We take recorded telephone messages for granted in these days of smartphones and VOIP. Our voicemail lives on an anonymous server in a data centre in the cloud somewhere, in a flash memory chip on our DECT base station, or if we’re of a retro persuasion, on a micro-cassette. Wherever we go, we now know our calls will not go unanswered.
Today’s subject takes us back to a time when automatically recording a phone call was the last word in high technology, with a British Pathé newsreel piece from 1959 entitled “Modern Telephone”. Its subject is the Ansafone J10, one of the first telephone answering machines available on the British market. After featuring a fantastic home-made Meccano answering machine with turntable recording created by a doctor, it takes us to the Ansafone factory where the twin tape mechanisms of the commercial model are assembled and tested. Finally we get to see it in use on the desk of a bona fide Captain of Industry, probably about the only sort of person who could afford an Ansafone in 1959.
It seems hard to imagine, but in the early part of the 20th century, there weren’t a lot of great options for creating copies of documents. The most common method was to use carbon paper to create multiple copies at once from a typewriter or a line printer. All that changed with a company called Haloid. Never heard of them? They later became the Xerox company.
The underlying technology dates back to 1938 (invented by a physicist who was also a lawyer). In 1944, they produced a practical copier and shortly thereafter sold the rights to Haloid. The Haloid company originally made photographic copy machines that used wet chemistry.
In 1959, the Xerox 914 (so called because it could copy a 9″ x 14″ document) came on the scene (that’s it, below). The 650 pound copier could make seven copies per minute and came with a fire extinguisher because it had a tendency to burst into flames. If you didn’t want to spend the $27,500 price tag, you could rent for only $25/month (keep in mind that in 1959, $25 would buy about 25 pounds of T-bone steaks). You can see a commercial for the 914 in the video below.
In the commercial, you’ll see them make a big deal out of the fact that the print was dry. That’s because a lot of previous machines used actual photographic processes with wet chemistry. Obviously, that also took special paper.
Even Further Back
If the copier didn’t exist until recently, how did people make copies before? Turns out there were lots of ways to make copies of varying degrees of bad quality or extreme trouble. In some sense, the best copies were made by scribes just writing down a second copy of things. There were a variety of machines that would capture what you wrote and make a copy by mechanical or other means. A polygraph (not the lie detecting kind) allowed Thomas Jefferson to write letters and make a copy. The machine moved a pen to match the movements of the author’s pen, thus making a near perfect copy. With a few adjustments, this became the pantograph which not only does the same job, but also can shrink or enlarge the copy. Carbon paper was widely used to make multiple copies of handwritten and typewritten documents.
When it comes to the superlatives of aviation, there are aircraft larger than the C-5 Galaxy. [Howard Hughes]’s Spruce Goose has the largest wingspan, and the Soviet and now Ukranian Antonov AN-225 Mriya has the largest cargo capacity. When it flies in the next year or so, Scaled Composites Stratolaunch – a twin-hulled beast of a plane designed to haul rockets up to 30,000 feet – will be the aircraft with the largest wingspan and the greatest cargo capacity.
These superlatives, while completely accurate, fail to realize these huge planes are one of a kind. There is no plan to build a second Stratolaunch, and the second airframe for the AN-225 is rusting away in a field. If you want to find a fleet of enormous aircraft, there’s only one contender: the C5 Galaxy, the largest plane in the US Air Force inventory.
This video, from the USAF Archives circa 1968, goes over the design, construction, and operation of the C5 Galaxy. It covers the program beginnings, the shortcomings of earlier aircraft, and – of course – completely disregards the initial problems of the C5.
In the 1980s, Poland was under the grip of martial law as the Communist government of General Wojciech Jaruzelski attempted to repress the independent Solidarity trade union. In Western Europe our TV screens featured as much coverage of the events as could be gleaned through the Iron Curtain, but Polish state TV remained oblivious and restricted itself to wholesome Communist fare.
In September 1985, TV viewers in the city of Toruń sat down to watch an action adventure film and were treated to an unexpected bonus: the screen had a brief overlay with the messages “Solidarity Toruń: Boycotting the election is our duty,” and “Solidarity Toruń: Enough price hikes, lies, repression”. Sadly for the perpetrators, they were caught by the authorities after their second transmission a few days later when they repeated the performance over the evening news bulletin, and they were jailed for four months.
The transmission had been made by a group of dissident radio astronomers and scientists who had successfully developed a video transmitter that could synchronise itself with the official broadcast to produce an overlay that would be visible on every set within its limited transmission radius. This was a significant achievement using 1980s technology in a state in which electronic components were hard to come by. Our description comes via [Maciej Cegłowski], who was able to track down one of the people involved in building the transmitter and received an in-depth description of it.
The synchronisation came courtesy of the international effort at the time on Very Long Baseline Interferometry, in which multiple radio telescopes across the world are combined to achieve the effect of a single much larger instrument. Before GPS made available a constant timing signal the different groups participating in the experiment had used the sync pulses of TV transmitters to stay in time, establishing a network that spanned the political divide of the Iron Curtain. This expertise allowed them to create their transmitter capable of overlaying the official broadcasts. The police file on the event shows some of their equipment, including a Sinclair ZX Spectrum home computer from the West that was presumably used to generate the graphics.
There is no surviving recording of the overlay transmission, however a reconstruction has been put on YouTube that you can see below the break, complete with very period Communist TV footage.
Electricity comes in two basic forms: Alternating Current (AC) and Direct Current (DC). DC is handy to use and is easy to analyze. However, AC has some useful properties too. In particular, AC current can operate a transformer which can step it up or down easily. Power is conserved, of course (well, actually, you get less power because of losses in the transformer).
You can’t do that trick with pure DC. You can reduce a voltage, although that typically wastes power in heat (for example, a voltage divider or linear regulator). You can’t readily increase a DC voltage unless you convert it into some sort of AC first.
This was a particularly bad problem in the era of tubes–especially tubes in car radios. The car’s voltage was probably 12V but the tube’s plates might take hundreds of volts. What do you do? Some old car radios used what is called a dynamotor. This is just a motor and a generator in one box. You could spin the motor with 12V and have the generator produce a different voltage (even a DC voltage).
Computer graphics have come a long way. Some video games today exceed what would have passed for stunning cinema animation only a few years ago. However, it hasn’t always been like this. One of the earliest forms of computer-generated graphics used text characters to draw on printers.
Early computer rooms were likely to have a Snoopy character on green and white fan-fold paper. Calendars with some artwork were also popular (see left, and find out about the FORTRAN that created it, if you like). Ham radio operators who use teletypes (RTTY, in ham parlance) often had vast collections of punched tape that held artwork. Given that most hams in the 1950s and 1960s were men and the times were different, a lot of them were more or less “R” rated.
Not all of them were, though. For example, Richard Nixon was decidedly “G” rated (see right). Simple pictures would use single characters, but sophisticated ones would use the backspace character to overprint multiple characters.
Ham Radio Art
You often hear this described as ASCII art, today, although hams usually use 5-bit BAUDOT code, so that’s a misnomer for those images, at least. Of course, today, people aren’t keen on storing roll after roll of paper tape (or even owning a tape reader) so there have been several projects to capture this art in a more modern format.
Although there is still some RTTY art activity, picture sending has been mostly replaced by slow scan TV (SSTV) which sends actual still images or other modes like FAX. Some of the newer digital modes even have the ability to send pictures. You can be discussing your radio for example, and then show the other ham a photo of the radio.
It is not often that you look for one of your heroes on the Internet and by chance encounter another from a completely different field. But if you are a fan of the inimitable silent movie star [Buster Keaton] as well as being the kind of person who reads Hackaday then that could have happened to you just as it did here.
Our subject today is a 1957 episode of CBS’s TV game show I’ve Got a Secret! in which [Keaton] judges a pie-eating contest and is preceded first by a young man with a penchant for snakes and then rather unexpectedly by a true giant of twentieth century technology.
[Philo T Farnsworth] was a prolific engineer who is probably best known as the inventor of electronic television, but whose work touched numerous other fields. Surprisingly this short segment on an entertainment show was his only appearance on the medium to which his invention helped give birth. In it he baffles the panel who fail to guess his claim to fame, before discussing his inventions for a few minutes. He is very effacing about his achievement, making the point that the development of television had been a cumulative effort born of many contributors. He then goes on to discuss the future of television, and talks about 2000-line high-definition TV with a reduced transmission bandwidth, and TV sets like picture frames. All of which look very familiar to us nearly sixty years later in the early 21st century.
The full show is below the break, though [Farnsworth]’s segment is only from 13:24 to 21:24. It’s very much a show of its time with its cigarette product placement and United Airlines boasting about their piston-engined DC-7 fleet, but it’s entertaining enough.