Like most of the world’s greatest achievements The Cheney was evolved in an effort to give perfect expression to beauty. The only aim of its invetor, the violinist and techer, Forest Cheney, was to place before his students a proper interpretation of the master recordings of the world’s famous musical artist.
He dreamed of a wonderful instrument that would reproduce the Stradivarius violin, the full, round, resonant tones of the grand piano, the perfect ensemble of an orchestra and the human voice—without a trace in the tones of the mechanical means by which that reproduction was accomplished.
To make this dream come true, he experimented, refined and discarded until he evolved an acoustic system the like of which had never been conceived before. In its vibrant wood chambers the art of the greatest musicians was restored and lived again.
The Cheney has opened a new field of possibilities in the science of sound reproduction. Lovers of music who have never cared to own a phonograph find lasting joy in The Cheney.
consist of a series of acoustic relays in the form of a progressive series of resonators made of resilient materials such as brass, violin maple and spruce.
From the sensitive reproducer to the vibrant wood shell of the famous violin resonator, the acoustic system of The Cheney is basically unlike that of any other phonograph. It operates upon the principle of scientific mechanical control and release of musical sounds.
In The Cheney, primary tones are not only faithfully reproduced as to pitch, but the tone color, the individuality of the artist is restored—through the development of overtones so often dimmed or lost. This is accomplished by The Cheney alone among phonographs by a series of controlled reactions set up within its acoustic system.
From the stepped concentric rings to the graceful violin shaped resonator, Cheney tones pass through chambers fashioned of seasoned spruce and maple, the most vibrant of all woods. This wood is live, responsive, seasoned by the elements. Through use it becomes ever more responsive, literally mellowing in its own music. Hence The Cheney—like a rare old violin—constantly enhances in musical value—
“The Longer You Play It the Sweeter It Grows”
Various devices for the control of sound volume such as shutters and doors are being used with the result that the tones are more or less muffled. The Cheney tone volume is controlled at the source.
The Cheney needle adjuster provides for three lengths of adjustment of each of the four different sizes of needles. By this simple means twelve distinct volumes of tone are secured, adaptable to the most delicate rendition of voice or instrument or the full volume of band and orchestra. Whatever the volume, every tone comes forth unmuffled, clear and pure.
The Cheney acoustic system begins with the reproducer. A diaphragm, usually sensitive and flexible, unlike any other both in form and substance, receives the mechanical vibrations from the needle. Immediately, reactions—by means of which The Cheney revivifies recorded sound—are set up in the air chamber behind it. Not only does the reproducer begin the process of clarifying and developing tones, but it is so constructed that it practically eliminates blast on loud, high notes. The Cheney Plays All Records—Better.
The octagonal-sided Cheney Tone arm is not a decoration, but rather a scientifically composed series of air chambers, arranged in symmetrical proportion as to length and diameter. In each of these chambers further reactions are set up, which amplify, develop, and control the fundamental harmonically-related pitch tones and their accompanying overtones. Because of the scientific construction of these chambers, non-harmonic sounds such as needle scratch are dimmed and practically eliminated.
At this point in the description of The Cheney Acoustic System, it is well to recognize that while The Cheney differs from other phonographs in many important particulars, one fundamental difference is this: that at three disctinct points The Cheney constricts the tones by releasing them through an aperture smaller in diameter than that in which they are; other phonographs have unrestricted flow of sound from the reproducer through to the “horn”.
The Cheney, by constricting its tones, releases them under control and gives them greater dynamic impact. Thus it gets force and “carry” to its tones, achieves control and rich quality.
With that understanding, you will see now that The Cheney first constricted its tones in the reproducer, tehn brought them through the octagonal amplifying chambers in the tone arm. Now at the opening into the tone conveyor it constricts them again through a series of concentric rings.
At the base of the tone conveyor the sound waves again expand in two cubical air chambers.
Now the palate bar located between the cubical air chambers and the orchestral chambers again constricts the waves and releases them under control. It provides clear articulation and purity of tone.
From the cubical chambers the tones are released into the orchestral chambers, a series of rectangular, resilient, resonant chambers that amplify sound while holding it under perfect control. It is in the orchestral chambers that the tone of every instrument in a great orhestra or band is developed in all its individual beauty, yet maintained in perfect relative balance. Here also the delicate overtones are further developed, enriched and blended into one triumphant whole.
Because the violin is the most perfectly symmetrical and the most effective resonating chamber known, the beautiful compaound curve of this instrument has been incorporated in The Cheney resonator. Build of seasoned violin woods, which are purposely left unfinished so that their resonating quality may not be impaired, supported at a single point of contact, this sensitive wood shell vibrates with each passing note.
From the above explanation of The Cheney acoustic system it becomes obvious that The Cheney develops tones in a series of resonating chambers and not through megaphones. Hence the resonant quality of the carefully chaosen woods is preserved and no coating or finish which will fill the cells of these highly acoustic woods is permitted to impair its quality.
The famous violin resonator is teh crowning feature of The Cheney tonal system. Within its responsive walls, tones and overtones are finally developed and amplified, controlled and enriched into a satisfying volume of sound, which for sweetness and richness of tone cannot be duplicated.
No little part of the satisfaction which Cheney owners have with their instruments is due to the perfection of the Cheney motor. So essential is it that this important piece of mechanism be as accurately build as a watch, we have established our own high standards and make the Cheney motor in our own factories. Before it can be adjudged perfect, every Cheney motor is subjected to four rigid tests: for noise, for duration of pull and maintenance of proper speed, uniformity of speed and pull under actual playing conditions, and finally for playing quality.
Because we make this motor ourselves and then test it under the most sever conditions, we are as certain as human ingenuity and infinite pains can make us that the motor, as well as every other part of The Cheney will give a lifetime of satisfaction and enjoyment.
To protect our high standards. The Cheney is made in its entirety in our own factories in Grand Rapids, Michigan. Every motor, every detail of metal parts and every cabinet is made to live up to the reputation of “the finest mustic reproducing instrument.”
Chicago
