To JAMES THOM, of Wells Street, and WILLIAM ALLEN, of Castle Street, both in St. Mary-le-bone, for and Invention of a certain Improvement in Piano Fortes.
THE object of this improvement, is to preserve a more uniform tension of the strings, by rendering them less affected by the changes of temperature, which cause an expansion or contraction of wood-work to which the ends of the strings have hitherto been attached.
The improved method proposed is by removing the strain of the wires or strings from the wood-frame, and distending them upon metallic rods, bars, tubes, or plates, so situated and united together, as to form a metal frame to receive the pins, or other modes of attachment, round which the ends of the wires or strings are fastened, by which it is presumed that the tension of the strings will be much less altered by the atmospheric changes of hot and cold, damp and dry, than in piano fortes of the usual construction, where the ends of the strings are immediately connected to the wood-work. As there are a variety of modes by which the above invention may be adapted to pianofortes, and perhaps with equal advantage, the patentees consider every mode or adaption of the same, as coming within the meaning and privilege of their patent right.
Inrolled, April, 1820
To JOHN WORNUM, of Wigmore Street, Cavendish Square, London, for an Improvement on Piano-Fortes, and certain other Stringed Instruments.
THE patentee proposes to take, for example, a cabinet piano-forte, and determine the length which he deems eligible to be given to the longes plain string. He then sets off that length on a monochord, and after having determined the size of the string and the tightness that he might wish it to bear, (points which he states to be wholly at the discretion of the workman,) he strains a string accordingly on the monochord, and observed with what note it is in unison on a well-tuned piano-forte. This note being determined, he sounds the next note above on the same piano-forte, and moves the shifting bridge of the monochord until it is brought in unison. In this manner he proceeds till all the notes of one octave are ascertained and marked. Then he transcribes those marks on a rod, and for all the corresponding notes required upward, halves the several lengths to produce the notes of another octave, and so on, halving from the last octave for as many octaves as the instrument is desired to produce.
For the covered strings, he fixes the length of the longest covered string, and draws a line from it to the end of the longest plain string, by which is ascertained the respective lengths of all the intervening covered strings.
It is then necessary to observe the weight that brings the longest plain string to its proper tension, and with this weight all the covered strings are to be distended, for the purpose of ascertaining how to increase or diminish the size of the covered strings, until the weight brings every string respectively to the required note. A few of the first covered strings, will necessarily be open spun, but close spinning is to be taken as soon as possible, which will depend entirely upon the fineness of the covering wire.
The scale thus produced must be strung throughout with the same size wire ; it may be varied in different instruments, but not in any case in the same, as two sizes of wire would completely destroy the quality of the tension.
If we do not mistake the intention of the patentee, there are many objections to such a construction. We have no doubt, if it can ever be brought into use, that the uncovered wires, being all of one size, will give a bad tone to the upper part of the instrument. Stretching them by weights is hightly objectionable, as Mr. Benjamin Martin found by experience ; and as the wires must be made to bear upon the bridge, the friction upon it will prevent the tension of the wire from being uniform when lengthening by heat or contracting by cold. The difficulty also of procuring wires all of one size, will be another objection ; nor will it be easy to find the length of the wires with sufficient exactness by the method proposed : but so little is said by the patentee of his method of applying the weights and other parts of his invention and design, that we are prevented from giving so decided an opinion as we wish to do.
Inrolled, July 1820.
To WILLIAM FREDERICK COLLARD, of Tottenham Court Road, London, for certain Improvements in Piano-fortes.
THESE improvements are applicable to both upright and horizontal piano-fortes, and consist of an additional bridge, called a bridge of reverberation, and a general moveable damper or harmonic swell. This bridge of reverberation is placed on the outside of the ordinary bridge upon the sound board and nearly parallel to it. Between the two bridges is teh bar called the general damper, lying upon the strings beyond the ordinary bridge ; which bar is curved into a form nearly parallel with the two bridges, and is made to rise or fall upon arms or cranks by the agency of a pedal below. The under side of the damper bar is covered with cloth or leather, and when raised or lifted off the strings, by means of the pedal, the reverberating tones of hte strings are permitted to sound, which, in playing the instrument, produce a harmonious swell. The form of the parts may be varied according to circumstances, and the lifting of the damper-bar be effected in various ways.
Inrolled, May, 1821.
To PIERRE ERARD, of Great Marlborough Street, London, for certain Improvements on Piano-fortes and other keyed Musical Instruments ; being Communications from a Foreigner.
THESE improvements consist of several variations from the ordinary construction of a piano-forte, the first of which is called "a new and improved application of the mechanism for that species of action known under the denomination of the escapement. Common piano-fortes, without an escapement in their action, or where the sticker, or riser, (this being the name applied to that piece of wood or metal which communicates the motion from the key, when pressed, to the hammer that strikes the wire,) is immoveable, possess the advantages of a great flexibility to the touch ; but, on the other hand, they are defective, on account of the liability of the hammer to rebound or fly up to the string after it has struck it, which prevents its free vibration, and is often destructive of its tone. In order to remedy such defect, an escapement has been contrived and used in the sticker to let the hammer fall away from the string after it has struck it ; but the advantage which such escaping sticker, or riser, has over that which is without escapement, renders the performer subject to a very great inconveniene ; namely, that of being always obliged to raise up the finger, so that the key may rise to the level of the other keys before it will speak or repeat its note again : for without such elevation of the key, the sticker cannot get again under the hammer to repeat its action.
These difficulties are proposed to be obviated by the present invention, which embraces four objects connected with the action of the key. The first of these is "the application of a spring for the purpose of supporting the weight of the hammer after it has made its blow, and has escaped from its support upon the sticker. The second is a contact which is brought about between the hammer, near the centre upon which it moves, and the spring lever, connected and supported by such spring, in order to prepare the fall of the hammer when its escapement takes place. The third is a lever, which, by moving on its centre, effects the escapement of the sticker from under the hammer. The fourth is a piece so contrived, with an adjusting screw, as to catch the hammer in its fall, and to stop or hold it as long as the key is kept entirely down, so as to prevent the possibility of its rebounding to the wires again, while it releases it by the smallest rise of the finger end of the key."
Plate XIII. fig. 1, exhibits the arrangement of the mechanism of one key of a piano-forte upon the improved plan ; the key being, in this figure, at rest. Fig. 2 represents the same parts in action ; that is, the key being depressed, and the hammer thrown up, the respective letters referring to the sme parts in both figures : a, is the key ; b, is the hammer to which motion is communicated from an intermediate lever, c, by means of the piece, d, called the sticker, which moves upon a joint at bottom. A staple at e is fixed under the tail of the hammer, and the hammer is also supported by a spring connected to the piece, f, with a screw to regulate its tension. The sticker, acting against the tail of the hammer, raises it every time the key is depressed, as shown at fig. 2, and, by that means, causes it to strike the string. While this operation is performing, the extremity of the lever , f, comes in contact with the tail of the hammer, very near its pivot ; and, in consequence, the hammer, having now more power to descend, falls, by its own weight, and forces down the piece, f, in opposition to the spring. In that situation the spring has no power or effect upon the hammer, which is supported by the sticker resting against it. The projecting tail, g, of the sticker now comes in contact with the adjustable stop, k, and, by pressing against which, is forced down, and the sticker is made to escape from under the staple. At the same moment, the hammer falls past the wedge-formed point of the adjustable piece, i, which prevents it from flying up again to the string, and is there kept secure as long as the key remains down.
Connected to the above mechanism is a newly contrived damper, which possesses considerable advantage over those heretofore in use ; namely, that of stopping short the vibration of the wire, by means of a spring : k and l are two small levers, moving upon the same centre, which are kept at a proper distance apart by a spring, and the small hook, m. At the extremity of the lever, k, the rod, n, is attached, which carries the damper up to the string : o, is a rod affixed to the lever, c, and moving with it, which supports the damper. When the key is depressed, the damper comes down and allows the string to vibrate. To produce the forte with the pedal, or to take off the dampers from the strings, a piece, p, is introduced, which, by the ordinary contrivance of the pedal mechanism, is made to come down upon the levers, k, and to depress the dampers : the small spring between the levers allows k to descend without disturbing the other parts of the mechanism. In order to admit of adjusting the position of the hammers under the strings, a sliding piece, q, forms the hinge joint of the hammer, which is attached to the rail by a screw, so as to be capable of adjustment. The centre of action of the lever, c, is constructed with a similar work of adjustment.
Fig. 3 represents two new modes of holding the strings upon the bridge, which are used at one end instead of the common bridge near the rest pins, as r, fig. 1. These contrivances may be used for two, three, or more strings ; but for the large strings, the pulley, as r, is to be preferred.
It is of great importance to prevent the case and sounding board of the instrument from being distorted, or drawn out of its original shape by the tension of the strings ; to prevent which the following contrivance is proposed : a, fig. 4, is one of a series of metal arches, which are employed as stays to connect the rest-pin-block and the hinder part, or framing of the instrument, at the place which is left for the hammer to come up to the strings. These arches are attached to the rest-pin-blocks, at one end, by a screw, b ; but, instead of the other ends of the arches being fixed upon a bar extending across the case as usual, they are moounted by plates which are screwed to a sort of comb-formed rails, c, with open spaces between each, which are fixed at their hinder parts to the case of the instrument. All these rails, c, rest upon the transverse bar, d, from which rise pieces, or blocks, e, shewn in dots which intervene betweem the rails, c, and support the sounding board, f ; by these means the pieces are free from each other, neither the blocks nor the sounding board touching the rails, c, and, hence, the tension of the string cannot strain the sounding board.
Fig. 3 is a new sort of framing to be applied to the curved part of the case of a piano-forte between the bridge, g, and the case, h. It is composed of two pieces of wood, i, i, glued to each side of the sounding board, f, and likewise to the case, h, by which the sounding board is allowed to vibrate freely. These are bound together near the bridge, g, by screws, j, with pipes which pass through apertures in the sounding board.
Fig. 6 represents an additional stop to be moved by a pedal for producing a new effect in the tone and vibration of the instrument. This is contrived to act by a series of levers to be placed, at convenient distances from each other, upon the sounding board, in the space between the bridge, g, and the external case, h. Two of these levers, k, k, are shewn moving upon centres, at l, l, their opposite ends pressing against the bridge, g, when acted upon by the pedals by means of the links or rods, m, m, m, thereto connected. These levers, when at rest, are retained in the position of the dotted lines, by means of springs or weights applied to any convenient part of the apparatus ; but when brought into action, their rfiction rollers press against the bridge, as shown ; but the effect to be produced thereby is not described in the specification.
Inrolled, June, 1822.
To HENRY SMART, of Berners-street, in the Parish of St. Mary-le-bone, in the County of Middlesex, Piano-Forte Manufacturer, for his Invention of certain Improvements in the Construction of Piano-Fortes. [Sealed, 24th July, 1823.]
THESE improvements apply to upright piano-fortes, and consist in an improved mechanism connected with the hammmer, and with the keys, for the purpose of preventing the hammers from rebounding against the strings, and also shortening the action when a quick repetition of the same note is to be performed. The mode of effecting this object cannot well be understood without reference of the hammer, the key, and appendages shewn in Plate VII. Fig. 1.
Every key of an upright piano-forte, upon this improved principle, is to be furnished with the mechanism here shewn : a is the key supported, and vibrating upon the centre rail, as usual, with a pin passing through it. At the hinder part of the key a small staple is fixed, which carries the lever b ; the top of this lever acts against the block c, or piece into which the stem of the hammer is set, and hence the depression of the key at one end by the finger of the performer, causes it to rise at the reverse end, throwing up the lever, and impelling the hammer against the string of the instrument.
This is stated to be the common construction of a certain description of upright piano-fortes called the grasshopper action. The improved parts are now to be described ; d is a small piece of wood rising upon a sort of hinge-joint, and through an oblong hole or slit, in this piece, the lever b passes freely. In order that this piece d may rise whenever the key is struck, a small stud c is inserted into the lever, which stud, by striking against the under side of d, lifts it up. This stud, for the purpose of more accurately adjusting its action, is made with an excentric or snail head, so that by turning round its screw pin the edge of the stud may be placed at a greater or less distance from the underside of the piece d, and consequently when in action will raise it more or less, as may have been found necessary in the previous adjustment.
Near the extremity of the piece d, a wire is introduced with a pad f at top, for the purpose of catching the tail part of the block c as it falls back, thereby preventing the stem of the hammer from striking against its rest as usual, and from which it frequently rebounds, giving a second blow to the string, so as to produce a jarring sound.
The positions of the parts when the note is struck are shewn by dots in the figure, and it will be seen that if a quick repetition of the same note is required, the pressure of the finger upon the key will cause the notch or shoulder of the lever b to lift the block c, and give the note instantly, as the hammer now standing so near to the string does not require that time to perform its action which it would do if it had fallen back upon its rest. Releasing of the key however by the removal of the finger, permits the parts to return slowly to their quiescent state, and the hammer to fall back upon its rest.
There are many parts of this mechanism which are not new, and are therefore not claimed under this patent, the improvements being limited to the piece d, with its adjustable lifting stud d, the catch f, and the tail part of the block c, in which the stem of the hammer is fixed. The moving parts are all counter-balanced with weights as usual, in order that they may fall into their proper positions by their own gravity, and the surfaces which come in contact are all covered with soft leather, to prevent the rattling noise which they would otherwise produce when in action.
[Inrolled, January, 1824.]
To WILLIAM WHEATSTONE, of Jermyn-street, St. James's, in the County of Middlesex, Music-seller, for his Invention of a Method of Improving and Augmenting the Tones of Piano-Fortes, Organs, Euphonons, and other Musical Instruments. [Sealed 29th July, 1824.]
The method proposed by the patentee, of improving and increasing the tones of the above musical instruments, is by the introduction of drums, or vibrating surfaces, against which the sounds emitted strike, and are reverberated. These drums are formed, by constructing wooden frames, fitted to the inside of the instruments, and stretching tightly upon these frames, paper, parchment, vellum, or other vibrating material, which produced the drum. The frames are to be placed as near to the sounding boards as possible, in order that the drum may be powerfully acted upon, by the vibration of the note given out on touching the instrument, and the effect is stated to be that of improving the melody, as well as augmenting the strength of the tone.
Apertures are to be made through the cse of the instrument, with trumpet mouths, for the purpose of permitting the sounds to pass with as little interruption as possible to the ears of the auditors. The adaption of this invention admits of considerable variation of form and position, dependand upon the character and dimensions of the instrument to which it is applied, and the material employed for constructing the drums may be any membraneous substancee, either prepared from animals skins or other substances, which may be rendered elastic.
[Inroled, September, 1824.]
To PIERRE ERARD, of Great Marlborough Street, in the County of Middlesex, Musical Instrument Maker, in consequence of communications made to him by a certain Foreigner, residing abroad for an invention of certain Improvements on Piano-fortes. [Sealed 5th January, 1825.]
THE first object of the patentee is to give stability to the wood-work of a piano-forte, in order that the tension of the strings may not draw it out of its figure, and thereby injure the correct tune of the instrument ; the second feature, is a peculiar construction of mechanism for effecting the movements of the hammers and dampers, which is founded upon the general principle of "a new and improved application of mechanism, for that species of acton, known under the denomination of the escapement" for which the present patentee obtained His Majesty's Royal Letters Patent, dated 22nd of December, 1821, see our IVth Vol. page 230.
For the accomplishment of the first object, it is proposed to introduce plates of iron in vertical positions between the rest-pin plank, and the key bottom. These plates are to be placed in suitable directions as bracers crossing the case of the instrument, and to be secured to each other by screw bolts, rivets, or other fastenings. On the bent side of the instrument pieces rising up through the sounding-board are to be attached to the plates, for the purpose of holding screws, the ends of which are to press against the side of the rest-pin plank, in order to form a latteral resistanec to the tension of the strings.
This contrivance may be variously modified, and adopted to every description of musical instruments of the piano-forte kind, the intention being to give stability, and prevent the strings drawing the wood-work out of its proper figure, which is effected by thus increasing the strength of the framing.
In the second part of the invention, it is proposed to place the hammer in a different situation to that of other piano-fortes, yet upon the same principle as described in the former patent, above referred to ; the object of which is to bring the head of the hammer nearer towards the center of the finger-key, and at the same time, remove its fulcrum further from the center.
A section of part of the instrument, with one set of the movements, is shewn in Plate X, fig, 2, in which it will be seen, that the operating parts are all mounted on the key, instead of being attached to intermediate levers, as is the case in the mechanical arrangement of almost every other description of piano-forte.
An arrangement of the parts slightly varied in form, but upon the same principle, is also proposed, by which the key is made to strike on the upper side of the string, as in cabinet piano-fortes, and another modification of the same by which the hammer strikes on the front of the string when it is destended in a perpendicular direction, as in upright piano-fortes ; but as these constructions so closely resemble each other, it will not be necessary to extend our description of the several modifications of the invention, as the object above described, is intended to be accomplished in both the latter contrivances. [Inrolled July, 1825.]
To FRANCIS MELVILLE, of Argyle Street, in the City of Glasgow, Piano-forte maker, for his invention of an improved method of securing that description of small Piano-fortes, commonly called Square Piano-fortes, from the injuries to which they are liable from the tension of the strings. [Sealed 18th January, 1825.]
THE intention of the patentee, is to produce that sort of firm bracing in the interior of square piano-fortes, that framing shall not be capable of warping, or being drawn out of its primitive form, by the great tension of the wires. For this purpose, there are firmly fixed by screw, or otherwise, on the rest board or blocks into which the pins are set that stretch the wires or strings, metallic brackets, with a circular hole in each, to receive the end of a strong metallic rod, which is intended to form a substantial resistance against the tension of the strings, and by that means, prevent the frame-work from being drawn out of its original shape.
The brackets are simply right angled pieces of metal, firmly screwed to the rest boards of the instrument, the upright part of each bracket, has a circular hole near its top, sufficiently high to be above the wires. The rods are formed with spherical ends, which are let into the circular holes of the brackets, and by their resistance, prevent the wood work from giving way, whatever may be the force with which the wires may be drawn.
Various contrivances have been proposed, for giving stability to the interior of piano-fortes, in order to resist the tension of the wires, (see Thom and Allen's patent, Vol. I, page 184,) the particular novelty therefore, of the present invention, is the peculiar mode of attaching the tension rods, by means of spherical ends let into circular holes in the brackets. {Inrolled March, 1825.]
To GEORGE AUGUSTUS KOLLMAN, of the Friary, St. James' Place, in the County of Middlesex, Professor of Music, for his Invention of certain Improvements in the Mechanism and general construction of Piano-fortes. [Sealed 26th February, 1825.]
This invention is a new arrangement of the mechanism of a grand pianoforte, in which first the external form of the instrument is considered to be improved ; secondly, the hammers are made with a counter-balance at the opposite end of their levers ; thirdly, a catch is introduced to hold the hammer after it has struck the strings, and prevent its rebounding ; fourthly, the dampers are introduced and made to act in a new way ; the whole of which improvements we have endeavoured to embody and exhibit in plate VIII, at fig. 3 ; but the sketches accompanying the specification, inrolled by the patentee, are so extremely rude, and the descriptions given of them so far from intelligible, that with the exception of the four leading heads above recited, we feel ourselves unable to lay before our readers a definite explanation of the contrivance.
The figure represents a section of a grand piano-forte constructed upon the improved plan, in which a rising part a, a, in front, is intended to inclose the principal part of the mechanism, and to form a desk for the music-book. This arrangement allows more room for the knees of the performer than is usually afforded in instruments of this kind, consequently the legs of the instrument may be made shorter, and the performer not compelled to sit upon so high a seat as is usually the case.
The strength of the instrument, by the introduction of cross-beams, is considered to be greatly promoted, and the metal arches which heretofore were employed for supporting the sounding-board, are altogether dispensed with ; nor is the sounding-board perforated with holes, as in other instruments, for admitting the ends of the keys, but is extended in one entire piece from end to end.
The sounding-board is represented at b, b, over which, the strings c, c, are extended, and supported by thin bridges as usual. The end of the string is attached to the pin d, which passes obliquely through the front board, and a screw nut on the outside allows the pin to be drawn back, and the string brought to its proper tension, which is done without opening the instrument ; and is another feature particularly pointed out as new.
The striking of the key e, having caused the hammer f, to fall upon the string c, the counterpoise at the reverse end of the lever g, raises the hammer again, and the catch h, taking hold of it, prevents the hammer from rebounding. The dampers i, which are supported by a cross-rail, not shown in the figure, are raised by a projecting piece at the end of the key, and when the finger is removed from the key, the damper falls again, and stops the vibration of the string.
These are the principal parts in which any novelty is claimed ; and it is said, that a similarly constructed mechanism may be adapted to every other description of horizontal instruments of this kind, as well as to the grand piano-forte. [Inrolled April, 1825.]
To JAMES SHUDIE BROADWOOD, of Great Pultney Street, Golden Square, in the Parish of St. James, in the County of Middlesex, Piano-forte Maker, for his Invention of certain Improvements in small, or what are commonly caled Square Piano-fortes. [Sealed 6th October, 1825.]
THE object of this improvement is to prevent the recoil of the hammer when a key is struck, which frequently produces a jarring sound that is extremely detremental to the melody of the instrument. The mode by which this is effected, is by placing a small piece of cork or wood covered with cloth at the back extremity of the key, called a check, which when the key is struck rises and takes hold of a small piece called a stay under the hammer, and holds it and the hammer securely, until the key falls again, when the hammer is released.
This check is mounted upon a small pin, rising from the point of the key, and the stay is affixed to the under part of the hammer, their positions being such as shall just bring their enclined planes in contact, when the hammer falls from striking the string of the instrument ; consequently, the hamer is caught and held until the key falls, whereas without this stop, the hammer by the sudden rising of the key is subject to vibrate, and to rise again, and strike the string a second time, producing the jarring tone complained of.
The patentee says, that stops have been applied to the larger description of instruments, but he claims their application in the way described to the smaller, of what are called square piano-fortes. [Inrolled April, 1826.]
To ROBERT WARNUM, of Wigmore-street, Cavendish-Square, in the County of Middlesex, Piano-Forte-Maker, for his Invention of certain Improvements on Piano-Fortes. [Sealed 4th July, 1826.]
THE subjects of this patent are certain variations in, and additionns to, the internal mechanism of an upright piano-forte, or what the patentee denominates, a professional piano-forte. The improvements are described as belonging to the action of the instrument, and are expressed in terms so decidedly technical, that few besides a workman in that particular branch of business can possibly comprehend either the proposed construction, or its intention.
The improvements apply both to what are called the single and the double action. In the first instance a new
These are the leading features proposed under this patent, it will thereby readily be perceived how uninteresting a more detailed account of this invention would necessarily be to the general reader.
To JOHN CHARES SCHWIESO, of Regent Street, in the County of Middlesex, Musical Instrument Maker, for his Invention of Improvements on certain stringed Musical Instruments. -[Sealed 22nd August, 1826.]
THESE improvements consist of three particulars. 1st, Connecting each of the tension forks, in the head of a harp which act upon the natural strings to springs placed over the top, for the purpose of steadying the forks, and keeping them from jarring when the strings are touched. 2nd, Attaching springs to the back parts of the axles or pins of the forks, which belong to the sharp strings, in order to press them to open, and operate against the pedal action. 3rdly, Placing screws in a frame in any situation between the ends of the strings, and the first bridge of a piano-forte or other such instrument, which screws are intended to act upon the strings for the purpose of regulating the tension, that is tuning with very minute accuracy.
The methods of adapting these contrivances, and their forms, may of course be varied according to circumstances, it is therefore unnecessary to exhibit figures representing them, and the intention must be obvious, and the particular mode of carrying it into effect, would be in a great measure the subject to the judgment of the workmen.
By these means the patentee considers the tones of such harps, piano-fortes, and other stringed musical instruments, as the contrivances may be adapted to, will be greatly improved. Other advantages will also arise which are not explained. - [Inrolled February, 1827.]
To PIERRE ERARD, of Great Marlborough Street, in the county of Middlesex, Musical Instrument-maker, in consequence of communications made to him by a certain Foreigner residing abroad and discoveries by himself, for an Invention of certain Improvements in the construction of Piano-fortes. - [Sealed the 20th of Feb. 1827.]
THE Patentee states in the commencement of his specification, that the very great approbation bestowed both by amateurs and professors, upon the improvements in Grand Piano-fortes, which formed the subjects of his Patents of 22nd December, 1821, and of 5th of January 1825, has encouraged him to devise a method of adapting the same contrivance to square and every other form of piano-fortes ; and it is the accomplishment of this object which constitutes the leading features of the present improvement.
The first of these improvements is fully described in the Fourth volume of our First Series, at page 230, and in Plate XIII, - the sevond in vol. 12, p. 183.
The present specification is for the most part a repetition of the principles of construction, set forth in the former, though somewhat differently modified as to shape. The improved escapement, as it was formerly called, by which the keys of the instrument are made to actuate the hamemrs and bring down the hampers, is introduced in this as in the first mentioned specification, but with the addition of a lever to each key, which lever communicates the action of the key to the hamer, and the other parts of the mechanism, and effects a more instantaneous blow upon the string, and consequently renders the key more delicate to the touch than any other construction of mechanism before produced has been capable of according.
As the specification is very long, and the figures of the parts represented by working drawings appear rather complicated, and we consider not likely to be interesting, we deem it unnecessary to devote a plate to this subject, as by reference to the former specification above mentioned, the invention will be tolerably well understood. One other feature in the present invention is to brace the frame work of the piano-forte with metallic bars instead of wooden rails, in order to give a greater degree of strength, and enables the frame to sustain the very powerful tensions of the strings. - [Inrolled in the Inrolment Office, Aug. 1827.]
To JAMES STEWART, of Store-street, Bedford-square, in the county of Middlesex, Piano Forte Maker, for his having invented certain improvments on Piano Fortes , and in the mode of stringing the same. {Sealed 22d March, 1827.]
THERE are three features of improvement proposed under this Patent ; the first two, consist in certain novelties in the construction and adoption of the dampers of double action Grand Piano Fortes ; the last is in the manner of attaching the strings to their pins, on all description of piano fortes.
In the first place it is proposed, instead of bringin the damper wire immediately over the string which is to be acted upon, to place it two semitones or one whole note off. As for instance, if the string to be acted upon is F, then place the wire damper betwen the string of G and G sharp, and so of the damper wires of all the other srtings. The wires of these dampers are to be placed further back in the instrument than usual, in order to leave room for the introduction of a stopper, to prevent the recoil of the hammer after the note has been struck.[]
To JAMES SHUDI BROADWOOD, of Great Pulteney Street, Golden Square, in the parish of St. James. Westminster, in the county of Middlesex, Pianoforte Maker, for his invention of certain improvements in the Grand Pianoforte. - [Sealed 9th April, 1827.]
THE objects of the improvements which form the subject of this patent are to give strength to the framing of a grand piano forte, in order that the tension of the strings may be more effectually preserved under variation in the temperature of the atmosphere.
Round the curved side of the frame of the grand piano it is proposed that a metallic plate shall be fixed, to be called the string plate, into which the hitch pins are set, for the ends of the strings to be fastened to. This plate, which forms the first suggested improvement, is made fast to the side of the wood frame by very strong screws.
The frame work is further braced by metal rods extending from end to end of the machine, three of which have been employed before for that purpose ; but a fourth is now proposed to be applied toward the base side of the instrument. It is fastened at each end, and supported in the middle by a perpendicular piece, whcih passes through an aperture in the sounding board, and is made fast to the bottom of the frame. - [Inrolled in the Inrolment Office in Chacery, October, 1827.]
[]WARD DODD, of Berwick Street, Soho, in the []nty of Middlesex, musical instrument maker, for[]invention of certain improvements on piano-fortes. []aled 26th July, 1827.]
[]y be thought a very extraordinary description of this []on to say it is something about placeing the sound board []ano-forte upon ribs, leaving hollow spaces under it, and []ng the dimensions of the sound board an inch or two at []e part : yet, such is the vague and defective explanation []the specification gives of this invention, that we really []able to afford a more lucid explanation of its construc-[]r to give our readers any further clue to the object []d by the patentee, or to the claim of invention or no-[]which he may consider himself to be the author of.
[]presentation is given of the kind of hammer which is []ed to strike the strings ; the form is the same as usual ; []e outer piece of leather, which wraps round the point of []mmer, is to be glued at one end to the wood, and at the []end made fast by a small clamp piece and screw. The []of this is not expressed, but we presume that the outer []of leather , being connected to the end of the hammer []way, instead of attaching it by glue, will cause the []iven by the hammer upon the string to be softer, and []e a less wirey tone than the old construction of hammer, []o admit of the leather being tightened up, it it should []e loose by wear. - [Inrolled in the Inrolment Office, []ry, 1828]
To EUGINE DE MASNIL, of Soho Square, in the County of Middlesex, Esq., for his Invention of an Improvemnt or Improvements on, or additions to, Stringed Musical Instruments. - [Sealed 1st August, 1827.]
THESE improvements on, or additions to, stringed musical instruments, are described as consisting of a new kind of peg by which the instruments may be tuned. This peg is formed of one single piece, varied in its figure according to the instrument to which it is to be applied. If this peg is to be adapted to a piano-forte or harp, in which it usually turns in one bearing or thickness, the peg must be cylindrical, and terminate in a little cone at the end ; if applied to a violin, violincello, or other instrument in which the peg turns in two bearings, or two thicknesses, then the peg must be in the shape of a cone betwixt two cylinders having the same axis.
The cylindrical part of the peg penetrates into the instrument and the string is attached to the cone. Instead of a cone, a cylinder of small diameter may be used, but the conical form is best.
One or several circular or spiral grooves are cut in the part of the peg to which the string is attached for the purpose of receiving the string, and of drawing it nearer the center of the peg. The cylinders which penetrate into the instruments are hollow, and formed with a screw on the outside, and the peg is but in action by a turn-screw.
The object of this invention is to afford the greatest facility in coming to the mathematical point of the tone, and to impart to the instrument a tone as perfect as possible, because when the great cylinders are turned round, the strings are drawn in a very small degree.
Plate VIII. fig. 14, represents the peg first described which is designed to be set in one bearing as in a piano-forte or harp : a, is the hollow cylinder formed peg, with a screw on the outside ; b, is the little cone cut in several spiral and circular grooves. Fig. 15, is an end view of the same. There are four small holes in the end of the peg, for the turnscrew to be passed into, in order to turn it as shewn in the section at fig. 16, and there is a small hole to pass the string through, in securing it to the peg. The length of the pegs are to be about the same as thickness of the instrument in the parts where they are inserted. In the guitar, the lengths of the pegs need not be so great in proportion.
Fig. 17, shews on of the pegs to be supported in two thicknesses or bearings as in violins, &c., a, and b, are the cylindrical parts formed with screws ;c, is the cone with the spiral and circular groove. Fig. 18, is a section of the last described figure with the turnscrew introduced into the holes, for the purpose of turning the peg. There is a hole in the conical part, for making fast the string to the peg. This proportion is suited for violins ; but for violincellos, and other instruments of different magnitudes, it must be enlarged in proportion. - [Inrolled February 1828.]
To WILLIAM DETTMER, of Upper Mary-le-bone Street, Fitzroy Square, in the county of Middlesex, pianoforte maker, for his invention of certain improvements on pianofortes. - [Sealed 30th August 1827.]
THE object of the Patentee in adapting this invention to piano fortes, is to enable the instrument, after having beem properly tuned, to be brought into unison with other instruments of a different pitch, by raising or lowering the tone of all its strings by a simple operation, instead of the trouble of tuning each string separately.
The plan applies both to grand piano fortes and square []rtes, and whether horizontal or upright, and con-[] adapting to the ordinary constructions of instru-[] a series of tension bars or rods, with adjustments [] are to extend across the instrument, and to be con-[] to the block in which the pins that hold the [] are fixed, the blocks being moveable for a short []e, not more than a quarter of an inch, but confined []tension bars.
[] general construction of the pianoforte, as to the []nd movements and the arrangment of the strings, []cks for the hitch pins and for the rest pins, being []ne as in other piano fortes, the novelty consists in []ng the ends of a series of metal bars or rods to the []in blocks, and connecting the reverse ends of the []ars to the rest pin block ; these bars being enabled []gate or contract by means of adjusting screws.
[]rawn up by the tuning key to the required note, that []perly tuned, but that when so tuned the whole []be found to be too flat or too sharp to play in con-[ ]with other instruments in a concert, by simply moving []djusting screws of the tension bars, the blocks to [] the strings are attached, will be brought nearer []er to flatten the tone, or farther apart to sharpen it, []y be required, without deranging the tone or notes of []dividual strings.
[]Patentee says that both the blocks on which the []are hitched, and that in which the rest pins are []ay be made to slide, but he prefers that the rest pin [] only should move, and this may be done by pass-[]e adjusting screws through the block into the ten-[] a short distance, and the tension of all the strings []ereby be increased or relaxed.
The same effect may be produced by means of wedges or levers, or some other contrivances, in place of screws, but that which has been described is preferred. - [Inrolled in the Inrolment Office, February, 1828.]
Patent granted by the American government to THOMAS LOUD, JUN. of the firm of Loud & Brothers, of the city of Philadelphia, manufacturers of Piano Fortes, for an improvement in the Horizontal Piano Forte.
To all to whome these presents shall come be it known, that I, Thomas Loud, Jun. have invented a new and useful improvement in the Horizontal Piano Forte, whereby the tone is greatly improved, the instrument is less subject to get out of tune, and the strins are less liable to break ; for which invention and improvement I claim a Patent, according to the laws of the United States.
And I, Thomas Loud, Jun. do hereby declare that the nature of my said invention and improvement, and in the manner in which the same may be carried into effect, are fully made known, in the following description or specification.
In the Horizontal Piano Fortes, heretofore made, that part which is technically denominated the action is placed below the strings, and the hammers are made to strike upwards, in a direction contrary to that of the support given to the strings by the bridges. In my improved Piano Fortes, I, in general, intend to place the action above the strings, and to cause the hamemr to strike downwards, the strings being supported upon bridges in the ordinary way. Sometimes, however, I intend to place the bridges above the strings, attaching them to sufficient supports of wood, or metal, and to place the action below the strings, in the way heretofore practised.
But what I particularly claim as my invention and improvement, is the causeing the hammer to strike the strings of horizontal Piano Fortes, in such a way that the direct action of the blow upon the strings, is sustained, and resisted by the bridges, in consequence of their being situated on the side opposite to the hammers.
Messrs. Loud & Brothers have just completed a Piano Forte, on the plan indicated in their specification, which we have examined, in conjunction with some other persons, well able to judge of the tone, and other qualities of the instrument. It has been a desideratum to give to the Horizontal Piano Forte, the roundness, firmness, and clearness of tone, which distinguishes the best cabinet instruments : this bell-like, or glassy effect, is produced in a very high degree by the arrangement adopted by the Messrs. Loud. The action in this Piano is below the strings, as is usual in those of a similar form ; but the bridge, or support, is inverted, being placed above the strings ; this arrangement possesses the advantage of greater simplicity in the action, than is possible by the other method proposed by the patentees, that is, the placing the action above, and the bridges, or supports, below the strings. We are convinced, however, that in the latter mode, the frequent breaking of the strings will be prevented, and that the instrument will stand much longer in tune than any other of the horizontal kind ; our reason for this conviction is that the effect of the blow of the hammer, in its tendency to break or lengthen the strings, will be counteracted by the supports, or bridges, on their opposite sides. Editor of the Franklin Journal.
To ROBERT WORNUM, of Wigmore Street, Cavendish Square, in the county of Middlesex, piano-forte maker, for certain improvements on upright piano-fortes. - [Sealed 24th July, 1828.]
THE Patentee commences the description of his invention by stating, "The novelty is applied to the lever and the key, and effects a check to the hammer when in action." What may be the object of this is left to be inferred, as the specification throws no further light upon the matter, excepting that it is said "the lever is longer than usual, as may be seen in the drawing," which drawing is an outline sketch of what we presume to be part of the mechanism usually called the action of a piano-forte ; but there are no letters of reference by which the several parts alluded to might be pointed out.
It appears that an upright pin is set in the hinder part of the key, and a small block is fixed upon the top of this pin, which, when the key is struck, stops against a piece (we presume called the lever) that stands over it. This is said to simplify the construction of an upright piano-forte, and that is all the account we can give of it. [Inrolled in the Inrolment Office, January, 1829.]
[]tion of instrument called the upright piano forte ; by which arrangement I am enabled to construct the instrument much below the usual height, and also to make the top of the piano forte a flat surface, as a table, without any projection above the part which is usually called the lock board. I am also by this arrangement enabled to make a much more simple action of the keys and hammers, for producing tones from the strings of the instrument than has heretofore been used in upright piano fortes, and to allow the sound to escape more freely. The effect of this arrangement is that the tone of my improved instrument sounds much louder than other upright piano fortes ; and the common objections made to that construction of instrument, by vocal performers, when accompanying their own voices on an upright piano forte, "that the silk front or face absorbs the voice," is completely obviated. I also have, by varying the mode of stringing the common consrtuction of upright grand piano fortes, been enabled to make a more simple action, and produce louder tones than heretofore has been efected in the usual construction of those instruments. All which improvements are set out in the accompanying drawings (see Plate I.), and will be fully understood by the following description thereof.
"Fig. 1, is a front view of an upright piano, on my improved construction, the top of which is intended to be perfectly flat. Fig. 2, is a horizontal view of the same, but with the lock board removed, exposing the keys, and part of the interior ; and fig. 3, is a vertical section, taken transversely, through the instrument, about the middle, exhibiting the parts called the action. The similar letters referring to the same respective parts in all those figures.
"As the construction of a piano forte is well known to persons connected with their manufacture, it is unnecessary to enter into a full description of the instrument ; I shall therefore confine myself as much as possible to my improvements thereon ; a, a, a, is the body of the piano forte containing the strings, sound-board, bridges, &c., and all parts requisite for a complete instrument ; b, b, is the lock board, covering the keys which are placed upon the key board or frame , in the usual way. In fig. 3, the shape of the keys, c, c, will be best seen, which it will be perceived are bent down in order to gain room, and that proper motion may be communicated to the hammer, by the part of the action usually termed the grass-hopper, so as to make it strike at the proper place, on the strings of the instrument ; d, is the grass-hopper, which acts on an under hammer, e, hinged on the rail f ; this hammer e, acts upon another hammer g, above it, hinged the reverse way on the rail h, which hammer g, communicates motion to the upper or striking hammer i, hinged on the rail k, and hay have any of the common checks connected to it, to prevent its recoil or re-action on the strings. To the lower hammer e, is connected the end of the perpendicular wire or guide rod l, which gives mortion to a damper of the common construction, fixed over the striking hammer in the usual way ; m, is the rail that the striking hammer rests agains when out of action.
"Fig. 4, is a transverse section (taken through an instrument in the same direction as fig. 3,) shewing a variation in the arrangement of the parts constituting the action suitable to my improved construction of instrument, but which action has only one under hammer, as in this arrangement the ordinary sticker is employed ; c, c, is the key bent lower down than in the previously described construction, in order to gain room for the sticker n, which acts uppon the striking hammer i, in the usual way. Fig. 5, is a front view of another instrument intended to be made higher than those above described, or as common upright []rtes usually are, to which the same action may []ed, and with either straight or bent keys. By this [[]ment, the parts called the stickers used in upright []rtes are dispensed with, and all parts of the strings [] the dampers left perfectly free of any incum-[] or covering, except the silk front. In this con-[]n the power of applying my improvements is ob-[]y the particular mode of stringing the instrument []n the drawing.
"I have necessarily shown and described many []hich are not new, to render the arrangement and []of the instrument better understood, I hereby de-[]at I do not mean or intend to claim as my invention, [] the parts, which are commonly used in the con-[]n of piano fortes ; but I do calaim as my invention, []e particular arrangment of the parts of the pianos []nd of the action, as shown, and particularly the []ape of the keys, by which the insrtument may be []ess lofty thant heretofore ; which bent shaped keys []o be used to advantage, either in horizontal, square, []d piano fortes, and by these means those intru-[] may be built lower, and yet afford sufficient []or the knees of the performer, and the lock board []ore ornamental shape."-[Inrolled in the ROlls [] Office, Aug. 1830.]
[]fication drawn by Mr. Newton.
To WILLIAM ALLEN, of Catherine-street, Strand, in the county of Middlesex, piano-forte maker, for his having found out or discovered certain improvements upon piano-fortes. - [Sealed 20th July, 1831.]
THIS improvement is a very simple matter, and applies to piano-fortes of all constructions and forms, the framework of which is made of iron, or other metal capable of forming a firm resistance to the tension of the strings. The novel feature, is the introduction of slips of wood into suitable grooves formed in the iron framing, for the purpose of receiving the rest pins. The specification mentions no other novelty. - [Inrolled in the Petty Bag Office, September, 1831.]
To FREDERICK WILLIAM ISAAC, of Charlotte-street, Fitzroy-square, in the county of Middlesex, ivory, tortois-shell, and pearl worker, for his havaing invented certain improvements in ornamenting the finger keys, and other parts of piano-fortes, organs, and other musical instruments. - [Sealed June 28th, 1832.]
THE above invention of improvements in ornamenting the finger keys of piano-fortes, organs, and other musical instruments is described by the Patentee to consist in new and improved modes of covering those parts of them which are usually either veneered with ivory, or made of ebony, with pearl, tortoise-shell, turtle-shell, or other fit and proper, rich and beautiful materials, so as not only to add greatly to their splendid and elegant appearance, but also, from their superior hardness, glossiness, or high polish of their surfaces, to facilitate the rapidity of the fingering in the performance of quick and brilliant passages in musical compositions.
In convering the finger keys with pearl, the Patentee employes the following improved method, which is described in the Specification in the following manner : - "Instead of merely cementing flat plates or lamina of pearl to the wooden parts of the keys, by means of glue, as susual, I compose a superior cement in the following manner : to a solution of the best Salisbury or other English glue made in a leaden glue pot, with fresh ale to a proper consistency, I add a small quantity of isinglass which has been previously dissolved in a mixture of ale, and of acetic acid or vinegar by a gentle heat, and also a little boiled linseed oil ; and when the whole have been thoroughly incorporated by stirring them together at a simmering heat, I add a sufficient quantity of the fine German carbonate of lead, called "Khrem's White" in commerce, or the finest plaster of Paris, finely powdered and sifted, to give the cement a uniform white colour. The intent of these additions to the solution of glue in all being to give it the power of resisting the atmospheric changes of heat and cold, and moisture and dryness, and also to suit it to the white colour of the pearl, and therefore these said additions must be varied in their proportions accordingly, and agreeably to the different qualities of the said component materials.
"In addition to this superior cement, and especially to guard against the ill effects of hot climates, I introduce between the lamina of pearl and the wooden part of the keys, a slip of cloth, such for instance, as hempen, linen, or cotton shirting, or of woven silk, or the fine woolen fabrics known as cashmeres or merinos, or cloths of any other materials, and of about the same thickness as the above ; or instead of cloths, slips of vellum or parchment may be also used with advantage, the intent being to counteract the great tendency of glue to shrink and contract in drying, and thereby cracking and loosening by the introduction of the above, or similar partially elastic and yielding materials.
"I fill the pores or intertices of the said cloth with the above compositions or improved cement, by laying it upon the wooden part of the finger key, and by repeatedly striking the brush, or Dutch painter's tool filled therewith, upon the surface of the said cloth, until they are completely saturated therewith, and the cement passes through and effectually binds the cloth to the wood, when they are to remain till they become perfectly dry. I then coat the surfaces of the cloth, and of the pearl, with the cement in a similar manner as when the common glue is used, and laying them together in their place, I employ the heated caul in the ordinary manner of veneering, to press the parts together, and to expel the extra quantity of cement which would otherwise remain.
"In using vellum or parchment instead of cloth, I merely brush them over with cement, instead of striking the brush upon them in the manner above described.
"When the cement is become hard, the pearl is to be cleaned off, and prepared for polishing in the German manner ; first with pumice stone, powder and water, and then with rotten stone, powder and sulphuric acid, applied upon a soft woollen cloth, with which the pearl must be rubbed until a beautiful polish is obtained. I can also employ the above cement and cloth, vellum or parchment, in veneering the finger keys with ivory and with similar advantages.
"In veneering the short finger keys with tortoise-shell or turtleshell, I employ a similar cement to that before described, only that it is coloured yellow, green, maroon, red, black, or any other colour required, by using properly ground and sifted colours accordingly ; I likewise have the cloth dyed of similar colours, and cement it upon the wooden parts of the keys, in the manner above mentioned. I then apply the tortoise-shell or turtle-shell with the cement, in the usual manner of veneering with tortoise-shell ; and, lastly, polish it also in the usual way."
In order, however, to facilitate the process of veneering the short finger keys with tortoise-shell or turtle-shell, as well as also to render it more durable, and instead of laying the shell upon the wood in several parts or pieces as usual, the Patentee forms the shell into a solid cap or coat, in the shape of the key by means of male and female dies employed in a screw press of the common construction, and immersed in boiling salt water.
The boiler described in the Specification to be used for this purpose is a square cast iron or other metallic box open at the top, and placed over a small furnace or German stove. The press and shaping dies, with the tortoise-shell or turtle-shell to be operated upon, are placed into this boiler, and submitted to the action of boiling salt water. On the top of the press there are two projecting pieces or stretchers to steady the press in the boiler, and on the sides of the boiler are formed guides to steady the bottom plate of the press within the boiler.
The pair of dies employed for this purpose are of the required shape, to form two coverings or veneers for the short finger keys at one time ; the lower die containing the recess is placed upon the bottom plate of the press, and the upper one is moved up and down the press of the screw between the guides in the usual manner.
The projecting part of the top die is made to fit the hollowed part of the top die, in such a manner as to allow of a sufficient thickness of tortoise or turtle-shell to lie between them when compressed by the action of the screw of the press (which is turned by a lever projecitng over the top of the boiler), so as to form two caps or coats in length at one pressing, which may be afterwards cut into two parts or coverings for the short finger keys.
Having described the methods of ornamenting the finger keys of musical instruments, the Patentee proceeds to describe the other parts, to which these improvements are applicable, and proposes to ornament "the name boards, the key slips, the cheek pieces, and the candle boards ; all these may also be advantageously veneered with tortoise or turtle-shell, or with buhl, at discretion, by employing the above mentioned improved cements, and introducing the cloth, vellum or parchment in either of the before mentioned methods ; and further states, in conclusion, I can likewise greatly improve the art of veneering the cabinet or wood parts of musical instruments with common glue, by introducing a bed of linen, hempen, or cotton sheeting, in the above maner. I do not mean or intend hereby to claim as my invention any of the various means or methods herein mentioned which may already have been known or in use ; but I do hereby claim the introduction of the woven fabrics or cloths, or vellum or parchment, in order to afford a degree of elasticity to the glue or cemented veneers ; and I likewise claim the formation of the tortoise-shell and turtle-shell caps or coats for the short finger keys in one solid piece, by means of the screw press and dies, instead of veneering them with separate pieces." - [Inrolled in the Inrolment Office, December, 1832.]
To PIERE FREDERIC FISCHER, of Chester-place, Regent's Park, in the county of Middlesex, gentleman, for an invention communicated to him by a certain foreigner residing abroad, of certain improvements in piano-fortes. - [Sealed 8th September, 1832.]
THE improvements upon piano-fortes, as described in the Specification of the above Patent, consist principally in causing the hammers to strike from above on the strings against the sounding board and bridge, the strings receiving the blow from the top, so they cannot be lifted up by the hammer, and consequently produce a stronger and clearer sound. The Patentee states, that the manner in which the strings are placed, tend to prevent their breaking ; and, from the nature of the construction, the improeved pianos will keep lonr gein in tune. Plate XII. fig. 11, is a section showing the arrangement of the keys and mechanism for a square piano ; a, is the key ; b, is a screw, with two different threads, which regulate the lever c ; d, is its fulcrum, which passes through the key. This lever touches under the hook fixed on the lever e, which bears the hopper g, and catches under the nut of the hammer h, in order to raise it. The screw i, serves to push it out of its notch, and effects its escape ; k, is a spring coiled on a wire, and surmounted by a leather button l, on which the screw m, rests ; this screw passes through the nut of the hammer h, and serves to regulate the strength of the spring, in order to raise up the hammer by the spring ; n, is the check, which serves to catch the hammer. The lever e, has its centre at o, and presses, when in action, on a screw p, which ish eldin another lever q, the centre of which is at r ; and at its extremity is the damper s. The hinge piece t, operates the forte in raising the damper by the hook v. Two moveable pieces x, covered with leather, are placed above the sounding board, and near to the strings y, and serve by means of pedals to damp one or two strings at pleasure, and dispense with the tuner damping each cord separately ; z, is the bottom on which the key rests. Fig. 12, shows another arrangement for a square piano ; a, is the key ; a, the lever, regulated by the screw c ; this lever moves in a brass box, d, fixed on the lever e, which bears the hopper f, the centre of which is at r. The hopper touch is under the notch g, and lets the hammer escape by means of the screw h, which passes through the hammer rail i.
The lever e, is fixed by a screw k, to the hammer rail ; and has, for its centre the point l, and raises up the damper m, by pressing on the other lever n, the centre of which is at o. This piece is also fixed on the hammer rail, by the screw p ; t, is a coiled spring, which serves to raise the hammer, by pressing on the screw q, as is explained in the first figure. The forte is produced by the hinged piece s, as above explained ; v, is a check piece, screwed also in the piece e, and serves to catch the hamemr after having struck.
Fig. 13, is another arrangement for the same piano ; a, is the key ; b, the double screw, which passes through the key, and the piece c, which is a continuation of the key, and bears the hopper d, the centre of which, is at e, and is placed in opposite inclination to the first figure, producing its escape by pressing on the button f, mounted on the screw g, which crosses the hammer rail h. The spring k, serves to push back the hopper ; the check i, is placed in the hopper, and receives the hammer.
At the extremity of the lever c, is a piece l, with its centre at m ; the extremity of this piece l, leans on the damper n, which is raised up by the brass wire o, fixed in the lever c ; p, is a hinged piece which operates the forte, as before explained ; q, a coiled spring, which serves to raise the hammer r, as already described ; t, is the hammer nut.
Fig. 14, shows an arrangement for a grand piano-forte. The same mechanism is used for the square piano, except the alterations required by the difference of the form. In this kind of piano the sounding board is convex at the case, which admits curtailing its length by eighteen inches, without reducing the quality and power of the sound ; a, is the key ; b, a piece carrying the hopper c ; d, a double screw to regulate its length ; e, another screw passing into the block and producing its escape ; z, is the check screw into the hopper, serving to catch the hammer when it has struck ; f, a coiled spring mounted on a brass wire, and surmounted by a leather button g, on which rests the screw h, which crosses the hammer nut i, and serving to regulate the strength of the spring, and for raising the hammer k, by the same spring ; l, is a brass plate, which serves to fix the centre of the hammer nut at m, n, is a lever bearing the damper p, lifted up by the button q ; the lever p, produces its operation by moving on its fulcrum at o ; s, is a hinged piece, which being drawn down by the pedal t, produces the forte.
Fig. 15, shows an arrangement for a cabinet piano ; a, is the key ; b, the lever which bears the hopper c, and is regulated in height by the double screw d. The hopper c, catches under the hammer notch e, and by raising the hammer f, touches the button g, which effects the escape ; h, is the check passing through the hammer nut e, and bearing on a small wheel i, fixed to the lever k, which by moving on its centre l, lifts the damper m, placed at the other end ; n, is a screw passing through the hammer rail o, and carrying a coiled spring p, which presses against the lever to cause the damping.
Fig. 16, is a plan view of part of a square piano. This figure represents the sounding boards with its carriages on the top, and rasping block a, of cast iron, covered with brass, the inside of which is filed up with wood, sheathed with brass, passing over the sounding boards, curtails the length of t he strings, and thus facilitates the turning ; b, is the great bars of the sounding board, which are usually placed below, but are here placed above, and screwed from below. By this construction no part of the belly can get unglued even when the instrument is exposed to damp ; c, is the bottom, on which the frame of the key is placed. [Inrolled in the Inrolment Office, March. 1833.]
To PIERRE FREDERICK FISCHER, of Great Marlborough-street, in the county of Middlesex, merchant, for certain improvements in pianofortes, communicated to him by a foreigner residing abroad. - [Sealed 13th May, 1835.]
THE subjects of this patent are rather numerous and various, and are extended to a considerable magnitude, both in the description and drawings, without much attention to clearness. We shall, however, consider it sufficient, in this instance, to give but a slight report of the matter, from a conviction that the invention is neither one of general interest, nor are the novel points at all obvious.
One of the features is, the construction of the action mechanism to be applied to a pianoforte, in which the tones are produced by the vibrations of metallic springs.
These sounding springs may be of a variety of forms, either coiled in helical curves, convolute curves, zigzags, or other bent shaps ; or they may be of straight rods, bars, or forks, or a combination of these in various ways. The mode of bracing the framework of the instrument constitutes one feature ; and the effect of the touch upon the keys may be varied by an adjustable contrivance. The sounding board is placed in connexion with the head or tympanum of a kettle drum, in order to produce a brilliancy of tone ; and the instrument is mounted upon castors, which have helical springs in their sockets, to prevent derangement when moved about. - [Inrolled in the Inrolment office, November, 1835.]
To JAMES STEWART, of George-street, Euston-square, in the county of Middlesex, pianoforte-maker, for his invention of improvements on the mechanism of horizontal, grand, and square pianofortes. - [Sealed 15th January, 1835.]
THE Patentee describes his invention in the following manner : - Fig. 12, Plate V., represents a section of the working parts of a pianoforte ; a, is the key resting upon a centre-piece b ; c, is a small wooden block, fixed upon the key, and having a small pin covered with cloth passed through it, and around which pin a wire spring d is passed ; one end of this spring bears upon the key a, and the other end acts upon the lower end of the hammer lever e, so that the reverse end of the hammer lever may be pressed upwards, and kept in a notch made in the centre block f, of the hammer g. The escapement is represented at h, and is formed of a piece of wire, having one end fixed on the key, and the other end bent down in a semicircular form, and having a wooden button, covered with cloth, screwed into the end. This escapement is more clearly shown in the detached figer 13. As the wooden button is screwed on to the wire, it may be easily lowered or raised, by being turned by hand, and by this means regulated to the proper distance from the end of the hammer-lever, which will come into contact with it when the key is depressed, and causes the hammer-lever to escape from the notch of the hammer-block, just before the head of the hammer strikes the strings ; i, is the check, which is for the purpose of preventing the hammer when it has once struck the strings from repeating the motion without the key is depressed.
Fig. 14, represents the second part of the invention, as described by the Patentee, and is a section of the working parts of the pianoforte, taken in a similar manner to fig. 12. This part of the improvement consists in applying what is denominated a grasshopper-lever, without the use of the under hammer-lever, which is generally employed in the construction of square pianofortes. As all the letters of reference refer to corresponding parts in the figures, as well as in that before described, it will not be neceesary to describe this figure any further, than pointing out the difference between these improvements and the ordinary mode of constructing this sort of piano. The novel and essential difference is this, instead of letting the hammer-lever e, always rest on the regulating button of the escapement h, which is the old method of constructing pianofortes, the lever, according to the present improvements rests upon the notch of the centre-block f, of the hammer ; and the regulating button is placed at such a distance from the hammer-lever, as only to come into contact with it when the key is in its downward motion, and thus cause the hammer-lever to escape from the notch which is made in the centre-block, just before the head of the hammer strikes the strings. The lower projecting part of the hammer-lever is made for the purpose of allowing the spring d, to act upon the lever, and thus keep it in its place, in the notch of the centre-block of the hammer.
In conclusion, the Patentee says, that "having now described the improvements which constitute my invention, I would wish it to be understood that I lay no claim to the parts separately, but confine my claim of invention, first, to the mode or method of applying the escapement on the key ; and, secondly, the mode of applying the hammer-lever, as shown in fig. 13, as above described." -[Inrolled in the Inrolment Office, July, 1835.]
To JOSEPH LIDEL, of Arundel-street, Panton-square, in the county of Middlesex, professor of music, for an invention communicated to him by a certain foreigner residing abroad, of certain improvements in piano-fortes. [Sealed 17th February, 1836.]
THESE improvements in piano-fortes, consist, in the first instance, in two novel arrangements, combinations, or constructions of mechanism or parts, forming what is technically called the "action" of a piano-forte, by which the hammers are caused to strike upon the strings, and produce the notes ; both of which constructions have for their object, the quick escape, removal, or discharge of the hammer from the string after striking, in order to avoid interrupting the free vibration of the string or sounding ofthenote ; and, in addition to these, there are improvements in the means of bringing the pedal into operation upon the said mechanism, for the purpose of shortening the stroke of the hammers for producing piano and crescendo, without changing the character of the sound of the notes. And further, in the manner of connecting the box or frame, containing the keys and "action" to the instrument, for the purpose of allowing an easy access to the strings and pegs when the instrument has to be tuned, the hammers remaining in a proper position for sounding notes during the tuning operation. The second feature of these improvements, is a peculiar construction of sounding board for piano-fortes, the parts of which board are intended to correspond in their vibrations with the respective strings distended over them.
Fig. 8, Plate VI., is a side elevation of a key, with the mechanism of one of the novel arrangements or constructions of "action" as adapted to a horizontal piano-forte ; parts of the instrument being shown in section. The action of the hammer in this arrangement is designed to strike downward upon the strings ; the keys and mechanism in this figure being shown in the quiescent state. Fig. 9, shows the positions of the parts after the note has been struck, nad the hammer has escaped or been removed from the string which is free to vibrate : A, is the key ; B, the hammer ; C, the string ; D, the damper. The key is mounted in the instrument in the usual manner, but it carries at its inner end the piece c, with a hook d, screwed into it, which takes into a peculiarly formed notch e, in the tail piece of the hammer, moving its fulcrum on a pin at h. The lever l, of the damper is connected to the ledge k, by the joint o, and to the key by a hook y.
The operation is as follows : - As the outer end a, of the key is being depressed to produce a note, its inner end b, is raised, and with it the piece c, which, by the hook d, draws up the tail piece f, and causes the hammer to strike with a quick blow upon the strings ; at the same time the damper D , is raised from the string by the hook y, drawing up the lever l. The further depression of the key, while the note is sounding, brings the piece c, into contact with an adjustable pin or stop i, by which its further upward movement is arrested ; but, as the end b, of the key continues to rise, (see fig. 9,) it causes the piece c, to move on the pin i, as a fulcrum, which causes the hook d, to move along the notch e, whereby the tail piece f, becomes depressed , raising the hammer from the string, and leaving it free to vibrate ; the damper being kept elevated until the finger is removed from the key. By these means the hammer is removed from the string the moment after the note is struck, that it, the instant the piece c, touches the pin i, the further upward motion of the end b, of the key carrying the hammer further from the string. On the finger of the performer being removed from the key, its inner end b, immediately falls by its own gravity, and with it the damper, ito the position shown at fig. 8. the hammer at that time, being kept from the string by a spring m, forcing out the piece c ; and also by the connexion of the notch e, and hook d.
The operation of the pedal to produce piano an crescendo is as follows : - The bar or ledge k, which carries the dampers and the rests for the keys, extends across the piano-forte, and is affixed to the ends of two levers n, (one on each side of the instrument) having their fulcrums at the side of the key box in a line with, or opposite to, the dampers, the rod v, leads from the pedal ; and , on the foot piece being depressed, this rod rises and carries up the ledge k, with the key A, the piece c, the hook d, and the tail piece f, of the hammer ; which movement depresses the hammer and brings it nearer to the strings, produces the "piano," and thereby shortens its action. The jointed end of the lever l, is at this time raised with the bar k, the damper D, remaining upon the strings. It will be seen that this operation of the pedal limits the movements of the keys and hammers, without interfering with the freedom of their action ; and that, and the extent of the movement of the hammer is increased from "piano," "crescendo" will be produced.
The operation of the pedal to produce forte and de crescendo, is communicated through the rod u, which raises one end of the lever r, and with it the lever l, and the damper off of the strings, the other end of the lever r, being jointed to the ledge k.
Fig. 10, is a side elevation of a key and mechanism of the other novel arrangement, construction, or combination of the parts of the action of a piano-forte represented in the quiescent state. Fig. 1, shows the hammer discharged or removed from the string after the note has been produced, and the string is left free to vibrate. In this arrangement, the discharge or escape of the hammer is effected by the falling of a part of the key, which is composed of two pieces, jointed one to the other, and connected together, while in the act of striking a not, by catches, which are released immediately after the note has been struck ; one part ofthekey falling away from the other, and producing the escape of the hammer : A, is the key ; B, the hammer ; C, the string ; D, the damper. The key A, is composed of two parts, a, and b, connected together at c, by a flexible joint ; d, and d*, are the catches or hooks, which take one into the other, and connect the parts of the key so as to form one continuous lever, as shown in fig. 10. On the key being depressed inthe act of producing a note, the end b, of the key is raised, which, by means of the hook e, draws up the tail piece f, and causes the hammer to descend on to the string. On the piece d*, coming in contact with the end of the damper lever n, that end of the lever is raised, and the reverse end depressed, which, through the rod p, acts upon the lever q, and raises the damper off the strings. The further depression of the key raises the projecting stud or pin i, of the hook piece d, against the under side of the ledge k, which arrests its progress,and disengages the catches d, and d*, from each other, as shown in fig. 11. The inner end of the part b, of the key being thus disengaged from the part a, immediately falls, and causes the hook e, to return the hammer to its former position, as shown ; the damper being kept elevated during the time the note is sounding. On the removal of the finger from the key, the parts immmediately fall into the quiescent position, as in fig. 10, the hooks d, and d*, being made to take into each other as they come together, by means of the spring m.
The operation of the pedal upon this construction to produce piano or crescendo, is as follows : - On the foot piece being depressed, the rod w, rises, and with it the shorter ends of two levers l, (one on each side of the instruemnt,) which levers turn on fulcrums placed in a line with those of the hammers at h ; the longer ends of the levers l, are depressed, carrying with them the piece v, and the stop or adjusting pieces u, which limit the movements of the hammers ; and it will be perceived that as the rod w, is raised by the pedal more or less, so will the extent of movements of the hammers be limited or extended. When the shorter ends of the levers l, are raised, they carry with them the rods x, which are connected to the moveable piece y, carrying the fulcrums o, of the damper levers n ; which moveable piece is jointed to the ledge k, at z. This arrangement allows the fulcrums of the levers n, to be raised a little, while the movement of the keys and hammers are limited, so as not to remove the dampers off the strings, all parts having their proper action, though contracted in extent. The action of the pedal to produce forte or de crescendo, is effected by raising the rod u, which carries with it the fulcrum r, lever q, and lifts the damper off the strings. I would here remark, that parts of the keys must be properly weighted, to assist the action, which I propose to do by running lead into the keys at the parts marked * in the figures. The box or case E, E, containing the keys and action, is connected to the instrument by hinge joints F, coincident with the line where the hammers strike the strings. When it is desired to get at the pegs or strings for the purpose of tuning or replacing them, the box or case is to be raised upon the hinge joints, and held up by a stick or stretcher, which movemement does take the hammers out of their proper place of action on the strings ; the tuner can then use one hand to strike the keys, and the other to tune the strings.
The second feature of these improvements in piano-fortes, viz. the novel construction of sounding board, is exhibited in figs. 12, and 13. The board is constructed according to the principle of vibrating staves, which are fastened at one end only, and free to vibrate throughout their whole extent. It consists of an upper and under horizontal slab or plate, formed by staves of pine or other suitable wood, united at their edges, their fibres running in the direction of the staves ; and the compound poarts of the boards, that it, the staves, should respectively answer in their vibrating action and tone with the strings severally extended over them, in order to produce, by their vibration, similar or corresponding sounds. Fig. 12, is a horizontal view of the upper surface of the improved sounding board, as adapted for a horizontal grand piano-forte. Fig. 13, is an edge view of the sounding board as seen on its curved side. The staves composing the sounding boards are properly fastened and secured to the peg board of the instrument in the line a, a, a ; from this line to the extremity b, b, b, the board is free to vibrate ; its thickness at the base may be as usual, but the treble part should be reduced to about a quarter of the thickness of the base ; c, c, c, is the bridge, which, by this improved construction, may be situated nearer to the extremity than formerly. The dotted lines d, d, d, show the position of the ribs extending along the underside of the top sounding board ; which ribs are also constructed as vibrating staves, and are placed in the direction in which the fibres of the staves run, in order that all the fibres may vibrate together, and be considered to form part of each vibrating stave ; between the ribs a sound hole is cut out the f, shape, like that of a violin, which severs the fibres of the wood between the ribs : e, e, e, represent the strings ; the ribs of the lower sounding board correspond with those on the upper one, by which the air between the two boards is divided into volumes corresponding to the staves, by which their sounds are made to reverberated. The two boards are connected together by the sound posts g, g, placed round the curved edge opposite the ends of the ribs of the sounding board, and communicate the vibration of the upper to the lower board, and answer in effect and purpose to the sound post of a violin : they may be strengthened, if thought necessary, by a band of veneer or other wood extended along the curved edges of the board at top and bottom of the posts ; h, is the part of the board answering to the bass, and i, that of the treble. It will, of course, be understood that the shape of this improved sounding board must depend on the kind of instrument intended to be made, therefore it will not be necessary for me to show all the forms in which it is capable of being constructed. Fig. 14, represents the figure of a sounding board adapted for a square piano-forte, having an upward beating action of the hammers : in this arrangement, the keys can be placed in the centre of the instrument, instead of on one side, as in common.
I would here remark, that what I consider the peculiar novel feature of this improved construction of sounding board is, as before stated, that the vibration of all the parts, or what may be called the staves, answer or correspond to the sound produced by the strings passing over them ; and that all parts of this improved sounding board is free to vibrate from the line a, a, a, it not bein allowed to touch the instruemnt or its case in any other part.
And further, I would remark, that I do not mean or intend to confine myself to the precise form of the various parts shown in the drawings, and described in this specification, as they must, of course, be varied to suid different kinds of piano-fortes, either of the upright or horizontal construction. - [Inrolled in the Rolls Chapel Office, August, 1836.]
Specification drawn by Messrs, Newton and Berry.
To JOHN GODWIN, of Cumberland-street, Hackney-road, in the county of Middlesex, pianoforte-maker, for his invention of an improvement in the making or constructing of pianofortes. - [Sealed 8th March, 1836.]
THIS invention is, arranging the strings of a pianoforte in two distinct series ; that is, placing such of the strings as constitute about the first three octaves in parallel lines along the instrument, and the remainder of the strings in parallel lines at acute angles transversely of the former ; the object being to afford, what the Patentee calls, a more open scale to the strings.
The strings are distended in the usual manner, but the frame and bridge of the upper series of strings must be about a quarter of an inch higher than that of the lower series ; and the sounding board must be cut away, and supported by iron pins, at such parts as shall be required for letting the hammers through. THe advantages of this arrangement are, that the upper or treble strings can be made of greater length by being placed transversely, and consequently, their tones improved.
As this plan of arranging the strings applies to upright pianofortes, and to other denominations of such instruments, it is unnecessary to point out particularly the way in which such strings should be fixed, as that will depend in a great measure upon circumstances ; and as to the striking parts, or what is called the action, such constructions may be employed with striking upward or downward, as may be desired, that constituting no part of the invention. - [Inrolled in the Inrolment Office, September, 1836.]
To WILLIAM SOUTHWELL, of Winchester-road, New-road, in the county of Middlesex, pianoforte-maker, for his invention of certain improvements in pianofortes. - [Sealed 24th August, 1837]
THIS improvement is in the construction of a part of the mechanism called the action of the pianoforte, by which the pressure exerted by the finger of the player upon the key, is communicated to the hammer that strikes the string, and also the damper which stops the vibrations. The improvement is the intruduction of a small tong and spring in what is called the butt ; it is designed to render the touch more delicate than in the ordinary construction, and, consequently, to facilitate the playing of rapid passages by ensuring the correct action of the hammer and damper. - [Inrolled in the Inrolment Office, February, 1838.