A NEW MUSICAL INSTRUMENT
Year: 1862

page_text: PROVISIONAL SPECIFICATION left by Athanase Mathurin Pierre Airiau
at the Office of the Commissioners of Patents, with his Petition, on the
2nd January 1862.
I, ATHANASE MATHURIN PIERRE AIRIAU, of Paris, Rue St. Dominique,
St. Germain, No. 8, in the Empire of France, do hereby declare the nature
of the said Invention for "A NEW MUSICAL INSTRUMENT," to be as follows:-
The object of my Invention is to combine in one instrument both the piano
and the organ, and permit the simultaneous or alternate production of the
tones of either instrument, and the means by which this object is attained will
be best understood by reference to the annexed Sheets of Drawings, on which
Figure 1 (Sheet 1) represents the instrument when closed; Figure 2, the
same open, H, H, indicating two knobs or registers, which are pulled out or
pressed upon
in order to produce flute or bass sounds; R, R, two projecting
or knee pieces lodged in the thick board, excepting the projecting parts, so
that the knee may find them easily; they are intended to raise the two sleys
provided with pilots, and establish a connexion between the organ and the
piano. When the effect of the knee pressure ceases, a spring, shewn B, C,
Figure 3 (Sheet 2), is calculated to keep the sleys constantly inverted, in order
to silence the sounds of the organ, and permit the sounds of the piano only to
be heard. The knobs V, V, right and left of the keyboard, are intended to
drive in or draw out a wooden frame, partly rigid and partly articulated,
having a slope.or groove for an alternate motion, and fixed to the board by
a screw of the same diameter as the groove or slope through which it passes.

page_text: The first part of this frame is rigid, but it is articulated or jointed at the
points C, D, Figure 7 (Sheet 2), and by the first point C is fixed to the handle
of a beam or cross piece A, covered with cloth, and placed between the rest
beam and the hammers. This cross piece is intended to lessen, more or less,
and at pleasure, the sounds of the instrument by drawing the hammers close
to or gradually from the point of percussion or striking. It is termed a
"sordine," and is worked by pulling out or pushing in the said knobs.
Contrary to what takes place in harmoniums or similar instruments, the (the
bellows of which are to be pressed upon,) the bellows of my instrument are
actuated by pulling them down, which is of great advantage to the performer.
I have also changed the form of pedal to adapt the one shewn, P, P,
Figure 2 (Sheet 1), which I believe to be more advantageous. The right
pedal L has for object, by means of a transferring rod and square, regulated
motion, to give to the working hammers a slight side motion so that every
hammer shall strike only one string, and such percussion perfectly imitates
the sounds of a harp. The left pedal L', termed "forte pedal," aided by
a transmitting rod, is intended to raise the dampers, and thus give louder
tones, and protract the vibration of the strings.
Figure 5 (Sheet 2) represents the air chamber, which is made of wood, and
consists of two parts; first, the upper part or board itself, divided internally
into three parts, in each of which are fixed with screws the working apparatus
of the reed stops meant to produce the tones of an organ, and occasionally
those of other instruments; secondly, the lower part of the said air chamber,
which part communicates directly with the reservoir through its valves and
openings, which are calculated to produce the sounds of any required instru-
ment. The two parts of this air chamber are closed by means of two hinges
and crochets, to prevent any deperdition or loss of the air. The upper and
outer part of the air chamber is provided at the top with levers forming valves,
and corresponding to each stop or note of the organ, actuated by pilots when
the sley is vertical and the key-board (Figure 4) played upon.
In Figure 2 (Sheet 1) is shewn the reservoir for the supply of air. It is
adapted to the air chamber and to the two air pipes T, T, issuing from the large
bellows generating air, and moved by the large pedals. This reservoir rests
upon a spiral spring at each side on a small lateral board on the inside and
back, upon which are fixed the different parts of the organ. Below the two
reservoirs are two large bellows, feeding the reservoir with air by means of
bellows pipes, as shewn. The two bellows producing air are placed on the
transversal board which terminates the instrument. Between the two bellows
is a wooden frame in keeping with the size of the reservoir, and regulating the

page_text: extreme length of it. In the middle of the plank, supporting the bellows S, S,
is a slope to allow the drawing cords to pass. These cords are connected with
the bellows, and the pedals are fixed to a suitable wooden frame by hinges or
otherwise.
Figure 6 (Sheet 2) shews the mechanism of the hammers in relation to
the working of the "sordine" or damper; Figure 7, the mechanism actuating
the frame termed "sordine," the mission of which is to concentrate the sounds
at will; Figure 8, the sounding-board, the top of which is compact, and is to
receive the pegs on which the strings are rolled.
B is the saw-notch of the piano; C is the bridge glued on the sounding-
board;
F is a cloth ribbon to prevent the confusion of sounds by their being
too protracted; D, part of the board or wind box, to admit the points of the
strings; E, that part of the board which is the sounding-board. I would
observe that I have altered the ordinary proportions of that table, which allows
me to give more extension to the smaller strings, and constitutes a marked
improvement. To keep the sounding-board mathematically correct, and to
neutralize the effect of the tension of the strings, I place in the upper part of
the said board, and where the pegs are fixed, a metallic plate, bored with as
many holes as there are pegs to be screwed, so that they may be propped and
better fastened on the opposite side. -