Improvements in American Organs and similar Musical Instruments (Automatic or otherwise) Operating on the Exhaust Principle.
Year: 1897

page_text: Date of Application, 16th Feb., 1897
Complete Specification Left, 26th Nov., 1897-Accepted, 16th Feb., 1898
Date of Application, 16th Feb., 1897
Complete Specification Left, 26th Nov., 1897-Accepted, 16th Feb., 1898
Improvements in American Organs and similar Musical Instruments
(Automatic or otherwise) Operating on the Exhaust Principle.
I, SAMUEL HOWARD, of 2 and 4, Swan Street, Manchester, Musical Instrument
Dealer and Manufacturer, do hereby declare the nature of my said invention to be
as follows:
My invention relates to American organs and to all other musical instruments
of a like kind (automatic or otherwise) operating by an exhaust action on the reed
box or cavity board, or equivalent part of the instrument.
The object of my invention is to bring into prominence the extreme note or notes
(uppermost or lowermost) of each chord of a piece of music at the will of the
organist, or player without special effort, and so enable the melody or bass of a
tune or song to be readily brought out or emphasised.
As my invention relates more particularly to American organs I will describe it
as applied thereto, and to an existing organ, which differs in no material particular
to its application to new organs, and to other instruments.
.
In proceeding to apply my invention to an existing organ I remove or dispense
with the shutter or mute' which has hitherto served for closing the cavities leading
to the cavity board or reed box of the set of reeds to be operated upon (treble or
bass), and substitute therefor a set or series of minature mutes,-one for each of
the said cavities, and I so hinge and balance the said mutes by means of a stem
or lever that when left to themselves they lie over and close their respective cavities.
Between the usual plungers (dollys) which do service under the action of the organ
keys for operating the ordinary and usual pallets of the cavity board or reed box,
I arrange a set of balanced levers, which lie alternately between the said plungers,
and in immediate contact at one point with the under side of the collars,' which
are provided for the usual octave coupler,'-or in immediate contact with equiva-
lent collars specially provided, and at another point resting upon or over-lying the
stem or lever of the minature mute covering the cavity of the next higher or lower
note of the chord, according to the one which it is desired to mute or silence. As
a plunger is depressed by the organ key its collar acts upon the balanced lever
adjoining or identified with it, and raising it clear of the minature mute stem,
which it has previously depressed, allows such stem to rise and the mute to close
its cavity.
<
Upon each collar end of the said balanced levers I mount or provide a finger or
projection which extends horizontally and overlies the same ends of three or more of
the other balanced levers in the direction in which it is desired to mute the remain-
ing notes of the chord, and consequently when a lever is depressed by the said
plunger collar it carries down three or more of the other levers, and so causes them
to relieve their respective minature mutes, and allow such mutes to close their
respective cavities.
It will now be observed that as each plunger operates in the manner described,
it does not operate upon the minature mute belonging to the cavity of the same note

page_text: which it represents, but the mutes of the adjoining cavities and thus by leaving its
own cavity intact (uncovered) and by stopping out or silencing the other notes
the desired distinction of the melody (treble) or bass note is obtained.
The normal position of an organ being with the mutes closed (stops pushed in),
I arrange a rod or rail over the extremities of the balanced levers, which resting
thereon permits all the minature mutes to close the cavities.
To bring the mechanism into operation I raise such rod by a suitable 'stop' over
the organ keys, and thus allow the levers to again raise the mutes.
To enable the organ to be played in the ordinary manner I provide a rod or rail
which overlies the mute stems and on being lowered by the ordinary stop' action
already existing, compels the aforesaid mutes to remain open in like manner to the
continuous 'mute' board at present in use.
A modification of my invention consists in lengthening the balanced levers, and
employing a rod operating under a stop action' for raising the said lever when it is
desired to close the cavities and lowering the same for opening such cavities.
At the point of contact between balanced lever and mute stem I provide a regu-
lating wire or screw for varying or adjusting the desired action of the parts.
Lastly it will be obvious that the essence of my invention being the stopping
out, or silencing of the notes below the top or melody note, and above the lowest or
bass note, the means of carrying it into effect and its applications to various instru-
ments may be more or less modified.
Toted this 15th day of February 1897
SAMUEL HOWARD,
By John G. Wilson & Co.,
Agents.
Improvements in American Organs and similar Musical Instruments
(Automatic or otherwise) Operating on the Exhaust Principle.
I, SAMUEL HOWARD, of 2 and 4, Swan Street, Manchester, Musical Instrument
Dealer and Manufacturer, do hereby declare the nature of this invention and in
what manner the same is to be performed, to be particularly described and ascer-
tained in and by the following statement: -
My invention relates to American organs and to all other musical instruments of
a like kind (automatic or otherwise) operating by an exhaust action on the reed-
box or cavity-board or equivalent part of the instrument, and my invention has for
its object to bring into prominence the highest (treble), or lowest (bass) note of a
chord of music at the will of the organist or player, without special effort, and so
enable the melody' or 'bass' of a tune or song to be readily brought out,
emphasized or made prominent, or, in other words, to cause all the notes below the
highest (treble), or above the lowest (bass) note of each chord to be silenced, and
by allowing only the highest or lowest note to sound to give prominence to the
air or melody of the tune.
"
As my invention relates more particularly to American organs I will describe
it as applied thereto, and to an existing organ, which differs in no material particu-
lar from its application to a new organ, and in proceeding to apply my invention to
an existing organ, I first remove or dispense with the continuous shutter or mute,
which has heretofore served for closing the cavities leading to the cavity-board or
reed-box of the set of reeds to be operated upon, 'treble,' or 'bass,' and substitute
therefor a set or series of minature mutes (one for each of the said cavities), and I

page_text: so hinge and balance each of said mutes by means of a stem or lever that when
left to themselves they lie over and mute their respective cavities.
Between the usual plungers (*dolleys '),-which do service under the action of the
organ keys for operating the ordinary and usual pallets of the cavity-board or reed-
box, I arrange a set of levers, which lie alternately between the said plungers and
in immediate contact at one point with the underside of the 'collars' which are
provided for the usual octave coupler,' or in immediate contact with equivalent
collars specially provided, and at another point rest upon, or overlie the stem or
lever of the minature mute covering the cavity of the next lower note of the
'treble' set of the reeds and the next higher note for the 'bass' set of reeds.
When a plunger is depressed by the organ key its collar acts upon the lever
adjoining or identified with it, and raising it clear of the minature mute stem,
which it has previously depressed, allows such stem to rise, and the mute to close
upon its cavity.
Upon the ends of the said levers, nearest the plunger collars, I mount or provide
a finger or projection, which extends horizontally and overlies the same end of
one, two, three or more of the other levers in the direction in which it is desired to
mute the remaining notes of the reed, and consequently when a lever is depressed
by a plunger collar it carries down one, two, three or more of the other levers,
which in turn, by their extensions, carry down all the other levers, and so cause
them to relieve their respective minature mutes, and allow such mutes to close upon
their respective cavities.
It will, however, be seen that as each plunger operates in the manner described
it does not operate upon the minature mute belonging to the cavity of the note
which it represents, but the mute of the adjoining cavity, and thus by leaving its
own cavity open and muting the next, the desired distinction of the melody note
(treble, or bass) is obtained.
Assuming it is an organ with four sets of reeds, and that my invention is applied
to the treble' set of reeds, corresponding for example to what is known as the
'celest,' the effect of playing in the treble is that all the notes below the uppermost
of each chord is silenced, and the said uppermost note is alone sounded, which, with
the music furnished by the other reeds of the organ, gives emphasis to all the top
notes, due to such top notes having a double sound, whilst all the lower notes have
one sound only. Similarly with my invention applied to the set of reeds represent-
ing the 'bass,' the lowermost note of each chord is given prominence by reason of
all the higher notes being subdued or silenced, and the lowermost notes of the other
reeds being amplified by such lowermost note of the 'bass.'
And in order that my said invention may be more readily understood and carried
into practical effect we have hereunto annexed 2 sheets of drawings, and will now
proceed to describe the same with the figures and letters of reference marked
thereon.
On Sheet One, Figs. 1 and 2 represent a transverse section and part plan respec-
tively of the treble portion of an organ reed-box, or cavity-board, comprising 4
sets of reeds (two full rows) and with an arrangement for muting one set of reeds,
or reed cavities, in the treble.' Figs. 3 and 4 represent similar views of a reed-
box or cavity-board comprising eight sets of reeds (four full rows), and with an
arrangement for muting two sets of reeds in the treble.'
On Sheet Two,-Figs. and 6 shew similar views of a modification, and Figs.
7 and 8 represent transverse sections of cavity boards with further modifications,
the essential feature in each adaptation being the muting of all the reeds or cavities
of the reed-box, to which my invention is applied, below the highest, or above the
lowermost note, according as it is the treble or bass' which is to be emphasized.
Referring to Sheet One, and to Figs. 1 and 2 which represent what I will call the
'celest' set of reeds, (A) designates the usual plungers by which the pallets (B)
under the action of the organ keys (C) are depressed in allowing air to be exhausted
through the cavities (D) of the reed box (E) when uncovered by their mute.
lieu of the continuous mute heretofore used for covering and uncovering the reed
cavities (D), I substitute or use a minature, or separate, mute (F) for each cavity,
In

page_text: with stem (G) fulcrumed on rail (H), and so poised, as when left to itself, to close
or mute the cavity. Upon the said reed box (E), I mount in bearings (I), secured
to rail (J), the levers (K), so proportioned and weighted as at one end to lie beneath
and against the 'coupler' collars (L) (or their equivalent) on the plungers (A), and
at the other end to extend forward over the stem (G) of the minature mute identified
with the cavity of the next lower note and therefore assume the position shewn in
Figs. 1 and 2, and according to the position of collars (L), to lightly rest upon the
stems (G) and hold the mutes (F) from their cavities. The said levers lie between
and extend slightly beyond the plungers (A), and each carries a finger or exten-
sion (M) designed to extend over one, two, three or more of the other levers below it,
hence when one of such levers is depressed it will carry down with it all the levers
to the left (see arrow in Fig. 2), and thereby allow all the mutes previously held
open by the weight of said levers to mute their respective cavities. Owing, how-
ever, to the peculiar setting of the levers (K) at an angle, or with one end beneath
the plunger collar of one note, and the other end upon the mute stem of the next
lower note, the mute identified with the depressed plunger (or key) is not affected,
but continues to be held away from its cavity by the lever of the next higher note,
and thus allows of the note identified with it to be sounded.
In applying my invention to the reed box representing the bass,' the arrange-
ment of levers (K) and fingers (M) is reversed, the levers (K) overlying the mute
stems of the next higher notes, and the fingers (M) arranged in an opposite direction
to that shewn in Fig. 2 and 4, and thereby serving to silence all but the lowest
depressed key in each chord.
As my invention consists essentially in employing separate mutes for each cavity,
and closing all the mutes below the highest, or above the lowermost note of each
chord, according as it is the 'treble' or 'bass,' I may employ various means for
carrying it into effect, and I may adapt my invention to organs with a number of
sets of reeds, as for example to an organ with four sets of reeds (eight full rows),
(see Figs. 3 and 4). In this modification one set of levers is arranged to operate
upon two rows of minature mutes, but separate sets may be used, and in lieu of
the extensions (M) being upon the shorter arms of the levers (K), I have shewn
them on the longer arms so that they may help to return the levers after being
depressed by the plungers, and give a definite action to the levers. Such extensions
may likewise be applied to the levers shewn in Fig. 1 as indicated by dotted lines,
and by reversing them they may be fixed upon the under faces of the levers.
If it should be desired to play the organ in the usual way I employ rods (N) and
(0) or (P) connected with suitable
stops.'
By the lowering of rod (N) all the levers (K) are tilted up and held clear of the
stems, and the downward movement of rod (0) then serves to depress or release the
entire row of minature mutes, and thus cause them to cover, or uncover the cavities
after the manner of a continuous mute. In lieu of rod (N) I may employ rod (O¹),
or both.
In connection with the arrangement shewn in Figs. 3 and 4 the levers may be
raised by rod (F), and the mute stems independently operated by rods (Q), and (R).
Referring to Sheet Two of the drawings, and to Figs. 5 and 6, I arrange a separate
or additional reed-box (S), disposed vertically, instead of horizontally, as illustrated,
and opening into the cavity board of the ordinary reed-box (I). The cavities of
this supplementary reed-box are covered by minature mutes (S1) beneath which the
free ends of the levers (T) fulcrumed at (T) extend. These levers under their own
balance, or the pressure of spring (T2) lie upon the upper side of the plunger
collars (L), and in their normal position allow the mutes (ST) to close their respective
cavities. When, however, a plunger is depressed the weight of the shorter arm
causes the lever to follow the collar (L), and the longer arm to lift the mute, and
so uncover the cavity of the note with which it corresponds. Beneath each lever
I mount a cranked rod (U), so bent and weighted as to lie with one end always
bearing against the underside of the collar, and its other end extending beneath the
adjoining lever, corresponding to the lower treble,' or higher 'bass' notes, and the

page_text: movement of said bent rod is such that as the end resting against the collar falls
its opposite end immediately tilts up beneath the adjoining lever, as shewn in dotted
lines in Fig. 5, and being more or less at right angles with such lever forms a 'strut'
to prevent the lowering of the lever above it. With each of such cranked rods
caused to overlie its neighbour (as shewn more clearly in Fig. 6) it will be seen that
the movement of any one rod will be communicated or passed on to all the other
rods, and therefore all the levers above such rods will also be locked, or be prevented
from lowering, and thus the mute representing the highest treble' or lowermost
bass' only will be affected, and the desired prominence to such note be given.
Whilst I have found this last modification to work well, I may employ the
arrangement of diagonal levers and extensions shewn in Figs. 1 to 4, and adapt the
same for two or more sets of reeds.
For disconnecting the attachment when it is desired to play the organ in the usual
way, I mount the rods (U) upon a hinged board (U¹), raised and lowered into and
out of position by cranked rod (U) from a suitable push,' or 'stop.'
In each of the modifications shewn in Figs. 1 to 4 the minature mutes act per-
missively, but in the modification shewn in Figs. 5 and 6 their action is positive..
In Fig. 7 I shew a further modification in which they act positively.
The plunger collars in this latter bear upon the small levers (V) which have.
extensions (V) upon their underside, whch lie beneath the stems (G) of mutes (F)
so that when tilted they lift the mute stems, and close the cavities of the reed-box.
Owing to the proportioning of the mute stems and weight of adjusting screw and
blade (W), they (the stems) keep the levers in the position shewn in Fig. 7, and
therefore ready to be operated upon by the plungers (A).
For disconnecting the attachment in this case I hinge the base of action rail (H),
and thus enable the levers (V) to be lifted into, and lowered out of touch with the
collars (L).
In Fig. 8, I shew a further modification in which the mutes act permissively, and
are similar in action to Figs. 1 and 2, but with the mute stems reversed. In each
of these latter modifications the levers (K) lie parallel with the organ keys and
convey the action of the plunger to the mute of the next higher, or lower key, by
means of the right angled extensions (M).
With this last modification, or even those shewn in Figs. 13 and 7, the levers (K),
or (V), may engage with the upper side of the collars, and be so weighted or poised
as to fall with the collar when lowered by the plunger.
Having thus particularly described and ascertained the nature of my said inven-
tion and in what manner the same is to be performed I wish it to be understood
that I do not confine myself to the exact details, relative proportions, or dimensions
of my improved 'solo' attachment or to the number and form of levers or stems in
applying same, or the means or arrangements for connecting and disconnecting
the attachment since the same may be varied without departing from my invention,
and what I claim is:-
1: In American organs and like musical instruments operating on the exhaust
principle, muting all the notes below the highest, or above the lowest note of each
chord, treble' or 'bass,' and thereby bringing such highest or lowest notes into
prominence, in the manner, and by the means, substantially as herein set forth.
6
2: In American organs and like musical instruments operating on the exhaust
principle, the application of a separate 'mute' to each cavity of the reed-box or
cavity-board representing the treble' or 'bass,' in combination with levers having
lateral extensions, and each of such levers acted upon by a pallet plunger of the
reed-box, and in turn acting upon the mute of the next lower, or higher note, and
allowing or causing such 'mute' to close its cavity, and simultaneously causing
all the levers of all the lower, or higher notes to allow their mutes to close their
cavities, as and for the purposes set forth.
3: In American organs and like musical instruments operating on the exhaust

page_text: principle, the combination of pallet plungers (A), collars (L), levers (K), exten-
sions (M), minature mutes (F), carried by stems (G), mounted and operating in
relation to one or more reed-boxes, in one or other of the ways herein described,
and separate from, or in combination with, means for using mutes (F) as a con-
tinuous mute, as and for the purposes set forth.
4: In American organs and like musical instruments operating on the exhaust
principle, the combination of levers, mutes and stems with rods or rails (N) and
(0), or (0¹), or (P), (Q) and (R), operated by suitable stops,' for the purposes herein
described and illustrated on the accompanying drawing.
5: In American organs and like musical instruments operating on the exhaust
principle, the application of a reed-box (S), supplementary to the ordinary reed-
boxes, arranged vertically, and having minature mutes (S'), adapted to be operated
by levers (T) from pallet plungers (A) and collars (L), in combination with right, or
left handed cranked rods (U), mounted and operating as and for the purposes
herein described and illustrated in Figs. 5 and 6 of the accompanying drawings, and
separate from, or in combination with, means for raising and lowering rods (U),
as set forth.
6: In American organs and like musical instruments operating on the exhaust
principle, the application of levers (V) and extensions (V1), in combination with
mutes (F) with stems (G) and mounted and operating as and for the purposes herein
described and illustrated in Fig. 7 of the accompanying drawings, and separate
from, or in combination with, means for raising and lowering bearing (H), as set
forth.
7: In American organs and like musical instruments operating on the exhaust
principle, a set of reed cavities controlled by minature mutes to open or close
separately, or collectively, in combination with reed-boxes having continuous mutes,
as and for the purposes set forth.
Dated this 16th day of November 1897