A. M. Mayer—Researches in Acoustics. 171 
ods of sonorous analysis. Methods 1, 2 and 5 have been used 
by Helmholtz and Konig. Methods 8, 4 and 6, as far as I 
now, originated with me. To render comparable all of the 
experiments which I shall describe, I shall always use one com- 
posite sound of uniform intensity by sounding with a blast of 
constant pressure an Ut, Grenié free-reed pipe, from which has 
been removed its reinforcing pyramidal pipe. 
(1.) Analysis by means of Resonators applied directly to the ear. 
This method of Helmholtz is so well known that it need not 
here be described, but I will give some experiments which 
have made on its degree of precision under the head of the 
sixth method of analysis, to be described. 
(2.) Analysis by means of Resonators connected with Kénig’s 
manometric flames. 
of the flames became deeply serrated. 
(3.) Analysis by means of Resonators which are ly 
brought near the source of origin of a composite sound and 
thus successively reinforce all of its sonorous elements. 
If we take any two resonators separated by a known inter- 
sound, we shall hear them singing out clearly above the general 
chorus of the other harmonics. Thus I have often successfully 
shown to an audience the composition of a composite sound. 
