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41 Haddy, Arthur Charles
[br]b. 16 May 1906 Newbury, Berkshire, Englandd. December 1989[br]English electronics engineer who developed Full Frequency Range Recording for the Decca Record Company and was instrumental in the development of stereo records.[br]He developed recording equipment for. the Crystallate Gramophone Company, becoming Chief Recording Engineer at Decca when Crystallate was taken over. Eventually he was made Technical Director of Decca Record Company Ltd, a position he held until 1980. The developments of good cutterheads accelerated due to contract work for the armed services during the Second World War, because an extended frequency range was needed. This necessitated the solution of the problem of surface noise, and the result became known publicly as the ffrr system. The experience gained enabled Haddy to pioneer European Long Play recording. Haddy started development of a practical stereo record system within the Decca group, and for economic reasons he eventually chose a solution developed outside his direct surveillance by Teldec. The foresight of Decca made the company an equal partner in the standards discussions during the late 1950s, when it was decided to use the American 45/45 system, which utilized the two side walls of the groove. The same foresight had led Decca to record their repertoire in stereo from 1954 in order to prepare for any commercialized distribution system. In 1967 Haddy also became responsible for cassette manufacture, which meant organizing the logistics of a tape-duplication plant.[br]Principal Honours and DistinctionsOBE 1976.BibliographyHaddy's patents are a good description of some of his technical achievements; for example: UK patent no. 770,465 (greater playing time from a record by changing the groove pitch); UK patent no. 807,301 (using feedback to linearize a cutterhead); UK patent no. 810,106 (two-channel by simultaneous vertical and lateral modulation).Further ReadingG.A.Briggs (ed.), 1961, Audio Biographies, Wharfedale Wireless Works, pp. 157–63. H.E.Roys, "The coming of stereo", Jour. AES 25 (10/11):824–7 (an appreciation of Haddy's role in the standardization of stereo recording).GB-N -
42 Junghans, Siegfried
SUBJECT AREA: Metallurgy[br]b. 1887d. 1954[br]German pioneer of the continuous casting of metals.[br]Junghans was of the family that owned Gebrüder Junghans, one of the largest firms in the German watch-and clockmaking industry. From 1906 to 1918 he served in the German Army, after which he took a course in metallurgy and analytical chemistry at the Technical High School in Stuttgart. Junghans was then given control of the brassworks owned by his family. He wanted to make castings simply and cheaply, but he found that he lacked the normal foundry equipment. By 1927, formulating his ideas on continuous casting, he had conceived a way of overcoming this deficiency and began experiments. By the time the firm was taken over by Wieland-Werke AG in 1931, Junghans had achieved positive results. A test plant was erected in 1932, and commercial production of continuously cast metal followed the year after. Wieland told Junghans that a brassfounder who had come up through the trade would never have hit on the idea: it took an outsider like Junghans to do it. He was made Technical Director of Wielands but left in 1935 to work privately on the development of continuous casting for all metals. He was able to license the process for non-ferrous metals during 1936–9 in Germany and other countries, but the Second World War interrupted his work; however, the German government supported him and a production plant was built. In 1948 he was able to resume work on the continuous casting of steel, which he had been considering since 1936. He pushed on in spite of financial difficulties and produced the first steel by this process at Schorndorf in March 1949. From 1950 he made agreements with four firms to work towards the pilot plant stage, and this was achieved in 1954 at Mannesmann's Huckingen works. The aim of continuous casting is to bypass the conventional processes of casting molten steel into ingots, reheating the ingots and shaping them by rolling them in a large mill. Essentially, in continuous casting, molten steel is drawn through the bottom of a ladle and down through a water-cooled copper mould. The unique feature of Junghans's process was the vertically reciprocating mould, which prevented the molten metal sticking as it passed through. A continuous length of steel is taken off and cooled until it is completely solidified into the required shape. The idea of continuous casting can be traced back to Bessemer, and although others tried to apply it later, they did not have any success. It was Junghans who, more than anybody, made the process a reality.[br]Further ReadingK.Sperth and A.Bungeroth, 1953, "The Junghans method of continuous casting of steel", Metal Treatment and Drop Forging, Mayn.J.Jewkes et al., 1969, The Sources of Invention, 2nd edn, London: Macmillan, pp. 287 ff.LRD -
43 Kind, Karl Gotthelf
SUBJECT AREA: Mining and extraction technology[br]b. 6 June 1801 Linda, near Freiberg, Germanyd. 9 March 1873 Saarbrücken, Germany[br]German engineer, pioneer in deep drilling.[br]The son of an ore miner in Saxony, Kind was engaged in his father's profession for some years before he joined Glenck's drillings for salt at Stotternheim, Thuringia. There in 1835, after trying for five years, he self-reliantly put down a 340 m (1,100 ft) deep well; his success lay in his use of fish joints of a similar construction to those used shortly before by von Oeynhausen in Westphalia. In order to improve their operational possibilities in aquiferous wells, in 1842 he developed his own free-fall device between the rod and the drill, which enabled the chisel to reach the bottom of the hole without hindrance. His invention was patented in France. Four years later, at Mondorf, Luxembourg, he put down a 736 m (2,415 ft) deep borehole, the deepest in the world at that time.Kind contributed further considerable improvements to deep drilling and was the first successfully to replace iron rods with wooden ones, on account of their buoyancy in water. The main reasons for his international reputation were his attempts to bore out shafts, which he carried out for the first time in the region of Forbach, France, in 1848. Three years later he was engaged in the Ruhr area by a Belgian-and English-financed mining company, later the Dahlbusch mining company in Gelsenkirchen, to drill a hole that was later enlarged to 4.4 m (14 1/2 ft) and made watertight by lining. Although he had already taken out a patent for boring and lining shafts in 1849 in Belgium, his wooden support did not qualify. It was the Belgian engineer Joseph Chaudron, in charge of the mining company, who overcame the difficulty of making the bottom of the borehole watertight. In 1854 they jointly founded a shaft-sinking company in Brussels which specialized in aquiferous formations and operated internationally.[br]Principal Honours and DistinctionsChevalier de la Légion d'honneur 1849.Bibliography1842, Anleitung zum Abteufen von Bohrlöchern, Luxembourg.Further ReadingH.G.Conrad, "Carl Gotthelf Kind", Neue deutsche Biographie 10:613–14.D.Hoffmann, 1959, 150 Jahre Tiefbohrungen in Deutschland, Vienna and Hamburg, pp. 20–5 (assesses his technological achievements).T.Tecklenburg, 1914, Handbuch der Tiefbohrkunde, 2nd end, Vol. VI, Berlin, pp. 36–9 (provides a detailed description of his equipment).J.Chaudron, 1862, "Über die nach dem Kindschen Erdbohrverfahren in Belgien ausgeführten Schachtbohrarbeiten", Berg-und Hüttenmännische Zeitung 21:402–4, (describes his contribution to making Kind's shafts watertight).WK -
44 Korolov (Korolyev), Sergei Pavlovich
SUBJECT AREA: Aerospace[br]b. 12 January 1907 (30 December 1906 Old Style) Zhitomir, Ukrained. 14 January 1966 Moscow, Russia[br]Russian engineer and designer of air-and spacecraft.[br]His early life was spent in the Ukraine and he then studied at Tupolev's aeroplane institute in Moscow. In the mid-1930s, just before his thirtieth birthday, he joined the GIRD (Group Studying Rocket Propulsion) under Frederick Zander, a Latvian engineer, while earning a living designing aircraft in Tupolev's bureau. In 1934 he visited Konstantin Tsiolovsky. Soon after this, under the Soviet Armaments Minister, Mikhail N.Tukhachevsky, who was in favour of rocket weapons, financial support was available for the GIRD and Korolov was appointed General-Engineer (1-star) in the Soviet Army. In June 1937 the Armaments Minister and his whole staff were arrested under Stalin, but Korolov was saved by Tupolev and sent to a sharaska, or prison, near Moscow where he worked for four years on rocket-and jet-propelled aircraft, among other things. In 1946 he went with his superior, Valentin Glushko, to Germany where he watched the British test-firing of possibly three V-2s at Altenwaide, near Cuxhaven, in "Operation Backfire". They were not allowed within the wire enclosure. He remained in Germany to supervise the shipment of V-2 equipment and staff to Russia (it is possible that he underwent a second term of imprisonment from 1948), the Germans having been arrested in October 1946. He kept working in Russia until 1950 or the following year. He supervised the first Russian ballistic missile, R-1, in late 1947. Stalin died in 1953 and Korolov was rehabilitated, but freedom under Nikita Kruschev was almost as restrictive as imprisonment under Stalin. Kruschev would only refer to him as "the Chief Designer", never naming him, and would not let him go abroad or correspond with other rocket experts in the USA or Germany. Anything he published could only be under the name "Sergeyev". He continued to work on his R-7 without the approval that he sought for a satellite project. This was known as semyorka, or "old number seven". In January 1959 he added a booster stage to semyorka. He may have suffered confinement in the infamous Kolyma Gulag around this time. He designed all the Sputnik, Vostok and some of the Voshkod units and worked on the Proton space booster. In 1966 he underwent surgery performed by Dr Boris Petrovsky, then Soviet Minister of Health, for the removal, it is said, of tumours of the colon. In spite of the assistance of Dr Aleksandr Vishaevsky he bled to death on the operating table. The first moon landing (by robot) took place three weeks after his death and the first flight of the new Soyuz spacecraft a little later.[br]Further ReadingY.Golanov, 1975, Sergey Korolev. The Appren-ticeship of a Space Pioneer, Moscow: Mir.A.Romanov, 1976, Spacecraft Designers, Moscow: Novosti Press Agency. J.E.Oberg, 1981, Red Star in Orbit, New York: Random House.IMcNBiographical history of technology > Korolov (Korolyev), Sergei Pavlovich
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45 Muybridge, Eadweard
SUBJECT AREA: Photography, film and optics[br]b. 9 April 1830 Kingston upon Thames, Englandd. 8 May 1904 Kingston upon Thames, England[br]English photographer and pioneer of sequence photography of movement.[br]He was born Edward Muggeridge, but later changed his name, taking the Saxon spelling of his first name and altering his surname, first to Muygridge and then to Muybridge. He emigrated to America in 1851, working in New York in bookbinding and selling as a commission agent for the London Printing and Publishing Company. Through contact with a New York daguerreotypist, Silas T.Selleck, he acquired an interest in photography that developed after his move to California in 1855. On a visit to England in 1860 he learned the wet-collodion process from a friend, Arthur Brown, and acquired the best photographic equipment available in London before returning to America. In 1867, under his trade pseudonym "Helios", he set out to record the scenery of the Far West with his mobile dark-room, christened "The Flying Studio".His reputation as a photographer of the first rank spread, and he was commissioned to record the survey visit of Major-General Henry W.Halleck to Alaska and also to record the territory through which the Central Pacific Railroad was being constructed. Perhaps because of this latter project, he was approached by the President of the Central Pacific, Leland Stanford, to attempt to photograph a horse trotting at speed. There was a long-standing controversy among racing men as to whether a trotting horse had all four hooves off the ground at any point; Stanford felt that it did, and hoped than an "instantaneous" photograph would settle the matter once and for all. In May 1872 Muybridge photographed the horse "Occident", but without any great success because the current wet-collodion process normally required many seconds, even in a good light, for a good result. In April 1873 he managed to produce some better negatives, in which a recognizable silhouette of the horse showed all four feet above the ground at the same time.Soon after, Muybridge left his young wife, Flora, in San Francisco to go with the army sent to put down the revolt of the Modoc Indians. While he was busy photographing the scenery and the combatants, his wife had an affair with a Major Harry Larkyns. On his return, finding his wife pregnant, he had several confrontations with Larkyns, which culminated in his shooting him dead. At his trial for murder, in February 1875, Muybridge was acquitted by the jury on the grounds of justifiable homicide; he left soon after on a long trip to South America.He again took up his photographic work when he returned to North America and Stanford asked him to take up the action-photography project once more. Using a new shutter design he had developed while on his trip south, and which would operate in as little as 1/1,000 of a second, he obtained more detailed pictures of "Occident" in July 1877. He then devised a new scheme, which Stanford sponsored at his farm at Palo Alto. A 50 ft (15 m) long shed was constructed, containing twelve cameras side by side, and a white background marked off with vertical, numbered lines was set up. Each camera was fitted with Muybridge's highspeed shutter, which was released by an electromagnetic catch. Thin threads stretched across the track were broken by the horse as it moved along, closing spring electrical contacts which released each shutter in turn. Thus, in about half a second, twelve photographs were obtained that showed all the phases of the movement.Although the pictures were still little more than silhouettes, they were very sharp, and sequences published in scientific and photographic journals throughout the world excited considerable attention. By replacing the threads with an electrical commutator device, which allowed the release of the shutters at precise intervals, Muybridge was able to take series of actions by other animals and humans. From 1880 he lectured in America and Europe, projecting his results in motion on the screen with his Zoopraxiscope projector. In August 1883 he received a grant of $40,000 from the University of Pennsylvania to carry on his work there. Using the vastly improved gelatine dry-plate process and new, improved multiple-camera apparatus, during 1884 and 1885 he produced over 100,000 photographs, of which 20,000 were reproduced in Animal Locomotion in 1887. The subjects were animals of all kinds, and human figures, mostly nude, in a wide range of activities. The quality of the photographs was extremely good, and the publication attracted considerable attention and praise.Muybridge returned to England in 1894; his last publications were Animals in Motion (1899) and The Human Figure in Motion (1901). His influence on the world of art was enormous, over-turning the conventional representations of action hitherto used by artists. His work in pioneering the use of sequence photography led to the science of chronophotography developed by Marey and others, and stimulated many inventors, notably Thomas Edison to work which led to the introduction of cinematography in the 1890s.[br]Bibliography1887, Animal Locomotion, Philadelphia.1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.1901, The Human Figure in Motion, London.Further Reading1973, Eadweard Muybridge: The Stanford Years, Stanford.G.Hendricks, 1975, Muybridge: The Father of the Motion Picture, New York. R.Haas, 1976, Muybridge: Man in Motion, California.B.Coe, 1992, Muybridge and the Chromophoto-graphers, London.BC -
46 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
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