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Speaker 1: Get in text with technology with tech Stuff from how

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Speaker 1: stuff Works dot com. Hey there, and welcome to tech Stuff.

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Speaker 1: I'm your host, Jonathan Strickland. I'm an executive producer at

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Speaker 1: how Stuff Works and all of all Things Tech, and

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Speaker 1: today we're going to talk about a subject that was

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Speaker 1: another listener request, and I actually talked about this briefly

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Speaker 1: in the Listener grab Bag episode. Listener MICHAELA had asked

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Speaker 1: me to talk about speakers and headphones, how they work

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Speaker 1: and where they came from. And today we're gonna cover speakers.

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Speaker 1: I was gonna cover both in one episode. That turns

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Speaker 1: out there's just too much to talk about if I

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Speaker 1: really want to explain where these things came from and

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Speaker 1: how they evolved over time. They are very closely related,

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Speaker 1: but I feel like I'm gonna have to save headphones

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Speaker 1: for a future episode. Uh So, this ties in really

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Speaker 1: closely with some of the other recent episodes I've done

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Speaker 1: about tech and music, like Middy and turntables. In fact,

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Speaker 1: the turntables and record player stuff. The speaker development goes

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Speaker 1: hand in hand with that because it was all part

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Speaker 1: of the development of the recording industry as a whole. Well,

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Speaker 1: a quick reminder we're talking about sound, and I promise

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Speaker 1: i'll make this brief. Sound travels through a medium. It

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Speaker 1: can be any sort of medium. Really can be solid,

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Speaker 1: it can be liquid, it could be gas. Sound is vibration,

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Speaker 1: So molecules or atoms within this medium are going to

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Speaker 1: bounce against each other and propagate sound throughout that medium,

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Speaker 1: So you have to have molecules there. This, by the way,

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Speaker 1: is why sound does not travel in outer space, because

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Speaker 1: while outer space is not totally empty, there are particles

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Speaker 1: in outer space, they're so far apart from each other

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Speaker 1: that you can't have them bump against each other and

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Speaker 1: propagate sound. So that's why there's no sound in space anyway. Uh,

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Speaker 1: we experience sound when vibrating air molecules change the air

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Speaker 1: pressure in our air canals. At least this is the

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Speaker 1: primary way we experienced sound. And when that happens, the

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Speaker 1: air pressure means that it either presses against our ear

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Speaker 1: drums also known as the tympanic membrane, or the pressure

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Speaker 1: is reduced so that our tympanic membrane presses out because

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Speaker 1: there's there's not as much pressure as there normally would be.

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Speaker 1: As these vibrations that then gets sent through a series

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Speaker 1: of tiny bones that then send vibrations to a structure

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Speaker 1: called the cochlea in our inner ears that wiggles around

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Speaker 1: some fluid which then wiggles around some special nerve cells

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Speaker 1: which send electrical impulses to our brain that we then

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Speaker 1: interpret as sound. And I know I've said that a

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Speaker 1: couple of times in recent episodes, but it always bears repeating,

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Speaker 1: because we have to remember, ultimately, sound is this physical phenomenon.

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Speaker 1: It's not just some magic stuff that floats through the air.

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Speaker 1: It's actual physical vibrations, and it's in warn't to know

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Speaker 1: that because as we got a greater understanding of the

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Speaker 1: nature of sound, we were also building on our understanding

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Speaker 1: of physics, of electrical engineering, of lots of stuff that

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Speaker 1: all together made it possible for us to make speakers. Now,

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Speaker 1: before electric loud speakers, we mainly relied on just acoustics,

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Speaker 1: the physics of sound, and for a while we didn't

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Speaker 1: necessarily have very detailed mathematics to describe the acoustics of sound,

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Speaker 1: which by the way, are incredibly complicated. I could do

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Speaker 1: a series of episodes about the acoustics of sound, and

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Speaker 1: it would take a really long time to do so.

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Speaker 1: I'm only going to touch upon acoustics in this, but

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Speaker 1: acoustics involve everything from the design of say a room,

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Speaker 1: like have you ever been in a room that was

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Speaker 1: designed acoustically for the performance of music? You've probably experienced

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Speaker 1: some really nice performances that way. But there's also acoustic

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Speaker 1: design in things like instruments, including horns, and horns would

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Speaker 1: largely represent the way we would try to amplify sound

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Speaker 1: before the electric loudspeaker like the megaphone is a classic example.

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Speaker 1: So how can a simple shape make a sound louder? Well? Again,

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Speaker 1: to dive into all the details would be an episode

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Speaker 1: by itself. Plus I would kind of need visual aids

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Speaker 1: to really explain it properly because doing this all just

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Speaker 1: an audio format is very challenging. But in general, when

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Speaker 1: you have a horn or a tapered tube where it

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Speaker 1: tapers down to a narrow end and then you've got

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Speaker 1: a wide end on the other side, you can send

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Speaker 1: sound waves down the length of this tube as plane

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Speaker 1: waves p L A n E. Those are waves that

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Speaker 1: travel in parallel with one another. So you have one

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Speaker 1: wave behind that, you have another wave in parallel behind that,

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Speaker 1: you have another wave in parallel and so on. It's

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Speaker 1: kind of like a stack of waves. Now, the tube

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Speaker 1: needs to be narrow at one end to fit the

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Speaker 1: source of the sound, such as your mouth or with

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Speaker 1: acoustic speakers. Back in the old days when you had

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Speaker 1: the gramophones, you know those big trumpet looking things that

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Speaker 1: stuck out of what looked like a record player. Well

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Speaker 1: that had to be right around whatever the membrane was

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Speaker 1: or the speaker driver in order to help amplify sound.

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Speaker 1: The tube then has to flare out because if it

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Speaker 1: remains narrow, sound waves would start to reflect off the

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Speaker 1: sides and that would that would start to affect the

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Speaker 1: loudness as it went down the path. And that's largely

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Speaker 1: because of wave size. Lower frequency sound waves have longer

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Speaker 1: wave forms, so you need to flare out the horn

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Speaker 1: to allow for those longer frequencies. And this is why

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Speaker 1: instruments like the tube but have such a large flared

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Speaker 1: horn at the end because they're playing those lower frequency sounds,

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Speaker 1: whereas something like a trumpet can have a smaller flare

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Speaker 1: because they are not playing notes that are at that

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Speaker 1: low of a frequency. The design of a horn transforms

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Speaker 1: sound waves by taking the high pressure, low velocity waves

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Speaker 1: emitted into the narrow end also known as the throat

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Speaker 1: of a horn, and then converts those into low pressure,

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Speaker 1: high velocity vibrations at the wide end, so high pressure

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Speaker 1: low velocity to low pressure high velocity, and the high

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Speaker 1: velocity vibrations can move through the air more efficiently. In addition,

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Speaker 1: a horn restricts the spreading out of sound waves. It's directional.

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Speaker 1: Sound will emanate out in all directions from a source normally,

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Speaker 1: but with a horn you can restrict that a bit.

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Speaker 1: You direct the sound a little bit toward an intended

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Speaker 1: target and thus deliver a more concentrated collection of sound

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Speaker 1: waves at that target. But while horn acoustics are pretty

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Speaker 1: amazing and fascinating, they are not the ideal solution for

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Speaker 1: amplifying sound in all situations, which brings us to the

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Speaker 1: invention of the electric loudspeaker. Also, I should mention that

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Speaker 1: electric loudspeakers frequently make use of the principles of horn

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Speaker 1: acoustics in their design. So just to get that out

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Speaker 1: of the way, it's not like horn acoustics no longer

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Speaker 1: or apply. It's just we're not relying solely on horn

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Speaker 1: acoustics for amplification. At this point. The first electric loudspeaker

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Speaker 1: was part of an invention called the telephone. Now we

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Speaker 1: all know Alexander Graham Bell gets the credit for inventing

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Speaker 1: the telephone, but it was actually another person, a German teacher,

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Speaker 1: Johan Philip Rice, who was actually the original inventor of

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Speaker 1: a device called the telephone. He called his device a telephone.

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Speaker 1: It was different from the telephone that Alexander Graham Bell

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Speaker 1: would invent, but it was a device. It was called

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Speaker 1: the telephone, and it came out about two decades before

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Speaker 1: Alexander Graham Bell got into it. Uh so it's not

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Speaker 1: nearly as transformative as Alexander Graham Bell's invention in eighteen

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Speaker 1: sixty So okay, more like fifteen years before Graham Bell's breakthrough,

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Speaker 1: Rice was hard at work creating an electrically powered device

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Speaker 1: meant to mimic the human ear. In fact, his early

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Speaker 1: early versions of this look like a human ear carved

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Speaker 1: out of oak, and even had these little metal parts

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Speaker 1: that were supposed to replicate the way the bones in

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Speaker 1: our ear drums work or behind our ear drums work. Well,

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Speaker 1: he thought he could transmit sound through electric wires, harnessing

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Speaker 1: something called magnet restriction Now, this is a phenomenon in

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Speaker 1: which a feral magnetic material like iron will change in

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Speaker 1: dimensions due to a change in the magnitude and direction

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Speaker 1: of its magnetization. So essentially what this means is if

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Speaker 1: you get something that's feral magnetic, like an iron bar,

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Speaker 1: and you put it inside a magnetic field, and it's

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Speaker 1: a weak magnetic field the h and you put it

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Speaker 1: in such a way so that the direction of the rod,

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Speaker 1: as in the length of the rod, match the magnetic

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Speaker 1: fields direction. The rod would actually get a little bit

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Speaker 1: longer through this weak magnetic field. Now, if it were

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Speaker 1: a strong magnetic field, the rod would actually contry tracked

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Speaker 1: a little bit, would be a little shorter than normal.

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Speaker 1: And if you had a very precise way of measuring

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Speaker 1: the rod, you could actually see that the length of

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Speaker 1: the rod changed as the magnetic field changed. So if

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Speaker 1: you change the field strength, you could actually dynamically change

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Speaker 1: the length of the rod by a very small amount.

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Speaker 1: And moreover, doing this would cause the iron rod to

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Speaker 1: create a tick sound. Passing a variable current through a

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Speaker 1: coil of wire could cause the rod to tick repeatedly,

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Speaker 1: generating a sort of tone, and that became the receiver

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Speaker 1: of Rice's invention, it became his speaker. This ticking iron

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Speaker 1: bar was essentially a speaker. Rice created a device that

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Speaker 1: acted as a transmitter. The ear had a parchment membrane

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Speaker 1: inside of it that mimic the tympanic membrane in our ears.

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Speaker 1: Against that membrane was a little metal strip, So he

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Speaker 1: had essentially glued like a platinum strip to this membrane,

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Speaker 1: and resting a against that platinum strip was a second

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Speaker 1: strip of platinum which was just barely touching the membrane

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Speaker 1: due to gravity. So they were just making gentle contact

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Speaker 1: with each other. In fact, we would have called this

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Speaker 1: a loose contact if it had been done on purpose

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Speaker 1: for an electrical circuit, and when the circuit was powered,

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Speaker 1: when electricity was flying going through it, uh, it would

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Speaker 1: actually everything's working fine. The two contacts are in in

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Speaker 1: connection with one another. Uh, you would be able to

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Speaker 1: have pass electricity through without any issues. But Rice believed

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Speaker 1: that if you made sounds into this simulacrum of an ear,

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Speaker 1: you could make the membrane vibrate, and he believed this

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Speaker 1: would cause the metal contacts to bounce against each other

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Speaker 1: and cause the current passing through the circuit to become intermittent,

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Speaker 1: and this would be what he would call and what

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Speaker 1: others would call a make or break transmission. So if

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Speaker 1: you think about something like a telegraph, where when you

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Speaker 1: press down on the key, it completes a circuit, and

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Speaker 1: when you let off of the key, it breaks the circuit.

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Speaker 1: He was thinking along those same lines, except he was

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Speaker 1: thinking this would be a way for you to transmit

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Speaker 1: actual sounds, not just uh, the the signal that there

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Speaker 1: is an electric circuit made and broken. That's what he

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Speaker 1: thought was behind this whole idea, and so he started

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Speaker 1: to experiment with this, and he thought eventually he could

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Speaker 1: do he could create a system this way where you

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Speaker 1: could transmit sound through electricity. You would put the sound

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Speaker 1: into the transmitter, it would do this make or break

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Speaker 1: series of connections, and then on the other side you

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Speaker 1: would have this iron bar that would start ticking, and

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Speaker 1: the ticking would be done in such a way that

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Speaker 1: you would be able to make out what was the

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Speaker 1: original sound put into the transmitter. Side now in a courtroom,

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Speaker 1: because eventually his design would be brought into court proceedings.

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Speaker 1: When Alexander Graham Bell came forward with his invention of

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Speaker 1: a telephone, well, we'll find out what happened in the courtroom,

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Speaker 1: but first let's take a quick break to thank our sponsor.

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Speaker 1: Scientists testified that the only way this even worked at

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Speaker 1: all was if the sound was not too loud, and

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Speaker 1: so the two strips of metal would never lose contact

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Speaker 1: with each other. They would press more gently against each other,

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Speaker 1: but they would still remain in contact, and that this

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Speaker 1: would end up varying the electrical resistance of the circuit,

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Speaker 1: which would change make it a variable current flowing through

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Speaker 1: the circuit, and that is what made the signal that

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Speaker 1: made it possible for you to hear something on the

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Speaker 1: other side. So not that there was a make or

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Speaker 1: break connection, but rather that the connection that was made

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Speaker 1: had a variable resistance and thus a variable current, and

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Speaker 1: that is what drove the receiver on the other side.

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Speaker 1: The reason this is important as they were saying, yeah,

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Speaker 1: technically Rice's inventions sort of works, although it wasn't producing

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Speaker 1: clear representations of the original sound. You could tell that

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Speaker 1: it was making a sound based upon the original one,

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Speaker 1: but it wasn't clear. You couldn't get intelligible speech out

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Speaker 1: of it. They said, yes, it is working, but it's

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Speaker 1: not working the way he thought it was the way

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Speaker 1: he described it. It can't work that way, because that's

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Speaker 1: not the way that that's not what we're seeing. What

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Speaker 1: we're seeing is the only way it works is that

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Speaker 1: the sounds are quiet enough to not break the connection,

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Speaker 1: but only change the electrical resistance of the circuit. So

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Speaker 1: while his his invention works, it doesn't work the way

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Speaker 1: he wanted it to. So his patent is invalid, and

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Speaker 1: the courts upheld this. And some people find this really

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Speaker 1: interesting that you could have something that technically works, but

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Speaker 1: if you describe how it works and you get the

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Speaker 1: description wrong, that is what ends up being important, not

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Speaker 1: whether or not your invention actually does anything. Uh. And

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Speaker 1: that in fact was the case. And Rice got really

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Speaker 1: kind of disgusted by all this and kind of got

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Speaker 1: out of that area of study. After the Brewjaja over

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Speaker 1: Alexander Graham Bell's invention. Speaking of Alexander Graham Bell, we

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Speaker 1: should chat about his version of the telephone. He patented

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Speaker 1: his first electric loudspeaker as part of his telephone invention

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Speaker 1: in eighteen seventy six. Now, later on he did acknowledge

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Speaker 1: Rice's work as part of the inspiration for his own invention,

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Speaker 1: but Graham Bell avoided the problems Rice encountered. Alexander Graham

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Speaker 1: Bell was in a race to patent his invention before

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Speaker 1: a rival of his named Elisha Gray could get his

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Speaker 1: own implementation patented. So he had Elisha and you had

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Speaker 1: Alexander Graham Bell, and they were both working on this furiously,

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Speaker 1: and in fact they both filed for patents on the

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Speaker 1: exact same day. There are people to this day who

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Speaker 1: argue that Elisha Gray should get the credit for inventing

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Speaker 1: the telephone rather than Alexander Graham Bell. Now, their inventions

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Speaker 1: were similar but distinct. They were not exactly the same thing,

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Speaker 1: so it wasn't necessarily that one was copying the other,

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Speaker 1: although there have been allegations that perhaps Alexander Graham Bell

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Speaker 1: had a look at Elisha Gray's um design and then

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Speaker 1: based some changes in his own design on that. Whether

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Speaker 1: those allegations holding the merit, I'll leave to other people.

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Speaker 1: It gets real ugly if you want to read into this.

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Speaker 1: But the two had been in competition for years. They

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Speaker 1: had been working against each other in the field of

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Speaker 1: telegraphy well before they started getting into the idea of

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Speaker 1: a telephone. And I'm not gonna go any further into that,

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Speaker 1: just to say, if you want to look up some

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Speaker 1: pretty interesting muck raking, look at Alexander Graham Bell and

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Speaker 1: Elisha gray Well. Alexander Graham Bell mounted a piece of

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Speaker 1: magnetized iron to a membrane, or rather he told his

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Speaker 1: assistant Watson to do this, and an electro magnet would

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Speaker 1: attract or repel this magnetized iron as it received the

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Speaker 1: incoming variable electric current from the transmitter. The membrane was

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Speaker 1: able to reproduce sound, but at a low volume, So

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Speaker 1: in other words, he would speak into a transmitter. The

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Speaker 1: transmitter had a membrane in it that would, through its

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Speaker 1: vibrations very an electric current. That electric current would travel

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Speaker 1: through a wire to the receiver. And on the receiver

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Speaker 1: side you had another membrane on which was a piece

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Speaker 1: of uh magnetized iron, and you had an electro magnet

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Speaker 1: just below it that would receive this variable electric current

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Speaker 1: and thus attract and repel the iron that was on

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Speaker 1: this membrane, making the brain vibrate. That's what ended up

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Speaker 1: replicating the sound. In eighteen seventy four, another inventor named

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Speaker 1: Ernst Siemens, the co founder of the Siemens Company, made

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Speaker 1: an important contribution to the development of the modern speaker.

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Speaker 1: He received a patent for his description of an electro

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Speaker 1: mechanical dynamic transducer which used a coil of wire suspended

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Speaker 1: in a frame so that it could move axially and

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00:17:27,840 --> 00:17:32,200
Speaker 1: only axially. So his patent described a magneto electric apparatus

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00:17:32,520 --> 00:17:36,200
Speaker 1: for obtaining the mechanical movement of an electrical coil from

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00:17:36,200 --> 00:17:39,680
Speaker 1: electrical currents transmitted through it, which would become the basis

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Speaker 1: for electric loudspeakers decades later. Now, basically the idea is this,

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Speaker 1: imagine you have a frame. So you've got a frame.

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Speaker 1: Let's say it's a square frame. It's got sort of

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Speaker 1: a circular opening in the middle of the square frame.

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Speaker 1: Inside this frame, you suspend a coil of conductive wire,

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Speaker 1: so it's spend it in such a way where it

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Speaker 1: can swing towards the back of the frame or towards

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Speaker 1: the front of the frame, but it cannot move up

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Speaker 1: or down or side to side with respect to the frame.

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Speaker 1: So it's if you're thinking of like the x y

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Speaker 1: and Z axis axes. Rather, uh, the Z axis is

301
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Speaker 1: what we're concerned with here, not the X Y. So

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Speaker 1: it can move if you're looking dead on in the frame.

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00:18:22,720 --> 00:18:24,520
Speaker 1: It can move towards you or away from you, but

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Speaker 1: not side to side or up or down. When you

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00:18:27,160 --> 00:18:31,040
Speaker 1: apply a magnetic field, you can induce electricity to flow

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00:18:31,119 --> 00:18:34,679
Speaker 1: through this conductor. The flow of electricity creates some magnetic field,

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00:18:34,960 --> 00:18:37,720
Speaker 1: and you can use the attraction and repulsion properties of

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Speaker 1: magnets to move the coil back and forth within this frame. Now,

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00:18:41,880 --> 00:18:45,560
Speaker 1: Siemens did not originally intend for this invention to be

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Speaker 1: used for acoustics. He had come up with this idea,

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Speaker 1: but he wasn't thinking about loud speakers. He was just

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Speaker 1: talking about this basic apparatus. But after Alexander Graham Bell

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Speaker 1: patented the telephone in eighteen seventy six, Siemens was motivated

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Speaker 1: to apply for a new patent for a non magnetic

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Speaker 1: parchment diaphragm as a means of sound radiation on a

316
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Speaker 1: moving coil transducer. He received his patent in eighteen seventy eight.

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Speaker 1: And we call the coils on speakers that drive the

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Speaker 1: speaker's motions a voice coil. So if you ever hear

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Speaker 1: anyone talk about the voice coil of a speaker, that's

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Speaker 1: the coil that is part of the speaker system. It's

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00:19:25,080 --> 00:19:29,359
Speaker 1: it's attached to the diaphragm of the speaker that makes

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Speaker 1: the diaphragm actually vibrate. At this point, I need to

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Speaker 1: mention there were numerous scientists, tankerers, and engineers amateur inventors

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Speaker 1: who made numerous contributions to allowed speaker designs. Now I'm

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Speaker 1: going to talk about just a few of them, because

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Speaker 1: to cover them all would take a couple of episodes,

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Speaker 1: and some of those contributions, while important, were of such

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Speaker 1: a specific nature that would become kind of tedious pretty quickly.

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Speaker 1: Just know, a lot of folks worked on this stuff.

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Speaker 1: In the late eighteen hundreds and early nineteen hundreds, twenty

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Speaker 1: years after Siemens received his patent for a voice coil

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00:20:04,600 --> 00:20:08,359
Speaker 1: speaker mechanism, this would be about eight In other words,

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00:20:08,600 --> 00:20:11,439
Speaker 1: there was a man named Oliver Lodge who filed for

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Speaker 1: a patent in the United Kingdom for a loud speaker

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00:20:14,560 --> 00:20:18,360
Speaker 1: that included non magnetic spacers that were intended to keep

336
00:20:18,400 --> 00:20:21,399
Speaker 1: the proper air gap between the inner and outer polls

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00:20:21,520 --> 00:20:24,880
Speaker 1: of a moving coil transducer, which would help prevent issues

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Speaker 1: with the transducer getting stuck within the frame. In nineteen

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00:20:28,520 --> 00:20:33,199
Speaker 1: o one, John Strow suggested a conical paper diaphragm to

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Speaker 1: act as the sound radiator, and went further to suggest

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Speaker 1: such a design could be used so that the end

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Speaker 1: of the cone stopped at the rim of the speaker

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00:20:42,320 --> 00:20:45,520
Speaker 1: in a flat section covered by a corrugated surface. So

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Speaker 1: in other words, it's kind of like what a speaker

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00:20:47,720 --> 00:20:50,359
Speaker 1: cabinet looks like today. If you take a speaker cabinet

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Speaker 1: that being what we commonly referred to as just a speaker,

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00:20:53,920 --> 00:20:56,119
Speaker 1: and you look at you can see you have a

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Speaker 1: mesh covering of some sorts, probably made out of fabric,

349
00:20:58,920 --> 00:21:01,080
Speaker 1: but it could be made of something else, and then

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00:21:01,119 --> 00:21:05,160
Speaker 1: through it you'll see the circles that represent the cones

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00:21:05,600 --> 00:21:08,679
Speaker 1: of the speaker drivers. Well, it was John Strow who

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Speaker 1: actually said you could design a speaker in this kind

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Speaker 1: of fashion, So that was back in nineteen o one.

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Speaker 1: In nineteen eleven, Peter L. Jensen and Edwin S. Pridham

355
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Speaker 1: founded the commercial wireless and development company Jensen and Britain

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Speaker 1: would actually build a practical moving coil loudspeaker in nineteen fifteen.

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Speaker 1: So people have been talking about this for decades, but

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Speaker 1: this was the pair that built the first practical one,

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00:21:35,320 --> 00:21:38,119
Speaker 1: not just a prototype in a lab, but one that

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00:21:38,160 --> 00:21:41,080
Speaker 1: could actually be used out in the real world. Together,

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00:21:41,240 --> 00:21:44,560
Speaker 1: they created a public address system that would allow huge

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Speaker 1: crowds of people to hear a presentation or music distinctly

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Speaker 1: over loud speakers, and they called their system Magnavox. Later

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00:21:53,359 --> 00:21:56,080
Speaker 1: they would use that as the name of their company.

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00:21:56,080 --> 00:21:58,879
Speaker 1: They renamed their company Magnavox. And I'll have to do

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00:21:58,920 --> 00:22:01,400
Speaker 1: an episode on Magnavo Box at some point because it's

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00:22:01,400 --> 00:22:03,560
Speaker 1: a big company. It's been around for a long time.

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00:22:03,600 --> 00:22:06,520
Speaker 1: They've done a lot of important things. Jensen and Pridum

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00:22:06,720 --> 00:22:10,520
Speaker 1: attempted to patent their design with the intent of working

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Speaker 1: with record companies and radio manufacturers, but they were denied

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Speaker 1: their patents for those applications, which is why they instead

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Speaker 1: focused on public address systems. In two engineers for General

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Speaker 1: Electric named Chester W. Rice and Edward W. Kellogg applied

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Speaker 1: for a patent for a dynamic loudspeaker in n They

375
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Speaker 1: published their work in an article titled Notes on the

376
00:22:36,359 --> 00:22:39,919
Speaker 1: Development of a New type of hornless Loudspeakers, and it

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00:22:40,000 --> 00:22:43,960
Speaker 1: was all on the Journal of ai E Transactions. Their

378
00:22:44,040 --> 00:22:47,320
Speaker 1: design described what would pretty much be the foundation of

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Speaker 1: all electric loudspeakers from that point forward. So in a

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Speaker 1: bit i'll describe what it consists of and how it works.

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Speaker 1: But first let's take a quick break to thank our sponsor.

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Speaker 1: All Right, now, I'm gonna focus on the speakers themselves,

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Speaker 1: and after we talk about speakers and how they work,

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Speaker 1: we'll talk a bit about amplifiers, as that was a

385
00:23:14,640 --> 00:23:18,520
Speaker 1: piece that was missing from the Rice and Kellogg loudspeaker.

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Speaker 1: And yeah, I know that sounds like I'm talking about

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00:23:20,320 --> 00:23:23,520
Speaker 1: Rice Crispy treats, but no, uh. The the guys who

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00:23:23,560 --> 00:23:27,880
Speaker 1: got the patent for the Dynamic Electric loudspeaker were Rice

389
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Speaker 1: and Kellogg, and the two mentioned in their article that

390
00:23:30,920 --> 00:23:33,480
Speaker 1: there was a need for more work and amplification in

391
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Speaker 1: order to get the volume levels you want out of

392
00:23:35,760 --> 00:23:38,159
Speaker 1: a speaker. But we're gonna get to that in a

393
00:23:38,160 --> 00:23:40,919
Speaker 1: little bit, so we'll put that aside for now. So

394
00:23:40,960 --> 00:23:43,480
Speaker 1: if you were to take a speaker apart, and you

395
00:23:43,560 --> 00:23:47,160
Speaker 1: have essentially was called a speaker cabinet, you would find

396
00:23:47,200 --> 00:23:50,600
Speaker 1: that inside that speaker cabinet are one or more drivers,

397
00:23:50,680 --> 00:23:52,800
Speaker 1: typically more than one if you're talking about a big

398
00:23:52,840 --> 00:23:58,000
Speaker 1: stereo speaker. Now, a driver consists of a cone shaped frame,

399
00:23:58,440 --> 00:24:02,040
Speaker 1: which is called a basket. The basket contains the other

400
00:24:02,080 --> 00:24:05,879
Speaker 1: components of the loudspeakers, so they're all housed inside this frame.

401
00:24:06,320 --> 00:24:10,040
Speaker 1: Attached to the interior of the frame is either an

402
00:24:10,040 --> 00:24:13,760
Speaker 1: electro magnet or a permanent magnet. It just depends upon

403
00:24:13,800 --> 00:24:17,840
Speaker 1: the speaker. In the early days of speakers, manufacturers almost

404
00:24:17,880 --> 00:24:21,320
Speaker 1: always used electro magnets because permanent magnets were difficult to

405
00:24:21,359 --> 00:24:24,640
Speaker 1: come by and thus they were very expensive. Also attached

406
00:24:24,640 --> 00:24:27,320
Speaker 1: to this frame is a cone. The cone might be

407
00:24:27,359 --> 00:24:31,200
Speaker 1: made out of paper or metal, or these days plastic.

408
00:24:31,600 --> 00:24:34,240
Speaker 1: This is the diaphragm of the speaker. This is the

409
00:24:34,240 --> 00:24:37,520
Speaker 1: part that vibrates and it's what pushes air molecules to

410
00:24:37,600 --> 00:24:42,000
Speaker 1: propagate sound outward to the listener. It's typically in a

411
00:24:42,040 --> 00:24:44,439
Speaker 1: cone shape that's sort of like a horn. It's depending

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00:24:44,480 --> 00:24:47,960
Speaker 1: upon those acoustics, uh, you know, the same acoustic properties

413
00:24:48,000 --> 00:24:51,360
Speaker 1: of horn loudspeakers that I mentioned earlier. But there are

414
00:24:51,440 --> 00:24:54,199
Speaker 1: some that are not in a horn or cone shape.

415
00:24:54,240 --> 00:24:57,600
Speaker 1: Their dome shaped, or they might have a slightly different shape,

416
00:24:57,640 --> 00:24:59,960
Speaker 1: but they work in largely the same way. They vibrate

417
00:25:00,240 --> 00:25:05,040
Speaker 1: and push air molecules. This cone or diaphragm attaches to

418
00:25:05,119 --> 00:25:09,920
Speaker 1: the suspension that's also known as the surround. The suspension

419
00:25:10,240 --> 00:25:14,120
Speaker 1: is a rim of flexible material that's mounted on the

420
00:25:14,280 --> 00:25:17,480
Speaker 1: end of the basket, So the the end that faces

421
00:25:17,520 --> 00:25:20,879
Speaker 1: outward towards the listener. That's the side that the cone

422
00:25:20,920 --> 00:25:23,800
Speaker 1: attaches to, so right there at the very end. So

423
00:25:23,840 --> 00:25:26,239
Speaker 1: in short, we've got the suspension mounted to the end

424
00:25:26,240 --> 00:25:29,280
Speaker 1: of the basket. Attached to the suspension is the cone.

425
00:25:29,600 --> 00:25:32,439
Speaker 1: On the narrow end of the cone is the voice coil.

426
00:25:32,600 --> 00:25:36,920
Speaker 1: That's the conductive wire that coils around the base several times.

427
00:25:37,280 --> 00:25:40,640
Speaker 1: The coil also attaches to the basket through a ring

428
00:25:40,840 --> 00:25:44,880
Speaker 1: of flexible material called the spider. He is our hero

429
00:25:45,880 --> 00:25:47,480
Speaker 1: if you know that reference, so you'll let me know.

430
00:25:47,760 --> 00:25:52,080
Speaker 1: But no, the flexible material is called the spider. Its

431
00:25:52,160 --> 00:25:54,840
Speaker 1: job is to hold the coil in a position that

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Speaker 1: is stable within the frame but still allows for that

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00:25:58,359 --> 00:26:01,679
Speaker 1: axial movement, to let it swing back and forth freely,

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00:26:01,800 --> 00:26:06,760
Speaker 1: or more appropriately, to vibrate backwards and forwards with relation

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00:26:06,880 --> 00:26:09,000
Speaker 1: to the frame. So, in other words, it's doing the

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00:26:09,119 --> 00:26:12,080
Speaker 1: job that Ernst Siemens described in his patent back in

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00:26:12,119 --> 00:26:15,840
Speaker 1: the eighteen seventies. The secret to making a driver work

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00:26:16,160 --> 00:26:20,000
Speaker 1: is all in electro magnetism. Whether the speaker is using

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00:26:20,040 --> 00:26:23,800
Speaker 1: permanent magnets or electro magnets on the basket, the principle

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00:26:23,880 --> 00:26:27,720
Speaker 1: remains the same. I'll talk more about the principle in

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00:26:27,800 --> 00:26:30,600
Speaker 1: our next episode, but for now we're going to conclude

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00:26:30,640 --> 00:26:33,679
Speaker 1: part one of How Speakers Work. If you guys have

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00:26:33,800 --> 00:26:37,200
Speaker 1: suggestions for future episodes of tech Stuff, I highly recommend

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00:26:37,200 --> 00:26:38,840
Speaker 1: you get in touch with me. You can do that

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Speaker 1: by sending an email to the Text Stuff email that

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Speaker 1: would be tech Stuff at how stuff works dot com,

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Speaker 1: or you can draw me a line on Facebook or Twitter.

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Speaker 1: Don't forget we have an Instagram account, so make sure

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Speaker 1: you follow us there. And I live stream these podcasts

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Speaker 1: You can join in on all the fun, jump into

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Speaker 1: the chat room, make fun of me when I say

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Speaker 1: weird things incorrectly, and then I have to make a

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Speaker 1: deep noise so Tari nose to cut it out of

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Speaker 1: the recording, and sometimes we forget to do that and

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Speaker 1: you get to hear me say beep. It's like a

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Speaker 1: giant bonus for everybody. Anyway, I record on Wednesdays and Fridays.

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Speaker 1: Go to twitch dot tv slash tech Stuff. You'll see

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Speaker 1: the schedule there and I'll talk to you again. Really

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