 [2][3]

The second design involved a console, similar to that of a musical organ of the period, in which the operator manned a set of keys, one for each letter.The sounds were produced by a common bellows that fed air through various pipes with the appropriate shapes and obstructions needed to produce that letter.Through experimentation, he came to find that the reed's resonant length was not crucial to the creation of the high-frequency components of certain vowels and fricatives, so he tuned them all to be the same pitch for the sake of consistency between letters.