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This is one of countless examples of the Western
Electric Model 500 telephone.

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Originally introduced in 1950, this telephone
in its many colors and variants was used in

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pretty much every household and business in
the United States well into and past the 1980s.

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See, until the 1984 divestiture of the Bell
system, no one owned their telephones.

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They were the property of the telephone company
and were leased to the customer.

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Western Electric was a wholly owned subsidiary
of the American Telephone & Telegraph company,

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with AT&T enjoying a monopoly as THE telephone
company for the entire united states throughout

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much of the 20th century.

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So, this phone in every sense belonged to
the phone company.

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The Model 500 telephone, along with the wall-mounted
Model 554, is an iconic design by the firm

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of Henry Dreyfuss, a prolific designer whose
focus on ergonomics shaped much of the mid

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20th century.

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One of its most recognizable features is its
ring.

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If your smartphone has an old phone option,
it could very well be a recording of one of these phones.

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[Telephone rings]

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When touch-tone service
was first introduced in 1963, the Model 500

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was altered into the Model 1500, replacing
the rotary dial with an array of buttons.

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In 1968, the Model 1500 was further refined
into the Model 2500, which added the star

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key and the hasht…

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[hacking cough]

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...excuse
me,

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pound key.

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You see children, before the advent of the
touch-tone dialing system, telephones used

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a rotary dial.

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By repeatedly interrupting the phone’s connection
with the phone line, through a process called

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pulse dialing, mechanically driven switching
equipment would create an actual circuit between

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one telephone and another possibly hundreds
of miles away.

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To use this dial, the finger is inserted to
the hole corresponding to the number desired,

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and the dial is dragged to the finger stop.

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When the finger is removed from the dial,
it returns to its original position, creating

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a corresponding number of pulses as it travels.

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Smaller numbers were faster to dial, which
is a large part of why big US cities have

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area codes consisting of small numbers, with
New York being 212, Chicago 312, and Los Angeles

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213.

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Poor Honolulu was late to the party, getting
the terribly long-winded 808.

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[sound of dial]

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Anyway, the model 1500 and 2500 did feature
an altered faceplate to accommodate the push

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buttons, but almost everything else stayed
the same.

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Ignoring this model’s added modular connection
between the handset and wall cord, everything

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from the cradle back is exactly the same.

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Take a look at the bottom and you’ll see
it’s almost identical.

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And of course, the ringer stayed pretty much
unchanged.

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[Telephone rings]

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These phones were designed to be in service
for decades, and as such they are among the

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most robust objects in the home.

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Each and every one had to withstand at least one of
these;

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“Oh yeah?

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Well have a nice day to you to!”

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[bells
ring from the violent replacement of the handset]

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Sometimes they’d even have to endure one
of these.

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That pretty much sums up why these were in
service so long--they were robust, they worked,

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and were easy to repair.

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Their modular construction meant each component
was easy to replace, and since there were

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millions of the same phone in service, every
telephone technician would be intimately familiar

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with what could go wrong and how to fix it.

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The phone was so reliable, though, that they
didn’t often need repair.

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Sitting at the back are a pair of bells.

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These are what make the distinctive ring,
with the pitch interval between them a delightful

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major third. [bells struck manually]

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There’s a striker
sitting right next to one bell, and a good

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distance from the other.

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When it receives a phone call, the roughly
20 hz, 90 volt electricity that drives the

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ringer will energize this solenoid and repeatedly
pull the striker into this bell, and push

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it into the other.

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The farther bell can be moved with the help
of a thumbwheel on the bottom, and this adjusts

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the volume of the ringer.

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Less distance between the bells restricts
the movement of the striker, which makes the

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ring softer.

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Even when switching to the touch tone keypad,
the interior construction of the phone was

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virtually the same.

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Take a look at the ringer, and it’s got
the same bells and the same striker, though

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there is a slight pitch variance between each
phone.

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[bells struck manually--the second phone is
slightly lower pitched]

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This example ditched

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the all-metal construction for some cheaper
plastic components, and the bracket the bells

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rest on was broken and needed repair.

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Nevertheless, you can see that much of the
design in these telephones is the same, with

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the exception of the keypad / dial and the
network electronics.

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Being a fixture of American life for so long
means these phones made their way into countless

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movies and television shows.

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[ROB: Boy I sure hate to let Maria down like
this]

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[BIALYSTOCK: Go to desk.

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Answer telephone.

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‘Bialystock and Bloom?

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Bialystock and Bloom?’]

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[MAN HOLDING PHONE: Mr Chambers?

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Kevin Harkins]

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[COACH: I better give ‘em
a call and find out what this is all about]

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[KITTY (sarcastically): I need to work on
my attitude.

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Bye, then!]

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Since the phones were so ubiquitous, any television
show or movie made between 1950 and 1984 and

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beyond in which a character answers a telephone
call is gonna have one of these phones ring.

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[JACK: Backup crew has to set up the guest
list, and

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(telephone rings) the hotel room.

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Swigert.

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Yeah]

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[Telephone rings]

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[MARGE: Hello?]

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[MIKE: Yeah,

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eh, is this Marge?]

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[PETER: You gonna answer that?]

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[Telephone rings]

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[JANINE (under her breath): I’ve quite better jobs than this.

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Ghostbusters, whaddya want?]

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[SAM: I’m fine]

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[Telephone rings]

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[COACH:
Cheers.]

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[Telephone rings]

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[JOHN: Studio 6.]

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[TONY: We got a green light]

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These were in service long after 1984, in
fact this model 500 is marked 1988, and was

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originally the property of Saskatchewan Tel.

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Apparently it took a while for Saskatchewan
to get onboard with touch-tone dialing.

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It’s very possible, though, that this phone
is actually much older, and was sold to Sasktel

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and refurbished, with the manufacturer being
ITT and not Western Electric.

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Regardless, even into the nineties, these
phones were common at home, and in the movies, too.

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Now before you call up and complain that “there
was also the princess phone and the trimline phone!”

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I recognize the existence of all these variants
and others.

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However, the Model 500 in its original desk
phone configuration was by FAR the most common

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telephone, and thus we’re just gonna ignore
the specialty phones for now.

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Anyway, back to the ring.

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If you’re producing a TV show or movie,
and you need a phone to ring, there are a

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few ways to do it.

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One of which is to actually wire the phone
into a ringer circuit, which can make the

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phone ring with the press of a button.

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This has the advantage of creating a very
realistic sounding ring, as the acoustics

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of the set will affect the ring just like
it does everything else.

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It can also make timing for the actors easier,
as they can actually react to the phone’s

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ring.

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Or, you could go a step further and actually
make the telephone functional by connecting

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it to a real phone line.

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Then you could actually call it.

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This has the added advantage of making the
one-sided telephone call far more believable,

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as the actor could actually be talking to
someone on the other end.

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This could be impractical for set design,
though, and adds expense to the production.

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Your third option is to cheat.

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Since you could hear this phone ring in any
household, office, or business, and every

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phone sounded pretty much the same, you could
just add a stock recording in post.

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Doing this allowed the actors to simply answer
the phone on their own time, and it also eliminated

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potential problems from poor microphone placement
or high levels of background noise.

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But sometimes you can tell when this has been
done.

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And surprisingly, there seem to be some very
old recordings that were being used well into

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the age of digital sound.

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In the days of analog recording technology,
two significant things to avoid were what

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are called wow and flutter.

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For example, a recording made on a tape requires
that the tape move at precisely the same speed

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without any variation, otherwise the pitch
of what’s being recorded can vary along

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with the tape speed.

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Often times this can go unnoticed, but when
the recording is of a tone, it can be quite

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pronounced.

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This 2000 hz sine wave should sound like this.

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[Tone]

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But if recorded onto a tape with a
tape recorder that has a worn capstan or any

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number of other issues, the tone might come
back out sounding like this.

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[Same tone, but pitch falters rapidly]

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That’s
flutter, and it can be quite annoying.

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Since the bells in these telephones produce
a constant pitch, it’s easy to tell a recording

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from a real ring.

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If you hear any flutter in the sound of this
phone, you know you must be listening to an

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analog tape recording.

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[Recording with strong flutter of the telephone’s
ring]

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Of course, movies and TV shows used

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tape recorders for many years, so some flutter
was to be expected in older films.

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But sometimes, you hear a very slow, distinctive
wow, which is by the way technically just

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very slow flutter.

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Take a listen to this telephone ring from
the film Trading Places.

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[Telephone rings]

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00:09:01,720 --> 00:09:02,840
[COLEMAN: Hello? Hm.

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00:09:03,040 --> 00:09:04,040
Oh.

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00:09:04,040 --> 00:09:06,240
Hello Mr. Duke, sir.]

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Did you hear how the pitch dipped as it rang?

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Listen again.

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[Telephone rings]

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00:09:12,800 --> 00:09:14,210
[COLEMAN: Hello? Hm.

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Oh.]

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The pitch rises and falls as the telephone
rings.

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This pitch variation continues as the vibration
of the bells decay.

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This wouldn’t happen with the recording
equipment used on set, because a tape recorder

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would rarely if ever introduce wow as pronounced
as this.

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Where this wow comes from is almost certainly
a vinyl record.

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I’ve put the sound of the phone ringing
in Audacity so I could place some markers

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on where the pitch falters.

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This first marker is where the pitched peaked,
and the second is at its lowest.

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00:09:41,880 --> 00:09:44,080
I placed a third marker at the next peak.

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[Recording is played three times]

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The time
from peak to peak was 1.784 seconds.

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Why is that significant?

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Because a record with a speed of 33 and a
third RPM will make one revolution every 1.8 seconds.

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This is the New CBS Audio-File Sound Effects
Library.

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00:10:07,640 --> 00:10:11,660
The only audio-file guaranteed to never start
an argument.

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00:10:11,660 --> 00:10:14,640
Discs like this could be used as a source
of any number of sounds.

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00:10:14,640 --> 00:10:19,680
Now, these particular discs don’t have a
telephone ring, but they have plenty of other stuff.

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[Background noise from an airport]

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00:10:31,840 --> 00:10:34,120
[MALE ANNOUNCER: The white zone is for immediate

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00:10:34,120 --> 00:10:37,480
loading and unloading of passengers only.

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00:10:37,480 --> 00:10:39,040
No parking.]

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00:10:40,760 --> 00:10:46,600
[FEMALE ANNOUNCER: The white zone is for immediate
loading and unloading of passengers only.

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00:10:46,600 --> 00:10:48,150
No parking.]

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00:10:48,150 --> 00:10:53,130
A tricky thing about vinyl records, though,
is that unless the disc is exactly perfectly

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centered, the pitch will rise and fall with
each rotation.

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This happens because with an off-center record,
the speed of the groove as it travels past

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the stylus will repeatedly increase and decrease.

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00:11:02,650 --> 00:11:07,220
It’s not that uncommon for the center hole
of a disc to be punched just a little bit

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off-center, and result is the dreaded wow.

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00:11:10,630 --> 00:11:15,250
Listen to this recording from the Official
Album of Epcot Center.

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00:11:15,250 --> 00:11:25,280
[Music begins, with a repeating dip in pitch]

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00:11:25,280 --> 00:11:26,830
That’s pretty bad.

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00:11:26,830 --> 00:11:30,390
You can actually see the stylus moving left
and right with each rotation, which shows

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just how off-center this record’s hole was
punched.

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00:11:33,380 --> 00:11:36,320
This is probably what’s happening when you
hear this phone ring.

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00:11:36,320 --> 00:11:40,670
[Telephone rings]

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00:11:40,670 --> 00:11:44,170
Because the recording is of a pair of bells
which have a constant pitch, it’s easy to

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00:11:44,170 --> 00:11:46,860
discern if the pitch has faltered at all.

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00:11:46,860 --> 00:11:50,150
Many films were made that seem to use recordings
from old vinyl discs.

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00:11:50,150 --> 00:11:55,120
I’m guessing film studios had just archived
these recordings and used them again and again.

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00:11:55,120 --> 00:11:59,490
Many people might not notice it, but those
with a good ear for pitch (or the pedantic)

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will.

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00:12:00,490 --> 00:12:01,890
And I definitely have.

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00:12:01,890 --> 00:12:03,020
And it bugs the crap out of me.

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00:12:03,020 --> 00:12:05,020
[MR. FAWLTY: It’s..it’s..it’s a semitone
higher!]

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00:12:05,020 --> 00:12:06,020
[GUEST: A semitone?]

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00:12:06,020 --> 00:12:06,800
[MR. FAWLTY: At least!]

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00:12:06,800 --> 00:12:10,230
But what’s most interesting to me is that
these recordings just kept on being used even

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into the nineties.

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00:12:11,500 --> 00:12:14,640
Take a listen to the phone ring in this scene
from Terminator 2.

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[Telephone rings]

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00:12:19,280 --> 00:12:20,360
[MRS. CONNOR: Hello?]

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00:12:20,360 --> 00:12:21,640
[JOHN CONNOR: Yeah it’s me.]

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00:12:22,400 --> 00:12:23,600
[MRS. CONNOR: John?]

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00:12:23,600 --> 00:12:25,760
That’s even worse than the last one!

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00:12:25,760 --> 00:12:28,600
[Telephone rings]

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00:12:31,080 --> 00:12:32,830
Opening it in audacity and adding markers

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gives a time between the peaks of about 1.85
seconds, close to the 1.8 seconds per revolution

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of a 33 and a third rpm record.

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But the really pedantic viewers out there
might know that this sound effect is not only

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riddled with wow, it’s also the wrong ring!

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John Connor’s Mom, and I’m putting that
in air quotes there, answered a Trimline phone.

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The Trimline phone only had one bell in its
ringer, and it did not sound like the Model 500.

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It should have sounded like this clip from
Argo.

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[a distinctly different telephone rings]

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How’s that for pedantry?

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Now because it’s the wrong ring we know
it’s a recording anyway (though it hasn’t

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yet made its way to the Goofs page on the
IMDB, who wants to add it??) but the fact

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that the film is from 1991 makes it hard to
believe that digital sound recording equipment

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wasn’t being used on set.

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And it’s also funny to me that no one had
bothered to make new recordings of these telephones ringing.

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There are millions of these floating around,
how hard can it be to make a new, digital recording?

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00:13:27,910 --> 00:13:29,320
But I digress.

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As a side note, you may have noticed I used
a clip of the Dick Van Dyke show.

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00:13:32,570 --> 00:13:38,480
On air from 1961 until 1966, this show is
riddled with Model 500’s just like this.

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00:13:38,480 --> 00:13:41,160
But throughout the show, they use a completely
different ring.

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00:13:41,160 --> 00:13:43,260
[LAURA: The butcher! I gotta take the roast out of the freezer!]

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00:13:43,500 --> 00:13:44,960
[Telephone rings--unlike any we’ve heard
so far]

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00:13:45,380 --> 00:13:46,380
[ROB: Hi!]

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00:13:46,720 --> 00:13:49,240
[The same telephone rings]
[ROB: Oh!

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00:13:49,240 --> 00:13:51,000
That’s loud at night!]

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00:13:51,000 --> 00:13:52,840
[Telephone rings softly after adjustment]
[ROB: That’s better]

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00:13:53,120 --> 00:13:55,750
To be honest that sounds like it came from
an alarm clock.

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00:13:55,750 --> 00:14:00,100
I checked on YouTube for older model 500’s
just in case the ring had changed, but there’s

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00:14:00,100 --> 00:14:03,830
a red model 500 from 1957 that sounds just
like these two.

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00:14:03,830 --> 00:14:06,370
A link’s down below if you’re interested.

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00:14:06,370 --> 00:14:10,710
Making a movie or TV show is a huge undertaking,
and the sound designers deserve a lot of credit

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for all the post-production work they do.

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00:14:13,130 --> 00:14:16,900
Much of the sound you hear in a film comes
not from microphones on set, but from the

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people working behind the scenes to make it
all sound real and believable.

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00:14:20,730 --> 00:14:25,370
Terminator 2 actually won the oscar for best
sound design, but man does that phone ring

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00:14:25,370 --> 00:14:26,300
bother me.

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00:14:26,300 --> 00:14:28,440
[Telephone rings]

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00:14:30,300 --> 00:14:32,500
Thanks for watching, I hope you enjoyed the
video.

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00:14:32,500 --> 00:14:35,460
If this is your first time coming across the
channel and you liked what you saw, please

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00:14:35,460 --> 00:14:36,780
consider subscribing.

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00:14:36,780 --> 00:14:38,800
You can also support the channel through Patreon.

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00:14:38,800 --> 00:14:42,180
If you’re interested in making a totally
voluntary contribution, please check out my

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00:14:42,180 --> 00:14:43,220
patreon page.

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00:14:43,220 --> 00:14:45,680
Thanks for your consideration, and I’ll
see you next time.

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00:14:49,260 --> 00:14:52,160
[Ring builds with suspense]