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The Corona 3 case, by volume

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The Corona 3 is an amazingly long lived product. Not just the lifetime of the machines themselves, but the period of time it was being produced and sold (the life-of-type). A production run of more than 10 years for a consumer product with no major changes was I think fairly rare then as it is now, never mind a run of 29 years. This makes the Corona 3 an interesting item to take a look at.

So I looked at the serial-numbers lists that are available online (tw-db, typewiterdatabase and an article in an older issue of ETCetera). The numbers suggest sequential numbering, starting their numbering in 1906 and numbering sequentially right up to 1941. In that case, the serial-numbers should give the annual production volumes. (From these numbers, I've pegged the start of the '3' at 20,000 to get a ~6000 run in 1912. On the other hand, earliest reported serial number for a '3' is 12,172. There's more confusion on the numbers and volumes, e.g. from the serials the 1919 I get 81k and not 153k. The serials up to 1921 seem a bit suspect, ending with 999.)

Ignoring all the uncertainties and confusion and just taking the volumes from the serial numbers, these can then be plotted over time:


Putting this in a graph shows the meteoric rise of the little portable. It also shows that it's success comes to a rather abrupt stop, with some minor 'revivals'. Looking at this graph with some related events in mind, I've speculated a bit about some of the how and why.

I can just imagine that the introduction of the Remington Portable with a full keyboard was a nasty shock for Corona. Coming on top of Underwood entering the fray in 1919 with a 3-bank and Corona still busy seeing off the Baby Fox. Their numbers were heading for 100k/year and suddenly the year 1921 ends with 20% down. (There would be some lag, with production reflecting sell-in to the trade feeling a drop in sell-out  (from trade to consumer) a bit later, so the decline in sales may have started in e.g. late 1919.)

Plotting the volumes of these three early compact portables shows that the decline in sales of the '3' was not so much a decline in the market of compact portables overall, but much more likely due to the new competitors in the market.


The total of volumes shows a surprisingly consistent growth up to 1924 when 'Four' is introduced. The Underwood 3-bank would be superseded by their 4-bank, new manufacturers offering portables and the market generally moving on to bigger and better things. (Note that both Remington and Underwood serials are a bit dodgy as well, very round numbers. Also (to me) not clear between 3-bank / 4-bank.)

With competition in the compact portable market-segment now from both Underwood and Remington, Corona need to respond. These competitors are too large to drive off with advertising or price promotions. Trying to sue them into oblivion (Fox) would have been out of the question for the same reason (even if there had been a possible case). Even worse; their products compare very well against the little '3'.

If work had not already started on making their own 4-bank offering, it was doubly important to do so now.

In the mean time, a bunch of improvements is made to the '3' over 1921-1923. The machine is widened, with shift keys at both left and right and the carriage is also widened. Automatic ribbon reversing in 1922 (thanks to Mr Kernighan for pointing out that datapoint!) from serial number 500,000 (?) up, would have allowed for some 'news to the trade' to drum up sales. With these improvements the '3' compares a bit better to the competition.

Maybe this contributed to a slight rise again in '22, maybe the 10k less in '21 reflected the trade still having too much stock from '20. Who can tell...  Around that time (1923?) amongst other improvements an extra two keys are added.


They needed to live off their old product until they could introduce their own full keyboard portable with the 'Four' in 1924. Then in 1924 immediately the volume of folding '3' machines plummets. Advertising from then on is showing the new flagship product 'Four' model only.

On an aside; with their market (and likely their margins) under pressure, working on their own response, they would be investing in the new product and tooling. This probably means that the financial position of Corona would be at a relative low in 1924, with the launch-costs of the 'Four'.

With the introduction of the 'Special' in (I think?) 1929, the level is again at a respectable 20k, showing a drop off over the following couple of years as would be expected after a new product introduction. Adding a splash of color and fashionable paneling makes also the '3' product sell again (a little). Some examples from a quick image search:

(Source of images: oztypewriter.blogspot.com, mytypewriter.com, etsy)

What is quite remarkable is the variation; a choice of both base and panels in colors, but also plain lacquered in one color with no crinkle panels. Again odd is that these are all marked 'Special' on the front panel but no longer have the automatic reverse. Seems Corona was having a ball with product-diversity. This is not good for cost control today, and my guess is this was not good back then either.

The year 1934 again shows a small spike in volume. This may be just the random fluctuations of a low-volume end-of-life product, or it may have been a new advertising push to counter the very low-cost market-segment. The price is by then also quite low, maybe this contributes to a bit of volume again.

However with the price now down to USD 24,50, even without any tooling cost amortization the margins would not have been great anymore. Material and labor still needed to go into the machine at about the same level.

Keeping a type in production over such a long period after 1924 with such small volumes (and margins) raises the question if that wasn't at least partially a sentimental, emotional decision.

Or rather; I suspect that nobody in the Corona company would ever dare to suggest to axe the folding Corona 3 - their core, founding product.

It happens :)

How to use Corona

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Part of the quest to make the machines complete is to get the user manual with them again. Especially for the little Corona that is nice, as it so clearly has the metal strip to hold the booklet in the lid of the case.

As mentioned, I found a late copy at a bookseller (via abebooks.com) and arranged to buy this and have it mailed to me. After getting the booklet in the mail (very well packed), the first thing to do was to make a scan of it. The second thing was to upload this scan. So for reading, the booklet can be downloaded here at archive.org. (Feel free to mirror; copies are good to have; on the internet things come and go...)

The copy I got was pretty good and didn't need a lot of editing or cleaning to create a nice printing version. This layout allows for printing double sided on an A3-size printer. I've put it online and it can be downloaded both in high resolution (~40Mb) and in a more reasonable printing resolution (~10Mb).

One of the things that I noticed when cleaning up the scans, is that Corona probably used 1922-ish pictures of the product for this 1937 printing. E.g. in figure 4 it's visible that the company name on the front bar is erased-out, my guess that is to make the old photograph also usable for printing after the merger with LC Smith.


With this cleaned printing-layout a new copy was printed to keep in the box (keeping the original in an envelope on the shelf). The A3 printer was good in doing double-sided printing, turning over on the short side and keeping good alignment of back and front.

The sheets were then made into a new booklet by folding the stack (in the right order) over the folding lines, then staple and cut to size. Because I didn't have a large stapler that can take a booklet, the staples were applied by hand. Using a 1mm drill-bit to make the holes for the staples and using needle-nose pliers to bend these in place. The stapled booklet could then be cut to size with a sharp knife, metal ruler (and a cutting mat!) using the cutting guides on the outer pages.


Even though the paper is probably a bit too white, the little Corona now has a 'new' manual in the box again. (Am wondering what made Corona call their little stalwart No. 3 "Automatic" all of a sudden.)

Now to scout for a small Pigeon brand ribbon tin for that clip in the lid...  

:)

Browsing, just browsing...

Portables with a curve

Does a ribbon dry up?

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When I got the Speedline it was a bit moldy and the ribbon more than a bit moldy. One of the first steps in cleaning the machine was to take that ribbon out (plastic spools) and toss it in the bin.

Being able to then take a brand new Kores ribbon (on a set of plastic spools) out of its box and put it in was I think remarkable of itself. To take a machine that is over 70 years old and still being able to put in a brand new replaceable/consumable part that fits perfectly is remarkable. That is a very long support lifetime. The future is hard to predict, but I doubt that will be possible with the battery in a laptop or the cartridge in a new laser-printer 70 years from now.


But anyways; the new nylon ribbon works great; the machine functions just as it should (i.e. it types). Still, the sight of the plastic spools in the machine was to me still a bit jarring, just not quite right. With the cover closed, you do not see the spools of course, but I know they are there. They should be metal and square-spoked, like shown in the instruction manual.


So I managed to get a very nice set of metal spools of the right pattern for a Speedline of this era. First I was going to rewind the new nylon ribbon onto the new (old) spools, when I spotted an old ribbon offered for sale online in its un-opened packaging.


An Olivetti plastic ribbon 'tin' with a metal spool. On the label it said the still-sealed ribbon was a black, silk ribbon. In general I am not a fan of Olivetti, but I do have an appreciation of their product quality (I do get the 22's clean 50-ies style, it is just not my cup of tea). It was sealed and it said silk, so I made a bid and got it. (Well, the getting was more complicated than normally, but in the end it arrived and very well packed too.)

I'll admit I hesitated a bit on deciding to use this old stock, but went ahead and opened the box, removed the seal. Bonus of course is that an Olivetti ribbon has the reversing grommets.

The ribbon looked fine, but the grommets probably had some sort of rubber centre fitted. The grommets are fine, but the rubber (?) had totally gone to goo and had to be wiped off.

With the silk ribbon rewound onto the Corona spools, then placed them into the machine. So here the machine with the correct, square spoked metal spools and a new old silk ribbon.


Typing then. (Nylon on top, silk on bottom half.)


It doesn't come across in the scan, but the nylon ribbon typing really looks a very dark purple. The fainter silk ribbon has absolutely no color bias. But it is fainter.

That had me wondering, does a ribbon dry up? The plastic sealing certainly is porous to many gases, would allow drying out. Then again, the seal and then the box would have mostly restricted any airflow for anything to evaporate in any way. I'm sure the pigment cannot have gone anywhere, that must all be there still.  (The next item to wonder about then is; what actually is the inking of a ribbon?)

I'll give it a try first. Then we'll see what ribbon we keep in...


Curious.

Reviving Victor's Case

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A while back I experimented a bit with patching-up the case of the Noiseless. The 'leatherette' covering had come undone in a few spots and it looked worn and grey.

The first step was (naturally) cleaning with a wet cloth (water with a little dishwashing liquid). After fixing the covering back in place, I wanted to see if I could make it look a bit less tired. It isn't leather, but it did look very dried-out so I thought I'd experiment with some polish. The 'waxing' might be good to make the covering a bit less brittle and using black polish might make it look less grey.

First experimented with the back, when that looked fine and did not crumble I did the whole case. When also after a couple of weeks the case still looked fine with no obvious ill effects from it's treatment, I dared to also tackle the case of the Victor. That case was now looking very 'tired' compared to the Noiseless'.


Also on this one I applied regular black shoe/leather polish in the normal way, i.e. applied with a cloth lightly rubbing it in and over the surface. Then vigorously polishing with a soft (black) brush gets the wax into the valleys of the texture and spreads it out evenly. That really makes a difference; instead of having a worn, old case in the house it now looks smart and quite presentable (and acceptable!) again.

The one item that still stands out is the handle. Looks like this was made from papier-mâché (?) over a thin metal core. The outer fake-leather layer has mostly come off, leaving an uneven, worn surface. No idea yet on how to tackle that one. Any suggestions on that are most welcome; curious if anybody has managed to revive/repair/replace these worn handles.

At any rate, the clean black case now matches the shiny black machine inside it a bit better :)

Swedish Machine Seen As Prop In A Småland Shop

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Småland is very much Sweden, so not all that surprising really that a typewriter used as a prop in a bookstore is a Halda. The machine looked cosmetically fine but disturbingly many keytops were missing. Weird - would customers to the shop surrepticiously pry off a keytop? They are plastic, not chrome-rimmed. Or maybe the machine was like this when it was put in the shop as a prop, perhaps the mounting of keytops on the machine just wasn't that solid.


Didn't look at the machine closer, keeping track of 3 kids in a busy bookshop makes for a lot of distraction :)


This was a bit of a special bookshop, having books of only one author. Located  on a picture-perfect little shopping street inside a themepark around the books by that one author.

When holidaying in Sweden, we visited the Astrid Lindgren World. An astonishingly large and surprisingly busy park. Not cheap and not cheaply done either. Was great for the kids (and parents) to see the settings for many of the stories. Stories are being acted on the different stages during the day. Between the plays the stages are children's playgrounds, with the actors hanging around still. Good food there too! A recommended park should you ever find yourself in the area with kids in the age-bracket for Pippi and the others.

But back to the sighting. Doubt that this is the machine Astrid Lindgren herself used, but didn't stop to ask about that. Thought it unlikely that the staff would know; if it was it would most likely have had a sign next to it stating so of course.

Wide carriage

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A six-feet wide carriage (about 183 cm, nearly 2 meters!). I'm imagining that needs a very solid carriage escapement for such a large moving mass (or move very slowly).

Will also take up some desk space, six feet either side of the machine.

Can't quite imagine how it would be to index a six-feet wide and 12-feet long sheet of paper. Unless very thick card, surely this would crinkle and crease at indexing. Maybe the trick was to keep it rolled up inside the carriage, the picture seems to show this.

Regardless the practicalities, I'm guessing it didn't catch on in a big way in drawing offices. If there was a benefit, it must have been for a very niche application. I've myself worked in a drawing office. Rows of drawing boards and some colleagues still wore white coats too (not only for show, useful when you're inking a drawing or filling your pens).

Lettering and dimensioning a large sheet is quite fast, even when using a character-template for lettering. Only if there would be reams of text on a sheet can I imagine that typing could be faster. And then it would be easier to type the paragraphs on a regular sheet and paste it onto the drawing using photographic copying. More common is to keep all the text (instructions, bill of materials, etc) on separate regular size sheets. Niche application then, needing many variable typefaces (defense plans).

Anyways, a very wide carriage that :)

Maybe widest ever?

Impressive mechanics (not about a typewriter)

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That fact alone makes them both a bit special in my mind.

Somehow this large vessel survived and is still in working condition, kept now as a museum ship in Hamburg (yes, it has its own wikipedia entry too:). In the summer there is not so much icebreaking to be done in these parts, so the ship was doing a ferry-run special from the small island of Borkum to the Eemshaven harbour and on to Emden.


With the family we took a day trip to catch the Stettin on the Borkum to Eemshaven stretch. To my happy surprise you get pretty free run of the ship to look round. The engine room is open for passengers and you get to see all the machinery working up close. Didn't have a good camera with me to capture the swoosh-swish of the large rods and crankshaft; but (of course) a video on the net gives a good impression, engine room shown from ~1:30. (Oh, and the sound on the video is good, but it just can't do the whistle justice. Louder in real life. Much.)

Can't quite put my finger on it, but there is something in the appeal of such mechanical contraptions. Very visible mechanics, an explicitness about their workings and function.


Unstuck again

Has it started?

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See the story at this link: Xerox scanners/photocopiers randomly alter numbers in scanned documents. It sounds a bit unbelievable at first, but the fail mode and the likely reason why the machines fail this way is actually quite believable.

At my place of work we have those machines. So I tested it with some suitably small but still quite legible numbers: and it does replace numbers!

Now typewriters surely never would do such a thing. (Surreptitiously swapping out two typeslugs on a typebar, imagine that for a moment. Though some dial-a-type machine could probably pull off something unexpected.)

Come to think of it, is this an early sign of the singularity? Is Skynet quietly beginning to sabotage?

Hmm...

Typewriter art

Tab stops on a ruler

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When showing off some pictures of my Victor portable, I was asked what those black metal bits were at the back. These were the tab stops.

That triggered an immediate 'wow' that the tabs stops as are drawn on a ruler bar on a computer screen can be linked back to the typewriter.


The same way that the classic typewriter still is an 'icon' for 'writing', tab stops on a ruler bar have become the 'icon' for the tab function.

For many users of a graphical text editor (or 'word processor') the iconography of the ruler with margin stops and the tab stops is clear and evident. Even without being aware of the mechanical origins of the margins and tab setting functions, these are the recognized symbols that still make sense for aligning characters.

Alarm (iconic)

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This actually is an icon, for a Microsoft Office notification tool that gives you an alert (alarm?) that there is some upcoming event. The iconic image is an alarmclock, probably clearly recognizable by most people as an alarm clock.

It is also probable that most people viewing that icon on a screen do not have such an alarm clock on their bedside table. Many may never had one. Even though it has been superseded by alarmclock radios or other electronic devices, the essentially obsolete alarmclock is still iconic for 'alarm: something to be done!'.

Mind you; it is really an alarm. The bells are very sudden and very loud. Especially in the morning when not quite awake this could be almost classified as a health hazard. Not for anybody with a weak heart.

Iconic though :)

Video sightings

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A music video got pointed out to me today by Dutch artist Caro Emerald of her song Liquid Lunch.  Hm, yes.   It features a typewriter too.


Quite a clever video and an enjoyable song. Actually it features a whole slew of mid 20th century objects. It is positively filled with analog technology. And a Martini.

This reminded me that the video of This Too Shall Pass by OK Go also included a machine incorporated in their Heath Robinsonian / Rube Goldberg contraption.


Amazingly and I'm sure much to the relief of the Typosphere, the typewriter survives its task in the whole setup :)

This is off-topic

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But what is definitely a topic in the Typosphere is giving puzzling glimpse images of new machines. Can the make and type be determined from seeing a detail part of the item?

Another purchase was made of a black leatherette covered case. The case measures about 30 x 17 x 41 cm. (Hint in the title.)

More anon, busy cleaning and repairing the mechanism.

Joy :-)

New acquisition, analog machine

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It is a black leatherette (rexine) case, but not a typewriter. It is analog equipment, arguably more analog than a typewriter even.

Here some quick pictures of the new purchase:


When taking off the turntable - not clean:


The light in the pictures is already low (was late); given the the somewhat dusty and grimy state of the machine that is not a bad thing perhaps. On the plus side the machine is complete and the chrome plating seems fine.

It's a very late HMV model 102 gramophone, the date code on the typeplate shows this was made in 1953. This is not a type of machine I'd associate with the fifties, but in Britain these were still being made and sold alongside electric pick-up models. The 102 model was introduced in 1931 by HMV and made right up to 1960 with only minor changes, making it indeed more a thirties machine than a fifties product. This is a late evolution of the type with the flush deck and a 5B soundbox, this H model was introduced in March 1953.

Similar to typewriters there is a lot of online activity on gramophones. Whilst not with the sophistication and completeness of a typewriterdatabase, the various forums (forii?) and websites quickly gave the information needed to identify and date the machine.

A very helpful thread on The Talking Machine Forum and very informative posting on how to take it apart by an HMV102 owner in Singapore gave me the confidence to go ahead and buy this one and now dive in to fix it. (The autobrake doesn't work and the speed is very sensitive; race or stop and no middle ground.)

The empty wooden box with the motor board with mechanism taken out.


The chalk markings and the stamp make it clear this is an H model (if the typeplate itself was not convincing enough).


Fixing this one :)


Fixing the governor

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As a gramophone owner you were expected to regularly take the thing apart and oil it. Or maybe expected to take it up to your gramophone shop and have it serviced. The instruction leaflet that came with such machines does include the steps to take out the motor-board ("grasp edge of horn by left hand, grasp winding key by right hand and lift out motor board").

Once you have the motor board out, you can see the lubrication chart that is glued to the bottom of the case. ("oil according to greasing chart to be found below motor").

Now there's a thought for typewriters. The service chart could be in the lid or cover and right there when the mechanism is opened up. (Maybe some machines did have that, I do not know...)

Because the turntable did not keep a stable speed and make a rather loud chugging noise, the friction pad in the governor was the first suspect. If that has gone 'solid', there would not be a large stable rpm range and any un-evenness would give a chugging sound like a steam locomotive at speed.


With an additional four screws loosened, the motor indeed gently drops out of the board. The motor is heavy, most of the weight of the whole gramophone is the motor. The plates and pillars are dimensioned generously, then again it does need to safely contain a strong spring with a lot of energy in it.


The little friction pad had indeed taken the consistency of a small stone. Hard like a little rock. After first trying to soften it up and re-oil it, it was decided to replace it. Gently prying open the clamps holding the leather the 'stone' dropped out. Stacking two small pads cut to size (old leather belt), these were clamped tight again in the friction pad holder and then provided with several generous doses of machine oil. This made the new pad soaked and fit for service.

Putting the machine together to try, it now runs at a stable speed. The pitch regulator now actually governs the speed where first it was more of a switch from 'stop' to 'as fast as you can'. The chugging sound was also mostly gone. As the new leather pad settles in, this is gradually becoming less.

Also had to oil and work the sliding bush of the governor with the friction disc. It moves now, but a bit sluggish. This makes it slow to reach stable speed but otherwise has no ill effect.

Now to fine-tune and re-adjust the pitch regulator, perhaps to print a strobe disc.

Like the typewriters also very mechanical, but definitely on a different scale. Different both in size of the components and in the complexity of the mechanisms.

An enjoyable excursion :)

Typewriters are tiny

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Typewriters are tiny. Really very modest toys to tinker with.


And in these wired times also the fête has its own webpage: www.flaeijel.nl. Has some pictures (check out the set 'optocht', the top-left set).

Supplies still available

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The tins arrived by mail. The padded envelope with a confusingly colorful assortment of stamps; some are 1990-ies, but the red stamps are Queen Juliana stamps from the seventies at the latest. Were the needle tins posted through some kind of timewarp? Is there a wormhole to supplies for old stuff? A post by Spider explained and resolved this little mystery :)



The tin with paper inlay. Echoes of the 30-ies when there would be e.g. an instruction to use only this brand of needles and only once!


(Now to play!)
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