upon
the valve V it causes it to close against its seat in spite of the
action of the spring S. This, however, does not take place until a
pulse of air has passed into the foot of the pipe P, thereby
originating a sound wave which in due time liberates the valve V and
allows the spring S to move it off its seat and allow another puff of
air to enter the pipe P. By this means the valve V is kept in rapid
vibration and a powerful tone is produced from the pipe P. At
Middlesborough, Yorkshire, England, Hope-Jones fitted a somewhat
similar Diaphone of 16 feet pitch about 1899, but in this case the
resonator or pipe was cylindrical in form and measured only 8 feet in
length.

In Fig. 30 will be found another type of Diaphone in which the tone is
produced through the medium of a number of metal balls, covering a
series of holes or openings into the bottom of a resonator or pipe, and
admitting intermittent puffs of air.

[Illustration: Fig. 30. Diaphone Producing Foundation Tone]

The action is as follows. Air under pressure enters the chamber B
through the pipe foot A, and passing up the ports C, C|1|, C|2|, etc.,
forces the metal balls D, D|1|, D|2|, etc., upwards into the chamber E;
the bottom end of the resonator or pipe. The pressure of air above the
balls in the resonator E, then rises until it equals or nearly equals
the pressure of air in chamber B. This is owing to the fact that the
column of air in the pipe or resonator E possesses weight and inertia,
and being elastic, is momentarily compressed at its lower end. This
increased pressure above the balls allows them to return to their
original position, under the influence of gravity. By the time they
have returned to their original position, the pulse of air compression
has traveled up the pipe in the form of a sound wave, and the
complementary rarefaction follows.

The cycle of movement will then be repeated numerous times per second,
with the result that a very pure foundation tone musical note will be
produced.

The Diaphone is tuned like ordinary flue pipes and will keep in tune
with them; the pressure of wind (and consequently the power of the
tone) may be varied without affecting the pitch. The form of the pipe
or resonator affects the quality of the tone; it may be flue-like or
reedy in character, or even imitate a Pedal Violone, a Hard and Smooth
Tuba, an Oboe, or a Clarinet.

* * * * * * * *

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