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Hello and welcome to The Reassembler with me, James May. | 0:00:02 | 0:00:04 | |
It's a new series in which we take everyday familiar objects | 0:00:04 | 0:00:07 | |
in their component form and put them back together...very slowly. | 0:00:07 | 0:00:12 | |
Sort of familiar bit. | 0:00:14 | 0:00:15 | |
'It is only when these objects are laid out in hundreds of bits | 0:00:15 | 0:00:19 | |
'and then slowly reassembled...' | 0:00:19 | 0:00:22 | |
Done, done, done, done, done. | 0:00:22 | 0:00:23 | |
'..that you can truly understand and appreciate how they work...' | 0:00:23 | 0:00:27 | |
Ye-ah. | 0:00:27 | 0:00:28 | |
'..and just how ingenious they are.' | 0:00:28 | 0:00:31 | |
Deep joy. | 0:00:31 | 0:00:32 | |
'And if painstakingly putting hundreds of pieces | 0:00:32 | 0:00:35 | |
'back together again...' | 0:00:35 | 0:00:36 | |
Oh, God, it's electrics. | 0:00:36 | 0:00:38 | |
'..wasn't hard enough...' | 0:00:38 | 0:00:39 | |
Fantastic, we've used all the bits. | 0:00:39 | 0:00:41 | |
'..I then have to find out...' | 0:00:41 | 0:00:43 | |
Oh, yes! | 0:00:43 | 0:00:44 | |
'..if they'll work.' | 0:00:44 | 0:00:47 | |
No, it's all come apart. | 0:00:47 | 0:00:48 | |
PHONE RINGS | 0:00:51 | 0:00:54 | |
Since Alexander Graham Bell's 1876 patent, | 0:00:54 | 0:00:58 | |
the telephone has come on a bit. | 0:00:58 | 0:01:01 | |
It's now so sophisticated, it can be used to write to people. | 0:01:01 | 0:01:06 | |
But it wasn't always thus. | 0:01:06 | 0:01:08 | |
Back in 1957, this was as smart as a telephone could be, | 0:01:08 | 0:01:12 | |
and it could do just two things, you could dial a number with it, | 0:01:12 | 0:01:15 | |
or if somebody dialled you, it would ring. | 0:01:15 | 0:01:17 | |
Nevertheless, this was a high watermark in the development | 0:01:17 | 0:01:21 | |
of the telephone, because it was the first GPO British Bakelite | 0:01:21 | 0:01:26 | |
domestic telephone with a bell enclosed in the case. | 0:01:26 | 0:01:30 | |
This phone has 211 separate, tiny parts, | 0:01:32 | 0:01:37 | |
every single one designed with an engineering eye for detail | 0:01:37 | 0:01:40 | |
that is staggering. | 0:01:40 | 0:01:42 | |
We've sent people to the moon in equipment | 0:01:42 | 0:01:44 | |
that has been less well-engineered. | 0:01:44 | 0:01:46 | |
Actually, that's a bit of an exaggeration, | 0:01:46 | 0:01:48 | |
but this is nanotechnology 1950s style. | 0:01:48 | 0:01:52 | |
However, in this form, it resembles | 0:01:52 | 0:01:55 | |
the most mind-bending Meccano set on the planet. | 0:01:55 | 0:01:58 | |
First, we shall assemble the receiver. | 0:01:58 | 0:02:01 | |
The bits are going to go in this plastic pot, | 0:02:01 | 0:02:03 | |
because they're all very small and very easily lost. | 0:02:03 | 0:02:06 | |
Come and just have a quick look at these. | 0:02:08 | 0:02:10 | |
These are tiny, tiny bits that I'm going to have to put together. | 0:02:10 | 0:02:13 | |
Look at the size of that bit. | 0:02:14 | 0:02:17 | |
See? | 0:02:18 | 0:02:20 | |
Now, I've got to be honest, I'm slightly out of my comfort zone, | 0:02:25 | 0:02:30 | |
because I've never done something like a telephone before | 0:02:30 | 0:02:32 | |
and I don't have an exploded diagram. | 0:02:32 | 0:02:34 | |
All I have is a circuit diagram. | 0:02:34 | 0:02:37 | |
That's it. | 0:02:38 | 0:02:40 | |
The rest of it is all down to instinct... | 0:02:40 | 0:02:44 | |
..luck. Who knows? | 0:02:45 | 0:02:48 | |
See that? That's the speaky-into bit, | 0:02:48 | 0:02:51 | |
so that must go on that end. | 0:02:51 | 0:02:54 | |
Obviously, once you've put the innards in. | 0:02:54 | 0:02:56 | |
'The receiver is also a transmitter. | 0:02:56 | 0:02:58 | |
'It uses electromagnetism to convert sound waves into a signal | 0:02:58 | 0:03:02 | |
'that can be transmitted to the person we're talking to | 0:03:02 | 0:03:05 | |
'and vice versa.' | 0:03:05 | 0:03:07 | |
I want to show you an amazing tool I've been lent, look at this. | 0:03:07 | 0:03:11 | |
It's a screwdriver with a sleeve on it. And when you slide | 0:03:11 | 0:03:15 | |
the sleeve along, the end of the screwdriver | 0:03:15 | 0:03:18 | |
becomes slightly smaller. But it's not quite that simple, | 0:03:18 | 0:03:20 | |
because if you look lengthways down it, | 0:03:20 | 0:03:23 | |
there are two separate overlapping blades. And what this means is... | 0:03:23 | 0:03:27 | |
The trouble with trying to do it with little screws is | 0:03:27 | 0:03:30 | |
they fall off the end of the screwdriver | 0:03:30 | 0:03:31 | |
and your fingers are too big to hold onto them. | 0:03:31 | 0:03:33 | |
So that would just drop off. | 0:03:33 | 0:03:35 | |
But if you put it on there and slide that along, the two blades | 0:03:35 | 0:03:38 | |
slide together, become very, very slightly thicker | 0:03:38 | 0:03:40 | |
and then hold the screw on. | 0:03:40 | 0:03:42 | |
Look at that, that is the most brilliant screwdriver | 0:03:42 | 0:03:45 | |
I've ever seen in my life. | 0:03:45 | 0:03:47 | |
I'll come up with a way of nicking it later. | 0:03:47 | 0:03:50 | |
So, having tightened that, if I retract the sleeve, | 0:03:57 | 0:04:01 | |
the screwdriver comes out. That is absolutely fabulous. | 0:04:01 | 0:04:04 | |
Now for some wires. | 0:04:04 | 0:04:06 | |
Now, I've worked out from the wiring diagram - | 0:04:09 | 0:04:12 | |
red, green and white are the three colours going to what would | 0:04:12 | 0:04:15 | |
appear to be the receiver. Red, green and white are what I have | 0:04:15 | 0:04:18 | |
on ye olde...um... | 0:04:18 | 0:04:22 | |
What do you call this bit on a telephone? | 0:04:22 | 0:04:25 | |
The...? What do you call this bit? The cord. | 0:04:25 | 0:04:27 | |
The cord, yes, thank you. | 0:04:27 | 0:04:29 | |
Now, that must go through that. | 0:04:29 | 0:04:32 | |
Special magic screwdriver into there. | 0:04:35 | 0:04:40 | |
Right, the diaphragm piece slides gently sideways. | 0:04:42 | 0:04:47 | |
The diaphragm is a very simplified version of the cone | 0:04:48 | 0:04:53 | |
in the speaker of your home hi-fi. | 0:04:53 | 0:04:55 | |
It simply vibrates and moves a greater volume of air, | 0:04:55 | 0:04:58 | |
so it makes more sound, | 0:04:58 | 0:05:00 | |
sound being just the air moving backwards and forwards. | 0:05:00 | 0:05:03 | |
That should screw on there. | 0:05:03 | 0:05:05 | |
Just before I put it in, this bit is the bit you speak into - | 0:05:11 | 0:05:15 | |
the microphone, if you like. | 0:05:15 | 0:05:16 | |
If you shake it, you can hear... | 0:05:16 | 0:05:18 | |
I'll shake it right next to the microphone. | 0:05:18 | 0:05:21 | |
Can you hear that little ch-ch-ch-ch-ch noise? | 0:05:21 | 0:05:23 | |
Can you hear that, sounds department? | 0:05:23 | 0:05:25 | |
That's...that is the sound of carbon granules inside there, | 0:05:25 | 0:05:28 | |
it's a way of making your voice clearer, | 0:05:28 | 0:05:30 | |
because your voice vibrates the diaphragm behind there. | 0:05:30 | 0:05:34 | |
That compresses and rarefies the mass of carbon crystals. | 0:05:34 | 0:05:38 | |
That changes their resistance, | 0:05:38 | 0:05:39 | |
which then gives you a clearer, better-defined signal | 0:05:39 | 0:05:43 | |
travelling down the wire to the person at the other end | 0:05:43 | 0:05:45 | |
and it will go in his or her ear there. | 0:05:45 | 0:05:48 | |
Now, that rests on a pin there, it's not hardwired in, | 0:05:49 | 0:05:52 | |
it sits on a pin which makes contact. | 0:05:52 | 0:05:54 | |
But that's so that you can easily take it out | 0:05:54 | 0:05:56 | |
and replace it, because these would wear out, | 0:05:56 | 0:05:58 | |
the carbon would become all clumped together, | 0:05:58 | 0:06:01 | |
especially in houses in the 1950s, cos they'd have been horribly damp. | 0:06:01 | 0:06:05 | |
Now, that's got to go to there so... | 0:06:05 | 0:06:09 | |
Clonk, clonk. | 0:06:10 | 0:06:12 | |
Hello, caller. | 0:06:14 | 0:06:16 | |
There you go. | 0:06:17 | 0:06:18 | |
We are 44 minutes into our attempt to reassemble | 0:06:18 | 0:06:22 | |
our 1957 Bakelite telephone with an internal cased bell | 0:06:22 | 0:06:26 | |
and we've a completed receiver. | 0:06:26 | 0:06:28 | |
The intricacies of the receiver, however, are nothing | 0:06:28 | 0:06:31 | |
compared with the next familiar part we have to rebuild - the dial. | 0:06:31 | 0:06:36 | |
Now, returning to the fantastic sweet shop of telephone componentry | 0:06:36 | 0:06:41 | |
with my special little pot, and I'm going to take the components | 0:06:41 | 0:06:44 | |
for the dial plate. | 0:06:44 | 0:06:47 | |
That...that...that brass backing piece | 0:06:47 | 0:06:53 | |
and two tiny, tiny little screws. | 0:06:53 | 0:06:54 | |
That's not a great deal of stuff, but I think it's going to be | 0:06:54 | 0:06:57 | |
quite fiddly to put together, so let's not be over ambitious. | 0:06:57 | 0:07:00 | |
The reason I wanted to make a bit of a thing about the dial plate, | 0:07:00 | 0:07:05 | |
to be honest, is because those of us over a certain age. | 0:07:05 | 0:07:09 | |
I hate having to admit to this, cos it does make me sound very old, | 0:07:09 | 0:07:12 | |
but we do remember a time when most of us | 0:07:12 | 0:07:14 | |
did spend our lives dialling by putting our fingers in holes, | 0:07:14 | 0:07:18 | |
turning the dial and letting it go rrrr back to the beginning. | 0:07:18 | 0:07:22 | |
On the off chance that there is anyone | 0:07:22 | 0:07:24 | |
born after 1990 watching this show, | 0:07:24 | 0:07:26 | |
here's some Americans to tell you how to use a dial telephone. | 0:07:26 | 0:07:30 | |
Before calling any number, first secure the number | 0:07:30 | 0:07:33 | |
from your new directory, then remove the receiver | 0:07:33 | 0:07:36 | |
and listen for the dial tone. It sounds like this. | 0:07:36 | 0:07:38 | |
BUZZ | 0:07:38 | 0:07:41 | |
Dial each numeral in this manner, pulling the dial around | 0:07:41 | 0:07:45 | |
to the finger stop each time. | 0:07:45 | 0:07:46 | |
Be sure to allow the dial to freely return | 0:07:46 | 0:07:49 | |
to its normal position. And this is the ringing signal. | 0:07:49 | 0:07:52 | |
PHONE RINGS | 0:07:52 | 0:07:54 | |
PHONE RINGS | 0:07:56 | 0:07:59 | |
'Meanwhile, back in the 21st century...' | 0:07:59 | 0:08:01 | |
I am starving, but once this is back together, | 0:08:01 | 0:08:03 | |
I can ring up for a pizza. | 0:08:03 | 0:08:05 | |
Well, they didn't have pizza in those days, did they? | 0:08:06 | 0:08:09 | |
I'd have rung up for some boiled beef and carrots. | 0:08:09 | 0:08:11 | |
Those are... | 0:08:11 | 0:08:12 | |
-PRODUCER: -You're actually building a time machine. | 0:08:12 | 0:08:15 | |
Well, you sort of are. You say that... | 0:08:15 | 0:08:17 | |
If we get this thing working, | 0:08:17 | 0:08:18 | |
I'll probably be able to speak to my departed ancestors on it. | 0:08:18 | 0:08:22 | |
It's one of the things I always used to find very creepy about telephones | 0:08:24 | 0:08:28 | |
when I was a child, because I thought | 0:08:28 | 0:08:29 | |
everything that had ever been said in them was still in them. | 0:08:29 | 0:08:32 | |
CREW SNIGGER | 0:08:32 | 0:08:35 | |
So, I couldn't understand how all those people fitted | 0:08:35 | 0:08:37 | |
in the television either. | 0:08:37 | 0:08:38 | |
I was only about three. | 0:08:38 | 0:08:41 | |
Let's all go and collect some more components, | 0:08:41 | 0:08:43 | |
I think we'll do the other side of the dial | 0:08:43 | 0:08:45 | |
which starts to get very tricky. | 0:08:45 | 0:08:47 | |
Right, I'm going to continue my tireless work on the dial, | 0:08:50 | 0:08:54 | |
which will involve this large plate onto which everything goes, | 0:08:54 | 0:08:59 | |
one way or another, I think. Um, these lovely little brass bits. | 0:08:59 | 0:09:05 | |
Everything is very beautifully made in this, it must be said. | 0:09:05 | 0:09:08 | |
A spring, I think that should do, | 0:09:10 | 0:09:14 | |
that should do us for several hours, I should think. | 0:09:14 | 0:09:17 | |
The first challenge is to build the mechanism | 0:09:19 | 0:09:21 | |
that controls the dial. | 0:09:21 | 0:09:23 | |
That's a cheese-head screw, parallel-sided, | 0:09:23 | 0:09:27 | |
it's got, like, a wheel, a cheese shape on the top. | 0:09:27 | 0:09:30 | |
And that hole there is quite clearly made to accommodate that. | 0:09:30 | 0:09:34 | |
So, that's...that's a bit of a clue to start with. | 0:09:34 | 0:09:36 | |
And that diameter quite clearly passes through that one. | 0:09:36 | 0:09:42 | |
Right, so the spring... | 0:09:48 | 0:09:51 | |
I do like a good spring. | 0:09:53 | 0:09:55 | |
It's a lovely spring. | 0:09:56 | 0:09:58 | |
Lose concentration for a millionth of a second | 0:09:59 | 0:10:03 | |
and the noise you'll hear will be - ping! | 0:10:03 | 0:10:05 | |
That's all you'll hear and then there will be nothing there. | 0:10:05 | 0:10:08 | |
This will be a quantum event - there will be a spring there | 0:10:08 | 0:10:10 | |
and then there won't be a spring there. | 0:10:10 | 0:10:12 | |
There will be no discernible spring making it's way from here | 0:10:12 | 0:10:15 | |
to over there. | 0:10:15 | 0:10:16 | |
It'll just be PING and it will... | 0:10:16 | 0:10:18 | |
it won't be there any more. | 0:10:18 | 0:10:19 | |
I've done it. That spring will go in there. | 0:10:19 | 0:10:22 | |
It'll stay in there forever now, coiled in the darkness, | 0:10:22 | 0:10:26 | |
waiting to respond to the eager fingers of young lovers | 0:10:26 | 0:10:30 | |
and businessmen trying to close deal. | 0:10:30 | 0:10:32 | |
I am just a spring, but I'm here to serve you | 0:10:32 | 0:10:35 | |
by returning that dial to the beginning, | 0:10:35 | 0:10:37 | |
so you can put another number in. | 0:10:37 | 0:10:39 | |
So, if I hold that with my fingers and they line up... | 0:10:39 | 0:10:43 | |
It's extremely nicely made to very close tolerances, | 0:10:45 | 0:10:48 | |
but it would have to be, wouldn't it? | 0:10:48 | 0:10:50 | |
I haven't got the nut on the other end, but you can already see | 0:10:50 | 0:10:53 | |
that's...that's ready to return. | 0:10:53 | 0:10:57 | |
It's exciting, isn't it? | 0:10:57 | 0:10:58 | |
And now that. But I'm not sure how I know what position | 0:10:58 | 0:11:00 | |
that should go in. Maybe it doesn't matter. | 0:11:00 | 0:11:03 | |
Well, it can't matter, because otherwise... | 0:11:04 | 0:11:06 | |
I can tell by the way this thing is made, | 0:11:06 | 0:11:08 | |
if it did matter, they would've made sure I got it in the right position. | 0:11:08 | 0:11:11 | |
That's what the Japanese would call poka-yoke, | 0:11:13 | 0:11:15 | |
i.e. Fool-proofing - making sure something will only go together | 0:11:15 | 0:11:18 | |
the right way. | 0:11:18 | 0:11:19 | |
Thus... | 0:11:23 | 0:11:25 | |
So, that is free to pivot. | 0:11:25 | 0:11:27 | |
Watch the little rubber bit as I dial, | 0:11:27 | 0:11:30 | |
then as that comes back... | 0:11:30 | 0:11:32 | |
It's something to do with the pulsing, | 0:11:34 | 0:11:36 | |
because it's got a slot for every number. | 0:11:36 | 0:11:38 | |
Right, shall we get some more bits? | 0:11:38 | 0:11:40 | |
We are one hour and 32 minutes into the reassembly, | 0:11:42 | 0:11:46 | |
and as well as the receiver and the face of the dial itself, | 0:11:46 | 0:11:49 | |
half the mechanism that controls it has been built, | 0:11:49 | 0:11:52 | |
including the spring that ensures the dial snaps back into position | 0:11:52 | 0:11:55 | |
when being used. | 0:11:55 | 0:11:56 | |
But now it's time to delve into the dark mechanical secrets | 0:11:56 | 0:12:00 | |
that lurk behind the innocent dial of the antique telephone. | 0:12:00 | 0:12:04 | |
Now, this.... I know because I've seen something like this before. | 0:12:04 | 0:12:08 | |
This is a... It's a governor. It's going to slow down the dial | 0:12:08 | 0:12:12 | |
as it goes back, cos that will spin very, very quickly. | 0:12:12 | 0:12:15 | |
Those two weights will be thrown out and will rub on the inside | 0:12:15 | 0:12:19 | |
of that little cylinder | 0:12:19 | 0:12:20 | |
and that will retard, I imagine, | 0:12:20 | 0:12:23 | |
the return of the dial. | 0:12:23 | 0:12:26 | |
We would take the governor and the governor... | 0:12:26 | 0:12:30 | |
I don't know what you actually call that one, | 0:12:30 | 0:12:32 | |
I'm going to call it the governor pot... | 0:12:32 | 0:12:34 | |
..and offer that up to the bearing. | 0:12:36 | 0:12:40 | |
Offer it up is one of those things you see in old instruction manuals | 0:12:40 | 0:12:45 | |
and technical books. | 0:12:45 | 0:12:46 | |
Offer it up means line it up with and get it roughly | 0:12:46 | 0:12:50 | |
in the right position. | 0:12:50 | 0:12:52 | |
Where's the camera gone? Oh, yeah. | 0:12:52 | 0:12:55 | |
Get it roughly in the right position. | 0:12:55 | 0:12:57 | |
But we're not talking about anything permanent yet. | 0:12:57 | 0:12:59 | |
It's not... It's an offer, it is just an offer. | 0:12:59 | 0:13:01 | |
It's not a contract. You offer it up and then you sign the contract | 0:13:01 | 0:13:04 | |
with the screws or whatever holds it permanently in place. | 0:13:04 | 0:13:07 | |
And so I will offer it up to the camera. | 0:13:07 | 0:13:10 | |
Here's our little governor whizzing round and round. | 0:13:10 | 0:13:12 | |
That will eventually be engaged... | 0:13:12 | 0:13:16 | |
engaged with the... I don't really want to call them the teeth, | 0:13:16 | 0:13:20 | |
they're more like pallets on the bottom of that fibre arrangement. | 0:13:20 | 0:13:25 | |
Now, having offered that up, I'm going to offer up the little screws | 0:13:25 | 0:13:29 | |
and washers that hold that plate in place. | 0:13:29 | 0:13:31 | |
Smashing. | 0:13:46 | 0:13:49 | |
It is rather beautiful, it must be said. | 0:13:51 | 0:13:53 | |
There's a little clutch inside that fibre wheel arrangement. | 0:13:56 | 0:14:00 | |
That's fantastic, isn't it? | 0:14:00 | 0:14:02 | |
So, young people, observe. | 0:14:12 | 0:14:14 | |
In the olden days, our telephone number at home was... | 0:14:14 | 0:14:17 | |
Er...01709 37323. | 0:14:20 | 0:14:24 | |
So, let's dial that. | 0:14:24 | 0:14:26 | |
0...1...7... | 0:14:26 | 0:14:32 | |
0...9...3...7... | 0:14:32 | 0:14:39 | |
3...2...3. | 0:14:39 | 0:14:43 | |
That's one number. I mean, it's just agony. | 0:14:43 | 0:14:45 | |
And often sometimes it would be a bit like filling up your car | 0:14:45 | 0:14:48 | |
with petrol, you'd think, "I'll ring Cookie. | 0:14:48 | 0:14:50 | |
"I wonder if he wants to come out to the pub | 0:14:50 | 0:14:52 | |
"I'll ring... Oh, I can't be bothered." You'd give up. | 0:14:52 | 0:14:56 | |
See, the numbers got gradually bigger over the years, | 0:14:56 | 0:14:58 | |
because they had to add an extra number to the number | 0:14:58 | 0:15:01 | |
for the house, then an extra number to the code | 0:15:01 | 0:15:04 | |
and then another extra number to the code, | 0:15:04 | 0:15:06 | |
because nobody ever anticipated how many telephones there would be, | 0:15:06 | 0:15:09 | |
and they're still getting it wrong with mobile phones. | 0:15:09 | 0:15:11 | |
But then again, when the telephone was a new invention, | 0:15:11 | 0:15:14 | |
Graham Bell said it was such a good idea that eventually | 0:15:14 | 0:15:17 | |
every town would have one. | 0:15:17 | 0:15:19 | |
The mayor of London speaking. | 0:15:21 | 0:15:23 | |
The mayor of London, Ontario, speaking | 0:15:23 | 0:15:25 | |
to the lord mayor of London, England. | 0:15:25 | 0:15:26 | |
This little conversation was arranged | 0:15:26 | 0:15:28 | |
by the enterprising GPO to mark the installation | 0:15:28 | 0:15:30 | |
of the millionth telephone | 0:15:30 | 0:15:32 | |
of the London Telephone Service, London, England, that is. | 0:15:32 | 0:15:34 | |
By the mid-1930s, a mere 60 years after the first telephone call, | 0:15:34 | 0:15:39 | |
the telephone had taken over. | 0:15:39 | 0:15:41 | |
We could call places thousands of miles away | 0:15:41 | 0:15:43 | |
and our voices were carried through miles | 0:15:43 | 0:15:46 | |
of telephone exchange systems switchboards | 0:15:46 | 0:15:48 | |
throughout the world. | 0:15:48 | 0:15:49 | |
Hello, London. Hello, London. Havana, we are ready. | 0:15:49 | 0:15:52 | |
The sheer volume of calls was often overwhelming, | 0:15:52 | 0:15:55 | |
but operators came up with some ingenious ways | 0:15:55 | 0:15:57 | |
of speeding things along. | 0:15:57 | 0:15:59 | |
Hello, Buenos Aires. Hello, Buenos Aires. | 0:16:00 | 0:16:03 | |
I'm not a believer that the olden days | 0:16:03 | 0:16:05 | |
were better than the modern world - I think it's complete nonsense. | 0:16:05 | 0:16:08 | |
There are only two things I've ever identified | 0:16:08 | 0:16:10 | |
that genuinely were better in the past, | 0:16:10 | 0:16:12 | |
and those are electric kettles, | 0:16:12 | 0:16:15 | |
because they just break after 15 minutes these days, | 0:16:15 | 0:16:18 | |
and American pick-up trucks, | 0:16:18 | 0:16:19 | |
which were better looking in the '70s. | 0:16:19 | 0:16:22 | |
But something else I may have to admit, | 0:16:22 | 0:16:26 | |
something that was consistently of extremely high quality | 0:16:26 | 0:16:30 | |
was small fixings. | 0:16:30 | 0:16:33 | |
These things are just...they're absolutely gorgeous. | 0:16:33 | 0:16:36 | |
They're just...they're beautifully made. | 0:16:36 | 0:16:39 | |
Two hours and 49 minutes in, | 0:16:41 | 0:16:43 | |
and I have reassembled the receiver and the dial - | 0:16:43 | 0:16:46 | |
that's the mouth, ears and heart of the phone. | 0:16:46 | 0:16:50 | |
But now we're going to look at the brains of the machine - | 0:16:50 | 0:16:52 | |
that is the chassis. | 0:16:52 | 0:16:53 | |
This is where all the electrical shenanigans goes on | 0:16:53 | 0:16:57 | |
and where the telephone is made | 0:16:57 | 0:16:58 | |
to live, if you like, | 0:16:58 | 0:17:00 | |
where its soul dwells. | 0:17:00 | 0:17:03 | |
If Rene Descartes had anything to do with telephones, | 0:17:03 | 0:17:05 | |
he would've said this was its...this was its whatsit gland. | 0:17:05 | 0:17:09 | |
Right... | 0:17:09 | 0:17:11 | |
Now, it is time for a little bit of a confession | 0:17:13 | 0:17:15 | |
because all those bits that I've just collected, | 0:17:15 | 0:17:18 | |
this is actually only half of the story. | 0:17:18 | 0:17:20 | |
We have this going here, | 0:17:20 | 0:17:22 | |
there's that to go inside some wires, | 0:17:22 | 0:17:24 | |
this bit, | 0:17:24 | 0:17:26 | |
this which goes up here and will eventually be screwed on | 0:17:26 | 0:17:30 | |
and capacitors and little transformers and all the rest of it. | 0:17:30 | 0:17:34 | |
But the honest truth is there is also a huge amount of wiring | 0:17:34 | 0:17:40 | |
that's all bundled up under there, | 0:17:40 | 0:17:42 | |
lots and lots of minute soldering. | 0:17:42 | 0:17:43 | |
It's reckoned by the telephone experts that I've talked to | 0:17:43 | 0:17:46 | |
that the process of putting this together could take up to two days. | 0:17:46 | 0:17:51 | |
So, for the first and only time in this series - | 0:17:51 | 0:17:54 | |
possibly even in my life - | 0:17:54 | 0:17:56 | |
I am able to say... | 0:17:56 | 0:17:57 | |
Here's one we prepared earlier. | 0:17:57 | 0:18:01 | |
And I'd just like to point out... | 0:18:03 | 0:18:04 | |
I mean, I...I mean I believe I could do this, of course, | 0:18:04 | 0:18:07 | |
but no-one else is prepared to let me try. | 0:18:07 | 0:18:10 | |
There's a huge amount... Look at that under there. | 0:18:10 | 0:18:13 | |
This is what the world was like before we had microprocessors. | 0:18:13 | 0:18:17 | |
Every single connection, every little on and off | 0:18:17 | 0:18:21 | |
was a separate wire, a separate switch, | 0:18:21 | 0:18:24 | |
an actual physical thing. | 0:18:24 | 0:18:27 | |
That's what all that is. | 0:18:27 | 0:18:29 | |
And this is just one telephone. | 0:18:29 | 0:18:30 | |
And all this telephone does is dial numbers - | 0:18:30 | 0:18:33 | |
that's all it does. | 0:18:33 | 0:18:34 | |
Let's get some more bits. | 0:18:38 | 0:18:39 | |
Some of you will be saying, | 0:18:41 | 0:18:42 | |
"I wish they'd do the whole series like that," | 0:18:42 | 0:18:44 | |
I know, but tough luck. | 0:18:44 | 0:18:45 | |
Now we shall attach the dial cord | 0:18:48 | 0:18:52 | |
which is that bit, | 0:18:52 | 0:18:53 | |
plus the dial cord fixing screws and so on. | 0:18:53 | 0:18:57 | |
But never mind that - | 0:18:57 | 0:18:59 | |
most excitingly, we can fit...the bells. | 0:18:59 | 0:19:03 | |
Now, it's interesting that the two bells - | 0:19:09 | 0:19:11 | |
I wonder if I can demonstrate this - | 0:19:11 | 0:19:13 | |
are slightly different | 0:19:13 | 0:19:15 | |
because that's what gives a British telephone... | 0:19:15 | 0:19:17 | |
BELL DINGS | 0:19:17 | 0:19:20 | |
..its characteristic rather warm and unaggressive ring. | 0:19:20 | 0:19:25 | |
Also we have the...the rhythm, "Dring-dring, dring-dring" | 0:19:25 | 0:19:31 | |
whereas the Americans - you'll know this from films - | 0:19:31 | 0:19:33 | |
have "Drrrrring..." | 0:19:33 | 0:19:35 | |
"..drrrrring." | 0:19:37 | 0:19:40 | |
The British ring is better, obviously. | 0:19:40 | 0:19:43 | |
BELLS RING | 0:19:44 | 0:19:47 | |
It is weird. I haven't... | 0:19:47 | 0:19:50 | |
I haven't heard those two tones for many, many years, | 0:19:50 | 0:19:54 | |
but it does take me back. | 0:19:54 | 0:19:55 | |
A bit like meeting a kid with mumps. | 0:19:57 | 0:19:59 | |
THEY CHUCKLE | 0:20:01 | 0:20:06 | |
'And while you reminisce about mid-20th century childhood ailments, | 0:20:11 | 0:20:15 | |
'I have a dial cord to attach.' | 0:20:15 | 0:20:17 | |
Beautiful, marvellous. | 0:20:20 | 0:20:22 | |
What you're actually looking at there is a telephone - | 0:20:22 | 0:20:25 | |
that is all the functioning stuff, | 0:20:25 | 0:20:27 | |
it just doesn't look like a telephone yet | 0:20:27 | 0:20:29 | |
because it's not in a telephone case. | 0:20:29 | 0:20:31 | |
And let's not forget this was | 0:20:31 | 0:20:33 | |
the first GPO British domestic provided Bakelite telephone | 0:20:33 | 0:20:37 | |
with an internal bell | 0:20:37 | 0:20:38 | |
so let's internalise the bell. | 0:20:38 | 0:20:41 | |
Out of habit, I've brought my little sweet box thing along, | 0:20:42 | 0:20:46 | |
but actually, all I'm looking for | 0:20:46 | 0:20:48 | |
is the two little - I don't even know what they're called - | 0:20:48 | 0:20:50 | |
the little plungy plip plip plip things, and the... | 0:20:50 | 0:20:53 | |
There you go. | 0:20:55 | 0:20:56 | |
This is from the '50s, | 0:20:59 | 0:21:00 | |
and, I don't know, declarations of love | 0:21:00 | 0:21:03 | |
would've been made down this thing | 0:21:03 | 0:21:05 | |
by people who have since turned to dust, | 0:21:05 | 0:21:07 | |
so it's a bit haunted. | 0:21:07 | 0:21:09 | |
You can imagine they said, "I know your wife's going to find out, | 0:21:09 | 0:21:12 | |
"but I love you." | 0:21:12 | 0:21:14 | |
He's dead, so's she, so's the wife - none of it matters. | 0:21:14 | 0:21:18 | |
The poet Larkin said the only thing that would survive of us is love, | 0:21:18 | 0:21:21 | |
but actually, he was wrong, it's the Bakelite telephone - | 0:21:21 | 0:21:24 | |
it would survive the nuclear winter. | 0:21:24 | 0:21:26 | |
Sorry, forgot my sweet pot. | 0:21:28 | 0:21:30 | |
'We're four hours and 41 minutes into the build, | 0:21:34 | 0:21:37 | |
'and a phone is starting to emerge. | 0:21:37 | 0:21:39 | |
'There's a receiver, a dial, complete with mechanism, | 0:21:39 | 0:21:42 | |
'electrics, bell and case. | 0:21:42 | 0:21:45 | |
'Marvellous.' | 0:21:45 | 0:21:46 | |
Ee-erh! | 0:21:46 | 0:21:48 | |
Now, what I'll do next is put the dial on. | 0:21:49 | 0:21:51 | |
I'm going to have to look at the wiring diagram... | 0:21:51 | 0:21:53 | |
..to remember the order in which those wires connect | 0:21:56 | 0:21:59 | |
to the tiny little contacts on the back of the dial. | 0:21:59 | 0:22:02 | |
And the order goes orange, pink, brown, slate grey, blue. | 0:22:02 | 0:22:07 | |
Orange, pink, brown, slate grey, blue - | 0:22:08 | 0:22:11 | |
that's exactly what we've got. | 0:22:11 | 0:22:13 | |
Now, these are some of the smallest screws in the telephone. | 0:22:13 | 0:22:16 | |
Look. Tiny little screw. | 0:22:16 | 0:22:18 | |
And the screw's a remarkable thing, actually, isn't it? | 0:22:20 | 0:22:22 | |
Shall we think about screws for a minute? The thread form. | 0:22:22 | 0:22:25 | |
That goes all the way back to Archimedes. | 0:22:25 | 0:22:27 | |
But it's one thing we haven't managed to shake off - | 0:22:30 | 0:22:32 | |
we still depend on them. | 0:22:32 | 0:22:33 | |
They attach things together, they make things move in proportion. | 0:22:33 | 0:22:37 | |
Shall I put them in? | 0:22:37 | 0:22:38 | |
'It's only now, after five hours, | 0:22:38 | 0:22:41 | |
'that the 211 separate, mostly minuscule components | 0:22:41 | 0:22:45 | |
'that I started with | 0:22:45 | 0:22:46 | |
'have turned into something reassuringly phone-shaped.' | 0:22:46 | 0:22:50 | |
Quite satisfying. | 0:22:50 | 0:22:52 | |
I'll be honest, | 0:22:52 | 0:22:53 | |
I find that many of the troubles of the world disappear | 0:22:53 | 0:22:57 | |
as I do up a very, very small screw. | 0:22:57 | 0:23:00 | |
There you are, you see. | 0:23:02 | 0:23:03 | |
For five glorious, blissful minutes while I did that, | 0:23:03 | 0:23:06 | |
I'd completely forgotten that my missus left me last night. | 0:23:06 | 0:23:09 | |
LAUGHING: She...she hasn't actually, | 0:23:12 | 0:23:14 | |
but, I mean, I'm always slightly surprised when she's still there. | 0:23:14 | 0:23:19 | |
Now, this, I think, if I've got this right, | 0:23:19 | 0:23:21 | |
these two little... I don't... | 0:23:21 | 0:23:23 | |
I'm not even sure what I would call those. | 0:23:23 | 0:23:25 | |
Are they tabs? | 0:23:25 | 0:23:26 | |
They will go through those slight cut outs in the Bakelite, | 0:23:26 | 0:23:31 | |
and then I will give it a little bit of a turn | 0:23:31 | 0:23:34 | |
and that will lock it in place behind that edge, | 0:23:34 | 0:23:36 | |
and I will put the screw in, the awkward screw from the bottom | 0:23:36 | 0:23:42 | |
and that will be the dial in. | 0:23:42 | 0:23:45 | |
Yeah, you see, that's locked into place, | 0:23:45 | 0:23:46 | |
but we've got to put that little screw in. | 0:23:46 | 0:23:49 | |
Right, I'm expected to get a screw... | 0:23:57 | 0:24:01 | |
That's very awkward, | 0:24:01 | 0:24:02 | |
and the magic screwdriver may not help me here. | 0:24:02 | 0:24:05 | |
It's very dark...inside the 1950s. | 0:24:08 | 0:24:11 | |
Hang on, I need a torch. | 0:24:11 | 0:24:12 | |
Ah, there you go. | 0:24:17 | 0:24:18 | |
Oh, Mistress Irony. | 0:24:26 | 0:24:27 | |
See, imagine if you'd approached Alexander Graham Bell and said, | 0:24:28 | 0:24:34 | |
"Your telephone's brilliant, mate, but I think it needs a torch on it." | 0:24:34 | 0:24:37 | |
I mean you'd...people would've said you were mad. | 0:24:37 | 0:24:39 | |
I think we're in the position... | 0:24:39 | 0:24:41 | |
We're very, very close to telephone closure here. | 0:24:41 | 0:24:45 | |
We can put the base on. | 0:24:45 | 0:24:48 | |
So, those are the feet. | 0:24:51 | 0:24:52 | |
And then the base itself, and I've just noticed - | 0:24:55 | 0:24:58 | |
I don't know why I didn't see this before - | 0:24:58 | 0:25:00 | |
but there's a much, much better wiring diagram for the telephone | 0:25:00 | 0:25:04 | |
actually on the telephone. | 0:25:04 | 0:25:06 | |
It's much clearer. Yeah, it just makes perfect sense. | 0:25:06 | 0:25:09 | |
Now, we're almost there, | 0:25:33 | 0:25:36 | |
but that has to go on. | 0:25:36 | 0:25:39 | |
'After six hours and 37 minutes, this reassembly is almost finished. | 0:25:39 | 0:25:45 | |
'The 1957 GPO Bakelite telephone with internal bell | 0:25:45 | 0:25:49 | |
'will soon be complete. | 0:25:49 | 0:25:51 | |
'Standby, caller.' | 0:25:51 | 0:25:52 | |
Now I've got a little bit of telephone trivia for you, | 0:25:52 | 0:25:55 | |
if you're interested, about the 999 emergency number, | 0:25:55 | 0:25:59 | |
which is written on this little piece of cardboard | 0:25:59 | 0:26:01 | |
that goes on the front of the dial. | 0:26:01 | 0:26:03 | |
And the reason it's 999 is not as a lot of people imagine | 0:26:03 | 0:26:08 | |
because in the dark you can put your two fingers on the dial | 0:26:08 | 0:26:11 | |
and find the nine. | 0:26:11 | 0:26:12 | |
That's a silly theory cos you could just as easily find the zero. | 0:26:12 | 0:26:15 | |
The reason is the telephone works | 0:26:15 | 0:26:18 | |
by sending a series of pulses down the line. | 0:26:18 | 0:26:21 | |
That's three pulses for the number three. | 0:26:21 | 0:26:24 | |
The problem with it is | 0:26:24 | 0:26:25 | |
telephone exchanges would take a while to wake up, | 0:26:25 | 0:26:28 | |
they couldn't wake up with just a one. | 0:26:28 | 0:26:30 | |
They needed a big number like zero | 0:26:30 | 0:26:33 | |
which is why most telephone numbers | 0:26:33 | 0:26:35 | |
began with a zero - that's one problem. | 0:26:35 | 0:26:37 | |
The other problem is that the early telephone lines | 0:26:37 | 0:26:39 | |
were suspended through the air | 0:26:39 | 0:26:41 | |
and if they touched each other, that sent a pulse down the line, | 0:26:41 | 0:26:44 | |
and on windy days, they would occasionally touch | 0:26:44 | 0:26:46 | |
and you'd get a single pulse down the line. | 0:26:46 | 0:26:48 | |
There was a very good chance that you could get | 0:26:48 | 0:26:50 | |
three of those in succession | 0:26:50 | 0:26:52 | |
which would give you 111, | 0:26:52 | 0:26:53 | |
and if you'd made 111 the emergency dialling number, | 0:26:53 | 0:26:57 | |
that would happen by accident all the time. | 0:26:57 | 0:26:59 | |
By making it 999, the chances of you getting | 0:26:59 | 0:27:02 | |
three bursts of nine collisions of wires | 0:27:02 | 0:27:05 | |
are, you know, just billions and billions to one, | 0:27:05 | 0:27:08 | |
so it wouldn't happen accidentally. | 0:27:08 | 0:27:09 | |
That is why we have 999 as the emergency number. | 0:27:09 | 0:27:14 | |
Here is the small piece of... | 0:27:15 | 0:27:17 | |
I imagine that's cellulose acetate or something like that, | 0:27:17 | 0:27:20 | |
with its locating pin at the bottom | 0:27:20 | 0:27:23 | |
so you can't put this perfectly blank circular piece of stuff in | 0:27:23 | 0:27:26 | |
in the wrong position. | 0:27:26 | 0:27:28 | |
It only has a wrong position as a result of having the device | 0:27:28 | 0:27:31 | |
to make sure you put it in the right position. | 0:27:31 | 0:27:32 | |
The 1957 GPO-supplied British domestic Bakelite telephone | 0:27:38 | 0:27:43 | |
with an internal bell. | 0:27:43 | 0:27:45 | |
The weird thing is that when this was new, | 0:27:46 | 0:27:48 | |
this would've been a miracle of technology, | 0:27:48 | 0:27:51 | |
a marvel of manufacturing | 0:27:51 | 0:27:52 | |
because of all those small bits in it. | 0:27:52 | 0:27:54 | |
Now it's old, the thing we like about it is the way it looks, | 0:27:54 | 0:27:58 | |
not the way it works. | 0:27:58 | 0:27:59 | |
Yes, it's part of the history of art and design. | 0:27:59 | 0:28:02 | |
It is part of the history of technology as well, | 0:28:02 | 0:28:04 | |
but old technology is useless. | 0:28:04 | 0:28:07 | |
Old art and design is still interesting. | 0:28:07 | 0:28:10 | |
Shall we plug it in and see if it works? | 0:28:10 | 0:28:11 | |
TELEPHONE RINGS | 0:28:33 | 0:28:36 | |
Will somebody get that? | 0:28:41 | 0:28:42 | |
TELEPHONE CONTINUES TO RING | 0:28:42 | 0:28:45 |