US1932313A

US1932313A - Mixing device

Info

Publication number: US1932313A
Application number: US579023A
Authority: US
Inventors: Hoschke Frederick Albert
Original assignee: Individual
Current assignee: Individual
Priority date: 1931-12-04
Filing date: 1931-12-04
Publication date: 1933-10-24
Anticipated expiration: 1950-10-24

Description

Oct. 24, 1933. F. A. HoscHKE v1,932,313

MIXING DEVICE- Filed Dec. \4, 1931 4 Sheets-Sheet l WITNESS v 08C e,

BYMT.

ATTORNEY 01.`24, 1933. F, A HOSCHKE 1,932,313

MIXING DEVICE Filed Deo. 4, 1931 4 Sheets-Sheet 2 INVENTOR 'A .Hoacike,

f* ATTORNEY WITNESS Oct. 24, 1933. F, A. Hos'cHKE MIXING DEVICE 4 Sheets-

Sheet

3 ,66 Mmmm i Y I? "z INVENToR FLl?.schl e,

Filed Deo. 4, 1931 BYl ' ATTORNEY Oct. 24, 1933. l F. A. HoscHKE V1,932,313

MIXING DEVICE Filed Deo. 4, 1931 4 Sheets-Sheet 4 INVENTOR WITNESS FA losch/fe BY ATTORNEY Patented Oct. 24, 1933 UNITED STATES PATENT OFFICE Application December 4,

16 Claims.

My invention relates to a device for use in producing music, which, for want of a better term, I designate a mixing device or mixer, and it consists in the combinations, constructions and arrangements herein described and claimed.

The present invention was disclosed in my prior application Serial No. 575,077, filed Nov. 14, 1931. The said prior application was primarily directed to the process of producing music in which the mixer is used.

Up until now music has only been electrically or mechanically reproduced by the conventional method of having musicians record their performances upon a light-sensitive film or upon disks or cylinders for a` later conversion into commercial sound film or phonograph record. K While the present used methods of recording and reproducing music may be further improved upon there probably will always remain a number of mechanical and electrical difficulties that tend to distortion and unnaturalness, involving resonance, tube noises, background, disturbing natural frequencies, etc.

Another feature, which in the making of films or other devices for reproducing music, tends to cause unnaturalness, is that owing to forced tube amplification between the microphone and the film, the wave line on the latter may be badly distorted. In the present invention I may 0btain a wave line of any amplitude without tube amplification and impurities.

In the case of sound film in the theatre, the task of fitting the music to the screen-mood in playing time (as must now be done) is difficult and the results unsatisfactory, particularly at transitional points Where` fluency in the change of style of the music would be so much more desirable.

An object of my invention is to provide a device which will cause reciprocatory movements by the use of cams, each having its periphery shaped in accordance with one or more sound waves of a pre-selected tone, with means for combining' 1931. Serial No. 579,023

A further object is to provide means consisting of a perforated tape driven synchronously with the lm and cam actuating means whereby the stopping of the rotation of the cams and the adjustment of the film is effected automatically or manually.

A further object is to provide additional means for manually starting the synchronized mechamsm.

Other objects and advantages will appear in the following specification and the. novel features of the invention will be particularly pointed out in the appended claims.

My invention is illustrated in the accompanying drawings forming part of this application, in which:

Figure 1 is a vertical sectionalY view of the mixing device.

Figure 2 is a plan view of the mixing device.

Figure 3 is a fragmentary detail view partly 75 in section of the tone cam assembly.

Figure 4 is a detail view of an automatic start and stop mechanism for the mixer.

Figure 5 is a detail view of a lever-operating cam.

Figure 6 is a perspective view of a friction disk carrying arm. Y

Figure 7 is a perspective view of a spring holding member.

Figure 8 is an enlarged section on the line 8-8 85 of Fig. 1.

Figure 9 is a diagram showing how one of the cam curves is made.

Figure 10 is a diagram showing how a cam for a violin tone is made, and, 90

Figures 11, 12 and 13 are diagrammatic views illustrating modified forms of mixing devices.

As disclosed in my prior application aforesaid,

I make use of three mechanisms or units in producing music, namely a nuancer, the mixer which forms the subject of the present invention, and a modied light sensitive cell system. The nuancer and the cell system are old as far as this particular invention is concerned. The mixer however, is new as far as I am aware.

As will be seen in Fig. 1, I provide a base 1, upon which are mounted uprights 2 at each end thereof, bearing a bed-plate 3. This bed-plate has a plurality of standards or uprghts 4 that are slidable longitudinally, there being one stand- 105 ard for each tone. Secured to one of the end members is an extension 5. A screw shaft 6 extends through athreaded bore in the base 7 and is journaled in a bearing 8. The shaft has a groove 6a into which a pin 6b in the member 8 110 extends so as to prevent longitudinal movement of the shaft as it is turned. The shaft 6 has, at one end, a handle 10 which can be turned to move the upright 4 to the right or left as viewed in Each standard has a similar construction and means for shifting it as will appear hereinafter.

Each standard 4 has mounted thereon a rocker arm 11 which is slotted, as shown at 12, to receive the shank of a pin 13, a head 14 being provided to hold the arm in position. One end of each rocker arm is provided with a roller 15. A retaining member having a pair of spring fingers 16 is carried on the shaft 17 which is slidably disposed in the extension 5. The shaft is provided with a flngerhold 18. It is movable toward and away from the end of the rocker arm and when pushed inwardly the detents 16a on the spring arm 16 will engage recesses 11a on the rocker arm 11 thus holding the arm stationary. A spring detent 19 at the same time engagesa recess 20 in the shaft 17 to prevent movement of the shaft. The reason for this construction will be explained later.

At the opposite end of each rocker arm there is positioned a plunger 21. All of the plungers 21 extend into a common tank 22 containing liquid which partially lls the tank. In Fig. 1 I have indicated the level of this liquid at X. The tank 22 is divided into individual compartments for the plungers 21 by perforated partitions 22m which prevent undue movement of liquid other than that effected by the movement of the plungers. At one portion of the tank 22 there is an outlet 23 to a cylinder 24 of substantially the same height as the tank. This cylinder is slotted at 25 and contains a plunger 26 having a pin 27 arranged to enter the slot 25 so as to guide the plunger in its movement. The upper end of the plunger is in engagement with a bell crank lever 28 which is pivoted at 29 and which bears on one arm a marking device 30 for making a wave line on a film 31.

In Fig. 1 I have shown, diagrammatically, a variable-speed direct-current motor M, the shaft 32 of which is connected with the speed reduction unit shown diagrammatically at 33. The latter has a shaft 34 which has a pair of pulleys 35 and 36, respectively. The pulley 35 has a belt 37 which passes over a pulley 38 on a shaft 39, thus driving the latter. As will be seen from Fig. 2 the shaft 39 extends transversely of the rocker arms 11.

Secured to the shaft 39 are pulleys 40 there being one for each tone. An arm 41 is associated with each rocker arm, one end of this arm 41 being pivoted loosely on the shaft 39 and the other end bearing a pulley 42 rigidly secured to a friction disc 43. A belt 44 passes around the pulleys and 42 to drive the disc 43 for a purpose hereinafter explained.

The pulley` 36 has a belt 45 which drives a pulley 46 on a shaft 47 and on this shaft there is a pulley 48 which is connected by a belt 49 with a pulley 50 that drives a shaft 51. This shaft 51 as will be seen from Fig. 2, also extends transversely of the system of parallel rocker arms. It is provided with a bevel-gear 52 engaging the gear 53 on a shaft 54. The latter bears a film drum 55 which is toothed to engage drive holes in the film 31 and to firmly hold and drive the film and steadily control its movement while it is being marked or photographed. The shaft 54 also bears a driving pulley 56 which is connected by a coil spring driving belt 57 with a. pulley 58 on a shaft 59 bearing a take up drum 60 for the film. The construction is such that while the belt 57 is tight on the pulley 56 it will slip on the pulley 58 so as to keep the film taut.

As will be observed from Figs. 1 and 2 the rocker arms 41 pass through slots 61 in the bed plate. Each arm rests on a spring 62 in order to preserve contact between the friction disc 43 and an associated friction disk 63.

There is one driven friction disk for each tone. In Fig. 3 I have shown one of these disks mounted on a sleeve 64 which is held on the shaft 51 by means of

fixed thrust collars

65 and 66. An anchor collar 67 is placed on the sleeve, this anchor collar having pins 68 set therein. A tone cam disk 69, see Fig. 5, which is made in two parts, and which is provided with openings arranged to receive the\pins 68, is slipped over the pins and moved to a position against the anchor collar. A spacing collar 70 having similar registering openings is then placed over the pins for spacing the cam disk from the ends of the. arm 41. Each of the friction disks 63 is provided with bores for receiving the ends of the pins 68. A nut 71 is disposed on the threaded portion of the sleeve as shown in Fig. 3 and when the nut is screwed to the right in Fig. 3 it clamps the cam tone assembly rigidly together, a washer 72 being provided between the nut and the friction disk 63. It will be understood that there is a cam tone assembly for each rocker arm similar to that shown in Fig. 3.

Each cam, as stated, is made in two parts so that when the nut 71 is run to the left in Figure 3 and the friction disk 63 with the spacer 70 is moved from the pins the cam disk and its associated friction disk may be taken out and replaced by a cam disk of another shape corresponding to another tone and the parts brought together and tightened to hold the cam rigidly. The mechanism thus far described discloses the essential features of one form of mixing device which may be used in this process. Certain modified forms will be described later.

In Figure 4 I have shown a perforated nuancing 1 tape. The nuancer is a rhythm, tempi, nuance, controlling device. The tape 76 passes over a roller 81 having sprocket teeth arranged to enter corresponding openings in the tape to cause its forward movement. This roller. as will be observed, is on the shaft 54 and is therefore in synchronism with the film and cam actuating mechanism.

The circuit of the motor is closed by an armature 83 of magnet 84. The latter is actuated by a battery 85, and has as a portion of its circuit, a spring contact 86 which completes a circuit through the roller 8l, the latter being of conducting material, when the end of the spring rides into an opening 76a. and pulls the armature 83 away from the contact point, thus breaking the circuit of the motor and causing the stopping of movement of all parts driven thereby, including the roller 81. The motor may be again started to drive the mechanism L and the roller 81 by pressing the key 88, which forces the armature 83 away from the magnet 84 against the contact 76, whereupon the roller 81 will be turned until the spring 86 reaches the next opening. The motor may also be stopped man- 1- ually by reverse movement of the key 88.

From the foregoing description of the various parts of the device the operation thereof may be readily understood.

Let us assume that some orchestral score from L This energizes the magnet 84 15 an opera is to be produced. The first step is to nuance the score to be produced. This is done in actual playing time and in silence by the means set forth in my prior application aforesaid and the tape is perforated as described at points corresponding to the beats as a conductor of a symphonic orchestra makes when he wields his baton to impart to his musicians his interpretive idea. The holes in the nuancing tape 76 are preferably about a quarter of an inch in diameter.

This tape is then run through a device somewhatv similar to that shown in Fig. 4 having a contact like the contact 86 for making a circuit to'l give a series of clicks of an armature similar to` that shown at 86 thus producing an audible replica of the recording musicians conducting. The purpose of perforating the tape and listening to a rhythmic performance of the music to be produced is to assure the conductor, at this point, of a good reading of the score before the remaining operations are carried out. This operation of nuancing upon the paper tape is a most important one, since it is one that gives to the music that is to be produced that individuality and vitality of performance that a Well rendered musical production should possess.

The next step is to select the cams corresponding to the tones that are to be produced at the beginning of the score. If thereare a number of instruments playing simultaneously, the cams corresponding to the desired tones of these instruments, such as the violin, the horn, the harp, etc. are taken and those various cams are placed on the shaft 51 in the manner already described. If now the shaft 51 is rotated it is obvious that the arms 11 corresponding to the individual tones will be raised and lowered as the cams rotate, dependent upon the cam curves of the various cams. The ends of some of the arms nearest the cams may be rising or others may be falling and at the opposite end of these arms the plungers 21 may be falling or rising dependent upon the movement effected by the cam. The rising or falling of the plungers 21 will occasion a corresponding rise or fall of the level of the liquid in the tank 22, and the resultant of this rise or fall will be communicated to that portion of the liquid in the cylinder 24, and will thus cause a rising and falling of the plunger 26 and the consequent movement of the device 30 which records the resultant wave line on the lm 31.

While I have shown the device 30 as a marking device it will be understood that any suitable wave line forming device, such astnat used in producing a wave line photographically on a lm, might be used without departing from the spirit of the invention.

In most scores there are certain instruments that are intended to be played louder at certain times than other instruments. In order to accomplish this eiTect in the music to be produced, I may shift the standard 4, by turning the handle 10, either farther away from the row of cams or nearer to it. In order to prevent the bodily movement of the arm 11 when its standard or fulcrum is being shifted, the head 18 is pushed inwardly thus bringing the spring fingers into engagement with the end of the arm as described and holding it, the slot in the lower fingers clearing the bracket which carries the wheel 15. The screw'13 may be tightened to clamp the arm 11 against the standard 4 thus insuring against movement. The handle 10 is now turned and the fulcrum is moved say to the right in Figure 1. This will tend to make a greater movement of the plunger 21 and thus will cause a correspondingly greater movement in the resultant Wave line for the particular tone to be amplified. Thus if it is desired to bring out a flute tone louder than the oboe, it may be done by shifting the fulcrum of the arm corresponding to the flute tone in one direction so as to amplify the tone, as described, or to shift the arm which corresponds to the oboe tone to be softened, in the opposite direction thus reducing the movement of the plunger 21, corresponding to the oboe tone, and ygiving to the resultant wave line a characteristic corresponding to a softened oboe tone.

I have described how the lm 31 and

shafts

51 and 39 are driven 'by the motor M. The arrangement synchronizes the movement of these parts. In the arrangement shown there is an individual arm 41 bearing a driving friction disk 43, and a driven friction disk 63 for each tone. This permits of individual cams 69 being driven at different rates of speed which may be accomplished by selecting friction disks of different ratios or in any other suitable manner. It is essential, however, that all the moving parts of the apparatus be synchronized.

The duration of movement of any particular tone -must be and is taken into consideration. Thus, if the score shows a staccato tone the movement must be terminated in accordance. This is done by stopping the movement and releasing the arm which corresponds to the tone. In order to do this the arm is raised and held by means of the spring fingers 16 clear of the cam. It is also held in this position if the cam is to be removed, that is to say, the cam must be in its highest position in which it raises the roller 15 as high as it will go. During the removal of the cam the arm 11 is locked in the manner already described.

Let us assume that in the score the harp plays in arpeggios, or broken chords. The conductor has previously informed the operator to what extent this chord should be broken or rolled. Let us assume that the notes comprising an A at major arpeggiated chord should be played as if they were 64ths. The mixer shaft is stopped after the tape and film has moved a 64th in notational length or value, which latter is found by dividing an 8th note, as nuanced, into eight equal divisions. The A flat harp rocker is released from the cam (held above the cam by the holding means 16) and the cam for the second note' of the harp chord is engaged, there being no other occurrence or rhythmic point of utterance in the score. The operations are repeated until the last note of the harp arpeggio is finished. If, of course, the conductor had instructed the operator not todamp the harp tones after they are sounded, the operation of making the harp figure on the film is somewhat different. In such event Iinstead of disengaging the rocker from the rst harp tone cam after its time value has elapsed, it is left in engagement While the second note of the chord is made, but the upright to the first harp note cam is moved so that the amplitude of its wave becomes less and less in proportion to how a harp tone dies out after it is struck on the real instrument, and similarly with the remaining arpeggiated harp notes.

I have previously described how the nuanced tape having perforations is run over a roller with a circuit breaking contact 86 in Fig. 4 which breaks the circuit of the motor M. The motor `with the fundamental.

is thus stopped automatically at each nuancing mark.

The operator has before him the score which has been nuanced and this score is divided up into periods of time and the various tones that occur at any one period and which are to be produced, are provided for by bringing into play those cams which correspond to the tones. This is repeated step by step throughout the entire score, due consideration being given to making the tones louder or softer, as occasion demands, by shifting the fulcrums of the arms 11, as already explained.

The making of a film having on it a musical composition requiring six or seven minutes of playing time, may require from three or four days of eight hours each of working time. The accomplishment of the mixer with respect to the number of feet of film marked depends upon a maintenance of speed of the rocker ends on the cam edges that will not be so fast as to invite distortion in the resultant, by reason of any change in the level of the fluid over or under that of the true displacement by the plungers.

In orchestral music, though there is, of course, sustained music, most of it is much detached, so that the mixer in its operation could be caused to move up during the silent periods at a relatively fast rate with the rockers disengaged from the tone cams, thereby materially reducing the time necessary in making a complete film.

I have spoken of tone cams for particular instruments. The manner in which these cams are formed is as follows: Consider for instance middle C as played on a violin string. The fundamental has 256 vibrations per second, but the tone quality depends not only on the fundamental, but on the various overtones and relative intensities of these overtones that are associated In making a characteristic cam for middle C of the violin I make use of a number of cams, each having a sine curve (simple harmonic curve) as a periphery. Thus, in Figure 9 I have shown how these curves are constructed. A disk is divided into equal sections by radial lines and is also provided with equi-distant concentric circles. The curve is constructed by placing a dot on the inner circle on one of the radial linesI and then a second dot on the adjacent radial line and the adjacent con-I centric line, continuing in this manner around the circle and then connecting the dots to form the curve. About thirty of these cams are used in a device similar to the mixer already described. Certain of these cams represent various tones that give the distinguishable quality to the violin string of middle C. They are rotated at corresponding speeds and at certain predetermined adjustments of the uprights to secure individually relative amplitudes and the resultant wave is indicated on a disk 91 by a marker 30x similar to the marker 30 in Fig. 1, disk 91 being rotated in synchronism with the cams, by any suitable means. The disk is then cut or shaped in accordance with the cam curve. One of these cams thus formed is provided for each tone to be sounded by any musical instrument, so that any combination of tones may be effected in the piece of music to be produced.

In Fig. 10 I have shown a cam which has one complete cycle or wave about its periphery. There are some instances in which the proper friction disk ratio cannot be had because of impractical diameters and in ,such instances the cams may have more than one cycle about their peripheries.

By employing overtones which may not appear in the tones of any musical instrument, or by varying the relative intensities (amplitudes) of those that do so appear, by means provided in the mixer, a cam may be constructed to give a tone quality different from that of any known instrument.

In Figs. 11, 12 and 13 I have shown modified forms of the mixer which may be used in lieu of the plunger and tank arrangement shown in Figs. 1 and 2. In Fig. l1 the ends of the arms 11 may be attached to pulleys P and a cord C having one end attached at D is passed over stationary pulleys S secured to a beam or rod B. The free end E of the cord may be attached to a lever similar to that shown at 28 in Fig. 1 having the marking device 30. It will be obvious that as the ends of the arms 11 move upwardly or downwardly in accordance with the movement imparted to them by the tone cams there will be a resultant movement of the end E ofthe cord and .hence of the marking device similar to that effected by the tank and plunger arrangement.

In Fig. 12 I have shown the ends of the arms 1i as attached to sliding contacts K arranged to engage resistance elements R so that a downward movement in the figure will throw in more resistance while an upward movement will throw in less. The resultant current from the battery Y will therefore depend upon the movements of the arms 11 in precisely the same manner as that shown in Fig. 1 and this current may be used in any suitable electromotive device (not shown) for controlling the movement of the marker.

In Fig. 13 the arms 11 control pneumatic devices H which are connectedv with a common pipe F leading to a pneumatic device L. The amount of fluid in the pneumatic device L and hence its movement will be the resultant of the movements of the arms and any suitable connection can be made to this pneumatic device L to actuate the marker or beam of light to record the resultant wave line upon the lm.

The resultant wave line on the film may be used in any sound producing device such as that used in connection with talking pictures. The present process has many advantages over that in which this nlm wave line is produced when music is actually played. In the present process I can make the amplitudes of the various waves as large as desired, whereas when the film wave is made in the ordinary manner there must be amplification and all distortion, extraneous noises or imperfections in the ordinary process are magnified. In the present invention the wave movements are not only not exaggerated but in many instances they are actually reduced so that the resultant film wave line is free from the objections of distortion and will produce purer tones than a wave line made by any other process of which I am aware.

The facility with which the amplitude of the wave movements and hence the loud and soft effects are produced is also a feature of this invention which is highly important. In addition to this, the possibility of producing tonal qualities in music which have never been heard before and which are not known in any musical instrument, lend to this process an advantage over any process in which instruments are used to play music that is subsequently to be reproduced.

As I have before explained, the parts are synchronized and the roller 81, the perforated tape- 76 and the automatic stop and starting key 88 constitute the principal control to the mixer and its operation. The selection of the cams and the variation of loudness is in accordance with the requirements of the score as called for by the nuanced tape. A score has no interpretative qualities or interest. It is merely a notational method of indication by .the composer to the interpreter. In the present instance the interpreter is the nuanced tape and all rhythmic control of the mixer operation comes from the tape only. That is to say the holes and subdivisional markings on the tape dictate or control the time element-When and how long-all the operations of the mixer are to be carried on.

The mixer provides means, as stated, for auto'- matically or manually stopping the motor and the synchronized mechanism. The nuanced tape is provided with marks at places that are not lperforated and that do not actuate the automatic stopping attachment. By reversing the movement of the key 88, as by lifting it (in Fig. 4) the circuit of the motor N is broken and the mechanism is stopped, thus permitting the shifting of the uprights 4, or the placing of one or more of the cams out of commission or bringing one or more into commission, as the score demands.

It has been pointed out above how the changing of the fulcrums of the lever arms Will increase or decrease the amplitude, and thereby eifect loud or soft tones in the final production. In music one goes from loud or any degree of loudness to soft or any degree of softness, but more frequently this transition is by degrees. In the construction set forth heretofore, the uprights 4 may be steadily and gradually moved certain predetermined distances while the mixer is in operation in order to eifect changes gradually, decreasing or increasing in intensity.

It will be noted that in addition to effecting movements by the cams for the tones of the score step by step, and regulating the duration and amplitude of these movements, periods of silence are provided for, as described. These movements and silence periods are yderived from the nuancing. It is obvious therefore that in order to effect the production of the best music by my process, the nuancing should be done by one highly skilled in the art of conducting or interpreting.

I claim:

1. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance With a sound Wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements of the cams into corresponding reciprocatory movements, and means for combining said reciprocatory movements into a resultant movement.

2. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance with a sound Wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements of the cams into corresponding reciprocatory movements, means for combining said reciprocatory movements into a resultant movement, and means for varying the amplitudes of any of said reciprocatory movements at will.

3. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance with a sound wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements ofthe cams into corresponding reciprocatory movements, means for combining said reciprocatory movements into a resultant movement, means for varying the amplitudes ofany of said reciprocatory movements at will, a film, means synchronized with the cam-rotating means for moving the film, and means for recording said resultant movement on the film.

4. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance With a sound Wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements of the cams into corresponding reciprocatory movements, means for combining said reciprocatory movements into a resultant movement, means for varying the amplitudes of any of said reciprocatory movements at will, a film, means synchronized With the cam rotating means for moving the lm, means for recording said resultant movement on the lm, and means for automatically stopping the movement of the film and the rotation of the cams. f

5. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance with a sound Wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements of the cams into corresponding reciprocatory movements, means for combining said reciprocatory movements' into a resultant. movement, means for varying the amplitudes of any of said reciprocatory movements at will, a film, means synchronized with the cam rotating means for moving the nlm, means for recording said resultant movement on the film, means for automatically stopping the movement of the film and the rotation of the cams, and manual means for starting the synchronized actuating means of the nlm and of the cams.

6. In a device for producing music, a shaft, a plurality of cams rotatably carried by the shaft, each cam having its periphery shaped in accordance with a sound Wave of a pre-selected tone, means for rotating said cams, a lever actuated by each cam, and means for combining the movements of the levers into a resultant movement.

'7. In a device for producing music, a shaft, a plurality of cams rotatably carried by the shaft, each cam having its periphery shaped in accordance With a sound wave of a pre-selected tone, means for rotating said cams at different predetermined speeds, a lever actuated by each cam, and means for combining the movements of the levers into a resultant movement.

8. In a device for producing music, a shaft, a plurality of cams rotatably carried by the shaft, each cam having its periphery shaped in accordance with the sound wave of a pre-selected tone, means including a driving and a driven friction disk associated with each cam for driving the cams at diierent predetermined speeds, a lever. for each cam, each of said levers having one end engaged by its individual cam, and an adjustable fulcrum for each lever.

9. In a device for producing music, a shaft, a plurality of cams rotatably carried by the shaft, each cam having its periphery shaped in accordance with the sound wave of a pre-selected tone, means including a driving and a driven friction disk associated with each cam for driving the cams at different predetermined speeds, a lever for each cam, each of said levers having one end engaged by' its individual cam, an ad- .instable fulcrum for each lever, and means associated with the opposite ends of the levers for combining the movements of said opposite ends into a resultant movement.

10. In a devicefor producing music, a shaft, a series of cams rotatably carried by the shaft, each cam having its periphery shaped in accordance with a sound wave of a predetermined tone, a plurality of levers, each of said levers having one end arranged to be actuated by an individual cam of the series, an adjustable fulcrum for each lever, means for shifting the fulcrum of each lever longitudinally with respect to its associated lever. whereby the movement of the opposite end of the lever is varied, means associated with the opposite end of the lever for combining the movements of the opposite ends into a resultant movement, a nlm, means for recording the resulant movement on the film, synchronized driving means for advancing the tape and for rotating the cams, and means for automatically stopping the driving means.

11. In a device for producing music, an electric motor, a film, a series of rotatably mounted cams, each cam having its periphery shaped in accordance with the sound wave of a pre-selected tone, synchronized means actuated by the motor for advancing the lm and rotating the cams, a series of levers oscillated by the rotation of the cams, means associated with the ends of the levers opposite the cams for combining the movements of the ends of the levers into a resultant movement, and means for recording the resultant movement on the film.

12. In a device for proucing music, an electric motor, a film, a series of rotatably mounted cams, each cam having its periphery shaped in accordance with the sound wave of a pre-selected tone,

synchronized means actuated by the motor for advancing the film, and rotating the cams, a series of levers oscillated by the rotation of the cams, means associated with the ends of the levers oppositethe cams for combining the movements of the ends of the levers into a resultant movement, means for recording the resultant movement on the nlm, a perforated tape, means for advancing the tape, and means controlled by the perforated tape for automatically stopping the movement of the film, the cams and the tape.-

13. In a device for producing music, an electric motor, a nlm, a series of rotatably mounted cams, each cam having its periphery shaped in accordance with the sound wave of a pre-selected tone, synchronized means actuated by the motor for advancing the film, and rotating the cams, a series of levers oscillated by the rotation of the cams, means associated with the ends of the levers opposite the cams for combining the movements of the ends of the levers into a resultant movement, means for recording the resultant movement on the film, a perforated tape, means for advancing the tape, means controlled by the perforated tape for automatically stopping the movement of the film, the cams and the tape, and means for manually starting the synchronized movement.

14. In a device 1 E the type described, means for effecting a plurality of reciprocatory movements, each of said movements corresponding with the sound wave of a pre-selected tone, and means for combining said movements `to form a resultant movement.

15. In a device of the type described, means for effecting a plurality of reciprocatory movements, each of said movements corresponding with the sound wave of a pre-selected tone, means for combining said movelnentsto form a resultant 105 movement, and means for recording the resultant movement on a nlm.

16. In a device for producing music, a plurality of cams, each cam having its periphery shaped in accordance with a sound wave of a pre-selected tone, means for rotating said cams, means for transforming the rotary movements of the cams into corresponding reciprocatory movements, means for combining said reciprocatory movements into a resultant movement, means for varying the amplitudes of any of said reciprocatory movements at will, a iilm, means synchronized with the cam rotating means for moving the film, means for recording said resultant movement on the film, and means for manually stopping the movement of the nlm and the rotation of the cams.

FREDERICK ALBERT HOSCHKE.