure a position
of proximity to the coil V¹, correspondent, with the pressure exerted upon the key.
Thus by the touch upon the key, any desired position can be given to the core 21
and coil V. And every different position of such core and coil, gives, it will be
remembered, a different degree of power to the vibrations received by the coil Vi
from the coil V, and a different degree of loudness to the tones given off by the
vibration-translating devices. Thus every degree of loudness from pianissimo to
fortissimo can be made and made instantly-for each note individually, simply by
the pressure upon the key, as in a common piano-forte.
When the key is released, the various parts return to their normal positions.
But the hammer and contact piece R15, as we have already seen, return to their
normal positions, so soon as the hammer delivers its blow upon the resilient
cushion.

page_text: should be quickened by a suitable spring.
THE VIBRATION-TRANSLATING DEVICES
It remains to describe the vibration-translating devices. Any suitable form of
receiving telephone whatever might be used to some extent as a vibration-translating
device, in the carrying out of my invention. Receiving telephones are made in a
great variety of forms, and upon principles somewhat different. In some, the
vibration-translating action is due to the development of heat varying with the
periods of the current, in a fine strained wire of high resistance, which as it
periodically expands and contracts under the influence of the varying currents, sets a
sound-board with which it is connected in vibration. In others, as in the well known
device of Professor Dolbear, the line circuit is never closed, but the development of
the aerial vibrations depends upon the changes in the electro-static attraction
between two small diaphragmns, placed in close proximity to each other, well insulated
from each other, and connected one with the line-wire and the other with the ground
or with a return wire. In the forms of telephonic receiver which have come into
practical use, a magnet is wound with a coil near one of its poles, or with coils on
both of its poles, so that the attraction of the pole or poles thus wound, upon a small
soft-iron diaphragm, varies with the currents that vibrate through the coils. Any of
these devices may no doubt be used to some extent in the carrying out of my
invention, particularly the sort last named. But the power of the tones which they
produce is limited. In order to produce powerful tones, I have contrived a special
form of vibration-translating device, which consists essentially of (a) a good wooden
sound-board, well constructed and braced and furnished with a bridge--a sound-board,
in short, very similar to the sound-board of a piano-forte or other stringed instrument;
(b) a plurality of soft-iron armatures, attached to the bridge; (c) a plurality of
soft-iron cores lying each with one pole close to one of the bridge-carried armatures
before mentioned; (d) coils magnetizing these cores, so that the necessary field is
provided, which coils I sometimes term sustaining coils; and (e) coils of fine wire,
wound around the ends of the soft-iron cores that pull upon the bridge-carried
armatures before mentioned. This device, when provided with the necessary
currents produces tones of a good degree of power. The essential features of the
construction are illustrated in Figure 16, which is a sectional elevation, 41 is the
sound-board; 42, the bridge; 43, 43, the armatures attached to the bridge. 44 is
the bottom and 45, 45, are the sides of the frame that support the sound-board 41.
wt, w, are the soft-iron cores, upon the ends of which the coils w, w, connected
with the line-wire W, are wound. Sustaining coils, w², w². arranged in series,
and having a battery in circuit, serve to maintain the magnetism of the
cores w¹, w. The alternate sustaining coils, w², w³, etc., are oppositely wound,
the first, third, etc., being wound in one direction, and the second and fourth in
the opposite direction, so that the proximate poles of the cores w¹, w¹, are always
of opposite sign. The alternate coils, w, w, are in like manner, of course,
oppositely wound. Each of the coils ww, has its outer end connected with the
line-wire W. The inner end of each of said coils is connected with the core w,
upon which it is wound, and through the core w¹, with the yoke w; and the
several yokes w³, w', are connected with the buried plates or equivalent
ground connection G². The coils w, w, might of course be connected with
the ground in any other suitable way. In some of the diagrammatic
views, they are shown otherwise connected. The particular manner
of making the ground connection is not, of course, essential.
A return wire may
be used instead of the ground connection, with marked advantage. The disadvantage
is the increased cost.
A few vibration-translating devices only are shown, connected with the line-
circuit W, in the drawings; but obviously a much larger number may be connected
with it. And obviously, the line-circuit may have several branches, each having one

page_text: resistance may be inserted with advantage between each translating device and the
line, in order to protect the translating device, and to prevent waste of current in
case the insulation of the translating device should break down.
When it is desired to produce a large volume of sound in a large room or hall by
means of the apparatus herein described, I consider it better to use a plurality of
vibration-translating devices of moderate size, than to attempt to secure the whole
volume of sound required from one large vibration-translating device.
SUPPRESSING OF SPARKS AT THE BRUSHES.
As the various rheotome-controlled circuits, 81, 82, 83, 84, 85 and 8%, are broken by
the conducting sections of the rheotome-cylinders moving away from the correspond-
ing brushes n, n, sparks are produced, which have an injurious effect upon the
brushes and rheotome cylinders. These sparks should be suppressed, as far as possible.
Several ways of suppressing sparks are known. I have tried a number, some of
which serve fairly well and some very imperfectly. The combination with each
rheotome of a condenser having one set of plates connected with the brush or
brushes belonging to such rheotome, and having its other set of plates connected
electrically with the rheotome-cylinder, and a high-resistance shunt, of negligible
self-induction, also connecting the brush and the cylinder-in other words, a
condenser and a high-resistance shunt across the break-I consider as good as any.
The arrangement is illustrated in Figure 13, in which 51, 51, are the condensers and
52, 52, the high-resistance shunts, of negligible self induction.
In Figures 13 and 14 and 18 to 22, I have shown for the sake of simplicity in illustrating
the main principles of the invention, a single primary controlled by each of the
rheotomes. A better construction, however, and the one which I have used, is to
employ two primaries, connected in such a way that the current is admitted into one
as it is cut off from the other, and circulates through the two coils in opposite
directions. The arrangement is illustrated diagrammatically in the detail view
Figure 11, in which two primary coils, 8 and 81, are connected with the key-
controlled conducting wire r, leading through the key r (see Figure 13,) to one
pole of the dynamo P° N, whose other pole is connected with the rheotome-cylinder ;
one of said coils being connected with the brush or brushes n, lying on one side
of the rheotome-cylinder, and the other coil being connected with the brush or
brushes n, lying on the other side of said rheotome-cylinder; the two brushes or sets
of brushes being arranged in such a manner that when one bears on a conducting
section of the rheotome-cylinder, the other bears upon an insulating section thereof;
and the connections being made in such a manner that the current circulates in
opposite directions in the two coils 8 and s¹. The secondary coil, S¹, is disposed in
inductive relation to the two primaries 8 and s¹. This arrangement gives a much
greater current out-put for the total weight of iron and copper used than the common
form of inductorium, having a single primary ; and I consider it better for practical
use.
A rheotome-device is ordinarily so constructed that it interrupts the circuit
completely, or at least as nearly completely as possible. But I do not understand that a
device, to be a rheotome, must necessarily interrupt the circuit completely. Notallthat
I have constructed are of that sort, and I do not use the word rheotome, in this
specification, as meaning only a device which interrupts the circuit completely or
totally, but simply as one which produces periodic current vibrations therein by
throwing resistance into the circuit and cutting it out of it periodically. I have contrived
a device adapted to do this gradually, and without any total interruption of the circuit,
said device consisting essentially of conducting-pieces, (connected with one pole of a battery,
rotating with relation to other conducting-pieces, (connected with the other pole of the
battery,) in a closed vessel filled with a conducting fluid of considerable resistance,
such as solution of sulphate of copper, so that as the rotating conducting-pieces

page_text: gradually approach the fixed conducting-pieces, the resistance diminishes, and as the
rotating conducting-pieces move gradually away from the fixed conducting-pieces, the
resistance gradually increases. Such a device is one sort of rheotome, I consider
the form of device illustrated in the drawings, however, as more serviceable,
everything considered, and I only refer here to the other so that it will be plainly
understood that by the word, "rheotome" or "rheotome-device," I refer broadly
to a device for producing electrical vibrations by periodically throwing resistance
into the circuit and cutting it out of it, and do not limit or restrict myself to a device
in which the circuit is totally interrupted by the action of the rheotome.
Instead of generating the requisite electrical vibrations in the first instance by
interrupting electrical circuits, and then using the vibrations produced by these
current-interruptings to produce electrical undulations inductively, we might
generate the requisite electrical vibrations, in the first instance, by vibrating or
rotating inductive bodies in the presence of circuits, or circuits in the presence of
inductive bodies: that is to say, we might substitute for each of the rheotome-
cylinders, (or indeed, for each of the sets of insulating and conducting sections, pl
p2, 3, 4, p and p, belonging to a rheotome-cylinder,) a suitable alternating-
current generator, constructed and arranged in such a manner that it makes a
number of current vibrations in a second equal to the number of vibrations per
second of the note for which it stands. One such device is illustrated diagram-
matically in Figures 23 to 29. 40 is a shaft, carrying six laminated armatures, or
exciters, 41, 42, 43, 44, 45 and 46, made of soft iron, and corresponding respectively
to the first, second, third, fourth, fifth and sixth partials respectively of the
note for which such group of armatures serves. Said armatures or exciters, 41, 42,
43, 44, 45 and 46, rotate in proximity to corresponding laminated soft-iron cores, 71,
72, 73, 74, 75 and 76, upon the polar ends of which are wound coils of insulated
wire, S1, S2, S3, S4, S and S°, which coils are connected in circuit respectively with
other coils, T, T², T3, T4, T5 and T, (not shown in Figures 23, 24 and 25,) and
arranged to act upon the line, as illustrated in Figures 13 and 14. On the bodies
of the soft-iron cores, 71, 72, 73, 74, 75 and 76, are wound exciting or sustaining
coils, 77, 77, which are connected in circuit with a generator, P" N, and serve to
render the cores, 71, 72, 73, 74, 75 and 76, strongly magnetic, so that said cores
furnish fields for the corresponding armatures, 41, 42, 43, 44, 45 and 46, to rotate
in. The various soft-iron armatures, 41, 42, 43, 44, 45 and 46, it will be seen, as
they rotate in proximity to the corresponding cores, 71, 72, 73, 74, 75 and 76,
generate undulatory currents in the coils, S1, S2, S3, S4, S5 and S, surrounding said
cores; and the varions iron armatures, 41, 42, 43, 44, 45 and 46, with their
corresponding cores, are so formed that they produce undulations having frequencies
corresponding respectively to the first, second, third, fourth, fifth and sixth partials
of the same composite tone. Motion may be given to the shaft 40, by means of a
belt driving the pulley, 40ª, or by means of gear-wheels, or in any other suitable
manner whatever.
•
No special importance is attached to the peculiar construction of alternating-
current generators illustrated in Figures 23 to 29. Any other suitable form of
alternating-current generator whatever, might be used instead. I do not recommend
such a device for use in carrying out my invention, in ordinary situations at least ;
for the arrangement of rheotomes and inductoriums belonging to the preferred
construction, is cheaper and more convenient for ordinary purposes. But in some
installations, at least in the lower part of the compass, a device such in principle as
that illustrated in Figures 23 to 29 might obviously be used in the carrying out of
important features of my invention. And it will be understood that while I consider
rheotomes as the most convenient and advantageous means of generating the
requi-ite electrical vibrations, they are not the only means that may be used in the
carrying out of my invention. The most important points of my invention relate
to the various combinations of coils or circuits, with the various controlling devices,
and with translating devices, and with suitable means, whether rheotomes or
alternating-current dynamos, for generating the requisite electrical vibrations in the***
с

page_text: circuits or coils. It will be understood therefore, as before said, that while I
consider rheotomes the most convenient means of generating the electrical vibrations
in the first instance, they are not the only means that may be used for that purpose
in the carrying out of important parts of my invention; that I do not, in general
limit myself to them; and that suitable alternating-current dynamos, or any other
vibration-generating devices whatever suitable for the purpose, may be used instead
of them. But when, on the other hand, in any of the combinations set forth in the
statement of claim at the end hereof, rheotomes are made by name an element of the
conbination, in such specific combination I limit myself to the use of rheotomes.
I prefer to use rotatory rheotomes, in the carrying out of my invention. But
vibratory rheotomes of various sorts, have long been well known to electricians, and
the better sorts, at least, of vibratory rheotomes, might doubtless be used, at least
in small installations and the lower part of the compass, in carrying out my invention,
instead of the rotatory rheotomes illustrated in the drawings. And I wish it to be
understood that when I speak in any of the paragraphs of the statement of claim at
the end hereof, of a "rheotome," or "rheotomes," or of a "rheotome device," or
"rheotome devices," or "rheotome mechanism," without limiting such words by
other words in the same paragraph of claim to any particular kind or construction of
rheotome, 1 use such words in the broad sense, as referring to any suitable rheotome,
rheotome-device, or rheotome mechanisın, whether of the rotatory or of the vibratory
kind.
Obviously, instead of rotating the alternate insulating and conducting sections
of a rotatory rheotome, such as that shown in the drawings, and holding the brushes
at rest, we might rotate the brushes and hold the insulating and conducting sections
at rest. I consider it more convenient to rotate the insulating and conducting
sections and hold the brushes at rest, and have employed this mode in practice; but
I wish it to be understood that I do not limit myself to it, since the reverse mode
might obviously be employed.
The principal advantages of my construction of rotatory rheotomes are (a) the
goodness of the tones which they give in comparison with those ordinarily given by
vibratory rheotomes, my arrangement of rheotome-cylinder and brushes being free
from the shock and resulting irregular vibrations which not infrequently attend the
arresting of the vibrating spring by the fixed contact-screw in a vibratory-rheotome
device; () the great power of these devices in comparison with a vibratory-rheotome
device, which results from the large contact-surfaces of the rotating cylinder and
brushes bearing thereon, in comparison with the small contact-surface of the
vibrating-spring and fixed contact-screw of a vibratory rheotome device; (c) the
perfect tuning of the rotatory rheotomes, resulting from and inherent in their
construction; and (d) less difficulty from sparks and arcs, and consequent capacity
to handle currents of higher voltage and greater quantity. The rotatory rheotomes,
moving at a considerable velocity, "shear off" the sparks and break down the arcs
in a way which is impossible with a vibratory rheotome, and can in fact handle
easily currents which would establish destructive arcs with a vibratory rheotome.
From the causes above-mentioned and others it results that a suitable rotatory
rheotome device can handle currents enormously more powerful than can be handled
by a vibratory rheotome. This is especially true in the higher part of the compass.
By the construction illustrated in the drawings, the difference in pitch of any two
notes in the same octave, reckoning the octave from a C to the B above it, is made
wholly by the different angular velocities given to the corresponding pitch-shafts.
Thus, to illustrate by an example, any rheotome-cylinder standing for a G, differs in
pitch from the corresponding rheotome standing for the C below it, only because the
pitch-shaft runs almost once and a half as fast as the pitch-shaft c. Obviously
however, the rheotomes carried by some of the pitch-shafts, as for example, the
pitch-shaft g, might be made with a larger number of insulating and conducting
sections than the corresponding rheotome-cylinders carried by other pitch-shafts, as
for example those carried by the pitch-shaft c; so that with smaller differences in the
angular velocities of the pitch-shafts, the requisite differences in the pitch of the

page_text: rheotome-cylinders carried by them might be obtained. It is not important which
mode is followed.
Twelve pitch-shafts are illustrated in the drawings, corresponding respectively to
the twelve notes of the chromatic scale. This arrangement has important advantages,
for by means of it each note may be given in as perfect tune as equal temperament
permits. But twelve pitch-shafts are by no means indispensable to the carrying out
of my invention; for (a) the notes of the diatonic scale may be obtained by the use
of seven pitch-shafts, when each pitch-shaft serves for one note only, in its various
octaves; (b) a single pitch-shaft may be made, with a slight sacrifice of the perfection
of tuning of equal temperament, to carry rheotome-cylinders corresponding to
different notes, as for example, a note and its fifth; and (c) various other modifica
tions may be made, which it would serve no useful end to enumerate. I do not
therefore, it will be understood, restrict myself to the use of twelve pitch-shafts in
the carrying out of my invention, for either a greater or a smaller number may
be used.
The rheotome-cylinders, 2, 4, 8, 16, 32, 64 and 128, corresponding to different
octaves, are illustrated in most of the drawings as of the same size. The views are to
a great extent diagrammatic and, on account of the multiplicity of the parts figured,
somewhat cramped; so that it is not practicable to illustrate the sizes of parts. In
fact, however, as will be readily understood, if we mount all the rheotome-cylinders
corresponding to a note upon one and the same shaft, the rheotome-cylinders,
as 2, 4, 8, standing for the lower notes, and having a small number of insulating and
conducting sections only, in comparison with the rheotome-cylinders which stand for
higher notes, can be made much smaller than the rheotome-cylinders which stand for
high notes. The higher rheotome-cylinders, ought, in fact, to gradually increase in
diameter, a fact which appears to some extent, in Figure 7. So also those portions
of a rheo:ome-cylinder which stand for overtones, particularly the higher overtones,
may be made larger; and indeed, in the higher notes, should for convenience's sake,
be made larger, in diameter than the portions which serve for the ground-tones.
By a rotary rate-governor, as the term is used in this specification and in the
statement of claim at the end hereof, I mean a rotating body which serves by its
rotatory movement to govern the frequency of vibrations. A rotary rheotome is one
sort of rotatory rate-governor; the armature or other rotating part or parts of an
alternating-current generator, is another sort of rotatory rate-governor. Thus, in the
device illustrated in Figures 23 to 29, the parts 41, 42, 43, 44, 45 and 46, which are
in effect alternating current generators, or at least the armatures thereof, are rotatory
rate-governors within the obvious meaning of those words, and within the sense in
which I use them herein. Whether the rotatory rate-governor be a rheotome or an
armature, whether it be of one kind or of another, it is still a rotatory rate-governor,
for the frequency of the vibrations produced by it depends upon and varies with the
rapidity of its rotation. A feature of some importance in my present invention relates
to the arrangement of the rotatory rate-governors in such a manner, as hereinbefore
pointed out, that perfect tuning is readily secured and maintained. Thus, by placing
the sets of insulating and conducting sections, p¹, p², p³, p', p³ and po, or the
armatures 41, 42, 43, 44, 45 and 46, (Figures 23 to 29,) which correspond
respectively to different partials of the note, upon the same shaft, I ensure that they
shall always be in absolutely perfect accordance, even to the phase relations. And so,
also, by putting the octaves of a note on the same shaft, I ensure that the octaves
shall be always in absolutely perfect tune. Thus those intervals which most readily
betray any want of truth, are kept always perfectly true; they have, indeed, a degree
of truth which it is not possible to maintain in any piano-forte or organ of the usual
sort. And my whole series of rotatory rate-governors are arranged in such a manner,
in the preferred construction, it will be observed, that by tuning twelve notes, to-wit,
one on each pitch-shaft, all the tones of the instrument, ground-tones and overtones
alike, are at once brought into the most perfect tune which equal temperament admits.
All these features in connection with the arrangement of rheotomes serving as rotatory

page_text: rate-governors are applicable also to armatures (as 41, 42, 43, 44, 45 and 46,
in Figures 23 to 29,) or any other rotating bodies, serving as rate-governors.
In the drawings, I illustrate a set of rheotome-cylinders giving the notes of the
scale through seven octaves, to-wit, from three octaves below middle C to four octaves,
lacking one semi-tone, above it. Very obviously, it is not necessary to the producing
of much of the very best music that the series should extend so far up. Organ
music, for example, is seldom written above the For the A two octaves and a fraction
above middle C; and the same is true of violin music, and of much music written
for the piano-forte. On the other hand, organ pipes are sometimes made to give
tones four octaves below middle C. It will be understood, therefore, that instead of
making the cylinder marked 16, carried by the pitch-shaft c, give middle C, the
whole set of pitch-shafts may be run so much slower that such cylinder 16, will give
the C an octave below middle C, or will give any other note desired.
In the drawings, the rheotome-cylinders, 2, 4, 8, 16, 32, 64 and 128, are
represented for convenience's sake, as having respectively 2, 4, 8, 16, 32, 64 and 128
conducting sections and an equal number of insulating sections, in their ground-
tone sets, p¹, p³, etc. Giving these numbers of insulating and conducting sections
to the ground-tone sets of the different rheotome-cylinders, 2, 4, 8, 16, 32, 64 and 128,
it becomes necessary to rotate the pitch-shaft c, with a velocity of about 960 revolu-
tions per minute, in order to bring the tones of the instrument up to concert pitch,
with the rheotome-cylinder 16 giving middle C; and the other pitch-shafts require
even higher velocities. At these high speeds the slip of the belts is liable to be
troublesome; moreover such high speeds tend to wear out all the parts: Practically,
therefore, it will be understood, the different cylinders before mentioned, marked 2,
4, 8, 16, 32, 64 and 128, should have each a much larger number (say six, eight or
ten times as many,) of insulating and conducting sections in their ground-tone
sets p¹, pl, than the numbers with which such cylinders are marked in the drawings,
so that the pitch-shafts will require much lower angular velocities, and the slip of the
belts be made as small as possible, or so small, at least as to do no harm. It is not,
however, it should be understood, indispensable that the actual slip of any belt should
be negligible; it is only necessary that the differences in rate of slip of the different
belts driving the different pitch-shafts should be practically negligible; for it is the
differences in the rate of slip which tend to throw the notes out of tune. The fact that
the pitch-shafts always all of them run light, makes it easier to avoid trouble from
differences in slip than it would be if the shafts carried loads, especially varying
loads.
Instead of connecting the driving-shaft H23 with the various pitch-shafts, c,
c, d, d, e, f, f, g, g', a, a¹ and b, by belts, suitable gear-wheels may be used, and
by them all slip may be avoided. And I wish it to be understood that I do not at all
limit or restrict myself to the means of driving the various rotatory rate-governors,
illustrated in the drawings, to-wit, by means of belts, and that I contemplate using
any other suitable means whatever for the purpose.
The purifying of the electrical tones, the combining of them, and the governing of
their power so as to give facility for correct musical expression, are all important
parts of my present invention, each of which may be further explained with
advantage.
I purify the electrical tones, it will be remembered, in my preferred apparatus, by
successive inductive transfers, so that the abrupt and harsh electrical vibrations in the
rheotome-interrupted circuits become sinooth and round before they are communicated
to the vibration-translating devices. It is not necessary, however, to use a great
number of inductive transfers; a greater or less number may be employed than are
made by the apparatus illustrated in Figures 13 and 14. Each inductive transfer has
a tendency to purify the tone transferred, and by three or four successive inductive

page_text: transfers, a very harsh tone may be made to be quite round and smooth. But each
individual transfer has the effect of weakening the tone transferred, and for this
reason it is not desirable to transfer the vibrations from circuit to circuit a great
number of times. The tone-purifying action of a tone-purifying device of the kind
illustrated in the drawings, depends upon the fact that where there is a sensible
amount of self-induction in a circuit and a periodic electro-motive force, not reducible
to a single sine-function, producing vibratory currents in such circuit, the self-induction
of the circuit, setting up counter electro-motive force, causes the vibratory currents
therein to approximate more nearly to sine-functions than the vibrations of electro-
motive force do, from which such currents result. And the greater the self-induction
of the circuit, other things being equal, the more nearly do the current-vibrations
approximate to sine-functions in other words, to pure tones. And when electrical
vibrations are transferred by induction from circuit to circuit, with each individual
transfer the ground-tone component and the overtone components of the vibrations
are weakened different degrees; the overtones, particularly the high overtones, being
weakened very much more than the ground tone, if a sufficient self-induction is given
to the circuit; so that a few such inductive transfers have the effect of almost
completely weeding out the high and disagreeable overtones, while weakening the
ground tone to a very much less extent.
As before said, a. multiplicity or even a plurality, of successive inductive transfers
of the vibrations is not indispensable to the carrying out of important portions of my
invention. We can omit, for example, the circuits, S1 T1, S2 T2, etc., and cause the
coils 81, 82, 83, etc., to act directly on the circuits t¹¹, 12 u², etc., as illustrated
diagrammatically in Figure 18; or we may omit also the circuits t'u¹, t² u², etc., and
cause the coils 81, 82, 83, etc., to act directly up on the coils U1, U2, U³, etc., as in
Figure 19. And so far as certain important portions of my invention are concerned,
not only the circuits ST, S2 T2, etc., and t u¹, t² u², etc., can be omitted, but the
coils U1, U2, etc., may be omitted also, the coil V being placed in circuit with
the coils 81, 82, 83, etc., as illustrated diagrammatically in Figure 21; so that whatever
current pulses through any of the coils 81, 82, 83, 8³, s or so, pulses also through the
coil V. Or, omitting the loudness-controlling device, the wires s'; s², §³, 84, 85 and 8º,
might be connected directly with the coil V₁. Such an arrangement, would have the
disadvantage of throwing less agreeable tones upon the line-wire, W. For the same
strength of current in the rheotome-interrupted circuits, 81, 82, 83, etc., the device of
Figure 21 produces louder sounds and the devices of Figures 13 and 18 produce more
musical and agreeable tones.
In purifying the tones, it is very advantageous to employ different tone-purifying
devices for different tones; for it is thus possible to adapt each tone-purifying device
electrically, in respect of its electrical characteristics, such as resistance, self-induction,
etc., so that it purifies to the best advantage the tone or tones for which it serves.
In Figures 13 and 18, a separate tone-purifying device is illustrated for each separate
tone. This I consider the best way; but at the same time, it is somewhat expensive.
It is not indispensable, however, to have as many tone-purifying devices as there are
tones to be purified; nor is it necessary to employ a different tone-purifying device
for every different tone. Tones which lie close together in pitch may be purified
together, and those which lie far apart in pitch may be purified separately; and one
tone-purifying device may be made to serve for a plurality of tones, and another
tone-purifying device for another tone or plurality of tones. A device of this sort is
illustrated in Figure 22, in which the first partial is purified by itself alone; the
second and third partials are purified together, but separate from the other partials;
and the fourth, fifth and sixth partials are purified together, but separate from the
lower partials. The circuits S¹ T' and t¹ u', in said figure serve to purify the tone.
first generated in the rheotome-interrupted circuit &', being first-partial vibrations;
the circuits S2 T2 and t² ², purify the tone generated in the rheotome-interrupted
circuits 82 and 83, being the second and third partials; and the circuits S* T* and *u*,
serve to purify the tones generated in the rheotome-interrupted circuits, 8', 83 and 8,
being the fourth, fifth and sixth partials. This modification has the advantage of

page_text: somewhat greater cheapness of construction, but it is less perfect in operation; especially
if the same tone-purifying device be used to purify tones which stand far apart in
pitch, for when the same tone-purifying device is used for partials or for other tones
standing far apart in pitch, the device tends to weaken the high tones too much in
purifying the low tones sufficiently; or if it does not weaken the high tones, it leaves
the low tones insufficiently purified.
Obviously with such a modification as that illustrated in Figure 22, instead of using
a plurality of coiled wires, 82 and 83, a single primary coil might be used to act upon
the coil S², suitable resistances being interposed between such coil and the two brushes
or sets of brushes, n, n, controlling it and corresponding respectively to the sets of
insulating and conducting sections, p² and p³. And in like manner, a single primary
coil, with the necessary resistances in the different branch circuits, might be used
instead of the coils 84, 86 and 8, Figure 22, to act inductively upon the coil $4.
The vibrations may be communicated from the coils V, V, V, or V, V, VI, to the
line-circuit and to the vibration-translating devices, in other ways than as herein
described. I consider the arrangement herein described and figured, for
communicating vibrations from the coils in which they are generated to the
vibration-translating devices as good as any; but I do not limit myself to them:
other ways are known to electricians, which might be used instead. I shall refer to
one or two modifications only out of many possible ones. Instead of connecting the
coils U¹, U³, US, U¼, U³ and Ù³, in series with each other and with the coil V, they
may be arranged in parallel with each other and in series with the coil V, as illustrated
diagrammatically in Figure 20, in which case, to secure the best effects, the resistance
and inductance of each of the coils U1, U2, U³, U, U and U, should be
much greater than that of the coil V. So also, it will be obvious that omitting the
coil V, and omitting or modifying the vibration-amplitude-governing device, the
set of coils U1, U², Ù³, U¼, U³ and U', may be connected directly with the line, one
terminal of such series of coils being connected with the contact-piece, belonging
to the corresponding key, and the other terminal of such series of coils being
connected with the wire W.
An important feature of my invention relates to the generating of the different
electrical tones in circuits electrically adapted, particularly in respect of their
amounts of self-induction and resistance, to the different tones for which they serve.
I have found that every coil is better adapted to generating tones of some particular
pitch than it is to generating tones of a pitch much higher or much lower. A coil
will serve well for generating tones several half-tones or even whole tones apart, but
it will not serve to so good advantage for tones far apart in the scale. The exception
is the case of a coil having a resistance very high in comparison with its self-induction*
Such a coil is, however, ill adapted to use in an inductorium, its current output being
cut down by its high resistance. To obtain the best results, I do as set forth in
the paragraph following, to- wit :
etc.
Taking the series of rhetome-interrupted circuits, 84, 8¹, s', answering to the ground
tones of notes, I give the coils in the lower part of the compass such a number of
turns of wire, and such sizes of laminated iron cores-in other words, such amounts
of self-induction--as will for the current used give the maximum effect upon the tone-
purifying circuits, S¹ T₁, arranged in inductive relation to said coils, 8' 8',
Ascending the scale, I decrease with each coil the amount of self-induction given to
it, so as to keep the loudness of the tones constant. In ascending the scale, I decrease
the size of the iron cores. They may, indeed, be wholly omitted, especially in the
higher notes of the compass. To each of the closed circuits, as S¹ T¹, t¹ u¹, used for
tone-purifying, I give such an amount of self-induction as will have the effect of
suppressing the higher overtones to a much greater extent than the fundamental is
suppressed. The amount to which the higher overtones in any case shall be suppressed,
is a matter within the judgement and discretion of the constructor, which he can
vary to suit himself in order to produce the quality of tone which he desires. The
tone-purifying effect will be heightened, within certain practical limits, by increasing
the self-induction with relation to the resistance; it is also heightened by increasing

page_text: the number of successive inductive transfers; but the current output is reduced by
these means.
What applies to the groups of circuits s¹, S¹ T", t¹ u¹, s¹, S¹ T¹, t¹ u¹, etc., serving
for the ground tones, applies in like manner to the corresponding groups of circuits,
as s², S2 T, 2 u², and 83, S3 T3, t³ u³, etc., serving for the overtones. The lowest
members of each set-that is, those serving for the lowest tones-should have the
largest amounts of self-induction, and the self-induction should decrease as the pitch
of the notes in the ascending scale increases. And the circuits, s¹, SI T₁, t¹¹, etc.,
of the ground tone set, should of course have larger amounts of self-induction than
the corresponding circuits of the overtone sets. The same general rule applies to the
set of vibration-combining circuits, formed each of a group of coils, U1, U2, U³, U', U³,
U and V; they should be adapted each, in order to secure the best results, to the
pitch of the note for which it serves. The necessary adjustments of the various
circuits are readily made, in all cases, by winding more or less wire of the proper
resistance in the various coils to produce the effect desired, and by adding either
resistance or self-induction or both to any extent required to the circuits outside the
inductoriums. It goes without saying that the coefficients of mutual induction
subsisting between the various sets of circuits which act directly upon each other
inductively, as 8¹ and S¹ T¹, or S1 T and tw, or t¹¹ and the circuit formed of the
coils U1, U2, U³, U', U', U' and V, should be made as large as may be consistent with
not decreasing unduly the effective self-inductions of the separate circuits, upon
which the tone-purifying action depends. And further, if iron cores be used, they
should not only be well laminated, but should also be made to form open magnetic
circusts or air-return circuits, particularly in the expression-devices and the tone-
purifying devices, with the principal part of the magnetic reluctance in the air
portion of the circuit; for closed-circuit cores tend to deform the vibrations from the
sinusoidal form.
Whether the coil V, in the device of Figure 15, be moved or the coil V1, is obviously
not material; the relative movement of the two, on which the changes in inductive
influence depend, is obviously the same, whichever one be moved. Nor is it
indispensable that either one of the coils be moved. The important point with such
a device as that of Figure 15, is that the mutual induction subsisting between the
vibration-transferring circuit and the vibration-receiving circuit be in some suitable
manner varied, at the will of the performer. We can produce this effect readily
enough without moving a coil. One arrangement of this sort, is illustrated in the
detail drawing, Figure 17. The coil V and the coil V', both wound on hollow bobbins
are alike fixed. The core 21 lies inside the coil V, but is movable with relation to
it. Said core 21 is moved in the manner already fully described, a greater or less,
distance upward, according to the pressure with which the key is depressed. In so
moving, the core 21 moves through the coil V, up towards and into the coil V1,
carrying with it the field of the coil V. Thus, without moving either coil, the
inductive relation subsisting between the two is varied at will. Such is one of many
modifications that may be made.
The apparatus illustrated herein, is the first current-regulator expression mechanism
or current-regulator expression-device, so far as I am aware, ever contrived as an
expresssion device in an electrical musical instrument, or electrical music-generating
system in which cominon-receiver vibration-translating devices are used and music is
synthesized electrically. Other forms of current-regulating devices, of the various
sorts well known to electricians, may doubtless be used instead of the device figured
in the drawings, as general equivalents of it in combination with other parts of the
apparatus. And while the device described, operating to govern the loudness of the
tones by varying the inductive relations subsisting between vibration-emitting and
vibration-receiving circuits, is the best form of current-regulator expression device
that I have contrived for the purposes of such an instrument as that herein described,
(in which the loudness of each note is governed independently of every other note, as
in a pianc-forte,) I wish it to be very distinctly understood that I do not limit myself
to it, since various other forms of current-regulating device, well known to

page_text: electricians, and operating in other ways than by varying the inductions, might
be substituted for it, or used along with it.
In the drawings, I show the line-circuit W, connected directly with the coils w, w,
of the vibration-translating devices. And this mode I consider best, at least under
ordinary circumstances. But obviously, the electrical vibrations may be communicated
or propagated from the line-circuit to the vibration-translating devices otherwise than
by a conduction-connection between them. They may be communicated or
propagated from the line-circuit to the vibration-translating devices by induction, the
line-circuit being connected, for example, with the primary of an inductorium
whose secondary is connected with the coils w, w, of the vibration-translating
devices.
Having now fully described the mode and the apparatus which I consider it best to
use in carrying out my invention, I wish it to be understood that a skilled electrician
may vary from what has been illustrated and described, in many particulars, while
still adhering to certain main features of the invention. My invention, most
manifestly, is one of a fundamental, pioneer, primary or basic character; it is the
invention of a new art; and the essentials of the invention once grasped, the means
of carrying them out may be varied within wide limits, by persons skilled in such
matters. For every one, or almost every one of the individual parts, combinations or
sub-combinations illustrated in the drawings, electrical or mechanical equivalents
may be substituted.
I use the terms " common-receiver" and "common-receiver vibration-translating
device," synonomously in this specification. By a common-receiver or a common-
receiver vibration translating device, I mean a device capable of translating electrical
vibrations of different pitches into audible vibrations. I use the term common-
receiver or common-receiver vibration-translating device, by way of contra-distinction
to tuned or monotone receivers, which are capable only of translating each the note to
which it is tuned. Many forms of common receiver vibration-translating devices are
known to electricians. All the various forms of receiving-telephones, capable of
translating electrical vibrations corresponding to speech into audible speech-vibrations,
are common-receivers. And a device may be a common-receiver, so far as translating
musical electrical vibrations is concerned, though it be not sufficiently sensitive to
properly translate speech-vibrations.
In various places in this specification and particula ly in the paragraphs of claim
at the end hereof, I speak of a "common-supply circuit," in a music-distributing
system. By a common-supply circuit, I mean a circuit which serves to supply
vibrations to a plurality of vibration-translating devices, disposed in different places.
The common-supply circuit may be a line, connected directly with the vibration-
translating devices, as illustrated in the drawings; or it may be, as before pointed
out, a circuit connected with the vibration-translating devices through inductive
apparatus.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of "feeding-coils, forming parallel branches to the common-
supply circuit." By feeding coils, I mean coils which serve to supply or feed
vibrations to the common-supply circuit.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of "a key-board of pitch-keys." By a key-board of pitch-
keys, I mean a key-board whose keys serve to control the production of tones of
different pitches, belonging to a musical scale, and to afford facility to the performer
to produce a tune by their manipulation. I prefer to use a key-board, with the keys
arranged after the fashion of a piano-forte; but any suitable form of key-board
whatever may be used.
In this specification I speak sometimes of electrical vibrations and sometimes of
electrical undulations. Electrical undulations accompany gradual changes of
potential; electrical pulsations accompany or are produced by sudden or violent
changes of potential. The rheotomes illustrated in the drawings, produce electrical
pulsations in the circuits, 81, 82, 83, 84, 8³ and 8; and these pulsations produce by

page_text: induction, electrical undulations in the circuits S¹ T¹, S² T², S³ T³, etc. In this
specification and in the statement of chim at the end hereof, I use the word
vibrations," as a broad and generic term, including both pulsations and
undulations.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of "electrical-vibration circuits," and in others, of "electrical-
undulation circuits," and in still others of "current-undulation circuits." By an
electrical-vibration circuit, I mean a circuit in which electrical vibrations are caused
or produced; and by an electrical-undulation circuit, or a current-undulation circuit,
I mean a circuit in which electrical undulations are caused or produced.
By a "vibration-generating device," or a "vibration-generator," as the term is used
in this specification, I mean a device serving to produce or cause the production of
electrical vibrations. And by an "undulation-generating device," or an "electrical-
undulation generating device," or a "current-undulation-generating device," and
other similar terms, as the same are used in this specification, I mean a device
serving to produce or cause the production of electrical undulations; and by an
"inductional undulation-generating device," or an "inductional undulation
generator," or other similar language, I mean a device serving to produce or cause
the production of electrical undulations, by induction.
What I mean by a "rheotome," and what I mean by a "rotatory rate-governor,"
has already been explained.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of "tone-purifying devices." By a tone-purifying device, I
mean a device adapted and arranged to alter the wave-forms of electrical vibrations,
assimilating them more or less to the sine-form, by eliminating, excluding,
suppressing, or weakening, in a greater or less degree, the higher components of the
vibrations. The device which I have illustrated for this purpose in the drawings,
acting to purify the vibrations by inductive transfers, I consider as good as any; but
other forms of device known to electricians, may doubtless be used instead of that
shown in the drawings, for purifying the tones.
a
65
set of rotatory
I do not mean
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of a "set" of parts; as a "set of circuits,"
"set of coils,"
a "set of vibration-generating devices," a "set of rheotomes," a
rate-governors," a "set of composite-tone-generating devices," etc.
by the word "set," in such phrases to limit myself to the particular number of parts,
(whether circuits, coils, rheotomes, rate-governors, etc.,) shown, for each octave, or
for the whole instrument, in the accompanying drawings; but by the word "set," in
such phrases, I mean a sufficient number to produce, with the other parts of the
apparatus, a practical musical effect in generating a tune electrically.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of "current-regulator expression-mechanism.". By current-
regulator expression-meclianismn, I mean mechanism serving to govern the expression
of a musical composition, or of a tune, by regulating an electrical current or currents.
I have shown in the drawings the form of current-regulator expression mechanism
which I consider best for an electrical music-generating instrument, adapted to control
its separate notes independently of each other; but other electrical devices, well
known to electricians, might as before said be substituted for that shown in the
drawings.
In several places in this specification, and particularly in various paragraphs of the
statement of claim, I speak in the same context of a vibration-emitting and a
vibration-receiving circuit, forming parts of the expression mechanism. I mean by
this language two circuits, one of which gives off vibrations inductively to the other;
and the circuit which gives off the vibrations is the vibration-emitting circuit, and
the circuit which receives vibrations inductively therefrom is the vibration-receiving
circuit.
In many places in the statement of claim at the end hereof, I speak, in various
forms of words, of in effect generating or producing simultaneously electrical

page_text: vibrations or electrical undulations, having frequencies corresponding to different
partials of the same composite tone; and in other places I speak, in effect, of
vibration-generating devices, or undulation-generating devices, or rheotomes, or
rotatory rate-governors, or circuits, or coils, or means, or devices-whatever the names
employed may be-serving simultaneously, or acting simultaneously, or operating
simultaneously, to produce vibrations or undulations having frequencies corresponding
to different partials of the same composite tone. By the word "simultaneously," as
thus used, I refer to practical or substantial simultaneousness, rather than to absolute
or mathematical simultaneousness; and in the sense in which I use said word,
"simultaneously," in the phrases above mentioned, and in other similar phrases,
undulations, vibrations, or partial tones, are produced simultaneously, when they are
produced so close together in point of time that they appear to the ear to be produced
simultaneously; and vibration-generating devices, undulation-generating devices,
rheotomes, rotatory rate-governors, circuits, coils, or other parts, act simultaneously
to produce vibrations, undulations or tones, or serve simultaneously to produce
vibrations, undulations or tones, having frequencies corresponding to different partials
of the same composite tone, when they produce their respective vibrations so close
together in point of time that they appear to the ear to be produced at the same
time.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of a "multiplicity" of parts; as, a multiplicity of circuits, a
multiplicity of electrical-vibration circuits, a multiplicity of electrical-undulation
circuits, a multiplicity of vibration-generating devices, a multiplicity of rheotomes, a
multiplicity of rotatory rate-governors, a multiplicity of coils, etc., etc. By the word
multiplicity," in such and all similar phrases I refer to a number of parts of the
kind mentioned, more than a bare plurality, (that is, more than two,) but I do not
limit or restrict myself by the word "multiplicity," I wish it to be understood, to a
large number of parts. A number of circuits, or of coils, or of vibration-generating
devices, or of rheotomes, or of rotatory rate-governors, etc., corresponding to the
notes of the diatonic scale through a single octave, would be a multiplicity, in the
sense in which I use the word in this specification. And even a smaller number of
parts, being more than a bare plurality and being sufficient, with the other parts of
the apparatus, to produce a practical musical effect, in generating a tune electrically,
would be a multiplicity in the sense in which I use that word in this specification.
In various places in this specification, and particularly in the statement of claim
at the end hereof, I speak of "different rotatory rate-governors having different angular
velocities," or of driving mechanism, "whereby different rate governors are given
different angular velocities." By such phrases and similar expressions, I wish it to be
distinctly understood, I do not limit myself to giving to every different rate-governor
a different angular velocity. An inspection of the drawings, indeed, will make this
point clear. 432 rate-governors are shown in the drawings, which are driven at
twelve different angular velocities, 36 rate-governors being driven at each of these
twelve speeds. By employing twelve different angular velocities, it is possible to
give all the notes of the chromatic scale in perfect equal temperament, and for
that reason it is advantageous to employ twelve different pitch-shafts, one for each
note of the chromatic scale, and each driven at its own proper velocity. But so
many as twelve different angular velocities are by no means indispensable; a much
smaller number may in fact be used. As compared with driving all the rate-governors
at the same angular volocity, a great gain is made by using even a few, as two, three
or four, different angular velocities. The essential point is to employ different angular
velocities so as to obtain by the combination of the different angular velocities with
the number of vibrations produced to a revolution by the different rate-governors,
the proper pitch or approximately the proper pitch for each note; instead of
attempting to produce the necessary differences in pitch wholly by the different
numbers of insulating and conducting sections given to the different rheotomes,
all revolved at the same angular velocity, as has been attempted heretofore in
sostenuto devices. For when one tries to obtain the different tones of the chromatic

page_text: scale, or indeed of any scale, through many octaves, from rotatory rate-governors
driven all at the same angular velocity, either the truth of the tuning must be
badly sacrificed, or the number of insulating and conducting sections employed
increased to an impracticable extent. But by using the two factors of (a) different
numbers of insulating and conducting sections in different rate-governors, and (b).
different angular velocities for different rate-governors, I readily obtain tones of
perfect pitch from rate-governors of moderate size.
And when I speak, in the statement of claim, of "different tone-purifying devices,
serving for the purifying of tones of different pitches," or of "different tone-
purifying devices, serving for the purifying of different partial tones," or use other
similar expressions, or expressions of similar import, I do not mean to restrict
or limit myself, I wish it to be understood, to a construction in which there is a
different tone-purifying device for every different tone; for, as has already been
made clear, that is not necessary. The main point is to purify each tone by a
device electrically adapted to purify such tone properly; and as tones differing widely
in pitch require different adjustments of the tone-purifying devices to produce the
proper effects of purification upon them, it becomes important to use different devices
for tones standing far apart in pitch; but tones lying close together in pitch can
be purified by the same device. On the other hand, when in the statement of claim,
I speak of "separate tone-purifying devices for the separate notes," I mean, as the
use of the article naturally indicates, a different tone-purifying device for each.
different note.
In various places in this specification I speak of a plurality of circuits, or of
a multiplicity of circuits, or of producing different vibrations or different undulations
in different circuits. In the sense in which I use the language in this specification,
and in the statement of claim at the end hereof, circuits are different which have a
common-return portion, or a common conducting portion, as well as those which have
no portion in common. Thus, to illustrate what I mean, the rheotome-interrupted
circuits, 81, 82, 83, 84, 85 and 8ª, serving for a note, (see, for example, Figure 13,) are
distinct and different circuits, although they have certain portions in common; and
the coils U, U³, U³, U', U³ and U, in Figure 20, constitute distinct and different
circuits, in the sense in which I use the language in this specification, although their
currents have a common-return path through the coil V, as much as the
circuits tu, t2, u², t³ u³, etc., which have no cominon return, nor any other part in
common. The chief benefits resulting from producing different tones in different
circuits, are (a) that it thus becomes possible to adjust the different circuits electrically
to the pitch of the tone or tones for which each serves; (b) much better facilities are
afforded for building up composite vibrations; and (c) with different circuits for different
tones, we can, by acting upon the different circuits separately, govern the tones
produced in each circuit independently, and thus produce any ensemble of tones
desired. These advantages belong for the most part, as well to the arrangement in
which the different circuits have a common-return or other conducting portion in
common as to one in which each circuit is entirely unconnected with the others.
In various places in this specification, I speak of "different" rate-governors having,
or being given different angular velocities; of "different" tone-purifying devices,
serving for different tones; of producing different tones in "different" circuits;
or in "different "coils; etc. By the adjective "different" applied to the rate-
governors, tone-purifying devices, circuits, coils, vibration-generating devices, and
other parts in the above-mentioned phrases and in other similar phrases, I mean to
refer to being distinct, to not being one and the same; and I do not mean
to necessarily or inevitably imply dissimilarity. Thus, in the drawings, the different
pitch-shafts which have, with their rotatory rate-governors, different angular velocities,
are preferably made to be exactly alike. They are only different, as illustrated in the
drawings, by reason of being distinct, separate, not the same; though, of course, they
might well be made dissimilar also. In like manner, the different circuits, in which
different tones are produced, may either be similar or dissimilar; (but to secure the
best effects, it is advantageous to give different amounts of self-induction and

page_text: resistance to circuits which serve for tones standing far apart in pitch ;) but the
difference which I refer to by the word "different" applied in the paragraphs of
claim to such circuits, is that difference which results from being distinct, from
not being identical. So with the different tone-purifying devices; these may be
similar or they may be dissimilar; but so long as they are distinct and not the same,
they are different in the sense in which I use the word.
66
A
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak of a "composite tone," and a "composite sound;" of a
66
component tone" and a component sound." By a composite tone, I mean a tone
consisting of different partials together constituting a single note. But "composite
sound" is a broader term and refers alike to (a) a composite tone, in the sense
above defined; (b) a chord or discord, composed of elemental or non-composite
notes; and (c) a chord or discord, formned in whole or in part of composite notes.
component tone, is one of the parts, constituents, components or ingredients of a
composite tone, and may be any portion of such composite tone less than the whole;
but it is always a portion only of the composite tone of which it forms a part; a
portion only, that is to say, (or something less than,) a single composite musical
note. A component sound, on the other hand, is one of the parts or components of a
composite sound, and may be either (a) a composite tone, not being a chord; or (b) a
chord or a discord, consisting either of composite or of non-composite notes; or (c) it
may be one of the partials of a tone merely, in which case it would be a component
tone as well as a component sound.
In various places in this specification, and particularly in the statement of claim
at the end hereof, I speak of producing different series of vibrations or undulations
in different circuits. The series of vibrations or undulations produced in different
circuits may be either simple or composite. In fact, the preferred device, illustrated
in the drawings, produces harsh complex vibrations in the circuits 81, 82, 83, etc.; it
produces simple, or approximately simple vibrations in the circuits t'u¹, t² u², t³ u³,
etc.; and it produces highly composite vibrations in other closed circuits, such as those
formed by the sets of coils U1, U2, U³, U4, U, U and V, or by the coils V₁, V1.
In various places in this specification, and particularly in the statement of claim
at the end hereof, I speak in effect of vibration-generators, or vibration-generating
devices, or inductional undulation-generators, or inductional undulation-generating
devices, or rotatory rate-governors, or rheotomes, or circuits, or coils, or other
similar parts, adapted to produce the notes of a musical scale, or serving, or acting,
or operating to produce the notes of a musical scale, or serving, or acting, or
operating to produce electrical vibrations, or undulations answering or corresponding
to the notes of a musical scale. By such and all similar expressions, I wish it to be
very clearly understood, I do not at all limit or restrict myself to a construction in
which there is a different vibration-generating device, or rheotomne, or rotatory rate-
governor, or circuit, or coil-whatever the thing named may be-for every different
note of the scale; for in fact, while it is very convenient to have a separate vibration-
generating device for every different note, that is not at all indispensible; for one
rheotomne, rotatory rate-governor or other vibration-generator, one circuit or one
coil, might in fact be made to serve, at least in the lower part of the compass, for
a plurality of notes. But where, on the other hand, I speak, as in many places I
do, in the statement of claim, of vibration-generating devices, or undulation-
generating devices, or rotatory rate-governors, or rheotomes, or circuits, or coils,
corresponding to the notes of a musical scale," or having vibration-frequencies,
corresponding to the notes of a musical scale," I mean to refer to a construction
or organization in which there is a different vibration-generating device, rheotome,
rotatory rate-governor, circuit, or coil, or whatever the thing named may be, for
each different note of said musical scale.
66
66
In various places in this specification, and particularly in the statement of claim
at the end hereof, I speak of a key, or of keys, or of note-controllers, or of note-
controlling devices, bringing vibration-generating devices, or undulation-generating
devices, or circuits, or coils, or rheotomes, or rate-governors, or other similar parts,

page_text: into action, or into operation upon the line, or upon the vibration-translating
apparatus. I wish it to be understood that when I thus speak of vibration-generating
devices, undulation-generating devices, circuits, coils, rheotomes, rate-governors or
other similar parts being brought into action, or into operation, upon the line, or
upon the vibration-translating apparatus or devices, I do not restrict, limit or confine
myself to a construction or arrangement in which the vibration-generating devices,
or the undulation-generating devices, the circuits, coils, rheotomes, rotatory rate-
governors, or other parts spoken of as being brought into action upon the line or
upon the vibration-translating apparatus or devices, are themselves directly acted
upon in order to bring them into action upon the line, or upon the vibration-
translating apparatus or devices. Thus, for example, in the drawings, (see
Figures 13 and 15,) the various parts belonging to a note-synthesizing device, (such
as the rheotomes p¹, p², p³, p³, p5 and 7", rheotome-interrupted circuits, 81, 82, 83, 84, 85
and 8, tone-purifying circuits, S1 T1, S2 T2, S3 T3, etc., and t¹ u1, 12 u², t³ ³, etc., with
the vibration-combining and vibration-emitting circuit, formed of the coils U', U2, U³,
U*, U, U and V, and the vibration-receiving circuit including coil V',) are brought into
action upon the line and the vibration-translating devices, in three different ways,
any one of which would be of itself sufficient for producing a practical musical effect,
although the three together make a more perfect, satisfactory and enduring
instrument. Thus, (a) the key r, by closing the circuits of the coils 81, 82, 83, etc.,
causes electrical pulsations to be produced in such coils, which in turn cause
electrical undulations to be produced in the other circuits, as S¹ T¹, S³ T², t¹ u¹, t² u²,
U¹ U2, V₁ and the line W; and if the key were omitted from the circuit of the
coil V, and said circuit normally closed, as obviously it might readily be, the action
of the key r, in closing the rheotome-interrupted circuits, 8', 82, 83, etc., would be
alone sufficient to bring all the various parts of a composite-tone-generating device
into action upon the line and the vibration-translating devices; (b) on the other
hand, we might retain the key r, in the circuit of the coil V', and omit said key
from the circuits 81, 82, 83, etc., leaving such last mentioned circuits normally closed;
in which case, the closing of the circuit of the coil V1, would be of itself alone
sufficient to bring the rheotome-interrupted circuits 81, 82, 83, etc., and all the other
parts of the tone-synthesizing device into action upon the line; or (c) the mechanical
action illustrated in Figure 15, brings the vibration-emitting coil V, (which we
may well suppose, for the purpose of the present case, to lie normally so far remote
from the vibration-receiving coil, V₁, that the influence of the one upon the other
is negligible,) into intimate inductive relation to the vibration-receiving coil V1; so
that if the rheotome-interrupted circuits, 81, 82, 83, etc., and the circuit of the coil V',
were made to be normally closed, as obviously they might be, the key-controlled
movement of the coil V with relation to the coil V', would be of itself sufficient
to bring the various parts of the note-synthesizing device into action or operation
upon the line and the vibration-translating devices. Practically, however, in such an
instrument as that illustrated in the drawings of the present case, it is very
advantageous to employ all of these three methods. (a) It is advantageous to have
the rheotome-interrupted circuits, 81, 82, 83, etc., normally open, closing them only
when their note is sounded; for thereby waste of current is avoided, and the
destructive action of the sparks upon the brushes corresponding to a note is avoided
at all times, except when such note is actually sounding. (b) It is also very
advantageous to keep the circuits of the coils V1, VI, VI, etc., corresponding to the
different notes, normally open, closing each only when its note is sounded; for
thereby waste and dissipation of the current sent to line, through the idle
coils, V, V, V₁, that is, the coils V, V, VI, whose notes are not sounding, forming
parallel or shunt circuits to the line, is avoided. And (c), it is advantageous to
vary the induction between the coils V and V₁, in order to govern the expression
thereby. But while the construction shown is that which I consider most
advantageous for a practical music-generating apparatus, assimilated to a piano-forte,
I wish it to be very clearly understood, that so far as the meaning of the terms
before mentioned is concerned, which refer to the bringing of the circuits, coils,

page_text: vibration-generating devices, rotatory rate-governors, rheotomes, etc., into action or
operation upon the line, or the vibration-translating apparatus, and all similar
expressions, I do not at all limit or restrict myself to the particular construction
shown in the drawings, for bringing such parts into action upon the line and
vibration-translating devices, for other constructions might be used instead of them.
In various places in this specification, and particularly in the statement of claim at
the end hereof, I speak, in effect, of a plurality of vibration-generating devices, or
undulation-generating devices, or rheotomes, or rotatory rate-governors, having vibra-
tion-frequencies corresponding to different partials of the same composite tone, serving,
or acting, or operating, simultaneously, to produce a composite tone, or a composite
note; or I speak of vibration-generating devices, rheotomes, rotatory rate-governors,
circuits or coils, serving, or acting or operating simultaneously to produce vibrations
having frequencies corresponding to different partials of the same composite tone, or
of the saine composite note. What I mean by the word "simultaneously," as thus
used, has already been made clear. And further I wish it to be understood that I do
not, by the terms above mentioned, and other similar expressions, limit or restrict
myself to a construction in which the different parts mentioned as serving, or acting
or operating simultaneously to produce electrical vibrations having frequencies cor-
responding to different partials of the same composite tone act always all of them
together, when any of them acts, but only to the parts corresponding to different
partials of the same composite tone, which act, as distinguished from those which
remain idle or inactive, acting simultaneously, to produce a composite tone, for that is
all that is necessary to the carrying out of my invention in this regard; and it would,
in fact, be possible to arrange the parts in such a manner that the sets of coils, cir-
cuits, rotatory rate-governors, rheotomes, or other vibration-generating devices, corres-
ponding to certain partials, would be at times entirely out of action, some of the
partials being used, and others being omitted.
In various places in the statement of claim, I speak of rheotomes, and in others of
rotatory rate-governors, and in still others of vibration-generators, or vibration-gene-
rating devices, or undulation-generating devices. By a rheotome, as has already been
made clear, I mean a device which serves to produce electrical vibrations by affecting
the resistance of a circuit periodically, throwing in and cutting out resistance alter-
nately. Rotatory rate-governor, is in one aspect a narrower term than rheotome,
for a rotatory rate-governor must have a rotatory movement, while a rheotome may
be either vibratory or rotatory, in which latter case it is, of course, one kind of
rotatory rate-governor; but in another sense rotatory rate-governor is a broader term
than rheotome, in that it refers as well to a rotatory body, acting to produce periodic
currents wholly by induction (such as the armature of an alternating-current dynamo,
or the special form of such device illustrated in Figures 23 to 29), as to one which
produces its vibratory currents in the first instance by current-interrupting.
tion-generating device is a still broader term; it is, indeed, nomen generalissimum,
referring alike to rheotomes both rotatory and vibratory, and to rotatory rate-gover-
nors, whether of the current-interrupting or of the induction-generating sort, and to
all other devices acting to produce electrical vibrations periodically.
generating device, is likewise a broad term, referring alike to the various sorts of
devices, whether vibratory or rotatory, which operate to produce electrical undulations
periodically.
Vibra-
Undulation-
In various places in this specification, I speak of "a plurality of circuits, corresponding
todifferent partials of the same composite tone," and of "a plurality of circuits, correspond-
ing respectively to different partials of the same composite tone," and of " "a plurality
of coils, corresponding respectively to different partials of the same composite tone;"
and of producing (or producing by induction), in different circuits (or in different
closed circuits), electrical vibrations or electrical undulations corresponding to different
partials, or to different partial tones, or to different partials of the same composite
tone. By the above expressions and all similar expressions, I wish it to be under-
stood, I do not limit myself to employing a different circuit or a different coil, for
each different partial tone; for a plurality of circuits or of coils may be used, serving

page_text: each for a different partial or for different partials; and a plurality of partials may be
produced in each of one or more of the circuits (or of the coils) which serve for dif-
ferent partials, as illustrated, for example, in Figure 22; in which, of the three
different circuits S' T¹, S T2 and S' T4, which serve for different partial tones, the
circuit ST serves for the first-partial vibration-generator only, while the circuit
S2 T, serves for the second and third partials and the circuit ST serves for the
fourth, fifth and sixth partials. The three circuits, however, it will be observed,
serve for and correspond to different partials, and different partials are produced
in the different circuits.
"
In various places in this specification, I speak of "a plurality of circuits, corres-
ponding to different partials of the same composite tone," and of "a plurality of
circuits, corresponding respectively to different partials of the same composite tone,
and of "a plurality of coils, corresponding respectively to different partials of the
same composite tone;" and of producing (or producing by induction), in different
circuits (or in different closed circuits), or in different coils, electrical vibrations or
electrical undulations corresponding (or corresponding in frequency or in periodicity)
to different partials, or to different partial tones, or to different partials of the same
composite tone. By the above expressions and all similar expressions, I wish it to be
understood, I do not limit myself to employing a different circuit or a different coil
for each different partial tone; for a plurality of circuits or of coils may be used,
serving each for a different partial or for different partials; and a plurality of partials
may be produced in each one of the circuits, or in each of the coils, or in each of a
plurality of the circuits or the coils which serve for different partials, as illustrated, for
example, in Figure 22; in which, of the three different circuits S¹ T¹, S² T² and S+T+,
which serve for different partial tones, the circuit S¹ T' serves for the first partial
vibration-generator only, while the circuit S2 T2, serves for the second and third
partials, and the circuit S* T*, serves for the fourth, fifth and sixth partials. The three
circuits, however, it will be observed, serve for and correspond to different partials,
and different partials are produced in the different circuits.
$5
By a "composite tone," as the term is used in this specification, and in the state-
ment of claim at the end hereof, I mean a sound consisting of a plurality of partials,
together constituting what musicians consider and designate as a note, in con-
tradistinction to a chord. A note is a simple note, when its vibrations constitute a
single sinusoidal series: it is a composite tone, or a composite note, when its vibra-
tions consist, in effect, of a plurality of sinusoidal series, bearing certain simple
mathematical relations to each other. By a partial, or a partial tone, or a tone-
partial all which forms of expressions are used synonomously in this specification-I
understand to be meant, in strictness, a pure tone, (a tone, that is, corresponding to a
single series of sinusoidal vibrations), forming one of the constituents or elements of
a composite tone-a tone element, in short not capable of being reduced into simpler
constituents. The terms "component tone," and "tone-component " or component
of a tone," on the other hand, (all which I use synonomously), and other similar expres-
sions, in this specification, and particularly in the statement of claim at the end
bereof, I use in a broader and looser sense as signifying any portion of a composite
tone less than the whole. Thus, a component of a composite tone may be either a
single partial, such as is produced in the circuit t'u', Figure 22; or it may consist
of two partials produced together, as, for example, in the circuit t2 u², Figure 22, in
which it will be remembered, both the second and third partials are produced
together; or it may consist of a greater number of partials produced in the same cir-
cuit, as, for example, in the circuit tu, Figure 22, in which, it will be remembered,
the fourth, fifth and sixth partials are all produced together. A component of a com-
posite tone, in short, may be anything less than the whole composite tone; it may be
either a single partial or a plurality of partials.
I use the terms "note-controller" and "note-controlling device," in this specification
and in the statement of claim at the end hereof synonomously. The arrangement of
note-controlling devices illustrated, consisting of the keys, rr, with the circuit-
controlling devices connected with them, is a convenient one, and is as good as any

page_text: that I am aware of; but it is only one out of several forms of note-controlling devices
that may be used; and I wish it to be very distinctly understood that I do not at all
limit myself to the particular form of note-controlling devices illustrated in the drawings;
for they may be modified within wide limits, and other forms of note-controlling device
may be substituted for them.
In several of the paragraphs of claim at the end hereof, I speak, in effect, of
66 common receiver vibration-translating devices, supplied with electrical vibrations
by the line." In the sense in which I use the words above-quoted, and other
similar expressions, a common-receiver vibration-translating device is "supplied with
electrical vibrations by the line" either (a) when the currents that flow or vibrate
through the line flow in whole or in part through the common-receiver, the common-
receiver being in the line circuit, or in derivation thereto; or (b) when vibrations
are communicated inductively from the line to the common-receiver in any suitable
manner, as, for example, in the modification before referred to, in which the trans-
former is interposed between the line and the vibration-translating devices,
the primaries of the transformer being, for example, inserted in the line circuit or in
derivation to the line circuit, the secondaries of said transformer serving to feed
vibrations to the vibration-translating devices.
As before explained, I mean by a "common-receiver" or a "common-receiver vibra-
tion-translating device," a vibration-translating device capable of translating tones of
different pitches, as distinguished from a tuned or monotone receiver capable of
translating only that tone to which it is tuned. But when I speak in the paragraphs
of claim at the end hereof of "one or more common-receiver vibration-translating
devices," combined with certain other elements, I do not limit myself, I wish it to be
very distinctly understood, to using a single common-receiver at each receiving point
or station; for, as before pointed out, a plurality of common receivers may be used
with advantage at a single receiving point; nor do I limit myself to the feature of
translating with a single common-receiver, or with each common-receiver, all the
tones given off by an electrical music-generating instrument; for, obviously, that is
not necessary. The principal advantages resulting from using common-receivers as
compared with tuned or monotone-receivers are (a) a smaller number of receivers is
required, when common-receivers are used; (b) all difficulties resulting from synchroni-
zing the receiving devices with the vibration-generating devices are avoided; (c) the
common-receivers are cheaper to construct and easier to adjust and keep in repair;
and (d) the common-receivers reproduce more or less perfectly the timbre of the
electrical vibrations furnished to them; in other words, when the electrical vibrations
are translated into audible aerial vibrations by means of common-receivers such aerial
vibrations are of similar wave-form to the electrical vibrations producing them. All
these advantages, in substance, result as well from using a plurality of common-
receivers to translate the tones of an electrical music-generating instrument as from
using one single common-receiver. I do not, therefore, it will be understood, as
beforesaid, limit myself either (a) to the use of a single common-receiver at each
receiving point ; or (b) to the translating of all the tones of an electrical
music-generating instrument with a single common-receiver or with each common-
receiver.
In many of the paragraphs of claim at the end hereof, I speak of producing electri-
cal vibrations, or electrical undulations, by induction in a circuit or in a plurality of
circuits, or in a line. I wish it to be understood that by this language, I refer as well
(a) to the process of generating vibrations inductively by first interrupting the flow
of currents in a circuit of circuits, the vibrations in which act inductively to produce
vibrations in another circuit or circuits, being the method belonging to the
preferred form of apparatus, illustrated in Figures 13 and 14; and (b) to the
process of generating the vibrations by induction in the first instance, being the
method belonging to the form of apparatus illustrated in Figures 23 to 29,
inclusive.
My invention embraces different parts, devices and combinations, sub-devices and
sub-combinations, processes and sub-processes, some or all of which may be used in a

page_text: music-generating system other than or different from that herein described. I
desire full protection for every part of my invention, as well as for the sub-
combinations, sub-divices and sub-processes that are new in an electrical music-
generating system, belonging to it, as for the more complete combinations, devices
and processes; and I wish it to be distinctly understood that I have no
desire or intention to dedicate or abandon any part of my invention to the
public.
Having now particularly described and ascertained the nature of my said inven-
tion, and in what manner the same is to be performed, I declare that what I
claim is:-
1. In an electrical music-generating system, an organisation for producing the
notes of a musical scale electrically, including a multiplicity of rotatory rate-
governors, and means whereby different rate-governors are given different angular
velocities.
2. In an electrical music-generating system, an organization for producing the
notes of a musical scale electrically, including a plurality of rotatory rate-governors,
a shaft driving said rate-governors, and connections between said driving shaft and
said rate-governors, whereby different rate-governors are given different angular
velocities.
3. In an electrical music-generating system, an organization for producing the
notes of a musical scale electrically, including a multiplicity of rotatory rate-
governors, different rate-governors being formed so that they produce or cause the
production of different numbers of vibrations to a rotation; and driving mechanism
for said rate-governors, whereby different rate-governors are given different angular
velocities.
4. In an electrical music-generating system and in combination, a plurality of
rotatory rate-governors, rotating at different angular velocities and serving for different
notes.
5. In an electrical music-generating system, and in combination, a multiplicity
of rotatory rate-governors, and a plurality of shafts, each giving motion to a
plurality of the rate-governors aforesaid, having vibration-frequencies corresponding
to different powers of two, different shafts serving to produce different notes.
6. In an electrical music-generating system and in combination, twelve shafts,
corresponding to the twelve notes of the chromatic scale; rotatory rate-governors
moved by said shafts; and driving mechanism, whereby the different shafts aforesaid
are given different angular velocities.
7. In an electrical music-generating system, and in combination, a multiplicity of
rotatory rate-governors; twelve shafts, corresponding to the twelve notes of the chro-
matic scale, said shafts serving each to impel a plurality of rotatory rate-governors,
having vibration-frequencies standing to each other as different powers of two, and
serving to give different octaves of the note to which the shaft impelling them
corresponds; and suitable driving mechanism, whereby the shafts before mentioned
are impelled.
8. In an electrical music-generating apparatus, and in combination, a shaft
and a plurality of groups of rate-governors impelled by said shaft, the different
groups of rate-governors carried by the shaft serving to produce different octaves
of a note, and the rate-governors in a group serving to produce different partials of
a note.
9. In an electrical music-generating system, an organization for producing the notes
of a musical scale with composite tones electrically, including a plurality of shafts each
giving motion to a plurality of groups of rotatory rate-governors; different groups of
such rate-governors carried by a shaft corresponding to different octaves of the same
note and different rate-governors in a group serving to produce different partials of
the note which such group produces; and suitable driving mechanism, whereby the.
shafts before-mentioned are impelled, and whereby different shafts are given different
angular velocities.

page_text: 10. In an electrical music-generating system, and in combination, (a) one or more
common-receiver vibration-translating devices; (b) vibration-generating devices,
serving to produce the requisite electrical vibrations, and including a multiplicity of
rotatory rate-governers; and (c) note-controllers, operating to bring the vibration-
generating devices into action upon the vibration-translating apparatus.
11. In an electrical music-generating system, and in combination, (a) one or more
common-receiver vibration-translating devices; (b) vibration-generating devices,
serving to produce the requisite electrical vibrations, and including a multiplicity of
rotatory rate-governors; (c) driving mechanism, whereby different rate-governors
are given different angular velocities; and (d) note-controllers, operating to bring
the different vibration-generating devices into action, as required, upon the common-
receiver vibration-translating devices.
12. In an electrical music-generating system, and in combination, (a) one or more
common-receiver vibration-translating devices; (b) vibration-generating devices,
serving to produce the requisite electrical vibrations, and including a multiplicity of
rotatory rate-governors; (c) driving mechanism, whereby different rate-governors
are given different angular velocities; and (d) a key-board of pitch-keys, controlling
the action of the vibration-generating devices upon the vibration-translating
apparatus.
13. In an electrical music-generating system, and in combination, (a) one or more
common-receiver vibration-translating devices; (b) vibration-generating devices,
serving to produce the requisite electrical-vibrations, and including a multiplicity of
rotatory rate-governors; (c) driving mechanism, whereby different rate-governors
are given different angular velocities; and (d) note-controllers, operating to bring the
vibration-generating devices into action upon the vibration-translating apparatus.
14. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
electrical vibrations corresponding to the notes of a musical scale through one or
more octaves and including (a) a multiplicity of coils, and (b) a multiplicity of
rotatory rate-governors, serving to cause electrical vibrations to be produced in said
coils inductively; and a key-board of pitch-keys, operating to bring the different
vibration-generating devices into action, as required, upon the vibration-translating
apparatus.
15. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
electrical vibrations corresponding to the notes of a musical scale through one or
more octaves, and including (a) a multiplicity of coils, and (b) a multiplicity of
rotatory rate-governors, serving to cause electrical vibrations to be produced in said
coils inductively; and suitable note-controllers, operating to bring the vibration-
generating devices into action, as required, upon the vibration-translating
apparatus.
16. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
electrical vibrations, corresponding to the notes of a musical scale through one or
more octaves, and including (a) a multiplicity of coils, (b) a multiplicity of rotatory
rate-governors, serving to cause electrical vibrations to be produced in said coils
inductively, and (c) driving mechanism for said rate-governors, whereby different
rate-governors are given different angular velocities; and suitable note-controllers,
operating to bring the vibration-generating devices into action, as required, upon the
vibration-translating apparatus.
17. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
electrical vibrations corresponding to the notes of a musical scale through one or more
octaves, and including (a) a multiplicity of coils, (b) a multiplicity of rotatory rate-
governors, serving to cause electrical vibrations to be produced in said coils
inductively, and (c) driving mechanism for said rate-governors, whereby different
rate-governors are given different angular velocities; and a key-board of pitch-keys,

page_text: controlling the action of the vibration-generating devices upon the vibration-
translating apparatus.
more
18. In an electrical music-generating system, and in combination, a line; one or
common-receiver vibration-translating devices, supplied with "electrical
vibrations by said line; and an apparatus serving to produce music in said line
electrically, said apparatus including (a) an organization of rotatory rate-governors,
adapted to produce the notes of a musical scale through one or more octaves, and (b)
note-controllers, whereby the different rate-governors are made to act upon the line,
to produce their respective notes therein electrically, as required.
19. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration-translating devices, supplied with electrical
vibrations by said line; and an apparatus serving to produce music in said line
electrically, said apparatus including (a) an organization of rotatory rate-governors;
(b) driving mechanism for said rotatory rate-governors, whereby different rate-
governors are given different angular velocities; and (c) note controllers, whereby
the different notes are thrown upon the line, as required.
20. An electrical music-distributing system, having a plurality of common-receiver
vibration-translating devices, disposed in different places, in combination with an
electrical music-generating apparatus, serving to supply music electrically to the
various common-receiver vibration-translating devices aforesaid, said electrical
music-generating apparatus including (a) an organization of rotatory rate-governors,
adapted to produce the notes of a musical scale; and (b) suitable note-controllers,
whereby the different rate-governors are made to act upon the vibration-translating
apparatus aforesaid, as required.
21. An electrical music-distributing system, having a plurality of common-receiver
vibration-translating devices, disposed in different places, in combination with an
electrical music-generating apparatus, serving to supply music electrically to the various
common-receiver vibration-translating devices aforesaid, said electrical music-generating
apparatus including (a) an organization of rotatory rate-governors, adapted to produce
the notes of a musical scale by induction, (b) one or more closed circuits, in which
such musical notes are thus produced by induction, and (c) suitable note-controllers,
whereby the different rate-governors are made to act upon the vibration translating
apparatus aforesaid, as required.
22. An electrical music-distributing system, having a plurality of common-receiver
vibration-translating devices disposed in different places, in combination with an
electrical music-generating apparatus, serving to supply music electrically to the
various common-receiver vibration-translating devices aforesaid, said electrical music-
generating apparatus including (a) an organization of rotatory rate-governors
adapted to produce the notes of a musical scale, (b) driving mechanism, whereby
different rate-governors are given different angular velocities; and (c) suitable
note-controllers, whereby the different notes are sounded in the vibration-translating
devices, each as required.
23. In an electrical music-generating system, one or more common-receiver
vibration-translating devices in combination with an apparatus adapted to generate
electrical vibrations answering to the notes of a musical scale, and including (a) a
multiplicity of electrical-undulation circuits; (b) inductional undulation-generating
devices, whereby musical electrical undulations, of frequences corresponding to
different notes, are produced inductively in the different electrical-undulation circuits
before mentioned; and suitable note-controllers, whereby the different notes are
sounded in the coinmon-receivers, each as required.
24. In an electrical music-generating system, suitable vibration-translating
apparatus, operating to translate electrical vibrations into audible vibrations, in
combination with an apparatus adapted to generate electrical vibrations answering
to the notes of a musical scale, and including (a) a multiplicity of electrical-
undulation circuits, and (b) inductional undulation-generating devices, whereby
musical electrical undulations, of frequencies corresponding to different notes are
produced inductively in the different electrical-undulation circuits before mentioned

page_text: and a key-board of pitch keys, whereby the different notes are sounded in the
vibration-translating apparatus, each as required.
25. In an electrical music-generating system, suitable vibration-translating
apparatus, operating to translate electrical vibrations into audible aerial vibrations, in
combination with an apparatus adapted to generate electrical vibrations answering to
the notes of a musical scale, and including (a) a multiplicity of electrical-undulation
circuits; (b) inductional undulation-generating devices, whereby musical electrical
undulations, of frequencies corresponding to different tones, are produced inductively
in the various electrical-undulation circuits before mentioned, when said circuits are
closed; and (c) keys serving to close the electrical-undulation circuits before
mentioned, and adapted to afford facility to the performer to sound, by their
manipulation, the notes of a musical composition, each as required, in the vibration-
translating apparatus.
26. An electrical music-distributing system, including a plurality of common-
receiver vibration-translating devices, disposed in different places, in combination
with an electrical-music undulation-generating apparatus, adapted to generate
electrical undulations, corresponding to the notes of a musical composition, and
operating to supply such undulations to the common-receiver vibration-translating
devices, disposed at different places, as before mentioned; said electrical-music
undulation-generating apparatus including (a) a plurality of electrical-undulation
circuits; (b) inductional undulation-generating devices, serving to produce electrical
undulations, of frequencies corresponding to different notes, in the different electrical-
undulation-circuits before mentioned inductively; and (c) note-controllers, operating
to bring the various electrical undulation-generating devices before mentioned into
action, each as required, upon the common-receiver vibration-translating devices,
and adapted to afford facility for the production of a tune, by their manipulation.
27. An electrical music-distributing system, including a plurality of common-
receiver vibration-translating devices, disposed in different places, in combination with
an electrical-music undulation-generating apparatus, adapted to generate electrical
undulations corresponding to the notes of a musical composition, and serving to
supply such undulations to the various common-receiver vibration-translating
devices before mentioned, such apparatus including (a) a multiplicity of coils;
(b) inductional undulation-generating devices, whereby electrical undulation of
frequencies corresponding to different notes, are produced in the different coils before
mentioned inductively; and (c) note-controllers, serving to bring said coils into
action, each as required, upon the common-receiver vibration-translating devices,
and adapted to afford facility for the production of a tune by their manipulation.
28. In an electrical music-generating system, and in combination, (A) one or more
common-receiver vibration-translating devices; (B) an apparatus serving to generate
the requisite electrical vibrations, said apparatus including (a) a multiplicity of coils,
and (6) a set of inductional undulation-generating devices, having vibration-
frequencies corresponding to the notes of a musical scale through one or more octaves,
serving to cause vibrations of different periodicities inductively in the different coils
aforesaid; and (C) note-controllers, whereby the different undulation-generating
devices are made to sound their respective notes, each as required, in the vibration-
translating apparatus.
29: In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of circuits, corresponding
to notes of a musical scale through one or more octaves and inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the different circuits before-mentioned.
30. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of circuits, corresponding
to the notes of a musical scale, through one or more octaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies, are
produced in the different circuits before-mentioned; and suitable note-controllers,

page_text: whereby the different notes are caused to sound in the vibration-translating apparatus
as required.
31. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of circuits corresponding
to the notes of a musical scale through one or more ostaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the different circuits before-mentioned; and an undulation-receiving
circuit, to which electrical undulations are transferred by induction from each of the
circuits aforesaid.
32. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of circuits corresponding
to the notes of a musical scale through one or more octaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the different circuits before-mentioned; an undulation-receiving circuit,
to which electrical undulations are transferred by induction from each of the circuits
aforesaid; and suitable note-controllers, whereby the different notes are caused to
sound in the vibration-translating apparatus, as required.
33. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of coils corresponding to
the notes of a musical scale through one or more octaves; and inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies, are
produced in the coils before-mentioned.
34. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of coils corresponding
to the notes of a musical scale through one or more octaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the coils before-mentioned; and suitable note-controllers, whereby the
different notes are caused to sound in the vibration-translating apparatus, as
required.
35. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of coils corresponding
to the notes of a musical scale, through one or more octaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the various coils before-mentioned; and an undulation-receiving circuit,
to which undulations are transferred by induction from each of the coils aforesaid.
36. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a set of coils corresponding to
the notes of a musical scale through one or inore octaves; inductional undulation-
generating devices, whereby electrical undulations of the requisite frequencies are
produced in the various coils before mentioned; an undulation-receiving circuit, to
which undulations are transferred by inducting from each of the coils aforesaid; and
suitable note-controllers, whereby the different notes are caused to sound in the
vibration-translating apparatus, as required.
37. In an electrical music-generating system, and in combination, a multiplicity of
current-undulation circuits and inductional undulation-generating devices, whereby
electrical undulations of different frequencies are produced in such circuits, as
required; the different current-undulation circuits before mentioned serving for tones
of different pitches; the current-undulation circuits serving for low tones having
relatively large amounts of self-induction; the current-undulation circuits serving
for tones of medium pitch having less amounts of self-induction; the current-
undulation circuits serving for tones of high pitch having relatively small amounts of
self-induction; such varying amounts of self-induction being in the result given to
the different current-undulation circuits before mentioned, that each tends strongly
to suppress the higher overtones and harsher components of the electrical tone
or tones for which it serves, without injuriously weakening the ground-tone or
ground-tones thereof.
38. In an electrical music-generating system, an organization serving to produce

page_text: electrical undulations corresponding to the notes of a musical scale and including a
multiplicity of current-undulation circuits, serving for tones of different pitches; the
current-undulation circuits serving for low tones having relatively large amounts of
self-induction; the current-undulation circuits serving for tones of medium pitch
having less amounts of self-induction; the current-undulation circuits serving for
tones of high pitch having relatively small amounts of self-induction; such varying
amounts of self-induction being given to the different current-undulation circuits
that in general each circuit tends strongly to suppress the higher overtones and
harsher components of the electrical tone or tones for which it serves, without
injuriously weakening the ground-tone or ground-tones thereof; and inductional
undulation-generating mechanism, serving to produce the requisite electrical
undulations in the various circuits before mentioned, such undulation-generating
mechanism inclu ling an organization of rotary rate-governors, with suitable driving
mechanism therefor.
39. In an electrical music-generating system, an organization serving to produce
electrical undulations, corresponding to the notes of a musical scale and including
a multiplicity of current-undulation circuits, serving for tones of different pitches;
the current-undulation circuits serving for low tones, having relatively large amounts
of self-induction; the current-undulation circuits serving for notes of medium pitch
having less amounts of self-induction; the current-undulation circuits serving for tones
of high pitch having relatively large amounts of self-induction; such varying amounts
of self-induction being given to the different current-undulation circuits that, in general,
each circuit tends strongly to suppress the higher overtones and harsher components
of the electrical tone or tones for which it serves, without injuriously weakening the
ground-tone or ground-tones thereof; and inductional undulation-generating
mechanism, serving to produce the requisite electrical undulations in the various
circuits before mentioned, such undulation-generating mechanism including (a) a
multiplicity of rheotomes, having vibration-frequencies corresponding to the notes of
a musical scale, and (b) primary circuits affected by said rheotomes and serving to
cause the production of electrical undulations inductively in the circuits first in this
paragraph mentioned.
40. In an electrical music-generating system, and in combination, a set of current-
undulation circuits, corresponding with the notes of a musical scale through one or
more octaves; inductional vibration-generating devices, whereby current-
undulations of the requisite frequencies are caused in the different current-undulation
circuits, as required; different amounts of self-induction being given to different
current-undulation circuits; the current-undulation circuits serving for low notes
having relatively large amounts of self-induction; the current-undulation circuits
serving for notes of medium pitch having less amounts of self-induction; the
current-undulation circuits serving for notes of high pitch having relatively small
amounts of self-induction; such varying amounts of self-induction being in the
result given to the different current-undulation circuits that in general each tends
strongly to suppress the higher overtones and harsher components of the note for
which it stands, without injuriously weakening the ground tone thereof.
41. In an electrical music-generating system, and in combination, suitable
vibration-translating apparatus, and an apparatus for generating the requisite
electrical vibrations, including a multiplicity of electrical undulation circuits; and
inductional undulation-generating devices, whereby current-undulations of the
requisite frequencies are generated inductively in the various electrical-undulation
circuits before mentioned; the different current-undulation circuits before mentioned
serving for tones of different pitches; the current-undulation-circuits serving for low
tones having relatively large amounts of self-induction; the current-undulation-
circuits serving for notes of medium pitch having less amounts of self-induction;
the current-undulation circuits serving for tones of high pitch having relatively
small amounts of self-induction; such varying amounts of self-induction being in the
result given to the different current-undulation circuits before mentioned that in
general each tends strongly to suppress the higher overtones and harsher

page_text: components of the electrical tone or tones for which it serves, without injuriously
weakening the ground-tone or ground-tones thereof; and a key-board of pitch-keys,
controlling the action of the vibration-generating apparatus upon the vibration-
translating apparatus.
42. In an electrical music-generating apparatus, and in combination therein with
one or more common-receiver vibratio.-translating devices, a multiplicity of rheotomes
having vibration-frequencies corresponding with the notes of a musical scale through
one or more octaves; and a plurality of inductoriums, some serving for notes of high
pitch and others serving for notes of low pitch, each inductorium having at least one
rheotome-controlled primary circuit; and suitable note-controllers, whereby
the different notes are sounded in the vibration-translating apparatus, as required.
43. In an electrical music-generating apparatus, and in combination therein with
one or more common-receiver vibration-translating devices, a multiplicity of rheotomes
having vibration frequencies corresponding with the notes of a musical scale
through one or more octaves; a plurality of inductoriums, some serving for notes of
high pitch and others serving for notes of low pitch, each inductorium having at least
one rheotome-controlled primary circuit; a key-board of pitch-keys, and circuit
controlling devices operated thereby, whereby the different notes are sounded in
the vibration-translating apparatus, as required.
44. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to
generate electrical vibrations, corresponding to the notes of a musical composition,
said apparatus including (a) a plurality of inductoriums, some serving for low notes,
some serving for high notes, and some for notes of medium pitch; (b) vibration-
generating devices, having vibration-frequencies corresponding to the notes of a
musical scale, serving to produce vibrations in the primaries of the inductoriums
before mentioned; and (c) note-controllers, whereby the various vibration-generating
devices are made to sound their respective notes, each as required in the vibration-
translating apparatus.
45. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to
generate electrical vibrations corresponding to the notes of a musical composition,
said apparatus including (a) a set of inductoriums, corresponding to the notes of a
musical scale through one or more octaves; (b) a set of vibration-generating devices,
having vibration-frequencies corresponding to the notes of a musical scale, serving to
produce vibrations in the primaries of the different inductoriums before mentioned;
and (c) note-controllers, whereby the various vibration-generating devices aforesaid
are made to sound their respective notes, each as required, in the vibration-translating
apparatus.
46. In an electrical music-generating system, and in combination therein with one
or more common receiver vibration-translating devices, an apparatus for generating
musical electrical undulations, including a multiplicity of inductoriums; means
whereby electrical vibrations of frequencies corresponding to different notes are
produced in the primaries of different inductoriums; and a key-board of pitch-keys,
operating to close secondary circuits of the aforesaid inductoriums.
47. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus for generating
the requisite electrical undulations, including (a) a rheotome; (b) a rheotome-inter-
rupted circuit; and (c) a circuit in which current-undulations are produced inductively
as a consequence of the current-vibrations in the rheotome-interrupted circuit; and a
single key, serving to close both of the circuits before-mentioned.
48. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to pro-
duce electrical vibrations corresponding to the notes of a musical composition, and
including (a) a multiplicity of circuits, arranged for purposes of induction in groups;
(b) vibration-generating devices, whereby electrical vibrations of the requisite
frequencies are produced in the different circuits before-mentioned; and (c) vibration_

page_text: receiving circuits, corresponding each to one of the groups of circuits first in this
paragraph mentioned; vibrations being transferred inductively from the circuits of
each group to the vibration-receiving circuit peculiar to each group.
or
49. In an electrical music-generating system, and in combination therein with one
more common-receiver vibration-translating devices, an apparatus serving to
produce electrical vibrations corresponding to the notes of a musical composition and
including (a) a multiplicity of circuits, arranged for purposes of induction in groups;
(b) vibration-generating devices, whereby electrical vibrations of the requisite
frequencies are produced in the different circuits before-mentioned; and (c) vibration-
receiving circuits, corresponding each to one of the groups of circuits first in this
paragraph mentioned, vibrations being transferred inductively from the circuits of
each group to the vibration-receiving circuit peculiar to such group; and suitable
note-controllers, whereby the various notes are sounded as required, in the vibration-
translating apparatus.
50. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to
produce electrical vibrations corresponding to the notes of a musical composition, and
including (a) a multiplicity of circuits, arranged for purposes of induction in groups;
(b) vibration-generating devices, whereby electrical vibrations of the requisite
frequencies are produced in the different circuits before mentioned; (c) vibration-
receiving circuits, corresponding each to one of the groups of circuits first in this
paragraph mentioned; vibrations being transferred inductively from the circuits of
each group to the vibration-receiving circuit peculiar to such group; and (d) another
vibration-receiving circuit, to which electrical vibrations are transferred by induction
from the vibration-receiving circuits first in this paragraph, mentioned.
51. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to
produce electrical vibrations corresponding to the notes of a musical composition, and
including (a) a multiplicity of circuits, arranged for purposes of induction in groups;
(b) vibration-generating devices, whereby the electrical vibrations of the requisite
frequencies are produced in the different circuits before-mentioned; (c) vibration
receiving circuits, corresponding each to one of the groups of circuits first in this
paragraph mentioned, vibrations being transferred inductively from the circuits of
each group to the vibration-receiving circuit peculiar to such group; (d) another
vibration-receiving circuit, to which electrical vibrations are transferred by induction
from the vibration-receiving circuits first in this paragraph mentioned; and suitable
note-controllers, whereby the various notes are sounded, as required, in the vibration-
translating apparatus.
52. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, an apparatus serving to
produce electrical vibrations corresponding to the notes of a musical composition and
including a plurality of circuits, having all a common conductor through which
vibrations generated in any one of said circuits vibrate; inductional undulation-
generating devices, operating to produce musical electrical undulations, by induction,
in said circuits; and suitable note-controllers, whereby the different notes are sounded,
as required.
53. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a plurality of devices each
including (a) a circuit, and (b) a plurality of vibration-generating devices, of different
frequencies, serving to produce undulations by induction in the circuit before-
mentioned; the circuits belonging to the devices before-mentioned, and in which
undulations are produced inductively, as before mentioned, having all a common
conductor, through which undulations generated in any of said circuits undulate;
and suitable note-controllers, whereby the different notes are sounded, as required.
54. In an electrical music-generating system, and in combination, a plurality of
common-receiver vibration-translating devices; a common-supply circuit, from or by
which electrical vibrations are supplied to a common-receiver vibration-translating
.

page_text: devices; a plurality of feeding-coils, forming parallel branches to the common-supply.
circuit, and serving to supply different tones thereto; inductional undulation-
generating devices, whereby the requisite electrical undulations are produced in the
feeding-coils before mentioned, when their circuits are closed; and suitable circuit-
controlling devices, whereby the branch-circuits of the various feeding-coils before
mentioned are closed at will.
55. In an electrical music-generating system, and in combination, a plurality of
common-receiver vibration-translating devices; a common-supply circuit, from which.
or by which electrical undulations are supplied to the common-receiver vibration-
translating devices; and a plurality of feeding-coils, forming parallel branches to the
common-supply circuit, and serving to supply different tones thereto; inductional
undulation-generating devices, whereby the requisite electrical undulations are
produced in the feeding-coils before mentioned, when their circuits are closed; and a
key-board of pitch-keys, controlling the branch-circuits of the feeding-coils before
men ioned.
56. In an electrical music-generating system, one or inore common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
the requisite electrical vibrations, said apparatus including (a) vibration-generating.
devices, adapted to produce the notes of a musical scale electrically; (b) suitable tone-
purifying devices, operating to purify the tones produced; and (c) note-controllers,
whereby the different notes are sounded in the vibration-translating apparatus, each
as required.
or
57. In an electrical music-generating system, one more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate.
the requisite electrical vibrations, said apparatus including (a) vibration-generating
devices, adapted to produce the notes of a musical scale electrically; (b) a plurality of.
tone-purifying devices, different tone-purifying devices serving for the purifying of
tones of different pitches; and (c) note-controllers, whereby the different notes are
sounded in the vibration-translating apparatus, each as required.
58. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
the requisite electrical vibrations, said apparatus including (a) vibration-generating
devices, adapted to produce the notes of a musical scale electrically; (b) separate tone-
purifying devices for the separate notes; and (c) note-controllers whereby the different
notes are sounded in the vibration-translating apparatus, each as required.
59. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
the requisite electrical vibrations, said apparatus including (a) vibration-generating
devices adapted to produce the notes of a musical scale electrically; (b) tone-purifying
devices, operating to pnrify the electrical tones by successive inductive transfers;
and (c) note-controllers, whereby the different notes are sounded in the vibration-
translating apparatus, each as required.
60. In an electrical music-generating system, one or more common-receiver vibration-
translating devices, in combination with an apparatus serving to generate electrical
vibrations, said apparatus including (a) vibration-generating devices, adapted to
produce the notes of a musical scale electrically; (b) suitable tone-purifying devices,
operating to purify the tones produced; and (c) a key-board of pitch-keys, whereby
the different notes are sounded, as required, in the vibration-translating.
apparatus.
61. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with an apparatus serving to generate
the requisite electrical vibrations; said apparatus including (a) an organization of
rotatory rate-governors, adapted to produce electrical vibrations corresponding to the
notes of a musical scale; (b) suitable tone-purifying devices; and (c) note-controllers,
whereby the different vibration-generating devices are made to sound their respective
notes, each as required in the vibration-translating apparatus.
62. In an electrical music-generating system, one or more common-receiver

page_text: vibration-translating devices, in combination with (a) a plurality of vibration-generating
devices, whereby musical tones of different pitches are produced; (b) a circuit to
which vibrations are progagated inductively from the vibration-generating devices
'before-inentioned; and (c) a plurality of tone-purifying devices, interposed between
the vibration-generating devices before-mentioned, and the circuit before-mentioned;
different tone-purifying devices, operating to purify different tones.
63. In an electrical music-generating system, and in combination therein with one or
more common-receiver vibration-translating devices (a) a plurality of circuits; (b) means
whereby current vibrations corresponding to different tones are produced in said
circuits; (c) a circuit to which vibrations are propagated inductively from the circuits
before-mentioned; and (d) a plurality of tone-purifying devices inductively inter-
mediate the circuits first in this paragraph mentioned and the circuit last
above-mentioned; said tone-purifying devices including each one
or more closed
circuits, serving to receive vibrations by induction from one of the circuits first in
this paragraph mentioned, and to transfer such vibrations by induction to the other
circuit above-mentioned.
64. In an electrical inusic-generating system, a composite-tone-generating device;
including in combination, a circuit, and a plurality of vibration-generating devices
having vibration-frequencies corresponding to different partials of the same composite-
tone, serving to produce vibrations in the circuit before-mentioned; and a key, or
other suitable note-controlling device, controlling the vibration-generating devices
before-mentioned.
65. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration-translating devices, supplied with vibrations by said
line; and a plurality of normally-coacting vibration-generating devices, having
having vibration-frequencies corresponding to different partials of the same composite
tone, acting together upon the line before-mentioned to produce electrical vibrations
therein, thereby to produce a composite tone from the vibration-translating apparatus.
66. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration translating devices, supplied with electrical vibrations
by said line, a composite-tone-generating device, serving to generate simultaneously
electrical vibrations having frequencies corresponding to different partials of the same
composite tone; and a key, or other suitable note-controlling device, operating to
bring said composite-tone-generating device into action upon said line.
67. In an electrical music-generating system, and in combination, a circuit; one or
more common-receiver vibration-translating devices, supplied with vibrations by said
circuits; and a plurality of normally-coacting electrical vibration-generating devices,
corresponding respectively to different components of the same composite tone, acting
together to produce a composite musical tone from the vibration-translating devices
before-mentioned.
68. In an electrical music-generating system, and in combination, a plurality of
common-receiver vibration-translating devices; a plurality of circuits, corresponding
respectively to different components of the same composite tone; means whereby
electrical vibrations, corresponding to different components of the same composite
tone are produced in the different circuits before-mentioned; and a key or other
suitable note-controlling device, controlling said circuits.
69. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration-translating devices, supplied with vibrations by said
line a plurality of circuits, corresponding respectively to different components of the
same composite tone; means whereby electrical vibrations corresponding to different
components of the same composite tone are produced in the different circuits before-
mentioned; and a key, or other suitable note-controlling device, operating to bring
the circuits before-mentioned into action upon the line, so that a composite tone is
produced therein.
70. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration-translating devices, supplied with vibrations by the
line; a plurality of circuits, corresponding respectively to different components of the

page_text: same composite tone and arranged in such a manner that they act, when closed, upon
the line inductively; means whereby electrical vibration corresponding to different
components of the same composite tone, are produced in the circuits before-mentioned;
and a key, or other suitable note-controlling device, serving to close the circuits
before-mentioned as acting upon the line inductively.
71. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with a composite-tone-generating device,
including a plurality of coils, corresponding respectively to different components of the
same composite tone; and inductional undulation-generating devices, whereby
electrical undulations corresponding to the different components of the composite
tone aforesaid, are produced in the different coils aforesaid simultaneously.
72. In an electrical music-generating system, and in combination, a plurality of
coils corresponding respectively to different partials of the same composite tone;
inductional undulation-generating devices, whereby electrical undulations of frequencies
corresponding to the different partial tones aforesaid are produced in the different
coils aforesaid; one or more common-receiver vibration-translating devices; and a
key, or other suitable note-controlling device, governing the action of said coils upon
said vibration-translating apparatus.
73. In an electrical music-generating system, and in combination therein with one
or inore common-receiver vibration-translating devices, a composite-tone-generating
device, including a pluraity of coils, corresponding respectively to different components
of the same composite-tone; means whereby electrical vibrations, corresponding.
respectively to the different components of the composite-tone aforesaid, are produced
in the different coils aforesaid; a vibration-combining circuit, to which vibrations are
transferred by induction from the various coils before-inentioned; and a key, or
other suitable note-controlling device, controlling the action of the coils before-
mentioned upon the vibration-combining circuit aforesaid.
74. In an electrical music-generating system, and in combination, (a) suitable
vibration-translating-devices, operating to trauslate musical electrical vibrations into
audible music; (b) a composite-tone generating device, serving to produce a musical
note by synthesis and including for this purpose a plurality of coils and a plurality of
normally-coacting inductional undulation-generating devices, serving to produce.
electrical undulations sinultaneously in the coils before-mentioned, corresponding.
respectively to different components of the composite tone which they coact to
produce.
75. In an electrical music-generating system, and in combination, a line; one or
more common receiver vibration-translating devices, supplied with vibrations by the
line; and a vibration-generating apparatus, serving to supply electrical vibrations to
the line and including (a) a plurality of coils, (b) inductional undulation-generating
mechanism, serving to produce in the different coils before mentioned electrical
vibrations corresponding to different components of the same composite tone; and (c)
a key or other suitable note-controlling device, operating to bring the coils before
mentioned into action upon the line, and serving to afford facility to the performer to
throw a composite tone upon the line, by its manipulation.
76. In an electrical music-generating system, and in combination, a circuit; one or
more common-receiver vibration-translating devices, supplied with electrical vibrations
by said circuit; and means for producing a composite tone electrically in said circuit,
including a plurality of normally-coacting rheotomes, having vibration-frequencies
corresponding to different partials of the same composite tone, acting together upon
the circuit before mentioned to produce their respective electrical vibrations therein,
and thereby to produce a composite tone from the vibration-translating apparatus.
77. In an electrical music-generating system, and in combination, a circuit; a
device for generating in said circuit electrical undulations corresponding to a composite
tone, including a plurality of rheotomes, having vibration-frequencies corresponding
to different partials of the same composite tone; and a key or other suitable note-
controlling device, controlling the rheotomes before mentioned.
78. In an electrical music-generating system, means serving to produce a composite

page_text: musical tone, including in combination, a plurality of common-receiver vibration-
translating devices; a plurality of rheotomes, having vibration-frequencies
corresponding to different partials of the same composite tone; circuits acted upon
by said rheotomes; and a note-controlling device, whereby the vibration-generating
devices before mentioned are brought into action upon the vibration-translating devices
aforesaid to produce a composite note therefrom.
79. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a composite-tone generating
device, including (a) a plurality of primary circuits; (b) rheotomes having vibration-
frequencies corresponding to different partials of the same composite tone, acting
simultaneously to produce electrical vibrations in said primary circuits; and (c) a
vibration-combining circuit, to which vibrations are propagated by induction from the
primary circuits before mentioned, so that composite electrical vibrations corresponding
to a composite musical note are produced in said vibration-combining circuit.
80. In an electrical music-generating system, a device serving to produce a
composite musical tone electrically, including, in combination, a plurality of primary
circuits; rheotomes, having vibration-frequencies corresponding to different partials
of the same composite tone, serving to produce vibrations in said primary circuits;
a vibration-combining circuit, to which vibrations are propagated by induction from
the primary circuits before mentioned; and a key or other suitable note-controlling
device, controlling said primary circuits.
81. In an electrical music-generating system, a composite tone-generating device,
including a plurality of inductoriums, in combination with a plurality of normally-
cocting vibration-generating devices, having vibration-frequencies corresponding to
different partials of the same composite tone, acting together to produce electrical
vibrations in primary circuits of the inductoriums before mentioned.
82. In an electrical music-generating system, means for producing a composite
musical note electrically, including a plurality of inductoriums, having each a secondary
circuit of its own, in combination with means acting simultaneously to produce
electrical vibrations corresponding to different components of the same composite tone
in primary circuits of the different inductoriums before mentioned.
83. In an electrical music-generating system, and in combination, a plurality of
inductoriums; a plurality of vibration-generating devices, serving to produce electrical
vibrations corresponding to different components of the same composite tone in the
primaries of the different inductoriums before mentioned; and a key or other suitable
note-controlling device, controlling the production of vibrations in the primaries of
the different inductoriums before mentioned.
84. In an electrical music-generating system, and in combination therein with a
line and one or more common-receiver vibration-translating devices, a composite-tone-
generating device, including vibration-generating devices, having vibration-frequencies
corresponding to different partials of the same composite tone, acting upon the line
above mentioned to produce vibrations therein; and a key or other suitable note-
controlling device, controlling the action of the vibration-generating devices aforesaid
upon the line before mentioned.
85. In an electrical music-generating system, and in combination, a plurality of
circuits; vibration-generating devices, having vibration-frequencies corresponding to
different partials of the same composite tone, serving to produce electrical vibrations
in the circuits before mentioned; a circuit to which vibrations are propagated
inductively from the circuits before mentioned; and a key, serving to close both the
circuit last above mentioned and also the other circuits first in this paragraph
mentioned.
86. In an electrical music-generating system, suitable vibration-translating apparatus,
operating to translate electrical vibrations into audible aerial vibrations, in combination
with a device serving to produce a composite musical tone electrically, including (a)
a plurality of vibration-generating devices, having vibration-frequencies corresponding
to different partials of the same composite tone; and (b) a plurality of tone-purifying
devices.

page_text: 87. In an electrical music-generating system, one or more common-receiver
vibration-translating devices, in combination with a device serving to synthesize a
composite musical tone electrically, and including (a) a plurality of vibration-generating
devices, having vibration-frequencies corresponding to different partials of the same
composite tone; (b) a circuit, to which vibrations are propagated inductively from the
various vibration-generating devices before mentioned, and (c) a plurality of tone-
purifying devices interposed between the vibration-generating devices before mentioned
and the circuit last above mentioned; different tone purifying devices serving for the
purifying of different components of the tone.
88. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a composite-tone-generating
device, including in combination, (a) a plurality of circuits; (b) means whereby
electrical vibrations, corresponding to different components of the same composite
tone are produced in the different circuits aforesaid; (c) a vibration-combining circuit ;
and (b) a plurality of tone purifying devices inductively intermediate the circuits first
in this paragraph mentioned and the vibration-combining circuit above mentioned;
said tone-purifying devices, including each one or more closed circuits, serving to
receive vibrations by induction from one of the circuits first in this paragraph
mentioned and to transfer such vibrations by induction to the vibration-combining
circuit above mentioned.
89. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a device for generating a
composite musical tone electrically, including a circuit and a plurality of rotary rate-
governors, having vibration-frequencies corresponding to different partials of the same
composite tone, acting upon the circuit above mentioned to produce electrical vibrations
therein.
90. In an electrical music-generating system, and in combination therein with
common-receiver vibration-translating devices, a device serving to produce a composite
musical note, from the common-receiver vibration-translating devices before
mentioned, said device including a plurality of rotatory rate-governors, having
vibrating frequencies corresponding to different partials of the same composite
tone, and a key or other suitable note-controlling device, serving to bring said
rotatory rate-governors into action upon the common-receiver vibration translating
devices before mentioned.
91. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a composite-tone-
generating device, including a plurality of circuits; a plurality of rotatory rate-
governors, serving by their rotations to cause electrical vibrations corresponding to
different components of the same composite tone to be produced in the different
circuits aforesaid; and a vibration-combining circuit, to which electrical vibrations
are propagated by induction from the circuits before mentioned, so that resultant
electrical undulations corresponding to the composite tone required, are formed in
said vibration-combining circuit.
92. In an electrical music-generating system, means for generating a composite
musical tone electrically, including, in combination, (a) a plurality of circuits;
(b) rotatory rate-governors, serving by their rotation to cause electrical vibrations
corresponding to different components of the same composite tone to be produced in
the different circuits aforesaid; common-receiver-vibration devices; and a key or
other suitable note-controlling device, controlling the action upon the vibration-
translating devices of the other parts before mentioned.
93. In an electrical music-generating system, a composite-tone generating device,
including, in combination, (a) suitable common-receiver vibration-translating devices;
(6) a plurality of coils and (c) rotatory-rate-governors, having vibration frequencies
corresponding to different partials of the same composite tone, serving by their
rotations to cause electrical vibrations to be produced inductively in the coils before
mentioned.
94. In an electrical music-generating system, a composite-generating device,

page_text: including in combination, suitable vibration-translating apparatus, operating to
translate electrical vibrations into audible vibrations; a plurality of coils; rotatory
rate-governors, having vibration-frequencies corresponding to different partials of the
same composite tone, serving by their rotations to cause electrical vibrations to be
produced inductively in the coils before mentioned; and a key or other suitable
note-controlling device, controlling the action upon the vibration-translating devices
of the other parts before mentioned.
95. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a composite tone generating
device, including a plurality of circuits; rotatory rheotomes, having vibration-
frequencies corresponding to different partials of the same composite tone, serving to
cause the producing of electrical vibrations in the circuits before mentioned; and a
vibration-combining circuit, subjected to inducted influences resulting from the
current-variations in the rheotome-affected circuits before inentioned, so that electrical
undulations corresponding to a composite-musical note are generated in the vibration-
combining circuit aforesaid.
96. In an electrical music-generating system, and in combination therein with one
or more common-receiver vibration-translating devices, a composite tone-generating
device including a plurality of rotatory rheotomes serving to produce electrical
vibrations corresponding to different components of the same composite tone;
circuits affected by said rheotomes; a vibration-combining circuit, subjected to
inductive influences from the current variations in the rheotome-affected circuits
before-mentioned; and a key or other suitable note-controlling device, serving to
bring the vibration-generating devices before mentioned into action upon the vibration
translating apparatus.
97. In an electrical music-generating system, and in combination therein with one
or more common receiver vibration-translating devices, a set of electrical composite-
tone-generating devices, corresponding to the notes of a musical scale through one or
more octaves, each of said composite-tone-generating devices serving to produce
the ground-tone of the note for which it stands and one or more overtones
thereof.
98. In an electrical music-generating system, and in combination therein with
suitable common-receiver vibration-translating devices, a set of electrical composite-
tone-generating devices, corresponding to the notes of a musical scale through one or
more octaves, each of said composite-tone-generating devices serving to produce the
ground-tone of the note for which it stands electrically, and one or more overtones
thereof electrically; and keys or other suitable note-controlling devices, each
controlling one of the electrical composite tone-generating devices aforesaid.
99. In an electrical music-generating system, and in combination therein with one
or more cominon-receiver vibration-translating devices, a multiplicity of groups of
electrical vibration-generators; different vibration-generators of a group serving for
the production of different partials of the same composite tone, and the different
groups of vibration-generators serving for the production of the notes of a musical
scale though one or more octaves.
100. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a multiplicity of groups
of electrical vibration-generators; different vibration-generators of a group serving
for the production of different partials of the same composite tone, and the different
groups of vibration-generators serving for the production of the notes of a musical
scale through one or more octaves; and keys or other suitable note-controlling
devices, each controlling the action of one of the groups of electrical vibration-
generators before mentioned upon the common-receiver vibration-translating
devices.
101. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a set of composite tone-
generating devices, each including a group of circuits and means whereby electrical
vibrations corresponding to different components of a composite tone are generated

page_text: in the different circuits of a group as required; the different circuits of a group
serving for the production of different components of the same musical note, and the
different groups of circuits serving for the production of the notes of a musical scale
through one or more octaves.
102. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a set of composite-tone-
generating devices, each including a group of circuits and means whereby electrical
vibrations, corresponding to different components of a composite tone, are produced
in different circuits of a group, as required; the different circuits of a group serving
for the production of different components of the same musical note; and the
different groups of circuits serving for the production of the notes of a musical scale
through one or more octaves; and keys or other similar note-controlling devices,
each controlling the action of one of the groups of circuits above mentioned upon the
vibration-translating devices.
103. In an electrical music-generating system, a set of composite-tone-synthesizing
devices, each including a group of coils, in combination with inductional vibration-
generating devices, whereby electrical-vibrations, corresponding to different com-
ponents of a note, are generated in the different coils of a group as required; the
different coils of a group serving for the production of different components of the
tone for which such group of coils serves; and the different groups of coils serving
for the production of the notes of a musical scale through one or more octaves.
104. In an electrical music-generating system, and in combination therein
with one or more common-receiver vibration-translating devices, a set of
composite-tone-generating devices, each including a group of coils, and
inductional vibration-generating devices, whereby electrical vibrations, corresponding
to different components of a note are generated in different coils of
a group, as required; the different coils of a group serving for the production of
different components of the note for which such group serves, and the different
groups of coils serving for the production of the notes of a musical scale through one
or more octaves; and keys or other suitable note-controlling devices, each controlling
the action of one of the groups of coils above mentioned upon the vibration-translating
apparatus.
105. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a multiplicity of groups
of rheotomes, each group, in general, including a rheotome serving to produce the
ground-tone of a note, and one or more other rheotomes, serving to produce one or
more overtones of such ground-tone; the different ground-tone-rheotomes having
vibration frequencies corresponding to the notes of a musical scale through one or
more octaves.
106. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, a multiplicity of groups
of rheotomes, each group, in general, including a rheotome serving to produce the
ground-tone of a note, and one or more other rheotomes serving to produce one or more
overtones of such ground-tone; the different ground-tone rheotomes having vibration-
frequencies corresponding to the notes of a musical scale through one or more octaves;
and keys or other suitable note-controlling devices, each controlling the action of a
ground-tone rheotome and one or more overtone rheotomes upon the vibration-
translating devices.
107. In an electrical music-generating system, and in combination, a plurality of
common-receiver vibration-translating devices, and an apparatus serving to generate
the requisite electrical vibrations, including a set of rotatory rate-governors, serving
for the production of ground-tones of notes; and one or more supplemental sets of
rotatory rate-governors, serving for the production of overtones for the notes.
108. In an electrical music-generating system, and in combination, a plurality of
common-receiver vibration-translating devices, and an apparatus serving to generate
the requisite electrical vibrations, including a set of circuits serving for the production
of ground-tones of notes; one or more supplemental sets of circuits, serving for the

page_text: production of overtones of notes; and rotatory rate-governors, serving to cause
electrical vibrations of the requisite frequencies in the circuits before mentioned.
109. In an electrical music-generating system, and in combination a plurality of
common-receiver vibration-translating devices, and an apparatus serving to generate
the requisite electrical vibrations, including a set of coils serving for the production
of ground-tones of notes; one or more supplemental sets of coils, serving for the
production of overtones of notes; and rotatory rate-governors, serving to cause
electrical vibrations of the requisite frequencies to be produced in the coils before
mentioned by induction.
110. In an electrical music-generating system, and in combination, a common-
supply circuit; commnon-receiver vibration-translating devices, fed by or from said
common-supply-circuit; and an apparatus serving to produce in the common-supply-
circuit the notes of a musical composition electrically, with suitable composite tones,
including a set of rotatory rate-governors, serving for the production of ground tones
of notes; and one or more supplemental sets of rotatory rate-governors, serving for the
production of overtones for the notes; corresponding members of the different sets of
rate-governors above mentioned, co-operating to produce composite electrical vibrations
in the circuit first in this paragraph mentioned.
111. In an electrical music-distributing system, and in combination, a common-
supply circuit; common-receiver vibration-translating devices, fed from or by said
common-supply circuit; and an apparatus serving to produce in the common-supply-
circuit the notes of a musical composition electrically with suitable composite tones,
including a set of circuits serving for the production of ground-tones of notes; one or
more supplemental sets of circuits, serving for the production of one or more
overtones for the notes; rotatory rate-governors, serving to produce electrical
vibrations of the requisite frequencies in the circuits before mentioned;
corresponding circuits of the different sets before-mentioned cooperating to produce
composite electrical vibrations in the circuit first in this paragraph mentioned.
112. In an electrical music-distributing system, and in combination, a common-
supply circuit; common-receiver vibration-translating devices, fed from or by said
common-supply circuit; and an apparatus serving to produce in said common-supply
circuit the notes of a musical composition electrically, with suitable composite tones,
including a set of coils serving for the production of ground-tones of notes; one or
more supplemental sets of coils, serving for the production of one or more overtones
for the notes, and rotatory rate-governors, serving to produce electrical vibrations of
the requisite frequencies in the coils before mentioned; corresponding coils
of the different sets before mentioned cooperating to produce composite electrical
vibrations in the circuit first in this paragraph mentioned.
113. In an electrical music-generating system, and in combination, (a) an
organization of electrical vibration-generators, serving for the production of electrical
vibrations corresponding to the notes of a musical scale; (b) common-receiver
vibration-translating devices, operating to translate musical electrical vibrations into
audible aerial vibrations; (c) note-controllers, whereby the different vibration-
generators are made to produce their respective notes in the vibration-translating
apparatus, each note as required; and (d) current-regulator expression-mechanism,
whereby the loudness of the sounds given off by the vibration-translating devices is
governed.
114. In an electrical music-generating system, and in combination, (a) electrical
vibration-generating devices, corresponding to the notes of a musical scale through
one or more octaves; (b) one or more common-receiver vibration-translating devices;
(c) note-controllers, whereby the different vibration-generating devices are made to
produce their respective notes, each as required, in the vibration-translating
apparatus; and (d) suitable current regulator expression-mechanism, whereby the
loudness of the sounds given off by the vibration-translating apparatus is governed.
115. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line, and operating to translate said electrical vibrations into

page_text: audible aerial vibrations; (c) vibration-generating devices, adapted to produce the notes
of a musical scale electrically, and operating to produce electrical vibrations in the line
by induction; (d) note-controllers, whereby the vibration-generating devices are
made to produce their respective notes electrically in the line, each as required; and
(e) suitable current-regulator expression-mechanismn, whereby the loudness of the
sounds given off by the vibration-translating apparatus is governed.
116. In an electrical music-generating system, and in combination, (a) a line; (b)
one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line; (c) electrical vibration-generating devices, corresponding to the
notes of a musical scale through one or more octaves, and serving to produce electrical
vibrations in the line, by induction; (d) note-controllers, whereby the vibration-
generating devices are made to produce their respective notes in the line electrically,
as required; and (e) suitable current-regulator expression-mechanisın, whereby the
loudness of sounds given off by the vibration-translating devices is governed.
117. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line; (c) vibration-generating devices, adapted to produce the notes
of a musical scale electrically, and operating to produce electrical vibrations in the
line aforesaid, by induction; (d) note-controllers, whereby the vibration-generating
devices are made to produce their respective notes electrically in the line, each as
required; and (e) a plurality of expression devices, operating to govern the loudness
of different notes, whereby facility is afforded for producing different notes with
different degrees of power.
118. In an electrical music-generating system, and in combination, (a) electrical
vibration-generating devices, serving to generate electrical vibrations, corresponding
to notes of a musical composition; (b) one or more common-receiver vibration-
translating devices; (c) note-controllers, whereby the different vibration-generating
devices are made to sound their respective notes in the vibration-translating apparatus;
and (d) current-regulator expression-mechanism, operating simultaneously with the
note-controllers and serving to govern the loudness of the tones given off by the
vibration-translating apparatus.
119. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line; (c) vibration-generating devices, adapted to produce notes of
a inusical scale, and operating to produce electrical vibrations in the line, by induction;
(d) keys, whereby the vibration-generating devices are made to produce their
respective notes electrically in the line, each as required; and (e) current-regulator
expression-mechanism, controlled by said keys, and serving to vary the loudness of
the tones given off by the vibration-translating apparatus.
120. In an electrical music-generating system, and in combination, (a) common-
receiver vibration-translating devices; (b) electrical vibration-generating devices,
adapted to produce the notes of a musical scale electrically; (c) note-controllers
whereby the different vibration-generating devices are made to sound their respective
notes in the vibration-translating apparatus, as required; and (d) one or more
inductional expression-devices, operating to govern the loudness of sounds produced
in the vibration-translating apparatus by varying the inductive relation subsisting
between vibration-emitting and vibration-receiving circuits.
121. An electrical music-distributing system, including a plurality of common-
receiver vibration-translating devices, located in different places, in combination with
a central electrical-music vibration-generating apparatus, having (a) means for
generating the notes of a musical scale through one or more octaves electrically; and
(6) one or more expression-devices, each including a vibration-emitting circuit, a
vibration-receiving circuit, and means whereby the inductive relation subsisting
between the vibration-emitting circuit and the vibration-receiving circuit is varied at
will; so that the loudness of the tones produced by the vibration-translating devices,
ocated as before mentioned, in different places is governed at will from the central
instrument.

page_text: 122. An electrical music-distributing system, including a plurality of common-
receiver vibration-translating devices, located in different places, in combination with
a central electrical-music vibration-generating apparatus, having (a) means for
generating the notes of a musical scale through one or more octaves electrically; and
(b) one or more expression devices, each including a vibration-emitting circuit and a
vibration-receiving circuit, one of said circuits being mounted for movement with
relation to the other, so that the loudness of the notes produced by the vibration-
translating devices, located as before mentioned at different places, is varied at will
from the central instrument, by varying the relative positions of the two circuits
before mentioned.
123. In an electrical music-generating system, suitable vibration-translating
apparatus, operating to translate electrical vibrations into audible aerial vibrations, in
combination with an apparatus serving to produce the requisite electrical undulations,
including (a) a vibration-emitting circuit; (b) means whereby the requisite electrical
vibrations are produced in the vibration-emitting circuit; (c) a vibration-receiving
circuit, in inductive relation to the vibration-emitting circuit; and a key varying the
inductive relation subsisting between the two circuits named, so that the loudness of
sounds produced by the vibration-translating devices is governed at will by means of
the key.
124. In an electrical music-distributing system, and in combination, a line; one
or more vibration-translating devices; supplied with electrical vibrations by said line,
and operating to translate such vibrations into audible aerial vibrations; electrical
vibration-generating devices, adapted to produce the notes of a musical scale
electrically, and operating to produce vibrations in the line aforesaid; note-controllers
whereby the different vibration-generating devices are made to throw their respective
notes upon the line, as required; a suitable current-regulator expression-device;
and a suitable power-device, controlling said current-regulator expression-device.
125. In an electrical music-generating system, and in combination, suitable
vibration-translating apparatus; vibration-generating devices, operating to produce
musical electrical vibrations, in said vibration-translating apparatus; a current-
regulator expression-device, serving to vary the loudness of sounds produced by the
vibration-translating apparatus; a power-device, controlling said current-regulator
expression-device; and a key, controlling the action of said power-device upon the
current-regulator expression-device before mentioned.
126. In an electrical music-generating system, and in combination, suitable
vibration-translating apparatus; vibration-generating devices, operating to produce
musical electrical vibrations in said vibration-translating apparatus; a current-
regulator expression-device, serving to vary the loudness of sounds produced
by the vibration-translating apparatus; a power-device, controlling said expression-
device, said power-device consisting essentially of a friction-driver and a contact-piece
moved thereby; and a key, controlling the action of the friction-driver upon the
contact-piece.
127. In an electrical music-generating system, and in combination, one or more
common-receiver vibration-translating devices, and an apparatus serving to produce
musical electrical vibrations, including (a) a circuit; (b) one or more inductional
undulation-generating devices, serving to cause the requisite electrical undulations to
be produced in said circuit; (c) a current-regulator expression-device, serving to
govern the amplitude of the electrical undulations produced in the circuit before
mentioned; and (d) a key, controlling both an undulation-generating device, and the
expression-device before-mentioned.
128. In an electrical music-generating system, and in combination, suitable
vibration-translating apparatus; a vibration-emitting circuit; one or more vibration-
generating devices, serving to cause the requisite electrical vibrations in the vibration-
emitting circuit; a vibration-receiving circuit, to which electrical vibrations are
propagated inductively from the vibration-emitting circuit aforesaid; and a key
controlling the production of vibrations in the vibration-emitting circuit; said key
controlling also the inductive relation subsisting between the vibration-emitting and

page_text: vibration-receiving circuits before-mentioned; so that the loudness of the sounds
produced by the vibration-translating apparatus is governed at will by means of
the key.
129. In an electrical music-generating system, and in combination, suitable
vibration-translating apparatus; a vibration-emitting circuit; one or more vibration-
generating devices, serving to cause the requisite electrical vibrations in the vibration-
emitting circuit; a vibration-receiving circuit, to which electrical vibrations are
propagated inductively from the vibration-emitting circuit aforesaid; and a key,
serving to close the vibration-receiving circuit before-mentioned; said key serving
also to control the inductive relation subsisting between the vibration-emitting and
vibration-receiving circuits before-mentioned, so that the loudness of sounds
produced by the vibration-translating apparatus is governed at will by means of
the key.
130. In an electrical music-generating system, and in combination, (a) suitable
common-receiver vibration-translating devices; (b) suitable vibration-generating
devices adapted to produce notes of a musical scale electrically; (c) keys, serving to
bring the various vibration-generating devices into action, each as required, upon the
vibration-translating devices; and (d) suitable current-regulator expression-
mechanism, also controlled by the keys before-mentioned, and operating to govern
the loudness of tones given off by the vibration-translating devices.
131. In an electrical music-generating system, and in combination, a line; one or
more common-receiver vibration-translating devices, supplied with electrical
vibrations by said line; a composite-tone-generating device, serving to produce
electrical vibrations corresponding to different partials of the same composite tone; a
key or other suitable note-controlling device, operating to bring such composite-
tone-generating device into action upon the line; and current-regulator expression-
Inechanism, operating to govern the loudness of the sounds given off by the
vibration-translating apparatus.
132. In an electrical music-generating system, and in combination, one or more
common-receiver vibration-translating devices; a composite-tone-generating device,
serving to produce electrical vibrations having frequencies corresponding to different
partials of the same composite tone; a key, operating to bring the composite-tone-
generating device aforesaid into action upon the common-receiver-vibration-
translating devices; current-regulator expression-mechanism, operating to govern
the loudness of the sounds produced by the composite-tone-generating device
aforesaid, in the common-receivers; the key before-mentioned serving to control
said expression-mechanism, and thereby to govern the loudness of the sounds
produced.
more
133. In an electrical music-generating system, and in combination, a line; one or
common-receiver vibration-translating devices, supplied with electrical
vibrations by said line; means serving to produce ground-tones of notes electrically;
other devices serving to produce overtones to the ground-tones; suitable note-
controllers, whereby the various tones are thrown upon the line, as required in the
production of a musical composition; and current-regulator expression-mechanism,
governing the loudness of the tones given off by the vibration-translating apparatus.
134. In an electrical music-generating system, the combination with one or more
common-receiver vibration-translating devices, of a multiplicity of composite-tone-
generating devices, each including a plurality of vibration-generating devices, acting
upon a circuit simultaneously, to produce in said circuit electrical vibrations having
frequencies corresponding to different partials of the same composite tone; keys,
controlling the action of said composite-tone-generating devices upon the vibration-
translating devices aforesaid; and suitable current-regulator expression-mechanism,
controlled by said keys, and operating to govern the loudness of the tones given off
by the vibration-translating apparatus.
135. In an electrical music-generating system, and in combination therein with
or more common-receiver vibration-translating devices, a multiplicity of
composite-tone-generating devices, each including a plurality of vibration-generating
one

page_text: devices, acting upon a circuit inductively to produce in said circuit electrical
undulations corresponding to different components of the same composite tone; keys
controlling the action of said composite-tone-generating devices upon the vibration-
translating devices aforesaid; and suitable current-regulator expression-mechanism,
controlled by said keys, and operating to govern the loudness of the tones given off
by the vibration-translating devices.
136. In an electrical music-generating system, and in combination, an organization
of electrical vibration-generators, serving for the production of electrical vibrations
corresponding to the notes of a musical scale; one or more common-receiver vibration-
translating devices; separate tone-purifying devices for the different notes; note-
controllers, whereby the different vibration-generating devices are made to act upon
the vibration-translating apparatus, for the sounding of their respective notes, as
required in the production of a musical composition; and current-regulator
expression-mechanism, whereby the loudness of the sounds given off by the
vibration-translating apparatus is governed at will.
137. In an electrical music-generating system, and in combination, an organization
of electrical vibration-generators, serving for the production of electrical vibrations
corresponding to the notes of a musical scale; one or more common-receiver
vibration-translating devices; a plurality of tone-purifying devices, interposed
between the vibration-generating devices and the vibration-translating devices before-
mentioned, and operating to purify electrical vibrations by one or more inductive
transfers; note-controllers, whereby the different vibration-generating devices are
made to act upon the vibration-translating apparatus for the sounding of, their
respective notes, as required in the production of a musical composition; and
current-regulator expression-mechanism, whereby the loudness of the sounds given
off by the vibration-translating apparatus is governed at will.
138. In an electrical music-generating system, and in combination, an organization
of electrical vibration-generators, serving for the production of electrical vibrations
corresponding to the notes of a musical scale; common-receiver vibration-translating
devices; a plurality of tone-purifying devices, said tone-purifying devices serving
some for the purifying of low tones, some for the purifying of high tones, and some
for the purifying of tones of medium pitch; note-controllers, whereby the different
vibration-generating devices are made to act upon the vibration-translating apparatus
for the sounding of their respective notes, as required in the production of a musical
composition; and current-regulator expression-inechanism, whereby the loudness of
the sounds given off by the vibration-translating apparatus is governed at will.
139. In an electrical music-generating system, and in combination therein with
one or more common-receiver vibration-translating devices, electrical vibration-
generating devices, serving to produce ground-tones of notes electrically; other
vibration-generating devices, serving simultaneously to produce overtones for said
ground tones; note-controllers, whereby the vibration-generating devices aforesaid
are made to act upon the vibration-translating apparatus, for the sounding of their
respective notes as required; and current-regulator expression-mechanism, whereby
the loudness of the sounds given off by the vibration-translating devices is governed.
140. In an electrical music-generating system, and in combination, (a) one or
more common-receiver vibration-translating devices; (b) vibration-generating devices,
serving to produce ground tones of notes; (c) vibration-generating devices serving to
produce overtones for the notes; (d) suitable tone-purifying devices; (e) note-
controlling devices, each in general serving to bring into action upon the vibration-
translating apparatus a ground-tone vibration-generating device and one or more
overtone-vibration-generating devices; and (f) suitable current-regulator
expression-mechanism, whereby the loudness of the sounds given off by the
vibration-translating apparatus is governed.
141. In an electrical music-generating system, and in combination, (a) suitable
vibration-translating apparatus, operating to translate electrical vibrations into
audible vibrations; (b) vibration-generating devices, serving to produce ground-tones
of notes; (c) vibration-generating devices, serving to produce overtones for the notes;
.

page_text: (d) suitable tone-purifying devices; (e) keys, controlling the action of the vibration-
generating devices upon the vibration-translating apparatus; and (f) suitable
current-regulator expression-mechanism, controlled by the keys before mentioned,
and serving to govern the loudness of the tones given off by the vibration-translating
apparatus.
142. An electrical music-generating system including, in combination, (a) one or
more common-receiver vibration-translating devices; (b) a multiplicity of electrical-
vibration circuits; (c) rotatory rate-governors serving by their rotations to cause
electrical vibrations to be produced inductively in the circuits before mentioned; (d)
note-controlling devices; and (e) suitable current-regulator expression-inechanism,
whereby the loudness of the sounds given off by the vibration-translating apparatus
is governed at will.
143. An electrical music-generating system including, in combination, (a) one or
more common-receiver vibration-translating devices; (b) a multiplicity of electrical-
vibration circuits; (c) rotatory rate-governors, serving by their rotations to cause
electrical vibrations to be produced inductively in the circuits before mentioned;
(d) driving mechanism for said rate-governors, whereby different rate-governors are
given different angular velocities; (e) note-controlling devices; and (f) suitable
current-regulator expression-mechanism, whereby the loudness of the sounds given
off by the vibration-translating devices is governed.
144. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with
vibrations by said line; (c) vibration-generating devices, adapted to produce the
notes of a musical scale in said line electrically, and including an organization of
rotatory rate-governors; (d) note-controllers, whereby the different vibration-
generating devices before mentioned are made to throw their respective notes upon
the line, as required; and (e) suitable current-regulator expression-mechanism,
whereby the loudness of the sounds given off by the vibration-translating devices is
governed.
145. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with
electrical vibrations by said line, and operating to translate said vibrations into
audible vibrations; (c) rotatory rate-governors, corresponding to the notes of a
musical scale through one or more octaves, operating to produce electrical vibrations
in said line inductively; (d) note-controllers, whereby the different rotatory rate-
governors are made to throw their respective notes upon the line as required; and
(e) suitable current-regulator expression-mechanism, whereby the loudness of the
sounds given off by the vibration-translating apparatus is governed.
146. In an electrical music-generating system, and in combination, (a) means for
generating electrical vibrations corresponding to the notes of a tune including a
plurality of rotatory rate-governors and driving mechanism, whereby different rate-
governors are given different angular velocities; (b) one or more common-receiver
vibration-translating devices; (c) note-controllers, whereby the different rate-
governors are inade to sound their respective notes, as required, in the vibration-
translating apparatus; and (d) current-regulator expression-mechanism, whereby the
loudness of the sounds given off by the vibration-translating apparatus is governed.
147. In an electrical music-generating system and in combination, (a) one or
more common-receiver vibration-translating devices; (b) inductional undulation-
generating devices, adapted to produce the notes of a musical scale through one or
more octaves; (c) note-controllers, whereby the different inductional undulation-
generating devices are made to sound their respective notes in the vibration-
translating devices, as required; and (d) suitable current-regulator expression-
mechanism, whereby the loudness of the sounds produced by the common-receivers
is governed.
148. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by said line, and operating to translate such vibrations into audible

page_text: vibrations; (c) means for generating in the line electrical vibrations corresponding to
the notes of a tune, including a plurality of rotatory rate-governors and driving
mechanism, whereby different rate-governors are given different angular velocities;
(d) note-controllers, whereby the different rate-governors aforesaid are made to sound
their notes, as required, in the vibration-translating apparatus; and (e) current-
regulator expression-mechanism, whereby the loudness of the sounds given off by the
vibration-translating apparatus is governed.
149. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with vibrations
by the line; (c) inductional undulation-generating devices, adapted to produce the
notes of a musical scale electrically in said line by induction, (d) note-controllers,
whereby the different inductional undulation-generating devices are made to throw
their respective notes upon the line, as required; and (e) suitable current-regulator
expression-mechanism, whereby the loudness of the sounds given off by the common-
receiver vibration-translating devices is governed.
150. In an electrical music-generating system, and in combination, (a) one or more
common-receiver vibration-translating devices; (b) inductional undulation-generating
devices, corresponding to the notes of a musical scale through one or more octaves;
(c) note-controllers, whereby the different inductional undulation-generating devices
are made to sound their respective notes as required in the vibration-translating
apparatus; and (d) suitable current-regulator expression-mechanism, whereby the
loudness of the sounds given off by the vibration-translating apparatus is governed.
151. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line, and serving to translate such vibrations into audible vibrations;
(c) inductional undulation-generating devices, corresponding to the notes of a musical
scale through one or more octaves; (d) note-controllers, whereby the different
inductional undulation-generating devices aforesaid are made to throw their respective
notes upon the lineas required; and (e)suitable current-regulator expression-inechanism,
whereby the loudness of the sounds given off by the vibration-translating apparatus
is governed.
152. In an electrical music-generating system, and in combination, (a) electrical
vibration-generating devices, whereby the notes of a musical scale are produced
electrically through one or more octaves; (b) one or more common-receiver vibration-
translating devices; (c) note-controllers, whereby the different vibration-generating
devices are made to produce their respective notes, each as required, in the vibration-
translating apparatus; and (d) a plurality of independently-acting current-regulator
expression-devices, whereby different tones are made to sound with different degrees
of loudness.
153. In an electrical music-generating system, and in combination, (a) a line;
(b) one or more common-receiver vibration-translating devices, supplied with
electrical vibrations by said line, and operating to translate such vibrations into
audible vibrations; (c) electrical vibration-generating devices, whereby the notes of a
musical scale are produced electrically through one or more octaves; (d) note-
controllers, whereby the different vibration-generating devices aforesaid, are made to
throw their respective notes upon the line, as required; and (e) a plurality of
independently-acting current-regulator expression-devices, whereby different notes
are made to sound with different degrees of loudness.
154. In an electrical music-generating system, and in combination, (a) means for
generating electrical vibrations corresponding to the notes of a tune, including
rotatory rate-governors, and driving mechanism, whereby different rate-governors are
given different angular velocities; (b) one or more common-receiver vibration-
translating devices; (c) note-controllers, whereby the different rate-governors are
made to sound their respective notes, as required, in the vibration-translating
apparatus; and (d) a plurality of independently-acting current-regulator expression-
devices, whereby different tones are made to sound with different degrees of loudness.
155. In an electrical music-generating system, and in combination, (a) a line;

page_text: (b) one or more common-receiver vibration-translating devices, supplied with electrical
vibrations by the line; (c) inductional undulation-generating devices, adapted to
produce the notes of a musical scale electrically in said line, by induction; (d) note-
controllers, whereby the different inductional undulation-generating devices are
made to throw their respective notes upon the line, as required; and (e) a plurality of
independently-acting current-regulator expression-devices, whereby different tones
are made to sound with different degrees of loudness.
156. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) producing by induction, in different
circuits, electric-current undulations corresponding to different component sounds of
the composite musical sound desired; (b) producing in a conductor resultant
undulations out of the undulations produced as above-mentioned in a plurality of
circuits; and (c) producing audible aerial vibrations, of similar wave-form, out of or
by means of, the resultant electrical undulations above-mentioned.
157. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) producing by induction, in different
closed circuits, electric-current undulations corresponding to different component
sounds of the composite musical sound desired; (b) producing in a conductor
resultant undulations out of the undulations produced as above-mentioned in a
plurality of closed circuits; and (c) producing audible aerial vibrations, of similar
wave-form, out of or by means of the resultant electrical undulations above-
inentioned.
158. In an electrical music-generating system, the method of producing composite
musical sounds, which consists in (a) producing in different closed circuits electric-
current vibrations corresponding to different component sounds of the composite
musical sound required; (b) transferring vibrations from such circuits by induction to
a vibration-combining circuit, so that resultant electrical undulations answering to
the composite musical sound required, are produced in said vibration-combining
circuit; and (c) producing out of or by means of the resultant electrical undulations
above-mentioned audible aerial vibrations of like wave-form.
159. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) producing, by induction, in different
circuits electric undulations corresponding to different component sounds of the
composite musical sound desired; (b) transferring undulations from such circuits by
induction to a vibration-combining circuit, so that resultant electrical undulations
answering to the composite musical sound required are produced in said vibration-
combining circuit; and (c) producing out of or by means of the resultant electrical
undulations above-mentioned audible aerial vibrations of similar wave-form.
160. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) producing, by induction, in different
closed circuits electric undulations corresponding to different component sounds of
the composite musical sound desired; (b) transferring undulations from such circuits
by induction to a vibration-combining circuit, so that resultant electrical undulations,
answering to the composite musical sound required, are produced in said vibration-
combining circuit; and (c) producing out of or by means of the resultant electrical
undulations above-mentioned audible aerial vibrations of similar wave-form.
161. In an electrical music-generating system, the method of producing relatively
simple tones electrically, which consists in (a) generating electrical vibrations in a
circuit or circuits; (b) purifying said vibrations by successive inductive transfers;
and (c) producing out of or by means of said purified electrical vibrations audible
aerial vibrations.
=
162. In an electrical music-generating system, the method of producing agreeable
sounds electrically, which consists in (a) producing electrical vibrations in a circuit or
in circuits; (b) purifying said vibrations by successive inductive transfers; and (c)
producing audible vibrations out of or by means of said purified electrical vibrations,
with common-receivers.
163. The method of producing music electrically, which consists in (a) producing

page_text: in different circuits different series of electrical vibrations, corresponding to different
notes or tones; (b) purifying said vibrations in a suitable manner and to the extent
desired by eliminating or suppressing, more or less completely, their higher overtones
and harsher components; (c) synthesizing in a suitable manner resultant electrical
vibrations, corresponding to a composite sound, out of or by means of the purified
vibrations above-mentioned; and (d) producing out of or by means of the resultant
electrical vibrations above-mentioned, audible aerial vibrations of similar wave-form.
164. The method of producing music electrically which consists in (a) producing,
in different circuits, different series of electrical vibrations corresponding to different
components of the composite sound required; (b) purifying different series
of vibrations separately and simultaneously; (c) synthesizing resultant electrical
vibrations, corresponding to musical sounds, out of the separately-purified electrical
vibrations above-mentioned; and (d) producing out of or by means of the resultant
electrical vibrations aforesaid audible aerial vibrations of similar wave-form.
165. The method of producing music electrically, which consists in (a) producing,
in different circuits, different series of electrical vibrations, corresponding to different
components of the composite sound required; (b) purifying different series of
vibrations separately and simultaneously, by one or more inductive transfers; (c)
synthesizing resultant electrical vibrations, corresponding to composite musical sounds,
out of the separately-purified electrical vibrations above-mentioned; and (d) producing
out of or by means of the resultant electrical vibrations above-mentioned, audible aerial
vibrations of similar wave-form.
166. In an electrical music-generating system, the method of producing a musical
tone with timbre which consists in (a) producing in different circuits, electrical
vibrations corresponding to different components of the composite tone required; (b)
transferring vibrations by induction from the circuits before-mentioned to a vibration-
combining circuit, so that resultant electrical undulations, corresponding to the
composite tone required, are synthesized therein; and (c) producing audible aerial
vibrations, of similar wave-form, out of or by means of the resultant electrical
undulations above-mentioned.
167. In an electrical music-generating system, the method of producing a composite
musical tone electrically which consists in (a) producing, by induction, in different
circuits, electric-current undulations corresponding to different components of the
composite tone required; (b) producing in a conductor resultant electrical
undulations, corresponding to the composite tone required out of the undulations
produced in the circuits before-mentioned; and (c) producing audible aerial vibrations,
of similar wave-form, out of or by means of the resultant electrical undulations above-
mentioned.
168. In an electrical music-generating system, the method of producing a composite
musical tone electrically, which consists in (a) producing by induction, in different
closed circuits, electric-current undulations corresponding to different components of
the composite tone required; (b) producing in a conductor resultant electrical
undulations, corresponding to the composite tone required, out of the undulations
produced in the closed circuits before-mentioned; and (c) producing audible aerial
vibrations, of similar wave-form, out of or by means of the resultant electrical
undulations above-mentioned.
169. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing in different closed
circuits electric-current undulations corresponding to different components of the
composite tone required; (b) transferring undulations by induction from the circuits
before-mentioned to a vibration-combining circuit, so that resultant electrical
undulations, corresponding to the composite tone required, are produced in said
vibration-combining circuit; and (c) producing audible aerial vibrations, of similar
wave-form, out of or by means of the resultant electrical undulations above-
mentioned.
170. In an electrical music-generating system, the method of producing a composite
musical tone electrically, which consists in (a) producing, by induction, in different

page_text: circuits, electrical undulations, corresponding in periodicity to different partial tones
of the composite tone required; (b) transferring undulations by induction from the
circuits before-mentioned to a vibration-combining circuit, so that resultant electrical
undulations, corresponding to the composite tone required, are produced in said
vibration-combining cirenit; and (c) producing out of or by means of the resultant
electrical undulations above-mentioned audible aerial vibrations of similar
wave-form.
171. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing, by induction,
in different closed circuits, electrical undulations, corresponding in periodicity to
different partial tones of the composite tone required; (b) transferring undulations
by induction from the circuits before-mentioned to a vibration-combining circuit, so
that resultant electrical undulations, corresponding to the composite tone required,
are produced in said vibration-combining circuit; and (c) producing out of or by
means of the resultant electrical undulations above-mentioned audible aerial vibrations
of similar wave-form.
172. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing, in different
circuits, different series of electrical vibrations, corresponding to different components
of the composite tone desired; (b) purifying different series of vibrations separately
and simultaneously; and (c) producing audible vibrations out of or by means of the
purified electrical vibrations above-mentioned, with common-receivers.
173. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing in different
circuits, electrical vibrations corresponding to different components of the same
composite tone; (b) purifying said vibrations by successive inductive transfers; and
(c) producing audible vibrations out of or by means of the purified electrical vibrations
above-mentioned, with common-receivers.
174. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing in different
circuits, different series of electrical vibrations, corresponding to different components
of the composite tone desired; (b) purifying different series of vibrations separately;
(c) synthesizing resultant electrical vibrations corresponding to the composite musical
tone required, out of the separately-purified electrical vibrations above-mentioned;
and (d) producing out of or by means of the resultant electrical vibrations above-
mentioned audible aerial vibrations of similar wave-form.
175. In an electrical music-generating system, the method of producing a
composite musical tone electrically, which consists in (a) producing, in different
circuits, different series of electrical vibrations, corresponding to different components
of the composite tone desired; (b) purifying different series of vibrations separately
and simultaneously by successive inductive transfers; (c) producing resultant
electrical vibrations out of or by means of the separately-purified electrical vibrations
above-mentioned; and (d) producing out of or by means of the resultant electrical
vibrations above-mentioned audible aerial vibrations of similar wave-form.
176. The method of producing a tune electrically, with agreeable tones, which
consist in (a) generating successions of electrical vibrations, corresponding to the
ground-tones of the succession of notes required; (b) generating simultaneously
with the successive ground-tones above-mentioned, and by other devices, electrical
vibrations corresponding to harmonious overtones of said ground tones; and
(c) translating the electrical vibrations into audible vibrations by means of common-
receiver vibration-translating devices.
177. The method of producing a tune electrically, with agreeable tones, which
consists in (a) generating in a closed circuit or circuits successions of electrical
vibrations corresponding to the ground-tones of the succession of notes required;
(b) generating simultaneously with the successive ground-tones above-mentioned,
and by other devices, electrical vibrations corresponding to harmonious overtones of

page_text: '
said ground-tones; and (c) producing audible vibrations out of or by means of the
aforesaid vibrations, with commnon-receivers.
178. The method of producing a tune electrically, with agreeable tones, which
consists in (a) producing successively, in a closed electrical circuit or circuits, by
induction, electrical vibrations corresponding to the ground-tones of the succession
of notes required; (b) producing simultaneously with the successive ground-tones
above-mentioned, and by other devices, electrical vibrations corresponding to
harmonious overtones of said ground-tone; and (c) producing audible vibrations out
of or by means of the aforesaid vibrations, with cominon-receivers.
179. In an electrical music-generating system, the method of producing chords of
composite notes electrically, which consists in generating in different electrical
circuits electrical vibrations corresponding to different partial tones of each of a
plurality of notes, simultaneously, and translating said vibrations into audible
vibrations by means of common-receiver vibration-translating devices.
180. The method of producing a musical composition electrically, which consists
in (a) producing in different closed circuits, different series of electrical vibrations,
corresponding in frequencies to the ground-tones of different notes of the musical
composition desired; (b) producing also, at the same time, in other closed circuits
other series of electrical vibrations, corresponding in frequencies to overtones of the
ground-tones before-mentioned; and (c) producing audible vibrations out of or by
means of the electrical undulations above-mentioned, with common-receivers.
181. The method of producing a musical composition electrically, which consists
in (a) producing by induction in different circuits, different series of electrical
vibrations, corresponding to the ground-tones of different notes of the musical
composition desired; (b) producing also, at the same time, by induction, in other
circuits, other series of electrical vibrations corresponding to overtones of the ground-
tones before-mentioned; and (c) producing audible vibrations out of or by means of
the electrical undulations above-mentioned, with common-receivers.
182. The method of producing a musical composition electrically, which consists
in (a) producing, by induction, in different closed circuits, different series of electrical
vibrations, corresponding to the ground-tones of different notes of the musical
composition desired; (4) producing also, at the same time, by induction, in other
closed circuits, other series of electrical vibrations corresponding to overtones of the
ground-tones before-mentioned; and (c) producing audible vibrations out of or by
means of the electrical undulations above-mentioned, with common-receivers.
183. The method of producing a musical composition electrically, which consists
in (a) producing, in different circuits, different series of electrical vibrations, corre-
sponding to ground-tones of different notes of the musical composition desired;
(b) producing also, at the same time, in other circuits, other series of electrical
vibrations, corresponding to overtones of the ground-tones before-mentioned;
(c) purifying different series of vibrations; and (d) producing audible vibrations out
of or by means of the purified electrical vibrations above-mentioned, with common-
receivers.
184. The method of producing a musical composition electrically with composite
tones, which consists in (a) producing in different closed circuits, different series of
electrical undulations, corresponding to the ground-tones of different notes of a
musical composition; (b) producing at the same time, by co-operating devices, and
in other circuits, other series of electrical undulations, corresponding to overtones of
the ground-tones before-mentioned; (c) producing composite electrical undulations
out of the ground-tone undulations and the overtone undulations before-mentioned;
and (d) producing audible aerial vibrations, of similar wave-form out of or by means
of the composite electrical undulations last above-mentioned.
185. The method of producing a musical composition electrically with composite
tones, which consists in (a) producing by induction, in different circuits, different
series of electrical undulations, corresponding to the ground-tones of different notes
of a musical composition; (b) producing at the same time, by co-operating devices,
and by induction, in other circuits, other series of electrical undulations, corresponding

page_text: to overtones of the ground-tones before-mentioned; (c) synthesizing composite
electrical undu'ations out of the ground-tone undulations and the overtone undulations
before-mentioned; and () producing audible aerial vibrations, of similar wave-form,
out of or by means of the composite electrical undulations above-mentioned.
186. The method of producing a musical composition electrically with composite
tones, which consists in (a) producing by induction, in different closed circuits,
different series of electrical undulations, corresponding to the ground-tones of
different notes of a musical composition; (b) producing at the same time, by
cooperating devices, and by induction, in other closed circuits, other series of
electrical undulations, corresponding to over-tones of the ground-tones before-
mentioned; (c) synthesizing composite electrical undulations out of the ground-tone
undulations and the overtone undulations before-mentioned; and (d) producing
audible aerial vibrations, of similar wave-form, out of or by means of the composite
electrical undulations above-mentioned.
187. The method of producing a musical composition electrically, with composite
tones, which consists in (a) producing, in different circuits, different series of
electrical vibrations, corresponding to the ground-tones of different notes of a musical
composition; (b) producing also, at the same time, in other circuits, other series
of electrical vibrations, corresponding to overtones of the ground-tones before-
mentioned; (c) purifying different series of the vibrations before-mentioned
separately; (d) synthesizing composite electrical vibrations out of the ground-tone
vibrations and the overtone vibrations before-mentioned; and (e) producing audible
aerial vibrations, of similar wave-form, out of or by means of the composite electrical
vibrations above-mentioned.
188. The method of producing a musical composition electrically with composite
tones, which consists in (a) synthesizing, in different circuits, composite electrical
vibrations corresponding to composite musical notes of different pitches; and (b)
producing audible vibrations out of or by means of the composite electrical
vibrations above-mentioned.
189. The method of producing a musical composition electrically with composite
tones, which consists in (a) synthesizing, in different circuits, composite electrical
vibrations corresponding to composite musical notes of different pitches; (b)
transferring the composite electrical vibrations above-mentioned as corresponding
to notes of different pitches, from the circuits above-mentioned, by induction, to a
vibration-combining circuit, so that composite electrical vibrations, corresponding to
chords of composite notes are produced in said vibration-combining circuit; and (c)
producing audible aerial vibrations, of similar wave-form, out of or by means of the
composite electrical vibrations above-mentioned.
190. The method of producing a musical composition electrically with composite
tones, which consists in (a) synthesizing, in different coils, composite electrical
vibrations, corresponding to different composite notes; (b) synthesizing out of the
composite electrical vibrations, corresponding to composite notes, in a plurality of the
coils before-mentioned, composite electrical vibrations, corresponding to chords of
composite notes; and (c) producing audible aerial vibrations, of similar wave-form,
out of or by means of the composite electrical vibrations above-mentioned.
191. The method of producing a musical composition electrically with composite
tones, which consists in (a) synthesizing, by induction, in different coils, composite
electrical vibrations corresponding to different composite notes; (b) synthesizing out
of the composite electrical vibrations, corresponding to composite notes, in a plurality
of the coils before-mentioned, composite electrical vibrations corresponding to chords
of composite notes; and (c) producing audible vibrations out of or by means of the
composite electrical vibrations above-mentioned, with common-receivers.
192. The method of giving expression to a tune or other musical composition,
which consists in varying at will the amplitude of electrical vibrations, corresponding
to successive sounds of the tune or other musical composition to which expression is
to be given, by varying the inductive relation existing between two circuits, from
.

page_text: one of which circuits the sound-producing electrical vibrations before-mentioned in
being propagated from their source to the vibration-translating apparatus, are
transferred by induction to the other.
193. The method of giving expression to a tune or other musical composition,
which consists in varying from note to note, the inductive relation subsisting
between two circuits, (from one of which circuits sound-producing electrical vibrations
in being propagated from their source to the vibration-translating apparatus, are
transferred by induction to the other one of said circuits,) at such times and in such
degrees as are required to properly accent or subdue the successive notes.
194. In an electrical music-generating system, the method of producing a tune
or other musical composition with expression, which consists in (a) producing, in
different circuits, electrical vibrations corresponding to different tones; (b) propagating
electrical vibrations from the circuits before-mentioned to a line-circuit, by induction,
varying the loudness of the sounds produced by varying the inductive relation
subsisting between vibration-emitting and vibration-receiving circuits; and (c)
producing audible vibrations out of or by means of the electrical vibrations before-
mentioned, with common-receivers.
195. In an electrical music-generating system, the method of producing notes
of a musical composition with expression, which consists in (a) producing, in
different circuits, electrical vibrations corresponding to different tones; (b)
synthesizing out of the vibrations thus produced resultant electrical vibrations; (c)
transferring such resultant electrical vibrations, by induction from one circuit. to
another, varying the loudness of the sounds produced by varying the inductive
relations subsisting between the vibration-emitting and vibration-receiving circuits;
and (d) producing audible vibrations out of or by means of the electrical vibrations
before-mentioned, with common-receivers..
196. In an electrical music-generating system, the method of producing musical
sounds with expression, which consists in (a) producing, by induction, in different
closed circuits, electrical undulations corresponding to different tones; (b) synthesizing
by means of the undulations generated in the circuits before-mentioned, resultant
electrical undulations; (c) transferring such resultant electrical undulations, by
induction, from one circuit to another, varying the loudness of the resultant sounds
by varying the inductive relations subsisting between vibration-emitting and
vibration-receiving circuits; and (d) producing audible vibrations out of or by means
of the electrical vibrations above-mentioned, with common-receivers.
197. In an electrical music-generating system, the method of producing music
with expression, which consists in (a) producing, in different circuits, electrical
vibrations corresponding to different components of the musical sound desired; (b)
transferring said vibrations inductively from the circuits in which they are
produced to one or more other circuits, varying the amplitude of different components
of the sound by varying the inductive relation subsisting between corresponding
vibration-emitting circuits and a vibration-receiving circuit or circuits, to which
vibrations are transferred by induction from the vibration-emitting circuits before-
mentioned; and (c) producing audible vibrations out of or by means of the electrical
vibrations above-mentioned, with common-receivers.
198. In an electrical music-generating system, the method of producing music
which consists in (a) producing, in different circuits, electrical vibrations
corresponding to different component sounds of the composite musical sound desired;
(6) synthesizing resultant electrical vibrations out of the vibrations produced in the
circuits above-mentioned, varying the amplitude of component undulations entering
into the resultant electrical undulations above-mentioned, independently of each other;
and (c) producing audible vibrations out of or by means of the electrical undulations
above-mentioned, with common-receivers.
199. In an electrical music-generating system, the method of producing music
electrically, which consists in (a) producing, by induction, in different circuits,
electrical undulations corresponding to different component sounds of the composite
musical sound desired; (b) synthesizing resultant electrical undulations out of the

page_text: undulations produced in the circuits before-mentioned; (c) varying the amplitude
of component undulations entering into the resultant electrical undulations above-
mentioned, independently of each other; and (d) producing audible vibrations out
of or by means of the electrical undulations above-mentioned, with common-
receivers.
200. In an electrical music-generating system, the method of producing music
electrically, which consists in (a) producing, by induction, in different closed circuits,
electrical undulations corresponding to different component sounds of the composite
musical sound desired; (b) synthesizing resultant electrical undulations out of the
undulations produced in the circuits before-mentioned; (c) varying the amplitude
of component undulations entering into the resultant electrical undulations above
mentioned, independently of each other; and (d) producing audible vibrations
out of or by means of the electrical undulations above-mentioned, with common-
receivers.
201. In an electrical music-generating system, the method of producing music
electrically which consists in (a) producing in different circuits, electrical undula-
tions coresponding to different component sounds of the composite musical sound
desired; (b) synthesizing resultant electrical undulations out of the undulations
produced in the circuits before-mentioned; (c) varying the amplitudes of component
undulations, entering into the resultant electrical undulations above-mentioned,
independently of each other, by varying the inductive relations subsisting between
vibration-emitting and vibration-receiving circuits; and (d) producing audible
vibrations out of or by means of the electrical undulations before-mentioned, with
common-receivers.
202. In an electrical music-generating system, the method of producing music
electrically which consists in (a) producing by induction, in different closed circuits,
electrical undulations corresponding to different component sounds of the composite
inusical sound desired; (b) synthesizing resultant electrical undulations out of the
undulations produced in the circuits before-mentioned; (c) varying the amplitude of
component undulations entering into the resultant electrical undulations above-
mentioned, independently of each other, by varying the inductive relations subsisting
between vibration-emitting and vibration-receiving circuits; and (d) producing
audible vibrations out of or by means of the electrical undulations before-
mentioned.
203. The method of producing music electrically, which consists in (a) producing,
in different closed circuits, electrical undulations of different sorts, corresponding to
different components of the musical sound which it is desired to produce;
(b) transferring undulations from these different circuits to a vibration-combining
circuit, by induction, so that resultant electrical undulations are synthesized in said
vibration-combining circuit; (c) varying the amplitudes of the different sets of
undulations combined, at will and independently of each other, so as to produce the
different component sounds with the requisite degrees of loudness; and (d) producing
audible vibrations out of or by means of the electrical undulations above-mentioned,
with common-receivers.
204. In an electrical music-generating system, the method of producing composite
musical sounds and of giving different component sounds of the composite musical
sound different degrees of power, as required, which consists in (a) producing in
different circuits, electrical vibrations answering to different component sounds of
the composite musical sound required; (b) transferring vibrations by induction from
such circuits to a vibration-combining circuit, with different degrees of power; and
(c) producing audible vibrations out of or by means of the electrical vibrations
transferred to the vibration-combining circuit aforesaid, with common-receivers.
205. The method of producing music electrically, which consists in (a) producing,
in different circuits, different series of electrical vibrations, corresponding to different
musical sound; (b) purifying said electrical vibrations; (c) varying the power of
said vibrations, as required to produce the musical effect desired; and (d) producing
audible vibrations out of or by means of the purified electrical vibrations above-
mentioned.

page_text: 206. The method of producing music electrically, which consists in (a) producing,
in different circuits, different series of electrical vibrations, corresponding to different
musical sounds; (b) purifying said electrical vibrations; (c) varying the power of
said vibrations, as required to produce the musical effect desired; and (d) producing
audible vibrations out of or by means of the purified electrical vibrations above- 5
mentioned, with common-receivers.
207. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of electrical vibrations, corresponding to different
musical sounds; (b) purifying said vibrations by successive inductive transfers;
(c) varying the power of said vibrations, to produce the musical effect desired; and
(d) producing audible vibrations out of or by means of the electrical vibrations
above-mentioned.
208. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of electrical vibrations corresponding to different
musical sounds; (b) purifying said vibrations by successive inductive transfers; 1
(c) varying the power of said vibrations, to produce the musical effect desired; and
(d) producing audible vibrations out of or by means of the electrical vibrations
above-mentioned, with common-receivers.
209. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of vibrations, corresponding to different musical
sounds; (b) purifying said vibrations; (c) varying the power of the different series
of the vibrations aforesaid independently of each other; and (d) producing audible
vibrations out of or by means of the electrical vibrations before-mentioned.
210. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of vibrations, corresponding to different musical
sounds; (b) purifying said vibrations; (c) varying the power of the different series
of the vibrations aforesaid independently of each other; and (d) producing audible
vibrations out of or by means of the electrical vibrations before-mentioned, with
common-receivers.
211. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of vibrations corresponding to different musical
sounds; (b) purifying said vibrations; (c) transferring said vibrations inductively,
and varying their power by varying the inductive relations subsisting between
vibration-emitting and vibration-receiving circuits; and (d) producing audible
vibrations out of or by means of the electrical vibrations above-mentioned.
212. The method of producing music electrically, which consists in (a) producing
in different circuits, different series of vibrations, corresponding to different musical
sounds; (b) purifying said vibrations; (c) transferring said vibrations inductively,
and varying their power by varying the inductive relations subsisting between
vibration-emitting and vibration-receiving circuits; and (d) producing audible
vibrations out of or by means of the electrical vibrations above-mentioned, with
common-receivers.
213. The method of producing music electrically, which consists in (a) producing
simultaneously in different circuits, different series of electrical vibrations,
corresponding to different musical sounds; (b) purifying different series of said
vibrations separately; (c) synthesizing resultant electrical vibrations out of the separately-
purified electrical vibrations above-mentioned; (d) producing audible vibrations out
of or by means of the resultant electrical vibrations above-mentioned, with common-
receivers; and (e) varying the loudness of the sounds produced, by varying the
amplitudes of the corresponding electrical vibrations.
214. The method of producing music electrically, which consists in (a) producing
simultaneously, in different circuits, different series of electrical vibrations
corresponding to different musical sounds; (b) purifying different series of the
vibrations aforesaid separately; (c) synthesizing resultant electrical vibrations out of
said separately-purified electrical vibrations; (d) varying the loudness of different
component sounds of the composite musical sound produced, by varying the amplitude

page_text: of the corresponding components of the resultant electrical vibrations above-
mentioned; and (e) producing audible vibrations out of or by means of the electrical
vibrations before-mentioned, with common-receivers.
215. The method of producing music electrically, which consists in (a) producing
simultaneously, in different circuits, different series of electrical vibrations,
corresponding to different musical sounds; (b) purifying different series of the
vibrations aforesaid separately; (c) synthesizing resultant electrical vibrations out of
said separately-purified electrical vibrations; (d) transferring the resultant electrical
vibrations above-mentioned, by induction, from one circuit to another; and
(e) producing audible vibrations out of or by means of said resultant electrical
vibrations, with common-receivers, varying the loudness of the sounds produced by
varying the inductive relation subsisting between vibration-emitting and vibration-
receiving circuits.
216. In an electrical music-generating system, the method of producing a
composite note, which consists in (a) producing simultaneously, in different circuits,
electrical vibrations corresponding to different components of the note required;
(b) synthesizing out of the vibrations generated in said circuits, composite electrical
vibrations, corresponding to the composite note required; (c) transferring said
composite vibrations, by induction, from one circuit to another, varying the loudness
of the note produced by varying the inductive relation subsisting between the two
circuits last above-mentioned; and (d) producing audible vibrations out of or by
means of the electrical vibrations above-mentioned, with common-receivers.
217. In an electrical music-generating system, in which vibrations corresponding
to many different musical sounds are produced in a multiplicity of different circuits,
the method of transferring electrical vibrations from any one or more of said circuits to
the vibration-translating apparatus, which consists in arranging the vibration-
transferring circuits above-mentioned electrically, in groups, transferring vibrations
by induction from the different circuits of each group to a vibration-receiving circuit
peculiar to such group; and transferring vibrations by induction from the vibration-
receiving circuits peculiar to the different groups of circuits above-mentioned, to
another circuit, from or by which vibrations are supplied to common-receivers,
whereby the electrical vibrations are translated into audible aerial vibrations.
218. In an electrical music-generating system, in which electrical vibrations
corresponding to different musical sounds are produced in a multiplicity of circuits,
the method of transferring electrical vibrations from any one or more of said circuits
to the vibration-translating apparatus, which consists in arranging the vibration-
transferring circuits above-mentioned electrically in groups, transferring vibrations
by induction from the different circuits of each group to a vibration-receiving circuit
peculiar to such group; and arranging said vibration-receiving circuits in parallel,
with a common conducting portion, from which vibrations are propagated to the
common-receivers, whereby the electrical vibrations are translated into audible aerial
vibrations.
219. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) causing simultaneously, in different
circuits, electrical vibrations of frequencies corresponding to different component
tones of the composite musical sound desired; (b) generating from a plurality of
groups or sets of such electrical vibrations, complex electrical vibrations, of different
sorts, corresponding to the different groups aforesaid, simultaneously; (c) generating
from the complex electrical vibrations last mentioned, resultant and more highly
complex electrical vibrations; and (d) producing audible vibrations out of
or by means of the complex electrical vibrations last above-mentioned, with common-
receivers.
220. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) causing simultaneously, in different
circuits, electrical vibrations of different frequencies, corresponding to different
elements of the composite musical sound desired; (b) transferring vibrations by
induction from different groups of these circuits to corresponding vibration-receiving

page_text: circuits, simultaneously; (c) synthesizing resultant and more highly complex
electrical vibrations out of the vibrations generated in the vibration-receiving circuits
last above-mentioned; and (d) producing audible vibrations out of or by means of the
complex electrical vibrations last above-mentioned, with common-receivers.
221. In an electrical music-generating system, the method of producing composite
musical sounds electrically, which consists in (a) causing simultaneously, in different
circuits, electrical vibrations of frequencies corresponding to different components of
the composite musical sound desired; (b) transferring vibrations by induction from
different groups of these circuits to corresponding vibration-receiving circuits, the
vibrations of each group of circuits aforesaid being transferred to a vibration-receiving
circuit proper to such group; (c) transferring vibrations by induction from group-
vibration-receiving circuits last above-mentioned to a common vibration-receiving
circuit, so that resultant and more highly complex electrical vibrations are produced
in said common-vibration-receiving circuit; and (d) producing audible vibrations out
of or by means of the complex electrical vibrations last above-mentioned, with
common-receivers.
SLOAN & LLOYD BARNES,
Castle Chambers, 26 Castle Street, Liverpool, Agents for the Applicant.