Here’s a short film made by the Hammond Organ Company with the intent to educate and persuade potential consumers. Right away we are assured that Hammond organs are the cream of the crop for two simple reasons: the tone generator that gives them that unique Hammond sound, and the great care taken at every step of their construction.
Hammond organs have ninety-one individual electromagnetic tone wheel assemblies. Each of these generate a specific frequency based on the waviness of a spinning disk’s edge and the speed at which it is rotated in front of an electromagnet. By using the drawbars to stack up harmonics, an organist can build lush walls of sound.
No cost is spared in Hammond’s tireless pursuit of excellence. All transformers are wound in-house and then sealed in wax to make them impervious to moisture. Each tone wheel is cut to exacting tolerances, cross-checked, and verified by an audio specialist. The assembly and fine tuning of the tone generators is so carefully performed that Hammond alleges they’ll never need tuning again.
This level of attention isn’t limited to the guts of the instrument. No, the cabinetry department is just as meticulous. Only the highest-quality lumber is carefully dried, cut, sanded, and lacquered by hand, then rubbed to a high shine. Before it leaves the shop, every Hammond organ is subject to rigorous inspection and a performance test in a soundproofed room.
Continue reading “Retrotechtacular: Building Hammond Organ Tones”
One of the great things about an event like the Kansas City Maker Faire is that there are so many reasons that makers sign up to show their things. Some makers come to teach a skill, and others to sell their handmade creations. Those with an entrepreneurial streak looking to launch a product might rent a booth to get a lot of eyes on their idea. That’s just what [Ted Brull] of Creation Hardware was after this weekend–exposure for Kevo, his small-scale vacuum former.
Kevo is a simple and affordable solution for makers of all stripes. It can be used to make molds, blister packaging for items, or even electronics enclosures. [Ted]’s Kickstarter campaign for Kevo has already been successfully funded, but there’s still plenty of time to get a Kevo kit for yourself. The basic reward includes the vacuum-forming chamber and two sizes of adapters that cover most vacuums. It also ships with an aluminium frame to hold polystyrene sheets during the heating and molding processes, and starter pack of pre-cut pieces in black, white, and clear plastic.
Creation Hardware had many vacuum-formed molds on display and were constantly making more from 3D-printed objects, toys, and other things. Our favorite mold was a 20oz bottle of Mountain Dew, which shows how far the small sheets of plastic can stretch.
There is always a great variety of things to see and experience at the Kansas City Maker Faire. This is the fifth year for the event which is held at historic Union Station, a beautiful art deco train depot from a bygone era. With a multitude of booths and exhibits across two floors and a vast outdoor area, there is something for pretty much everyone. Often times, the interesting things are mobile conversation-starting creations. When we saw [Dan] walking around with a giant wooden contraption on his arm, we knew we must find out more about it.
The impetus for [Dan]’s project was his desire to pick up a soda can using a mechanical grip. He now believes this to have been a lofty goal, given the weight of a full can of the stuff. This prosthetic hand is made from wooden finger segments that are connected by small, continuous hinges. Each of [Dan]’s gloved fingers curls around a metal ring to control that digit’s large wooden analog. On the inside of the hand, sections of paracord run underneath strategically placed eye bolts on each finger segment and are tied off at the fingertips. A second set of eye bolts on the back of the hand anchor the network of rubber bands that provide resistance. Although he made it look easy to open and close the hand, [Dan] said that it’s pretty heavy to lug around and somewhat strenuous to use. Next time, he’ll probably go with foam or 3D-printed pieces.
The McDonnell aircraft corporation’s F-101 Voodoo was a lean, mean, supersonic machine capable of going from tarmac to 40,000 feet in about two minutes. But for all its innovation and engineering, the Voodoo had a common problem of pitch-up. That is, the swept-back wings of the Voodoo created a tendency for the plane to nose upward very sharply, negating the pilot’s control.
McDonnell assures Voodoo pilots that this problem is easily overcome with a cool head and a solid foundation of know-how about the issue. This training film is meant to provide that foundation, exploring the causes of pitch-up and the prescribed methods for recovery with and without deployment of the drag chute.
The drag chute is always the recommended route to help correct the craft. This is especially true for a full-scale pitch-up situation. Recovery is possible without the drag chute, however. The altitude lost in recovery is proportional to the altitude at the time that pitch-up occurs. That is, the lower the altitude of the craft when pitch-up occurs, the less altitude is lost in getting back to straight and level flight.
Continue reading “Retrotechtacular: Don’t Balk at Pitch-Up in the McDonnell F-101 Voodoo”
A couple of years ago, [philo mech] came across [David Ratliff]’s NeoPixel compass project. Ever since then, he’s wanted to make his own. To his delight, [philo mech] was able to find time to do just that.
An Arduino Pro Mini drives an LSM303DLHC compass/accelerometer breakout board and a 12-LED NeoPixel ring. The heading is indicated with a red ‘Pixel between two yellow ones. In the video after the break, [philo mech] gives several demonstrations of the ring’s red indicator in relation to a standard compass arrow.
This colorful compass currently boasts two very useful modes: one to track the whereabouts of North, and the other for determining the user’s current heading. Mk. II will compensate for tilt and will employ a 16-Pixel ring to display finer degrees of directional change. Want to make your own? The code is pasted in the video’s comments.
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Here is a silent film produced by General Electric that depicts the making of many kinds of porcelain insulators for power lines. Skilled craftsmen molded, shaped, and carved these vital components of the electrical grid by hand before glazing and firing them.
Porcelain insulators of this time period were made from china clay, ball clay, flint, and feldspar. In the dry process, ingredients are pulverized and screened to a fine powder and then pressed into molds, often with Play-Doh Fun Factory-type effects. Once molded, they are trimmed by hand to remove fins and flashing. The pieces are then spray-glazed while spinning on a vertical lathe.
Other types of insulators are produced through the wet process. The clay is mixed in a pug mill, which is a forgiving machine that takes scrap material of all shapes, sizes, and moisture levels and squeezes out wet, workable material in a big log. Chunks of log are formed on a pottery wheel or pressed into a mold. Once they are nearly dry, the pieces get their final shape at the hands of a master. They are then glazed and fired in a giant, high-temperature kiln.
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Throughout their long history, American Machine and Foundry (AMF) have made forays into many areas of automation. And as the American cultural landscape of the 1950s and ’60s shifted toward fast, cheap, and convenient foodstuffs available for consumption inside of spacious, finned automobiles, AMF was there with AMFare, an (almost) completely automated system for taking orders, preparing food, and calculating bills.
AMF named the system “ORBIS” after its two main functions, ordering and billing. But ORBIS was not completely autonomous. A human operator received orders from a table-side telephones inside the restaurant and intercoms used by drive-in customers, and entered them on an enormous console. Orders were routed to several machines to prepare the food, cook it, and package it in various ways. We witness the odyssey of the burger in complete detail, from punching out perfect patties to their final, plastic-wrapped form.
Surprisingly, the AMFare selection wasn’t limited to delicious burgers, fries, and milkshakes. It could crank out sixteen different menu items, and do so pretty quickly. In the space of one hour, AMFare could produce more than 400 burgers, over 350 orders of fries, or about 700 milkshakes. Even so, collating the orders required human intervention. We imagine that the awful task of cleaning all that expensive Rube Goldberg-esque machinery did, too.
Continue reading “Retrotechtacular: Automatic For The People”