Text
Wood Conversion,,. 1939. “Nu Wood ..”. Decorative, Acoustical, Structural Insulation.
Text
Armstrong Cork,. 1932. “Armstrong's Acoustical Products”. Corkoustic, Ceramacoustic For Acoustical Correction Of Churches, Auditoriums, And Theatres, And Noise-Quieting Of Banks, Schools, Hospitals, Offices, Sunday School Rooms, Factories, And Other Public Buildings. Lancaster, PA.
Text
Armstrong Cork,. n.d. “Reducing Vibration And Noise”. Nonpareil Cork Machinery Isolation For Reducing The Noise And Vibration Of Fans, Motors, Printing Presses And Machinery Generally. Pittsburgh, PA.
Text
Armstrong Cork,. n.d. “Armstrong's Vibracork For Lessening Transmission Of Vibration”.
Image
MPIWG,. n.d. “Metal Monochord From The Charité Collection”.
Object, Instrument, Technology

This photograph shows a three-dimensional representation of sound using paper. The spectrum (frequencies from low to high) is represented by an arrangement of single strips of paper, with lower frequencies in the foreground. The changes in the spectrum over time are visible as variations in the profile of the paper strips, if read from left to right. Such paper models were used at the Technische Universität Berlin in the 1960s to represent the sounds of speech (phonetics) and music (acoustics).

Image
“Handmade Paper Waterfall Plot: Mississippi (1)”. n.d.
Image
“Handmade Paper Waterfall Plot: Beethoven’s 8Th Symphony (1)”. n.d.
Object, Instrument, Technology

This photograph shows a three-dimensional representation of sound using paper. The spectrum (frequencies from low to high) is represented by an arrangement of single strips of paper, with lower frequencies in the foreground. The changes in the spectrum over time are visible as variations in the profile of the paper strips, if read from left to right. Such paper models were used at the Technische Universität Berlin in the 1960s to represent the sounds of speech (phonetics) and music (acoustics).

Object, Instrument, Technology

Koenig’s flame analyser was, next to the sound synthesizer, one of the clearest expressions of Hermann von Helmholtz’s theory that complex sounds were made up of a spectrum of elemental or pure tones. The adjustable resonators covering a range of 65 notes from sol1 to mi5 (96–1,280 Hz), could each be rendered visible with a connection to a manometric flame capsule. The resonators were connected to a gas-filled capsule with a rubber tube. If activated, the distinctive pattern would appear in the rotating mirror.