As far back as 1855 inventors were experimenting with talking machines; but nothing practical was accomplished till 1877, when Thomas A. Edison constructed a primitive machine capable of recording and reproducing sounds. In the early Edison phonograph the sound vibrations were registered on a tinfoil-covered cylinder. Busy with other inventions, he postponed developing the idea of a talking machine; and meantime other brains were at work on the problem.

In 1885 Chichester A. Bell (cousin of Alexander Graham Bell, of telephone fame) and Charles Sumner Tainter invented the "graphophone." This was the first practical and commercially usable talking machine. The experiments and discoveries resulting in the production of the Bell and Tainter graphophone were made in the laboratories of Alexander Graham Bell, near Washington, D. C, and the latter assisted and advised with the inventors, and on his own behalf conducted experiments which were productive of highly important results in the art of recording and reproducing sound.

First Practical Talking Machine.

One op the Earlier Types of Spring Motor Graphophones.

The Bell and Tainter patent was granted in 1886, and although the subject of much controversy, it has been repeatedly sustained by the United States courts, and in one case (87 F. R. 873) Judge Shipman had to consider all that other inventors had done or attempted to do, and he there decided that Bell and Tainter were the first to make "an actual living invention which the public was able to use."

This method covered "a method of engraving records of sound, producing records of sound by engraving in a wax-like material which would permit of the handling, using and transporting of the record." Another United States patent, covering a method of duplicating or copying sound records, was granted to Charles Sumner Tainter in 1886.

* Illustrations by courtesy of the Columbia Graphophone Co.

Oscar Seagle, the Well-Known Soloist, Recording.

The artist stands before the horn and his every note is recorded with a fidelity startling in the extreme.

Of course the talking machine of to-day is a long way removed from the early Edison and the early Bell and Tainter machines, because many master minds have been working on the problem of developing and maturing the art of sound recording and reproducing, and in perfecting machines to be used in reproducing the sound records after they have been made.

Disk records have taken the place of the old-style cylinder records, the latter being confined for the most part to dictating machines for office use, as the Dictaphone, which has largely displaced the shorthand writer in many business houses.

Since the original Thomas A. Edison patents and the Bell and Tainter patent

The Macdonald Graphophone Grand.

In Band and Orchestra Recording each Instrument is at a Different Elevation.

Leopold Godowskt, One of the World's Greatest Pianists, Making a Record.

The bell at the left is rung to advise the artist that the recorder is ready and the flashing of the light at the right is the signal to begin playing.

there have been many thousands granted, but only a few need be referred to as constituting the milestones in the evolution and development of the art and industry.

First in point of time and importance is the Macdonald Spring Motor, the invention of Thomas Hood Macdonald, a prolific inventor and contributor of many valuable improvements to the talking machine art and industry. The Bell and Tainter machine was operated by a storage battery and this was an inconvenient and expensive form of power. To meet this condition the Macdonald Spring Motor was invented and from the start proved a tremendous success. Today most of the clockwork motor talking machines are built upon the principles disclosed in the Macdonald Spring Motor patent.

The next important step was the discovery by Macdonald that a critical speed for the surface of the record must be obtained in order to secure best results, and this wonderful principle in the art of sound recording was protected by United States patent issued to Macdonald covering what is known as the Macdonald Graphophone Grand. This discovery and invention has been largely instrumental in the rapid development of sound recording.

Although Bell and Tainter disclosed a method of recording sound on a flat surface, all of the earlier forms of talking-machine records were what are known as cylindrical, records in a cylindrical form. Later the disc record came into use and is now the most popular form. Relatively very few cylinder records are manufactured at the present time. The process of sound recording, as applied to disc records, is covered by United States patent to J. W. Jones, and marks a further important stage in the development of the art and industry.

In present-day sound recording the operation is briefly as follows: A recording machine is employed on which is mounted a rotating turntable carrying a wax-like disc blank. Suspended above, but in contact with the surface of the blank, is a recording needle or stylus, attached to a diaphragm which, in turn, is connected to an amplifying horn. The horn extends beyond the machine and the singer, band or orchestra is stationed in front of the mouth of this horn. As the singer interprets the song the vibrations set up by the singer's voice are communicated to the diaphragm by the passage of the sound through the horn. These vibrations, striking upon the diaphragm, set in motion the recording needle or stylus, causing it to move rapidly, and its motion is traced upon the surface of the rotating disc in a line which is known as the sound line. Looked at with the naked eye this line has the appearance of a spiral traced upon the surface of the wax-like blank, but examined under a magnifying glass it shows myriad little indentations or grooves in the wall of the sound line. These indentations correspond to the vibrations imparted to the needle through the diaphragm, and are the recorded sounds made by the singer or band. When the song or selection is finished the surface of the wax-like blank has been covered over with this spiral sound line. The blank has become the "master record," and the first stage of producing a talking-machine record has been passed. The next step is to secure from this master record a metallic counterpart or shell. This is done by the electro-plating process. When the shell is secured the next step is to provide a matrix which serves as a die or stamp from which to press copies or duplicates of the master record. These copies or duplicates are the talking-machine records which the public ultimately purchases. The matrix or die is placed in a power press and the records pressed from the material used in making the sound records. This material is prepared in a plastic form so that it can be forced under pressure into every line and indentation on the face of the matrix.

An Up-to-Date Talking Machine Model.

Instrumental Music is Recorded as Faithfully as Vocal.

Barrere, the great flute player and orchestra leader, is shown making a popular record.

The discovery of the art of recording and reproducing sound; the development of that art into a giant industry, and the present-day universal sovereignty of the talking machine are tributes to American inventive genius and American industrial enterprise. The contributions to the art and the improvements in the manufacture of talking machines and talking-machine records from sources outside of the United States have been very unimportant. The industry employs many thousands of people in the manufacture of these instruments and records which afford entertain-ment, instruction and amusement to the entire world