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1 finmekaniker
instrument maker. -
2 instrumentmaker
• instrument maker• precision mechanic -
3 инструментальный цех
Русско-английский словарь по машиностроению > инструментальный цех
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4 luthier
luthier, -ière [lytje, jεʀ]masculine noun, feminine noun* * *lytjɛnom masculin stringed instrument maker* * *lytje nm* * *luthier ⇒ Les métiers et les professions nm stringed instrument maker.[lytje] nom masculin1. [fabricant] stringed-instrument maker2. [marchand] stringed-instrument dealer -
5 Dancer, John Benjamin
SUBJECT AREA: Photography, film and optics[br]b. 1812 Englandd. 1887 England[br]English instrument maker and photographer, pioneer of microphotography.[br]The son of a scientific instrument maker, Dancer was educated privately in Liverpool, where from 1817 his father practised his trade. John Benjamin became a skilled instrument maker in his own right, assisting in the family business until his father's death in 1835. He set up on his own in Liverpool in 1840 and in Manchester in 1841. In the course of his career Dancer made instruments for several of the leading scientists of the day, his clients including Brewster, Dalton and Joule.Dancer became interested in photography as soon as the new art was announced in 1839 and practised the processes of both Talbot and Daguerre. It was later claimed that as early as 1839 he used an achromatic lens combination to produce a minute image on a daguerreotype plate, arguably the world's first microphotograph and the precursor of modern microfilm. It was not until the introduction of Archer's wet-collodion process in 1851 that Dancer was able to perfect the technique however. He went on to market a long series of microphotographs which proved extremely popular with both the public and contemporary photographers. It was examples of Dancer's microphotographs that prompted the French photographer Dagron to begin his work in the same field. In 1853 Dancer constructed a binocular stereoscopic camera, the first practicable instrument of its type. In an improved form it was patented and marketed in 1856.Dancer also made important contributions to the magic lantern. He was the first to suggest the use of limelight as an illuminant, pioneered the use of photographic lantern slides and devised an ingenious means of switching gas from one lantern illuminant to another to produce what were known as dissolving views. He was a resourceful innovator in other fields of instrumentation and suggested several other minor improvements to scientific apparatus before his working life was sadly terminated by the loss of his sight.[br]Further ReadingAnon., 1973, "John Benjamin Dancer, originator of microphotography", British Journal of Photography (16 February): 139–41.H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JW -
6 Ramsden, Jesse
SUBJECT AREA: Mechanical, pneumatic and hydraulic engineering[br]b. 6 October 1735 (?) Halifax, Yorkshire, Englandd. 5 November 1800 Brighton, Sussex, England[br]English instrument-maker who developed machines for accurately measuring angular and linear scales.[br]Jesse Ramsden was the son of an innkeeper but received a good general education: after attending the free school at Halifax, he was sent at the age of 12 to his uncle for further study, particularly in mathematics. At the age of 16 he was apprenticed to a cloth-worker in Halifax and on completion of the apprenticeship in 1755 he moved to London to work as a clerk in a cloth warehouse. In 1758 he became an apprentice in the workshop of a London mathematical instrument-maker named Burton. He quickly gained the skill, particularly in engraving, and by 1762 he was able to set up on his own account. He married in 1765 or 1766 the youngest daughter of the optician John Dollond FRS (1706– 61) and received a share of Dollond's patent for making achromatic lenses.Ramsden's experience and reputation increased rapidly and he was generally regarded as the leading instrument-maker of his time. He opened a shop in the Haymarket and transferred to Piccadilly in 1775. His staff increased to about sixty workers and apprentices, and by 1789 he had constructed nearly 1,000 sextants as well as theodolites, micrometers, balances, barometers, quadrants and other instruments.One of Ramsden's most important contributions to precision measurement was his development of machines for obtaining accurate division of angular and linear scales. For this work he received a premium from the Commissioners of the Board of Longitude, who published his descriptions of the machines. For the trigonometrical survey of Great Britain, initiated by General William Roy FRS (1726–90) and continued by the Board of Ordnance, Ramsden supplied a 3 ft (91 cm) theodolite and steel measuring chains, and was also engaged to check the glass tubes used to measure the fundamental base line.[br]Principal Honours and DistinctionsFRS 1786; Royal Society Copley Medal 1795. Member, Imperial Academy of St Petersburg 1794. Member, Smeatonian Society of Civil Engineers 1793.Bibliography1774, Description of a New Universal Equatorial Instrument, London; repub. 1791. 1777, Description of an Engine for Dividing Mathematical Instruments, London. 1779, Description of an Engine for Dividing Straight Lines on MathematicalInstruments, London.1779, "Description of two new micrometers", Philosophical Transactions of the Royal Society 69:419–31.1782, "A new construction of eyeglasses for such telescopes as may be applied to mathematical instruments", Philosophical Transactions of the Royal Society 73:94–99.Further ReadingR.S.Woodbury, 1961, History of the Lathe to 1850, Cleveland, Ohio; W.Steeds, 1969, A History of Machine Tools 1700–1910, Oxford (both provide a brief description of Ramsden's dividing machines).RTS -
7 Watt, James
SUBJECT AREA: Steam and internal combustion engines[br]b. 19 January 1735 Greenock, Renfrewshire, Scotlandd. 19 August 1819 Handsworth Heath, Birmingham, England[br]Scottish engineer and inventor of the separate condenser for the steam engine.[br]The sixth child of James Watt, merchant and general contractor, and Agnes Muirhead, Watt was a weak and sickly child; he was one of only two to survive childhood out of a total of eight, yet, like his father, he was to live to an age of over 80. He was educated at local schools, including Greenock Grammar School where he was an uninspired pupil. At the age of 17 he was sent to live with relatives in Glasgow and then in 1755 to London to become an apprentice to a mathematical instrument maker, John Morgan of Finch Lane, Cornhill. Less than a year later he returned to Greenock and then to Glasgow, where he was appointed mathematical instrument maker to the University and was permitted in 1757 to set up a workshop within the University grounds. In this position he came to know many of the University professors and staff, and it was thus that he became involved in work on the steam engine when in 1764 he was asked to put in working order a defective Newcomen engine model. It did not take Watt long to perceive that the great inefficiency of the Newcomen engine was due to the repeated heating and cooling of the cylinder. His idea was to drive the steam out of the cylinder and to condense it in a separate vessel. The story is told of Watt's flash of inspiration as he was walking across Glasgow Green one Sunday afternoon; the idea formed perfectly in his mind and he became anxious to get back to his workshop to construct the necessary apparatus, but this was the Sabbath and work had to wait until the morrow, so Watt forced himself to wait until the Monday morning.Watt designed a condensing engine and was lent money for its development by Joseph Black, the Glasgow University professor who had established the concept of latent heat. In 1768 Watt went into partnership with John Roebuck, who required the steam engine for the drainage of a coal-mine that he was opening up at Bo'ness, West Lothian. In 1769, Watt took out his patent for "A New Invented Method of Lessening the Consumption of Steam and Fuel in Fire Engines". When Roebuck went bankrupt in 1772, Matthew Boulton, proprietor of the Soho Engineering Works near Birmingham, bought Roebuck's share in Watt's patent. Watt had met Boulton four years earlier at the Soho works, where power was obtained at that time by means of a water-wheel and a steam engine to pump the water back up again above the wheel. Watt moved to Birmingham in 1774, and after the patent had been extended by Parliament in 1775 he and Boulton embarked on a highly profitable partnership. While Boulton endeavoured to keep the business supplied with capital, Watt continued to refine his engine, making several improvements over the years; he was also involved frequently in legal proceedings over infringements of his patent.In 1794 Watt and Boulton founded the new company of Boulton \& Watt, with a view to their retirement; Watt's son James and Boulton's son Matthew assumed management of the company. Watt retired in 1800, but continued to spend much of his time in the workshop he had set up in the garret of his Heathfield home; principal amongst his work after retirement was the invention of a pantograph sculpturing machine.James Watt was hard-working, ingenious and essentially practical, but it is doubtful that he would have succeeded as he did without the business sense of his partner, Matthew Boulton. Watt coined the term "horsepower" for quantifying the output of engines, and the SI unit of power, the watt, is named in his honour.[br]Principal Honours and DistinctionsFRS 1785. Honorary LLD, University of Glasgow 1806. Foreign Associate, Académie des Sciences, Paris 1814.Further ReadingH.W.Dickinson and R Jenkins, 1927, James Watt and the Steam Engine, Oxford: Clarendon Press.L.T.C.Rolt, 1962, James Watt, London: B.T. Batsford.R.Wailes, 1963, James Watt, Instrument Maker (The Great Masters: Engineering Heritage, Vol. 1), London: Institution of Mechanical Engineers.IMcN -
8 Scott de Martinville, Edouard-Léon
SUBJECT AREA: Recording[br]b. 25 April 1817 Paris, Franced. 29 April 1879 Paris, France[br]French amateur phonetician, who developed a recorder for sound waves.[br]He was the descendant of a Scottish family who emigrated to France in 1688. He trained as a printer and later became a proof corrector in printing houses catering predominantly for scientific publishers. He became interested in shorthand systems and eventually turned his interest to making a permanent record of sounds in air. At the time it was already known (Young, Duhamel, Wertheim) to record vibrations of bodies. He made a theoretical study and deposited under sealed wrapper a note in the Académie des Sciences on 26 January 1857. He approached the scientific instrument maker Froment and was able to pay for the manufacture of one instrument due to support from the Société d'Encouragement à l'Industrie Nationale. This funding body obtained a positive report from the physicist Lissajous on 6 January 1858. A new model phonautograph was constructed in collaboration with the leading scientific instrument maker in Paris at the time, Rudolph Koenig, and a contract was signed in 1859. The instrument was a success, and Koenig published a collection of traces in 1864.Although the membrane was parallel to the rotating surface, a primitive lever system generated lateral movements of a bristle which scratched curves in a thin layer of lampblack on the rotating surface. The curves were not necessarily representative of the vibrations in the air. Scott did not imagine the need for reproducing a recorded sound; rather, his intention was to obtain a trace that would lend itself to mathematical analysis and visual recognition of sounds. Obviously the latter did not require the same degree of linearity as the former. When Scott learned that similar apparatus had been built independently in the USA, he requested that his sealed wrapper be opened on 15 July 1861 in order to prove his scientific priority. The contract with Koenig left Scott without influence over his instrument, and eventually he became convinced that everyone else, including Edison in the end, had stolen his invention. Towards the end of his life he became interested mainly in the history of printing, and he was involved in the publishing of a series of books about books.[br]Bibliography25 March 1857, amended 29 July 1859, French patent no. 31,470.Further ReadingP.Charbon, 1878, Scott de Martinville, Paris: Hifi Stereo, pp. 199–205 (a good biography produced at the time of the centenary of the Edison phonograph).V.J.Philips, 1987, Waveforms, Bristol: Adam Hilger, pp. 45–8 (provides a good account of the importance of his contributions to accurate measurements of temporal phenomena).GB-NBiographical history of technology > Scott de Martinville, Edouard-Léon
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9 hienomekaanikko
• precision mechanician• instrument maker• precision-tool maker• precision mechanic• precision instrument maker• precision mechanian -
10 Paul, Robert William
[br]b. 3 October 1869 Highbury, London, Englandd. 28 March 1943 London, England[br]English scientific instrument maker, inventor of the Unipivot electrical measuring instrument, and pioneer of cinematography.[br]Paul was educated at the City of London School and Finsbury Technical College. He worked first for a short time in the Bell Telephone Works in Antwerp, Belgium, and then in the electrical instrument shop of Elliott Brothers in the Strand until 1891, when he opened an instrument-making business at 44 Hatton Garden, London. He specialized in the design and manufacture of electrical instruments, including the Ayrton Mather galvanometer. In 1902, with a purpose-built factory, he began large batch production of his instruments. He also opened a factory in New York, where uncalibrated instruments from England were calibrated for American customers. In 1903 Paul introduced the Unipivot galvanometer, in which the coil was supported at the centre of gravity of the moving system on a single pivot. The pivotal friction was less than in a conventional instrument and could be used without accurate levelling, the sensitivity being far beyond that of any pivoted galvanometer then in existence.In 1894 Paul was asked by two entrepreneurs to make copies of Edison's kinetoscope, the pioneering peep-show moving-picture viewer, which had just arrived in London. Discovering that Edison had omitted to patent the machine in England, and observing that there was considerable demand for the machine from show-people, he began production, making six before the end of the year. Altogether, he made about sixty-six units, some of which were exported. Although Edison's machine was not patented, his films were certainly copyrighted, so Paul now needed a cinematographic camera to make new subjects for his customers. Early in 1895 he came into contact with Birt Acres, who was also working on the design of a movie camera. Acres's design was somewhat impractical, but Paul constructed a working model with which Acres filmed the Oxford and Cambridge Boat Race on 30 March, and the Derby at Epsom on 29 May. Paul was unhappy with the inefficient design, and developed a new intermittent mechanism based on the principle of the Maltese cross. Despite having signed a ten-year agreement with Paul, Acres split with him on 12 July 1895, after having unilaterally patented their original camera design on 27 May. By the early weeks of 1896, Paul had developed a projector mechanism that also used the Maltese cross and which he demonstrated at the Finsbury Technical College on 20 February 1896. His Theatrograph was intended for sale, and was shown in a number of venues in London during March, notably at the Alhambra Theatre in Leicester Square. There the renamed Animatographe was used to show, among other subjects, the Derby of 1896, which was won by the Prince of Wales's horse "Persimmon" and the film of which was shown the next day to enthusiastic crowds. The production of films turned out to be quite profitable: in the first year of the business, from March 1896, Paul made a net profit of £12,838 on a capital outlay of about £1,000. By the end of the year there were at least five shows running in London that were using Paul's projectors and screening films made by him or his staff.Paul played a major part in establishing the film business in England through his readiness to sell apparatus at a time when most of his rivals reserved their equipment for sole exploitation. He went on to become a leading producer of films, specializing in trick effects, many of which he pioneered. He was affectionately known in the trade as "Daddy Paul", truly considered to be the "father" of the British film industry. He continued to appreciate fully the possibilities of cinematography for scientific work, and in collaboration with Professor Silvanus P.Thompson films were made to illustrate various phenomena to students.Paul ended his involvement with film making in 1910 to concentrate on his instrument business; on his retirement in 1920, this was amalgamated with the Cambridge Instrument Company. In his will he left shares valued at over £100,000 to form the R.W.Paul Instrument Fund, to be administered by the Institution of Electrical Engineers, of which he had been a member since 1887. The fund was to provide instruments of an unusual nature to assist physical research.[br]Principal Honours and DistinctionsFellow of the Physical Society 1920. Institution of Electrical Engineers Duddell Medal 1938.Bibliography17 March 1903, British patent no. 6,113 (the Unipivot instrument).1931, "Some electrical instruments at the Faraday Centenary Exhibition 1931", Journal of Scientific Instruments 8:337–48.Further ReadingObituary, 1943, Journal of the Institution of Electrical Engineers 90(1):540–1. P.Dunsheath, 1962, A History of Electrical Engineering, London: Faber \& Faber, pp.308–9 (for a brief account of the Unipivot instrument).John Barnes, 1976, The Beginnings of Cinema in Britain, London. Brian Coe, 1981, The History of Movie Photography, London.BC / GW -
11 facteur
facteur [faktœʀ]masculine nounb. ( = élément) factorc. ( = fabricant) facteur de pianos piano maker* * *
1.
- trice faktœʀ, tʀis nom masculin, féminin postman/postwoman, mailman/mailwoman US
2.
nom masculin1) ( élément) factor2) Mathématique factormettre en facteurs — to factorize, to factor US
3) Musique* * *faktœʀ, tʀis (-trice)1. nm/fpostman (postwoman) Grande-Bretagne mailman (mailwoman) USAIl est facteur. — He's a postman.
2. nm1) factor2) MÉDECINE factor* * *A nm,f postman/postwoman, mailman/mailwoman US.B nm1 ( élément) factor; facteur de risque/décisif/technique/humain risk/decisive/technical/human factor; le facteur chance the element of chance;2 Math factor; facteur commun/premier common/prime factor; mise en facteurs factorization; mettre en facteurs to factorize, to factor US;3 Mus facteur d'orgues organ builder; facteur de pianos/de cornemuses/de harpes piano/bagpipe/harp maker.facteur Rhésus Rhesus factor.I, factrice [faktɶr, tris] nom masculin, nom fémininII[faktɶr] nom masculin2. MÉDECINEfacteur Rhésus rhesus ou Rh factorle facteur humain/temps the human/time factor -
12 Instrumentenbauer
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13 Instrumentenmacher
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14 barómetro aneroide
m.aneroid barometer.* * *(n.) = aneroid barometerEx. Certainly for most purposes a mercury barometer has more in common with an aneroid barometer than it does with a thermometer, but this may not be the case if we are thinking of the instrument maker.* * *(n.) = aneroid barometerEx: Certainly for most purposes a mercury barometer has more in common with an aneroid barometer than it does with a thermometer, but this may not be the case if we are thinking of the instrument maker.
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15 barómetro de mercurio
(n.) = mercury barometerEx. Certainly for most purposes a mercury barometer has more in common with an aneroid barometer than it does with a thermometer, but this may not be the case if we are thinking of the instrument maker.* * *(n.) = mercury barometerEx: Certainly for most purposes a mercury barometer has more in common with an aneroid barometer than it does with a thermometer, but this may not be the case if we are thinking of the instrument maker.
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16 instrumentista
f. & m.1 instrumentalist (Music).2 theater nurse (British), nurse (United States) (medicine).* * *1 (músico) instrumentalist2 (fabricante) instrument maker* * *SMF1) (Mús) (=músico) instrumentalist; (=fabricante) instrument maker2) (Med) theatre nurse3) (Mec) machinist* * *masculino y femeninoa) (Mús) instrumentalistb) (Med) nurse (AmE), theatre nurse (BrE)* * *masculino y femeninoa) (Mús) instrumentalistb) (Med) nurse (AmE), theatre nurse (BrE)* * *1 ( Mús) instrumentalist* * *instrumentista nmf1. [músico] instrumentalist* * *m/f MÚS instrumentalist* * *instrumentista nmf: instrumentalist -
17 Chevalier, Charles-Louis
SUBJECT AREA: Photography, film and optics[br]b. 18 April 1804 Franced. 21 November 1859 Paris, France[br]French instrument maker and optician.[br]The son of a distinguished Parisian instrument maker, Charles Chevalier supplied equipment to all the major photographic pioneers of the period. He sold a camera obscura to Niepce de St Victor as early as 1826 and was largely responsible for bringing Niepce de St Victor and Daguerre together. Chevalier was one of the first opticians to design lenses specifically for photographic use; the first photographic camera to be offered for sale to the public, the Giroux daguerreotype camera of 1839, was in fact fitted with a Chevalier achromatic lens. Chevalier also supplied lenses, equipment and examples of daguerreotypes to Talbot in England. In 1841 Chevalier was awarded first prize in a competition for the improvement of photographic lenses, sponsored by the Société d'Encouragement of Paris. Contemporary opinion, however, favoured the runner-up, the Petzval Portrait lens by Voigtländer of Vienna, and Chevalier subsequently became embroiled in an acrimonious dispute which did him little credit. It did not stop him designing lenses, and he went on to become an extremely successful supplier of quality daguerreotype equipment. He was a founder member of the Société Héliographique in 1851.[br]Further ReadingPavillon de Photographie du Parc Naturel Régional de Brotonne, 1974, Charles-Louis Chevalier (an authoritative account of Chevalier's life and work).H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London.JWBiographical history of technology > Chevalier, Charles-Louis
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18 Pixii, Antoine Hippolyte
SUBJECT AREA: Electricity[br]b. 1808 Franced. 1835[br]French instrument maker who devised the first machine to incorporate the basic elements of a modern electric generator.[br]Mechanical devices to transform energy from a mechanical to an electrical form followed shortly after Faraday's discovery of induction. One of the earliest was Pixii's magneto generator. Pixii had been an instrument maker to Arago and Ampère for a number of years and his machine was first announced to the Academy of Sciences in Paris in September 1832. In this hand-driven generator a permanent magnet was rotated in close proximity to two coils on soft iron cores, producing an alternating current. Subsequently Pixii adapted to a larger version of his machine a "see-saw" switch or commutator devised by Ampère, in order to obtain a unidirectional current. The machine provided a current similar to that obtained with a chemical cell and was capable of decomposing water into oxygen and hydrogen. It was the prototype of many magneto-electric machines which followed.[br]Principal Honours and DistinctionsAcademy of Sciences, Paris, Gold Medal 1832.Further ReadingB.Bowers, 1982, A History of Electric Light and Power, London, pp. 70–2 (describes the development of Pixii's generator).C.Jackson, 1833, "Notice of the revolving electric magnet of Mr Pixii of Paris", American Journal of Science 24:146–7.GWBiographical history of technology > Pixii, Antoine Hippolyte
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19 Ross, Andrew
SUBJECT AREA: Photography, film and optics[br]b. 1798 London, England d. 1859[br]English optical-instrument maker, founder of a photographic-lens making dynasty.[br]Apprenticed to the optical-instrument maker Gilbert at the age of 14, Ross rose to become Manager of the factory before leaving to found his own business in 1830. He soon earned a reputation for fine craftsmanship and was the first optician in England to produce achromatic microscope objectives. He had an early involvement with photography, perhaps before the public announcements in 1839, for he supplied lenses and instruments to Talbot. On hearing of Petzval's portrait lens, he made a highaperture portrait lens to his own design for the first professional calotypist, Henry Collan. It was unsuccessful, however, and Ross did little more photographic work of note, although his son Thomas and his son-in-law and one-time apprentice, John Henry Dallmeyer, made significant contributions to English photographic optics. Both Thomas and Dallmeyer were left large sums of money on Andrew's death, and independently they established successful businesses; they were to become the two most important suppliers of photographic lenses in England.[br]Further ReadingRudolf Kingslake, 1989, A History of the Photographic Lens, Boston (a brief biography of Ross).J.M.Eder, 1945, History of Photography, trans. E.Epstean, New York.H.J.P.Arnold, 1977, William Henry Fox Talbot, London.JW -
20 Gramme, Zénobe Théophile
[br]b. 4 April 1826 Jehay-Bodignée, Belgiumd. 20 January 1901 Bois de Colombes, Paris, France[br]Belgian engineer whose improvements to the dynamo produced a machine ready for successful commercial exploitation.[br]Gramme trained as a carpenter and showed an early talent for working with machinery. Moving to Paris he found employment in the Alliance factory as a model maker. With a growing interest in electricity he left to become an instrument maker with Heinrich Daniel Rühmkorff. In 1870 he patented the uniformly wound ring-armature dynamo with which his name is associated. Together with Hippolyte Fontaine, in 1871 Gramme opened a factory to manufacture his dynamos. They rapidly became a commercial success for both arc lighting and electrochemical purposes, international publicity being achieved at exhibitions in Vienna, Paris and Philadelphia. It was the realization that a Gramme machine was capable of running as a motor, i.e. the reversibility of function, that illustrated the entire concept of power transmission by electricity. This was first publicly demonstrated in 1873. In 1874 Gramme reduced the size and increased the efficiency of his generators by relying completely on the principle of self-excitation. It was the first practical machine in which were combined the features of continuity of commutation, self-excitation, good lamination of the armature core and a reasonably good magnetic circuit. This dynamo, together with the self-regulating arc lamps then available, made possible the innumerable electric-lighting schemes that followed. These were of the greatest importance in demonstrating that electric lighting was a practical and economic means of illumination. Gramme also designed an alternator to operate Jablochkoff candles. For some years he took an active part in the operations of the Société Gramme and also experimented in his own workshop without collaboration, but made no further contribution to electrical technology.[br]Principal Honours and DistinctionsKnight Commander, Order of Leopold of Belgium 1897. Chevalier de la Légion d'honneur. Chevalier, Order of the Iron Crown, Austria.Bibliography9 June 1870, British patent no. 1,668 (the ring armature machine).1871, Comptes rendus 73:175–8 (Gramme's first description of his invention).Further ReadingW.J.King, 1962, The Development of Electrical Technology in the 19th Century, Washington, DC: Smithsonian Institution, Paper 30, pp. 377–90 (an extensive account of Gramme's machines).S.P.Thompson, 1901, obituary, Electrician 66: 509–10.C.C.Gillispie (ed.), 1972, Dictionary of Scientific Biography, Vol. V, New York, p. 496.GWBiographical history of technology > Gramme, Zénobe Théophile
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maker — One who makes, frames, executes, or ordains; as a lawmaker, or the maker of a promissory note. One who signs a note to borrow and, as such, assumes obligation to pay note when due. The person who creates or executes a note, that is, issues it,… … Black's law dictionary
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