[Phono-L] Advice sought for Restoring Columbia Viva-tonal 800
Can anyone offer advice on sealing the horn of the Columbia Viva-tonal 800 or taking other steps to improve its performance?The design of this horn appears to have been created by first building a straight approximately exponential horn then chopping its bell into two halves mounting them one above the other. The material sealing the horn joints is peeling away there must be many air leaks since the sound quality is nowhere near what one would expect from a horn of this size, not coming even close to that of the Credenza Orthophonic Victrola.Any ideas for restoring optimum performance from this instrument will be much appreciated.Thanks! Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th Street Austin, Texas 78703-1402 USA (512) 478-9954 E-mail: jim...@earthlink.net___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Fred Mc Cole's Death
Just received an E-mail from former wife, Olga Mc Cole, of antique phonograph collector-dealer Fred Mc Cole of Mineola, Texas saying that Fred passed away on 10 June.Though rather appalled by Fred's mix match policy (creating what he called an Amberola II by installing an Amberola I-A mechanism in an Amberola III cabinet for instance), I bought a number of nice phonographs from him over the last 15 or 20 years but due to financial setbacks hadn't seen him a several years. (Best to stay away from temptations!) My last purchase from Fred were an Amberola I-A the early table model Victrola XII sans the more ornate decoration of the later table model XII.I believe that before moving to Texas Mr. Mc Cole lived on the west coast so he may be remembered by collectors there. Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th Street Austin, Texas 78703-1402 USA (512) 478-9954 E-mail: jim...@earthlink.net___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] More Classical Vocal 78s For Sale
I've taken over 300 more classical Vocal 78s to my Immortal Performances, Inc. Stall at The Antique Gallery on IH-35 in Round Rock, Texas, about 14 miles north of Austin. On IH-35, head north from Austin, take Exit 251 proceed north on the access road through the traffic signal at Hester's Crossing go a couple more blocks - The Antique Gallery is on the right side next to Conn's. (Conn's has a large easy-to-spot sign)All these 78s are priced at $ 1.95 each some are over 100 years old. If you collect classical vocal 78s, this is a chance to acquire some treasures at a very low price! Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th Street Austin, Texas 78703-1402 USA (512) 478-9954 E-mail: jim...@earthlink.net___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Mod for Rega turntable
Recently I bought a Rega Planar 78 turntable to supplement the old Bogen turntable I'd been using for years to play 78s. The problem is, the Rega only has single fixed 78rpm speed unlike the Bogen, so its speed can not be adjusted to play many of the older 78s which actually range in speeds from the upper 60rpm to 90 rpm.The Rega is supposed to be a fine turntable so I'd like to find a modification to make its playing speed adjustable. Have any of you who own the Planar 78 solved this problem if so how? Your advice will be much appreciated! Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th Street Austin, Texas 78703-1402 USA (512) 478-9954 E-mail: jim...@earthlink.net___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Jim's C-2s / Spamblocker
Dear Bruce, It took me a while to reply to your query. I have put your E-mail address into my computer's Address Book so there ought to be no further difficulty in your messages reaching me.If so, let me know. Thanks All good wishes... Very truly yours, Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th StreetAustin, Texas 78703-1402 USA (512) 478-9954E-mail: jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 19-Mar-2011 11:37:42 AM Subject: Re: [Phono-L] Jim's C-2s / Spamblocker Jim, sorry, I cannot get past your spam blocker. - Original Message - From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Sent: Thursday, March 17, 2011 10:01 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Jim, it doesn't sound like the pickup is the issue, although George Epple is the person to contact regarding these early types of horseshoe pickups. It's possible that you have speaker issues that are fixable. The Peerless used a single wound voice coil as opposed to other speaker designs that used thousands of turns of #20 gauge copper wire in the voice coil. The speakers must have absolutely clean and tightened contacts or the work poorly. I rebuilt my R-1, R-2, C-1, and C-2 myself except for the pickup. These were the four radios or combinations that came out in 1928. Later models used a Magnovox speaker of more conventional design (green chassis). I like the Peerless speaker because of the very high quality and the unique but can be troublesome design. The overall chassis builds (copper color) are extremely high quality with the Jr chassis in all but the C-1 which has the Sr chassis. I'm curious to know which model radio you are using to play the pickup through. Since it is an R-1 or R-2 and has the Peerless speaker, I would unplug the radio speaker and plug into the C-2 speaker. Subbing out the speakers will tell you right away if you are having speaker problems. If not, the problem lies in the chassis itself. I'm going to contact you off list to find out more about why or how they do not play well. Once everything IS up to par the set can be fine tuned to get rid of other sound issues by adding proper damping to the amp, speaker, arm, and motorboard. Also, there is a sweet spot in positioning the speaker front to back to eliminate any boom. Properly restored, those C-2s should sound awesome. I use the C-2 as much as I do the C-1 because it's easier to load unless I want the added power of the super amp and two speakers in the C-1. Bruce (btw) the pickup should track at five ounces. - Original Message - From: jim...@earthlink.net To: Antique Phonograph List phono-l@oldcrank.org Sent: Thursday, March 17, 2011 2:59 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Right now my C-2 plays through an Edison radio using the same chassis loudspeaker as the C-2 yes I had the restorer make the filter switchable do not use it on Diamond Discs.Both of my C-2s have been restored but do not play well. Can you all recommend someone who really knows how to work on them? (I have a 3rd, but the restorer kept its chassis which was incomplete I've been uable to get him to return it.)Through the Edison Radio using the C-2 turntable pickup, Diamond Discs sound great! Jim Cartwright IMMORTAL PERFORMANCES, INC Austin's Eclectic Used Record Store Since 1971 1404 West 30th StreetAustin, Texas 78703-1402 USA (512) 478-9954E-mail: jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 17-Mar-2011 2:05:11 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Thanks for that information and the matrix number. Both my C-1 and C-2 have the same speed control knobs. It should be an easy thing to dial back the speed indicator on the marked backplate for those late DD and Needle Cuts to obtain an accurate 78rpm. I notice in the factory manual that they recommended setting it at a comprimise of 79 rpm if primarily playing DD. I doubt the average consumer of the day couldn't tell the difference one way or the other. While on the subject of these machines, I'd like to know if anyone else that has a C-1 or C-2 switches OUT the filter. It vastly overfilters the DD on either machine. I rarely switch it IN. Bruce - Original Message - From: Philip Carli philip_ca...@pittsford.monroe.edu To: Antique Phonograph List phono-l@oldcrank.org Sent: Wednesday, March 16, 2011 10:38 AM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Possibly for new owners of the C-1
Re: [Phono-L] [phonolist] 5700 series Blue Amberols
Mr. Mercer, please contact me off list to discuss my C-2s - you seem to have expertise with Edison electronics. My E-mail is: jim...@earthlink.net Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th StreetAustin, Texas 78703-1402 USA (512) 478-9954E-mail: jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 17-Mar-2011 10:00:50 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Jim, it doesn't sound like the pickup is the issue, although George Epple is the person to contact regarding these early types of horseshoe pickups. It's possible that you have speaker issues that are fixable. The Peerless used a single wound voice coil as opposed to other speaker designs that used thousands of turns of #20 gauge copper wire in the voice coil. The speakers must have absolutely clean and tightened contacts or the work poorly. I rebuilt my R-1, R-2, C-1, and C-2 myself except for the pickup. These were the four radios or combinations that came out in 1928. Later models used a Magnovox speaker of more conventional design (green chassis). I like the Peerless speaker because of the very high quality and the unique but can be troublesome design. The overall chassis builds (copper color) are extremely high quality with the Jr chassis in all but the C-1 which has the Sr chassis. I'm curious to know which model radio you are using to play the pickup through. Since it is an R-1 or R-2 and has the Peerless speaker, I would unplug the radio speaker and plug into the C-2 speaker. Subbing out the speakers will tell you right away if you are having speaker problems. If not, the problem lies in the chassis itself. I'm going to contact you off list to find out more about why or how they do not play well. Once everything IS up to par the set can be fine tuned to get rid of other sound issues by adding proper damping to the amp, speaker, arm, and motorboard. Also, there is a sweet spot in positioning the speaker front to back to eliminate any boom. Properly restored, those C-2s should sound awesome. I use the C-2 as much as I do the C-1 because it's easier to load unless I want the added power of the super amp and two speakers in the C-1. Bruce (btw) the pickup should track at five ounces. - Original Message - From: jim...@earthlink.net To: Antique Phonograph List phono-l@oldcrank.org Sent: Thursday, March 17, 2011 2:59 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Right now my C-2 plays through an Edison radio using the same chassis loudspeaker as the C-2 yes I had the restorer make the filter switchable do not use it on Diamond Discs.Both of my C-2s have been restored but do not play well. Can you all recommend someone who really knows how to work on them? (I have a 3rd, but the restorer kept its chassis which was incomplete I've been uable to get him to return it.)Through the Edison Radio using the C-2 turntable pickup, Diamond Discs sound great! Jim Cartwright IMMORTAL PERFORMANCES, INC Austin's Eclectic Used Record Store Since 1971 1404 West 30th StreetAustin, Texas 78703-1402 USA (512) 478-9954E-mail: jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 17-Mar-2011 2:05:11 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Thanks for that information and the matrix number. Both my C-1 and C-2 have the same speed control knobs. It should be an easy thing to dial back the speed indicator on the marked backplate for those late DD and Needle Cuts to obtain an accurate 78rpm. I notice in the factory manual that they recommended setting it at a comprimise of 79 rpm if primarily playing DD. I doubt the average consumer of the day couldn't tell the difference one way or the other. While on the subject of these machines, I'd like to know if anyone else that has a C-1 or C-2 switches OUT the filter. It vastly overfilters the DD on either machine. I rarely switch it IN. Bruce - Original Message - From: Philip Carli philip_ca...@pittsford.monroe.edu To: Antique Phonograph List phono-l@oldcrank.org Sent: Wednesday, March 16, 2011 10:38 AM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Possibly for new owners of the C-1 and C-2 Edison radio/phonographs, which were capable of playing both lateral and vertical records by just flipping the stylus? -- one less step for new Edison owners to consider? -- And how late are we talking on Diamond Discs being at 78? The Goldman Band discs in the 52630s play at pitch at 80? I have 52650,a Frankie Marvin disc, but I haven't played it in a long time -- might check it -- Philip
Re: [Phono-L] [phonolist] 5700 series Blue Amberols
Right now my C-2 plays through an Edison radio using the same chassis loudspeaker as the C-2 yes I had the restorer make the filter switchable do not use it on Diamond Discs.Both of my C-2s have been restored but do not play well. Can you all recommend someone who really knows how to work on them? (I have a 3rd, but the restorer kept its chassis which was incomplete I've been uable to get him to return it.)Through the Edison Radio using the C-2 turntable pickup, Diamond Discs sound great! Jim Cartwright IMMORTAL PERFORMANCES, INC Austins Eclectic Used Record Store Since 1971 1404 West 30th StreetAustin, Texas 78703-1402 USA (512) 478-9954E-mail: jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 17-Mar-2011 2:05:11 PM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Thanks for that information and the matrix number. Both my C-1 and C-2 have the same speed control knobs. It should be an easy thing to dial back the speed indicator on the marked backplate for those late DD and Needle Cuts to obtain an accurate 78rpm. I notice in the factory manual that they recommended setting it at a comprimise of 79 rpm if primarily playing DD. I doubt the average consumer of the day couldn't tell the difference one way or the other. While on the subject of these machines, I'd like to know if anyone else that has a C-1 or C-2 switches OUT the filter. It vastly overfilters the DD on either machine. I rarely switch it IN. Bruce - Original Message - From: Philip Carli philip_ca...@pittsford.monroe.edu To: Antique Phonograph List phono-l@oldcrank.org Sent: Wednesday, March 16, 2011 10:38 AM Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Possibly for new owners of the C-1 and C-2 Edison radio/phonographs, which were capable of playing both lateral and vertical records by just flipping the stylus? -- one less step for new Edison owners to consider? -- And how late are we talking on Diamond Discs being at 78? The Goldman Band discs in the 52630s play at pitch at 80? I have 52650,a Frankie Marvin disc, but I haven't played it in a long time -- might check it -- Philip From: phono-l-boun...@oldcrank.org [phono-l-boun...@oldcrank.org] On Behalf Of Bill Taney [b...@taney.com] Sent: Wednesday, March 16, 2011 9:33 AM To: phonol...@yahoogroups.com; Phono-l Subject: Re: [Phono-L] [phonolist] 5700 series Blue Amberols Why did they record the final diamond disc's at 78RPM? Seems rather odd decision since existing owners would have to adjust the speed of their machines for these records then adjust back for any of the previous 15 yr + worth of records. Bill From: Steven Medved steve_nor...@msn.com Reply-To: phonol...@yahoogroups.com Date: Wed, 16 Mar 2011 09:22:28 -0400 To: Phono-l phono-l@oldcrank.org, phonolist phonol...@yahoogroups.com Subject: [phonolist] 5700 series Blue Amberols Hello lucky owners, How do these sound? Has anyone heard them played with the Diamond D? I recently rebuilt one with a new stylus, the diaphragm was still good. Even without the extra weight it sounds better so I assume the final Diamond C with the weight from the same casting as the Diamond D also sounds better. I played an acoustic dub of an electrically recorded DD and there is a difference. Ron, the final DD records were recorded at 78 rpm so what was done when they were dubbed to BA's? Best regards, Steve [Non-text portions of this message have been removed] __._,_.___ Reply to sender mailto:steve_nor...@msn.com?subject=Re%3A%205700%20series%20Blue%20Amberols | Reply to group mailto:phonol...@yahoogroups.com?subject=Re%3A%205700%20series%20Blue%20Amb erols | Reply via web post http://groups.yahoo.com/group/phonolist/post;_ylc=X3oDMTJxdm9sOWhvBF9TAzk3M zU5NzE0BGdycElkAzEyMjEzMTMEZ3Jwc3BJZAMxNzA1MDYyMjgyBG1zZ0lkAzM3ODc2BHNlYwNmd HIEc2xrA3JwbHkEc3RpbWUDMTMwMDI4MTc5Mg--?act=replymessageNum=37876 | Start a New Topic http://groups.yahoo.com/group/phonolist/post;_ylc=X3oDMTJldjZkZWxmBF9TAzk3M zU5NzE0BGdycElkAzEyMjEzMTMEZ3Jwc3BJZAMxNzA1MDYyMjgyBHNlYwNmdHIEc2xrA250cGMEc 3RpbWUDMTMwMDI4MTc5Mg-- Messages in this topic http://groups.yahoo.com/group/phonolist/message/37876;_ylc=X3oDMTM2NDRwYjNv BF9TAzk3MzU5NzE0BGdycElkAzEyMjEzMTMEZ3Jwc3BJZAMxNzA1MDYyMjgyBG1zZ0lkAzM3ODc2 BHNlYwNmdHIEc2xrA3Z0cGMEc3RpbWUDMTMwMDI4MTc5MgR0cGNJZAMzNzg3Ng-- (1) Recent Activity: Visit Your Group http://groups.yahoo.com/group/phonolist;_ylc=X3oDMTJlNGg5b21uBF9TAzk3MzU5Nz E0BGdycElkAzEyMjEzMTMEZ3Jwc3BJZAMxNzA1MDYyMjgyBHNlYwN2dGwEc2xrA3ZnaHAEc3RpbW UDMTMwMDI4MTc5Mg-- http://groups.yahoo.com/;_ylc=X3oDMTJkZHVkODIxBF9TAzk3MzU5NzE0BGdycElkAzEyM jEzMTMEZ3Jwc3BJZAMxNzA1MDYyMjgyBHNlYwNmdHIEc2xrA2dmcARzdGltZQMxMzAwMjgxNzky Switch to: Text-Only mailto:phonolist
Re: [Phono-L] Brain cramp!!!!
Amberola 1-B's only play 4 minute cylinders. jim...@earthlink.net [Original Message] From: rkolba0...@aol.com To: phono-l@oldcrank.org Date: 31-Jan-2011 1:14:35 PM Subject: Re: [Phono-L] Brain cramp I'm already old. The 4 minute Indestructibles can be played on an Amberola. Only th early 1A or 1B upright Amberolas had the ability to play both 2 and 4 minute records. The 2 minute Indestructibles will play on any machine with a 2 minute speed and a 2 minute reproducer. Hope this helps.. In a message dated 1/31/2011 1:58:39 P.M. Eastern Standard Time, nickja...@gmail.com writes: I should know this but I can't come up with a confident answer can one play Col/Indestructible celluloid cyls on an Amberola? Please don't laugh too long - you'll be old someday too!!! thanks, Darrell ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Charleston Record on eBay
My favorite record of The Charleston is that by the Golden Gate Orchestra on Edison diamond disc - Adrian Rollini's bass sax solo is marvelous. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: Douglas Houston cdh...@earthlink.net To: Antique Phonograph List phono-l@oldcrank.org Date: 19-Jan-2011 12:43:43 PM Subject: Re: [Phono-L] Charleston Record on eBay I missed a lot of the messages about the Charleston record. was really cxurious, too. Could somebody fill me in on which performance/artist (and possibly label) that was? I've had one on Brunswick for a long time, and feel that it must be about as authentic an arrangement as ever there was. Nice record. Thanks. [Original Message] From: john9...@pacbell.net To: phonolist phono-l@oldcrank.org Date: 1/18/2011 11:32:30 PM Subject: Re: [Phono-L] Charleston Record on eBay Yeah, I was expecting maybe $40 to $50... --Original Message-- From: Vinyl Visions Sender: phono-l-boun...@oldcrank.org To: phonolist ReplyTo: phonolist Subject: Re: [Phono-L] Charleston Record on eBay Sent: Jan 18, 2011 7:25 PM Hey John, congratulations - that was a home run... Curt ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Human nature...
I have a Victrola XIV faintly autographed on the motorbord in white ink dated 1921 by Luisa Tetrazzini. Always assumed she signed this at some Victor dealer's. Its in storage now, so I can't quote exactly what was written. Some years ago Fred McCole offered me what he jokingly called an Amberola II - a I-A mechanism installed in a III case.(I think he may have intimated that he sold the original III mechanism to someone who was turning them into Operas. Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: DeeDee Blais deedeebl...@yahoo.com To: phono-l@oldcrank.org Date: 11-Jan-2011 11:00:37 PM Subject: [Phono-L] Human nature... Years ago I purchased a Victrola that was autographed by Louisa Tetrazzini. Next to the turntable, handwritten in white ink was Souvenir from Louisa Tetrazzini, April, 1923. Over the years I acquired other Tetrazzini items that were signed with the same signature and I'm reasonably sure that the Victrola autograph is genuine. But why did she sign the Victrola? I developed a romantic theory that she was in Portland, Oregon for a performance and instead of staying in one of the hotels, she stayed with a wealthy Portland family. As a courtesy for their hospitality, she signed their Victrola. I really wanted to believe my theory, right up to the moment that I saw another Victrola with the same inscription and same date! I had to face the fact that she must have signed several Victrolas, probably at a Victrola sales promotion for a large dealer. I really wanted to believe that my Victrola XVI was the only Tetrazzini Victrola. Then I saw a second and it was a XVII! * I know strange things happened but they were the exception. I've personally seen a Vernis Martin Victrola with an upside down decal. I was dumbfounded! With that said, I still think 99.99% (or more) of the big Amberolas left the factory with matching numbers. Those numbers were there for a reason. When an Edison was traded in, the number was recorded by the dealer. Stolen machines were identified by the serial numbers. I would not expect a dealer to swap a mechanism from one new machine to another but it was possible. Those machines are a century old and the original owners a long gone. Even a machine that has been in one family has gone through several family members and probably repairs. When those same machines started to be collectable I suspect first generation collectors upgraded mechanisms and cabinets until they were pleased and gave no thought to the serial numbers. I remember reading a modern collector statement that he was against swapping any mechanism or cabinet. I immediately realized that I had violated his ethical position by swapping out a very ordinary and dull works for a nicer one in my mahogany Edison Standard B. Even though the replacement mechanism was period correct, I had not even considered for one moment what I was doing something wrong. * I recently bought a NOS 1968 Sting-Ray Run-A-Bout from a man that was a dealer in the 60's and 70's. The bike was never sold until I bought it. I asked the seller if he would write a note on his old letterhead with a brief history of that bike. I was with my son, Tyler, and grandson, Wyatt. Tyler inquired why I asked for the note and I replied that providence of the bike was important. Wyatt asked what that meant and I replied that the note would show the history of the bike from the Schwinn factory to me. * If I were buying a big Amberola and questioned the seller why the numbers didn't match and his reply was it's always been that way... my grandfather bought it new..., that's really not providence. Too many things could have happened. I may really really want to believe it but my better judgement says otherwise. * I'll stop now or I'll need to get a title for this book. ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Victor Picture Discs
I believe the ARSC Journal had a detailed article on these a few years ago. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: Vinyl Visions vinyl.visi...@live.com To: phono-l@oldcrank.org Date: 18-Nov-2010 10:13:30 PM Subject: Re: [Phono-L] Victor Picture Discs All kidding aside, does anyone have any idea how many Victor Picture Discs were made? I recently picked up Paul Whiteman's - A Night At The Biltmore and can't find out much about it. From: vinyl.visi...@live.com To: phono-l@oldcrank.org Date: Thu, 18 Nov 2010 23:09:40 -0500 Subject: Re: [Phono-L] contact info requested Shellac Pictures or Shellac Visions, just didn't have the same appeal... From: vinyl.visi...@live.com To: phono-l@oldcrank.org Date: Thu, 18 Nov 2010 23:03:27 -0500 Subject: Re: [Phono-L] contact info requested Oh, you discovered my kinky side... vinyl visions is phono related. Vogue records - Victor Picture Discs: vinyl visions From: pjfra...@mac.com Date: Thu, 18 Nov 2010 19:59:21 -0800 To: phono-l@oldcrank.org Subject: Re: [Phono-L] contact info requested Heaven help any German San Franciscans. Now Vinyl Visions, on the other hand, is apparently a purveyor of great skintight bondage wear and the like. Forgive me for being insensitive, of course, but don't forget the lube! On Nov 18, 2010, at 7:20 PM, Vinyl Visions vinyl.visi...@live.com wrote: Now I see it's from Germany, which makes more sense, since Germans have a strange way of twisting words, for example: children's candy called Crack Sticks - I wouldn't let my kid come home with anything called crack... :) From: vinyl.visi...@live.com To: phono-l@oldcrank.org Date: Thu, 18 Nov 2010 22:15:37 -0500 Subject: Re: [Phono-L] contact info requested I apologize for being insensitive, but when I read the domain name for Mr. Opera, I was thinking wtf does that have to do with phonographs? It sounds like a domain from San Francisco... From: steve_nor...@msn.com To: phono-l@oldcrank.org Date: Thu, 18 Nov 2010 19:08:22 -0500 Subject: Re: [Phono-L] contact info requested The first one is the main page for his site, the second one tells about how he became interested in phonographs. To: phono-l@oldcrank.org From: john9...@pacbell.net Date: Thu, 18 Nov 2010 23:59:45 + Subject: Re: [Phono-L] contact info requested Ok. The phonographs.html didn't appear in the first email and I was worried... Sent from my Verizon Wireless BlackBerry -Original Message- From: Steven Medved steve_nor...@msn.com Sender: phono-l-boun...@oldcrank.org Date: Thu, 18 Nov 2010 18:46:36 To: Phono-lphono-l@oldcrank.org Reply-To: Antique Phonograph List phono-l@oldcrank.org Subject: Re: [Phono-L] contact info requested http://teen-boy-preview.com/html/phonographs.html Hello John, This is actually the address to the Mr Opera phonograph website. Steve To: phono-l@oldcrank.org From: john9...@pacbell.net Date: Thu, 18 Nov 2010 23:35:59 + Subject: Re: [Phono-L] contact info requested Teenboy-preview.com?? Did you get your email hijacked? John --Original Message-- From: Steven Medved Sender: phono-l-boun...@oldcrank.org To: Phono-l ReplyTo: Antique Phonograph List Subject: Re: [Phono-L] contact info requested Sent: Nov 18, 2010 3:29 PM burdettewalt...@yahoo.com webmas...@misteropera.com http://teen-boy-preview.com/index.html From: maff...@bresnan.net To: phono-l@oldcrank.org Date: Wed, 17 Nov 2010 21:20:30 -0700 Subject: [Phono-L] contact info requested All: I received the following earlier this year to an inquiry: Burdette Walters makes the reproduction boxes and lids for Blue Amberol (orange boxes). I would appreciate the E-mail contact address to inquire about cost and availability. If no E-mail info, any other type would work. Again, thanks in advance Bob ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org Sent from my Verizon Wireless BlackBerry ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing
Re: [Phono-L] Vandalism
Have already adopted this precaution. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: Jim Nichol jnic...@fuse.net To: Antique Phonograph List phono-l@oldcrank.org Date: 07-Nov-2010 4:30:28 PM Subject: Re: [Phono-L] Vandalism One of the antique malls I've been in does not leave reproducers attached to any of the machines. If you want buy the phono, you have to ask one of the attendants to fetch you the reproducer. Jim On Nov 6, 2010, at 6:29 PM, jim...@earthlink.net wrote: Just returned from The Antique Gallery in Round Rock, Texas where I rent a stall to sell antique records the occasional phonograph. All of the dealer's in antique phonographs have had their machines vandalized by theft of soundboxes, reproducers tone arms.Stolen from my booth were the gun-metal finish Diamond Disc Reproducer from an Edison Baby Console Phonograph, the Diamond B Reproducer from an Edison Fireside Model B Phonograph a Victor No. 2 Soundbox from a Victrola 100. These were shiny all-original (except for gaskets in the No. 2) in excellent condition played extremely well, especially the Diamond B. A few months ago a Victor No. 2 Soundbox (which I replaced) from the Victrola 100 one of its horn door knobs were stolenThe thief did not take two Gold-Plated Diamond Disc Reproducers, one from an A-250 the other from a C-250. These were less shiny that what was stolen.(I understand that a Diamond Disc Reproducer, a Columbia tone arm with S oundbox whatever Soundbox was on a Haywood Wakefield wicker upright made for some other company were stolen from other dealers at The Antique Gallery.) I have a replacement for the Victor No. 2 Soundbox (finish not as nice as on one that was stolen) but need to replace the Diamond B gun-metal Diamond Disc Reproducers. And, to report this to Police I would like to know what such all-original excellent sounding Reproducers should be valued at.The manager of The Antique Gallery does not know when these items were taken but they were still there when I was at the Mall about 6 weeks ago. Have they turned up on E-bay or Craigslist? Let me know if anyone has a good Diamond A Diamond Disc Reproducer for sale. Thanks! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Vandalism
Just returned from The Antique Gallery in Round Rock, Texas where I rent a stall to sell antique records the occasional phonograph. All of the dealer's in antique phonographs have had their machines vandalized by theft of soundboxes, reproducers tone arms.Stolen from my booth were the gun-metal finish Diamond Disc Reproducer from an Edison Baby Console Phonograph, the Diamond B Reproducer from an Edison Fireside Model B Phonograph a Victor No. 2 Soundbox from a Victrola 100. These were shiny all-original (except for gaskets in the No. 2) in excellent condition played extremely well, especially the Diamond B. A few months ago a Victor No. 2 Soundbox (which I replaced) from the Victrola 100 one of its horn door knobs were stolenThe thief did not take two Gold-Plated Diamond Disc Reproducers, one from an A-250 the other from a C-250. These were less shiny that what was stolen.(I understand that a Diamond Disc Reproducer, a Columbia tone arm with S oundbox whatever Soundbox was on a Haywood Wakefield wicker upright made for some other company were stolen from other dealers at The Antique Gallery.) I have a replacement for the Victor No. 2 Soundbox (finish not as nice as on one that was stolen) but need to replace the Diamond B gun-metal Diamond Disc Reproducers. And, to report this to Police I would like to know what such all-original excellent sounding Reproducers should be valued at.The manager of The Antique Gallery does not know when these items were taken but they were still there when I was at the Mall about 6 weeks ago. Have they turned up on E-bay or Craigslist? Let me know if anyone has a good Diamond A Diamond Disc Reproducer for sale. Thanks! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] More 78s By Opera Singers Available
I've taken another 274 78s by famous Opera Singers to my Immortal Performances, Inc. stall at The Antique Gallery (next to Conn's) on IH35 in Round Rock, Texas which is 14 miles north of Austin. Head north on IH35, take Exit 151 continue north on the access road thru the traffic light go another block or so The Antique Gallery is on the right next to Conn's which has a big sign more easily seen than The Antique Gallery's sign. The Immortal Performances, Inc. stall is near the back on Row B of The Antique Gallery.Most of these records are priced at $ 1.95 each. There are several thousand other 78s as well as some diamond discs cylinders for sale there also.If you are in the Central Texas area, check it out! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Need Power Transformer
One of my MacIntosh MC-60 amplifiers has blown its power transformer (M-171) the repairman has requested that I look for a replacement. I realize that this piece of equipment may be a few decades too new for most of those who post on Phono-L but thought I'd give it a try.Many thanks for whatever help in finding a replacement power transformer you all may be able to provide! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Contact Information needed
I need Ray Wile's E-mail address. I've been re-reading his articles on the phonograph's earliest years notice that he, like virtually all writers on the subject, is ignorant of or has chosen to ignore Charles Sumner Tainter's 1880 Home Notes on deposit at the Smithsonian Institution which were the subject of an article a few years ago in For the Record, the journal of the City of London Phonograph and Gramophone Society Ltd.If Tainter's 1880 Home Notes are actually what they claim to be then Tainter is the inventor of lateral-cut wax disc recording in 1880! I want to submit scans of the relevant pages of 1880 Home Notes Tainter's drawings for Mr. Wile's thoughts since he is probably the leading expert on this earliest period of sound recording. (I sent scans of relevant pages from the For the Record article to Mr. Fabrizio,Mr. Paul Mr. Sutton some months ago but have not received any comments from them other than Mr. Paul saying he'd need to know when the were deposited at the Smithsonian. ) If Tainters 1880 Home Notes are authentic, then Tainter should be given credit for the origination of lateral-cut wax disc recording in 1880.(This may parallel a situation where for years the true inventor of electronic television, Philo Farnsworth, was denied credit which was then attributed to RCA corporate scientists.) If the 1880 Home Notes were actually written years later pre-dated (something the drawings which seem to show an elaborate constant surface speed disc device nothing like later disc equipment (until the British constant surface speed gramophone of the 1920s) then they want exposure as a hoax. Either way, it ought to be of much intere st to us antique phonograph buffs Mr. Wile is probably best equipped because of his past research to explore this question. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Contact Information needed/lateral
Thanks for catching this. I meant 1881 but mis-typed 1880 corrected this in a subsequent Phono-L posting including scans of relevant pages of the 1881 Tainter Home Notes as originally forwarded by me to Mr. Sutton (which saved me re-scanning) that is being held for review because of its size. As to history of lateral-cut wax disc recording, all the works I've seen attribute this to Berliner without discussing Tainter's prior research in this regard as detailed in his 1881 Home Notes drawings. Berliner deserves much credit for originating the extremely important idea of the record groove itself driving the reproducing mechanism across the surface of the record (Tainter's machine used a mechanical feed mechanism) the simplicity of which allowed flexibility in groove spacing record size not possible with mechanical feed devices. This was of great commercial practical value since changes could be made in record size for instance without requireing the purchaser to buy new playback equipment or retrofit his old so satisfactory records could remain in the catalogue for decades. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: allena...@aol.com To: phono-l@oldcrank.org Date: 12-Sep-2010 2:34:08 PM Subject: Re: [Phono-L] Contact Information needed/lateral In a message dated 9/12/2010 2:14:39 P.M. Eastern Daylight Time, jim...@earthlink.net writes: notice that he, like virtually all writers on the subject, is ignorant of or has chosen to ignore Charles Sumner Tainter's 1880 Home Notes on deposit at the Smithsonian Institution -- There is really nothing to be ignorant of, or anyone's choosing to ignore. Lateral recording has a long and distinguished history if one wishes to really dig (and well before Tainter too)... Are you sure you really mean the year 1880 for the Notebooks references to Tainter's lateral recording in wax (and not 1881)? see PHP: Its floating-stylus principle (341,214) lurked as a threat for the infant gramophone industry, despite the written opinion by Pollok Mauro on Sept. 28, 1891 that E. Berliner's laterally-recorded, groove-driven process did not infringe the basic Bell-Tainter patents. In other words, there was no impediment whatever to Berliner's (patented) work in lateral recording since there was no previous Tainter patent for such (or Volta Labs reduction to practice). Even Leon Scott used the lateral technique, albeit with lampblack, and Wm Hollingshead of NYC experimented with lateral recording in wax in 1878! Why do you ignore that? Ray was quite familiar with Tainter's surviving Notebooks. Invention is an ongoing process (then and now), and one must not only come up with an idea but reduce it to practicality. After all, Thomas Young was recording sound (laterally) on a wax drum in 1806... Rewriting of history is hardly necessary in this instance, although we should have as much info as possible. Allen _www.phonobooks.com_ (http://www.phonobooks.com) ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] FW: Charles Sumner Tainter 1881 Notes
In my E-mail I mistakenly dated Tainter's Home Notes as being from 1880 rather than the correct 1881. Sorry! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net - Original Message - From: jim...@earthlink.net To: Allan Sutton Sent: 29-Jun-2010 1:05:47 PM Subject: FW: Charles Sumner Tainter 1881 Notes Dear Mr. Sutton: As I stated in my previous E-mail, here is my E-mail sent to Mr. Paul with attached scans of relevant pages from the For the Record article on Charles Sumner Tainter's 1881 lateral-cut wax disc graphophone. Your thoughts on this would be interesting. All the best... Very truly yours, Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net - Original Message - From: jim...@earthlink.net To: George Paul Sent: 14-Jun-2010 1:45:21 PM Subject: Charles Sumner Tainter 1881 Notes Dear Mr. Paul: Some time ago we had an E-mail correspondence about the 1881 Home Notes of Charles Sumner Tainter detailing his work on the Graphophone in that year, now at the Smithsonian Institution, published in part in For the Record, the journal of the City of London Phonograph and Gramophone Society Ltd., copies of relevant pages I sent some months ago to your co-author Tim Fabrizio from whom I have received no response whom you said had not shared these with you.Attached, please find scans of Mr. Tainter's notes drawings taken from the For the Record articles which rather conclusively reveal that he his associates at the Volta Laboratory in Washington were the originators of lateral-cut wax disc recording as well as the acid-etched process. As you know, Emile Berliner has been credited for these inventions. I think it curious that Berliner also in Washington at the time had sold his telephone transmitter patent to the Bell Telephone interests with which the Volta Laboratory was affiliated years before claiming to have invented the lateral-cut recording process It seems we have a situation akin to that of the invention of electronic television once attributed to RCA corporate scientist Vladimir Zworykin but now justly credited to Philo Farnsworth. I hope that you Mr. Fabrizio will take steps to see that credit is given to Tainter for the invention of lateral-cut wax disc recording the acid-etched process if in your expert opinion this is due him. I shall be curious to know your response to this data. Again let me thank you for your superb research beautifully illustrated books. Sending all good wishes, I remain... Very truly yours, Jim Cartwright Immortal Performances, Inc. 1404 West 30th Street Austin, Texas 78703-1402
Re: [Phono-L] Contact Information needed
I'm just trying to get an E-mail address for Ray Wile so I can scan the relevant For the Record pages for him to obtain his thoughts on the matter.I haven't read all Mr. Wile has written so he may have already dealt with this. I'm not trying to stir up a controversy for the sake of controversy. Naturally, I haven't seen every published source of sound recording history. Those I have seen all credit Berliner with originating lateral-cut wax disc recording, not Tainter.Tainter, along with Chichester Bell, is credited with the vertical-cut engraving of sound vibrations into wax floating reproducer.This is why I stated that Tainter's lateral-cut work has been ignored. If Berliner's work was anticipated by Tainter's then Tainter deserves the credit, not Berliner. If the Tainter 1881 Home Notes turn out to be a hoax then this is interesting, too.I would like to like to know what Mr. Wile has to say. Please send his E-mail address. Thanks! (I attempted to send scans of the relevant For the Record Pages to Phono-L but they were evidently too large to post.) Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: S. Puille berli...@msn.com To: phono-l@oldcrank.org Date: 12-Sep-2010 6:29:28 PM Subject: Re: [Phono-L] Contact Information needed I am much surprised by your statement that virtually all writers on the subject are ignorant of or chose to ignore Charles Sumner Tainter's Home Notes or his invention of the lateral-cut wax disc recording. I cite from Steven E. Schoenherr's article from 1999 on Tainter lateral-cut electroplate record. For more than 10 years Schoenherr's article was easily accessible on the internet: NMAH #287668) - The record pictured above is one of the earliest surviving examples of a flat disc sound recording. The Smithsonian has one earlier copper electroplated disc deposited Feb. 28, 1880 (NMAH #312,119), but it is unidentified. The earliest identified flat disc was an experimental electroplated lateral-cut disc made by Sumner Tainter who etched in center: This phonogram was made Nov. 8, 1881. S. T. This record has lateral-cut grooves, or what Tainter called zig-zag grooves, produced by a special lathe that cut a wax master that was electroplated with copper. The disc is 10 inch es in diameter with very wide grooves meant to be reproduced with the air-jet apparatus Chichester Bell had developed in 1881. The disc was made several months after the first electroplating experiments were carried out, and two weeks after a similar electroplate record was sealed in the Smithsonian box with an Edison tin-foil phonograph. I wonder if the electroplated disc of February 1880 is still unidentified. I haven't read the article in For the Record. Therefore, please cite the relevant page(s) of his 1880 notes, because I thought that Tainter first mentioned the zig-zag form on March 29, 1881 on page 9, Vol. 1 of his home notes, and again on October 21, 1881 on page 51 in Vol. 3. I need Ray Wile's E-mail address. I've been re-reading his articles on the phonograph's earliest years notice that he, like virtually all writers on the subject, is ignorant of or has chosen to ignore Charles Sumner Tainter's 1880 Home Notes on deposit at the Smithsonian Institution which were the subject of an article a few years ago in For the Record, the journal of the City of London Phonograph and Gramophone Society Ltd. If Tainter's 1880 Home Notes are actually what they claim to be then Tainter is the inventor of lateral-cut wax disc recording in 1880! [...] Jim Cartwright ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Commendation for George Vollema
George Vollema was able to provide a beautiful tone arm soundbox as well as the missing piece of the semi-automatic shut-off mechanism for my Aeolian-Vocalion. In addition, Mr. Vollema went beyond the call of duty sent as an E-mail attachment photos showing how the shut-off mechanism is fitted which really helped. It is wonderful to have such a knowledgeable fine source of rare original antique phonograph parts.Mr. Vollema is to be heartily commended! Jim Cartwright Immortal Performances, Inc. 1404 West 30th Street Austin, Texas 78703-1402 jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Styli
For 17 years I produced hosted a 90 minute radio program, Immortal Performances taken from the name of my used record shop, of classical 78rpm records, plus a few cylinders diamond discs, for the local classical music FM station at that time had the means of playing these vintage records adequately, a Shure elliptical 78rpm styli for my Shure V15 Type II cartridge truncated styli, Pathe sapphire ball styli that also played 2 minute cylinders well Edison diamond disc styli (to fit a Shure M55E cartridge) obtained from International Observatory Instruments (if I recall correctly) in Tennessee. Now, many years later, most of these styli are damaged or lost I need to obtain new styli for playing various vintage 78s, Edison diamond discs both 2 4 minute cylinders.Can anyone recommend a current source of such replacement styli for Shure V15Type II, M78S M55E cartridges?I am contemplating the production of CD reissues of vintage classical records w ish to obtain the best possible sound from the grooves. Any help with this matter will be much appreciated! Jim Cartwright Immortal Performances, Inc. 1404 West 30th Street Austin, Texas 78703-1402 jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] More Operatic 78s
Not yet - I'm going alphabetically am in the middle of Giuseppina Huguet. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: Bryan, Ronald (DSHS/DDD) brya...@dshs.wa.gov To: Antique Phonograph List phono-l@oldcrank.org Date: 13-May-2010 10:52:16 AM Subject: Re: [Phono-L] More Operatic 78s Hi Jim - any Luisa Tetrazzini or Adelina Patti titles in there? Ron Bryan Seattle, WA -Original Message- From: phono-l-boun...@oldcrank.org [mailto:phono-l-boun...@oldcrank.org] On Behalf Of jim...@earthlink.net Sent: Wednesday, May 12, 2010 6:30 PM To: Phono-L@oldcrank.org Subject: [Phono-L] More Operatic 78s This afternoon I brought another 300+ 78rpm records by Opera Singers (some over 100 years old) to my Stall at The Antique Gallery on IH35 (next to Conn's) in Round Rock, about 14 miles north of Austin.This makes over 800 Classical Vocal 78s I have put out for sale there in the last couple of months, nearly all priced at $ 1.95 each.For collectors living in the Central Texas Area who are interested in Classical Music, this is an un-precedented change to obtain some great 78s at a very reasonable price. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] More Operatic 78s
This afternoon I brought another 300+ 78rpm records by Opera Singers (some over 100 years old) to my Stall at The Antique Gallery on IH35 (next to Conn's) in Round Rock, about 14 miles north of Austin.This makes over 800 Classical Vocal 78s I have put out for sale there in the last couple of months, nearly all priced at $ 1.95 each.For collectors living in the Central Texas Area who are interested in Classical Music, this is an un-precedented change to obtain some great 78s at a very reasonable price. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Steel needle manufacturer??
Some years ago I bought steel needles from Pfanstiehl but then began buying from the New Amberola Phonograph Company which following a telephone call to place an order after which I sent payment three years ago failed to send the needles cash the cheques I'd sent, despite several follow up letters I've writtenI'd like to know of a good current source of needles also since I'm about sold out continue to have the occassional request from customers. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: john robles john9...@pacbell.net To: phono-l@oldcrank.org Date: 14-Apr-2010 11:49:34 PM Subject: [Phono-L] Steel needle manufacturer?? Hello all I seem to remember hearing about a needle manufacturer in the US that still makes them and has for decades..anyone remember who it is? I am seeking to buy needles wholesale. Thanks John Robles ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] 78rpm Records of Opera Singers for Sale
Any collectors of vintage classical recordings in the Central Texas Area may be interested in knowing that I have just put out for sale, most at $ 1.95 each, over 500 78rpm records, some over 100 years old, of opera singers, at my stall on Row B of The Antique Gallery located on the east side of IH-35 in Round Rock, Texas (next door to Conn's Electronics) about 14 miles north of Austin. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Vehicle?
Hybrids are not yet what they are cracked up to be.I had an 2006 Lexus Rx400h its actual mileage, both in town on the road, was consistently 6 - 8 miles below its rated mileage. I don't think hybrid technology is yet perfected. One should wait for the next generation hybrids with more efficient batteries, etc. Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net [Original Message] From: Ron L'Herault lhera...@bu.edu To: Antique Phonograph List phono-l@oldcrank.org Date: 07-Mar-2010 10:37:07 PM Subject: Re: [Phono-L] Vehicle? nice, but more expensive than I can handle and it does not get great mileage. I'm not happy when I only get 28 to the gallon instead of 30. I wish I could afford a hybrid. Ron L -Original Message- From: phono-l-boun...@oldcrank.org [mailto:phono-l-boun...@oldcrank.org] On Behalf Of john9...@pacbell.net Sent: Sunday, March 07, 2010 7:43 PM To: Antique Phonograph List Subject: Re: [Phono-L] Vehicle? I higly recommend the Suzuki XL7. Split back seats, lotsa features, I can fit a victrola xvi easily, comfortable..I love mine! John Robles --Original Message-- From: Ron L'Herault Sender: phono-l-boun...@oldcrank.org To: 'Antique Phonograph List' ReplyTo: Antique Phonograph List Subject: Re: [Phono-L] Vehicle? Sent: Mar 7, 2010 12:20 PM Dang, I was hoping the Honda Fit would be big enough for a common upright Victrola. It fills all my other criteria.What about the Kia Soul? and doesn't Hyundai have a hatchback? Ron L -Original Message- From: phono-l-boun...@oldcrank.org [mailto:phono-l-boun...@oldcrank.org] On Behalf Of jim...@earthlink.net Sent: Sunday, March 07, 2010 2:47 PM To: Phono-L@oldcrank.org Subject: [Phono-L] Vehicle? I am on the verge of getting a new vehicle thought I'd ask the advice of Phono-L members since, like myself, you all have need to haul antique phonographs. I'd like to have cargo capacity to transport the typical Victrola (XVI), the typical Edison Diamond Disc Phonograph (C-250) as well the Orthophonic Credenza - when I need to haul an Orthophonic changer or a Capehart, I'll continue to use my 1969 GMC pickup. I want a smaller, more economical 4 cylinder vehicle have looked at Hondas (all of which have too small a cargo area except the Element which I consider unattractive) Toyotas (Scion, Metric, RAV 4 Venza,all of which will accommodate the above mentioned machines) am leaning towards the RAV4 but thought it might be nice to get your input before making a final decision. Thanks! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org Sent from my Verizon Wireless BlackBerry ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Vehicle?
I am on the verge of getting a new vehicle thought I'd ask the advice of Phono-L members since, like myself, you all have need to haul antique phonographs. I'd like to have cargo capacity to transport the typical Victrola (XVI), the typical Edison Diamond Disc Phonograph (C-250) as well the Orthophonic Credenza - when I need to haul an Orthophonic changer or a Capehart, I'll continue to use my 1969 GMC pickup. I want a smaller, more economical 4 cylinder vehicle have looked at Hondas (all of which have too small a cargo area except the Element which I consider unattractive) Toyotas (Scion, Metric, RAV 4 Venza,all of which will accommodate the above mentioned machines) am leaning towards the RAV4 but thought it might be nice to get your input before making a final decision. Thanks! Jim Cartwright Immortal Performances, Inc. jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Need Address for Tim Fabrizio
I attempted to send some copies of some excerpts from an article on Charles Sumner Tainter's 1881 Home Notes that appeared in For the Record the organ of the City of London Antique Phonograph and Gramophone Society that suggest that Tainter, not Berliner, was the originator of lateral cut wax disc recording as well as the acid etched duplicating process to obtain Mr. Fabrizio's thoughts on the matter but my letter, sent to P.O. Box 10307 in Rochester, New York came back.Can anyone provide me with Mr. Fabrizio's current mailing address?Thanks! Jim Cartwright Immortal Performances jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Need Address for Tim Fabrizio
Thanks for Mr. Fabrizio's current address!I thought the Tainter-Berliner priority situation as to lateral cut wax disc recording acid-etched duplication might in some ways parallel that of Farnsworth-Zworykin for priority in electronic television where credit has finally been given where it was due thought Mr. Fabrizio's views on the matter might be enlightening since he is one of the leading historicans of early sound recording. Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: Greg Bogantz gbogan...@charter.net To: Antique Phonograph List phono-l@oldcrank.org Date: 01-Feb-2010 2:37:19 PM Subject: Re: [Phono-L] Need Address for Tim Fabrizio Tim Fabrizio's mailing address is: 396 Westminster Rd. (or: P.O. Box 747) Henrietta, NY 14467 Or, you can email him at his phonophan webpage: http://www.phonophan.com/ Greg Bogantz - Original Message - From: jim...@earthlink.net To: Phono-L@oldcrank.org Sent: Monday, February 01, 2010 1:16 PM Subject: [Phono-L] Need Address for Tim Fabrizio I attempted to send some copies of some excerpts from an article on Charles Sumner Tainter's 1881 Home Notes that appeared in For the Record the organ of the City of London Antique Phonograph and Gramophone Society that suggest that Tainter, not Berliner, was the originator of lateral cut wax disc recording as well as the acid etched duplicating process to obtain Mr. Fabrizio's thoughts on the matter but my letter, sent to P.O. Box 10307 in Rochester, New York came back.Can anyone provide me with Mr. Fabrizio's current mailing address?Thanks! Jim Cartwright Immortal Performances jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] source for Columbia companion vol 2
I have bought hard-to-find books, not necessarily dealing with antique phonographs, from the internet abebooks.com. Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: Chris Kocsis chris...@cox.net To: Antique Phonograph List phono-l@oldcrank.org Date: 02-Nov-2009 8:08:33 PM Subject: Re: [Phono-L] source for Columbia companion vol 2 There are three copies here -- all expensive: http://www.addall.com/SuperRare/RefineExact.fcgi?id=091102180443984607order =TITLEordering=ASCdispCurr=USDexaAuthor=Bob+Baumbachmatch=YexaTitle=Col umbia+Phonograph+Companion:+2 If that long URL doesn't work, go to addall.com and search for columbia phonograph companion. Good luck! Chris Bob Maffit wrote: All: A short while ago, someone listed a link, source, for the out of print book: Columbia Companion vol. II. This is the one for the disk machines. I would appreciate it if I could get it. Thanks Bob ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Edison's A-250 DD
When I visited Glenmont in 1977 what I thought was an early Diamond Disc phonograph turned out to be an Amberola - I raised the lid surreptitiously! jim...@earthlink.net [Original Message] From: Bruce Mercer maxbu...@wowway.com To: Antique Phonograph List phono-l@oldcrank.org Date: 17-Oct-2009 11:58:28 PM Subject: Re: [Phono-L] Edison's A-250 DD The microgroove record was Edison's work, not Theodore's. Theodore designed the universal electric magnetic pickup used in the C-1 and C-2 radio/phonograph combinations of 1928. T.A.s work on microgroove recordings can be noted as early as 1899. (cylinder of course) Bruce M. ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
Re: [Phono-L] Capehart
Dear Mr.Baumbach: Thanks for your responce to my query about my Capehart. How do I contact you privately about Capehart 404G owners manual schematics?UT has the Rider's book of schematics - do you offer something better? Without your Capehart book, the stereo repairman would never have been able to get the changer working.The on-line video of operating changers was also a big help. Again thanking you and sending all good wishes, I remain... Ver y truly yours, Jim Cartwright Imm ortal Performances 140 4 West 30th Street Aus tin, Texas 78703 (51 2) 478-9954 jim c...@earthlink.net jim...@earthlink.net [Original Message] From: RBaumbach phonol...@mac.com To: Antique Phonograph List phono-l@oldcrank.org Date: 14-Jul-2009 2:01:08 PM Subject: Re: [Phono-L] Capehart Tungstone needles are probably the best choice for either the 10-50 or the Capehart, and were recommended by both manufacturers. In the mid- thirties Capehart recommended the RCA Chromium needles, but some collectors feel that these are hard on records. Both the Tungstone and Chromium needles are still rather plentiful. There is a more comprehensive discussion of needles on the bonus page for the Capehart book (see page 5). Contact me privately regarding the owner's manual and schematics. Bob On TuesdayJuly 14, 2009, at 10:11 AM, jim...@earthlink.net wrote: After many years, my 1937 Capehart 404G (serial number 10627E) is now functioning sounds great is fun to watch as it changes records. I have noticed quite a bit of needle noise in the magnetic pickup when the volume is turned down even though the pickup has been restored. Is this endemic to a properly performing Capehart as I suspect because all the doors to the record playing compartment are sealed with rubber gaskets, presumable to contain mechanical noise or does the pickup need further work? Also, where can one obtain needles for playing large numbers of 78s without being changed in the Capehart or Orthophonic Victrola 1050? I have Mr. Baumbach's excellent book on the Capeharts without which the repairman who usually works on 1950s 1960s hifi gear would have been completely at sea in working on the Capehart changer but would like to obtain copies of the owner's manual schematics of the tuner amplifiers. Jim Cartwright Immortal Performances jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Capehart
After many years, my 1937 Capehart 404G (serial number 10627E) is now functioning sounds great is fun to watch as it changes records. I have noticed quite a bit of needle noise in the magnetic pickup when the volume is turned down even though the pickup has been restored. Is this endemic to a properly performing Capehart as I suspect because all the doors to the record playing compartment are sealed with rubber gaskets, presumable to contain mechanical noise or does the pickup need further work? Also, where can one obtain needles for playing large numbers of 78s without being changed in the Capehart or Orthophonic Victrola 1050? I have Mr. Baumbach's excellent book on the Capeharts without which the repairman who usually works on 1950s 1960s hifi gear would have been completely at sea in working on the Capehart changer but would like to obtain copies of the owner's manual schematics of the tuner amplifiers. Jim Cartwright Immortal Performances jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Phonograph appreciation
Last year for a friend's 80th Birthday, I took a Columbia BN Graphophone equipped with a Viva-Tonal soundbox to the private dining room of the restaurant where the party took place.Played circa 1928 dance band records to an enthusiastic audience but had to stuff napkins down the nine-panel nickel plated horn to moderate the volume even with soft tone needles! Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: Ken and Brenda Brekke kb...@charter.net To: Antique Phonograph List phono-l@oldcrank.org Date: 21-May-2009 9:20:33 PM Subject: [Phono-L] Phonograph appreciation The previous email threads regarding the public appreciating phonographs reminds me of one of my experiences. I have taken some of my phonographs to nursing homes and played records for everyone there. The first time I went, there were only a few that showed up. On all the subsequent visits, the activity room was filled. There was one particular lady that I will never forget. She was always by herself on the side of all the activity. She didn't associate with anyone. I asked one of the aides about her. The aide said Oh, that's Georgia. She is usually pretty mean to everyone. I took that statement as a challenge. I used a cart and took my Concert Roller Organ over to her. I put my arm on her shoulder and asked if she wanted to play it. She looked up to me and in a very gruff and defiant voice said YES! She needed to use both hands to crank it but she played the whole cobb. When it ended she looked up at me again and had a huge smile on her face and said Thank you very much! It still brings a little tear to my eyes yet today. After that visit, Georgia always came up to me and requested to play either a phonograph or the Roller Organ. Many of the residents would dig through my boxes of records I brought. The look on their faces when they found a particular record that brought back memories from their younger days was priceless. They would eagerly play the record and talk about what it meant to them. I never needed to explain to them how to play the phonographs. It has been a while since I have visited a nursing home with some phonographs. It is something I miss doing and should start again. You can be sure that everyone there appreciates phonographs. More recently, I have started something similar with our Model A Ford club. We have put on mini car shows at nursing homes and give the residents rides. The appreciation of these events is also great. Ken Brekke ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Austin Record Convention
I attended the Austin Record Convention which took place this past weekend. It has existed for over thirty years is supposed to be one of the largest record conventions in the country. Most of the dealers were selling pop, country, jazz, etc. LPs, CDs, 45s post-war 78s T-shirts, posters, etc. A couple of dealers had mainly classical LPs CDs.One dealer had a whole box of Bob Wills other Western Swing 78s. Two or three had some 1920s-1920s jazz and dance band 78s, mostly in less than pristine condition, some over priced given their condition. A cracked Gennett New Orleans Rhythm Kings 78 was marked $ 150! But, especially on the last day, prices may in some cases be negotiable. No Edison diamond discs or cylinders.I picked up a group of 61 Hit-of-the-Week 78s in varying conditions for $ 100. In the past, more early discs cylinders as well as the occasional antique phonograph have been offered but the convention seems to be narrowing its focus to post-war music.Therefore, it probably is not of great interest to those on Phono-L.A few visitors, mainly Asian, in town for the convention, visited my used record shop, Immortal Performances, bought rock, soul, jazz, world music, EZ classical LPs a few 12 dance singles. None asked for 78s. Jim Cartwright Immortal Performances jim...@earthlink.net From john9...@pacbell.net Tue Apr 7 13:12:36 2009 From: john9...@pacbell.net (john9...@pacbell.net) Date: Tue Apr 7 13:34:09 2009 Subject: [Phono-L] Austin Record Convention Message-ID: 547389413-1239135107-cardhu_decombobulator_blackberry.rim.net-20628890...@bxe1233.bisx.prod.on.blackberry Nice report, Jim!! John Robles --Original Message-- From: jim...@earthlink.net Sender: phono-l-boun...@oldcrank.org To: Phono-L@oldcrank.org ReplyTo: Antique Phonograph List Subject: [Phono-L] Austin Record Convention Sent: Apr 7, 2009 10:39 AM I attended the Austin Record Convention which took place this past weekend. It has existed for over thirty years is supposed to be one of the largest record conventions in the country. Most of the dealers were selling pop, country, jazz, etc. LPs, CDs, 45s post-war 78s T-shirts, posters, etc. A couple of dealers had mainly classical LPs CDs.One dealer had a whole box of Bob Wills other Western Swing 78s. Two or three had some 1920s-1920s jazz and dance band 78s, mostly in less than pristine condition, some over priced given their condition. A cracked Gennett New Orleans Rhythm Kings 78 was marked $ 150! But, especially on the last day, prices may in some cases be negotiable. No Edison diamond discs or cylinders.I picked up a group of 61 Hit-of-the-Week 78s in varying conditions for $ 100. In the past, more early discs cylinders as well as the occasional antique phonograph have been offered but the convention seems to be narrowing its focus to post-war music.Therefore, it probably is not of great interest to those on Phono-L.A few visitors, mainly Asian, in town for the convention, visited my used record shop, Immortal Performances, bought rock, soul, jazz, world music, EZ classical LPs a few 12 dance singles. None asked for 78s. Jim Cartwright Immortal Performances jim...@earthlink.net ___ Phono-L mailing list http://phono-l.oldcrank.org Sent from my Verizon Wireless BlackBerry From jim...@earthlink.net Wed Apr 8 09:28:16 2009 From: jim...@earthlink.net (jim...@earthlink.net) Date: Wed Apr 8 09:28:22 2009 Subject: [Phono-L] Austin Record Convention Message-ID: 380-22009438162816...@earthlink.net At past Austin Record Conventions I have bought a few antique phonographs including a Victor II (not in great shape) an interesting Carryola Pirate Chest portable. Sadly, no one brings machines anymore. Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: john9...@pacbell.net To: Antique Phonograph List phono-l@oldcrank.org Date: 07-Apr-2009 3:11
[Phono-L] Edisonic reproducer
stamped Aug 4 1928 - MUSIC FOR OUTDOOR DANCING sounds far better, and carries farther, when the Edison playing it is equipped with an EDISONIC Reproducer. Weekly Bulletin No. 79 - OLYMPIC CHAMPIONS are breaking records every day. But the world champion for playing records is still the EDISONIC Reproducer. Weekly Bulletin No. 80 rubber stamped Aug 15 1928 and Aug 18 1928 - OUT UNDER THE STARS on the lake - that's many a vacationist's dream. Better still to hear music coming over the water from the silver-tongued EDISONIC Reproducer. Weekly Bulletin No. 81 rubber stamped Aug 21 1928 and Aug 25 1928 - SHOULD A CHAMPION RETIRE? Not if all challengers can be met and beaten, as is the case with the EDISONIC Reproducer. Weekly Bulletin No.82 rubber stamped Aug 28 1928 and Sep 1 1928 - FAITHFUL REPRODUCTION means clarity of word and note, individuality of voice and instrument, purity of natural tone. For such fidelity there is no rival to the EDISONIC Reproducer. Weekly Bulletin No. 83 rubber stamped Sep 4 1928 and Sep 8 1928 - YOU CAN BE PROUD of the EDISONIC Reproducer in comparative demonstrations. It's a sure winner - and a sales-maker. Let it work for you. Weekly Bulletin No. 84 rubber stamped Sep 10 1928 and Sep 15 1928 - NO BLINDFOLD TEST is needed to prove the superiority of the EDISONIC Reproducer. A simple comparison not only shows, but shows up competition. Weekly Bulletin No. 85 rubber stamped Sep 18 1928 and Sep 22 1928 - VACATIONS ARE OVER for most of us.Not so with the EDISONIC Reproducer, which keeps tuned up to the best music winter and summer alike. This seems to be the end of promoting the Edison Reproducer in the Weekly Bulletins but the Edisonic Phonographs continued to be listed until Weekly List No. 128 for August 2, 1929. Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: Steven Medved steve_nor...@msn.com To: Phono-l phono-l@oldcrank.org Date: 13-Mar-2009 1:45:55 PM Subject: [Phono-L] Edisonic reproducer Was the Edisonic was made to play the electrically recorded records? If the Dance come out in March 1926 to compete with the Orthophonic and the Edisonic in March 1927 only acoustic records were made at this time. So even if you go with the studio recording date of July 5 1927 the Edisonic was out for at least three months before 52089 was recorded. It seems to me the Dance and Edisonic were ways to get more volume from the acoustic records, or am I mistaken? Steve ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Brunswick Panatrope Value? Rarity? Interest?
Is it actually a Panatrope or Brunswick acoustic phonograph incorporating a battery powered Radiola? You said it had a horn speaker.My early Panatrope has a dynamic cone loudspeaker.Does it have an electronic pickup or just an acoustic reproducer, tone arm horn through which the radio driver plays? Is it labelled Panatrope? Jim Cartwright Immortal Performances jim...@earthlink.net [Original Message] From: clockworkh...@aol.com To: phono-l@oldcrank.org Date: 01-Jan-2009 6:00:23 AM Subject: [Phono-L] Brunswick Panatrope Value? Rarity? Interest? Anyone care to comment on how rare a Brunswick Panatrope is? Is it a desirable machine since it is an early all electronic phonograph? It is not currently working and is missing the three amplifier stage tubes though the turntable functions perfectly. A non-phonograph collector friend wants to put it up for sale but does not know the value. Being an Edison only collector I wasn't interested and could not help him. It is in a cabinet comparable to my Edison C2 in quality and looks fairly clean. It is definitely earlier than the C2 with a horn speaker and tubes like a UX199. Any comments will be appreciated. Al **New year...new news. Be the first to know what is making headlines. (http://www.aol.com/?ncid=emlcntaolcom0026) ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Transport Information Request
I am buying a couple of upright phonographs that are in the San Francisco area and need to get them transported to Austin, Texas.What is the most expedient, safe and cheapest way to accomplish this? Thanks for any suggestions! Jim Cartwright Immortal Performances Austin, Texas jim...@earthlink.net From klin...@modex.com Mon Dec 8 18:33:14 2008 From: klin...@modex.com (Bill Klinger) Date: Thu Dec 11 09:43:39 2008 Subject: [Phono-L] ARSC Preservation Grants -- Deadline Reminder Message-ID: acb1c5d6c75146eb8d9f1fd4e1bb1...@billqbszr49l7m The Outreach Committee of the Association for Recorded Sound Collections (ARSC) posts the following message. If you have any questions, please click on the link or one of the e-mail addresses below. --- ARSC PRESERVATION GRANTS PROGRAM: DEADLINE REMINDER --- Deadline for receipt of applications: December 15, 2008 The ARSC Program for the Preservation of Classical Music Historical Recordings was founded by Al Schlachtmeyer and the ARSC Board of Directors to encourage and support the preservation of historically significant sound recordings of Western Art Music by individuals and organizations. (This program is separate from the ARSC Research Grants Program, which supports scholarship and publication in the fields of sound recording research and audio preservation.) The ARSC Program for the Preservation of Classical Music Historical Recordings will consider funding: -- Projects involving preservation, in any valid and reasonable fashion, such as providing a collection with proper climate control, moving a collection to facilities with proper storage conditions, re-sleeving a collection of discs, setting up a volunteer project to organize and inventory a stored collection, rescuing recordings from danger, copying recordings from endangered or unstable media, etc. -- Projects promoting public access to recordings. -- Projects involving commercial as well as private, instantaneous recordings. -- Projects involving collections anywhere in the world. (Non-U.S. applicants are encouraged to apply.) The program is administered by an ARSC Grants Committee including the chairman, a member of the ARSC Technical Committee, a member of the ARSC Associated Audio Archives Committee, and an expert on classical music. Grant amounts generally range from $2,000 to $10,000. Grant projects should be completed within 24 months. Written notification of decisions on projects will be made approximately three months after the submission deadline. Send completed applications to: Richard Warren Jr., ARSC Grants Program, Historical Sound Recordings, Yale Music Library, P.O. Box 208240, New Haven, CT 06520-8240, USA. Grant applications must be received by December 15, 2008. For further details, guidelines, and application instructions, visit: http://www.arsc-audio.org/preservationgrants.html. Questions about the Preservation Grants Program should be directed to Mr. Warren at richard.war...@yale.edu. The Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals -- everyone with a serious interest in recorded sound.
[Phono-L] Transport Information Wanted
I am buying a couple of upright phonographs that are located in the San Francisco area. What would be the most expedient, safest and cheapest means of having them transported to me in Austin, Texas? Thanks for any advice on this matter! Jim Cartwright Immortal Performances Austin, Texas jim...@earthlink.net jim...@earthlink.net From jim...@earthlink.net Wed Dec 10 10:37:27 2008 From: jim...@earthlink.net (jim...@earthlink.net) Date: Thu Dec 11 09:43:42 2008 Subject: [Phono-L] Transport Information Request Message-ID: 380-2200812310183727...@earthlink.net I am buying two upright phonographs located in the San Francisco area need to have them transported to Austin, Texas.What is the most expedient, safe and cheapest transportation method for antique phonographs?Thanks!(I have tried several times to send this query but it doesn't appear to be getting through.Is Phono-L in operation?) Jim Cartwright Immortal Performances Austin, Texas jim...@earthlink.net jim...@earthlink.net From ban...@charter.net Wed Dec 10 16:01:50 2008 From: ban...@charter.net (Shawn and Beth) Date: Thu Dec 11 09:43:44 2008 Subject: [Phono-L] More Items for Sale In-Reply-To: 2008112623.f16d0c3...@mail.intellitechcomputing.com References: 2008112623.f16d0c3...@mail.intellitechcomputing.com Message-ID: 007c01c95b23$ab450520$01cf0f...@net Hello folks! Thank you for all of the purchases from the last posting. I had so much fun, I am posting some more! Pictures are available on request. Please respond off list. First to say sold gets it! Very nice 14 black and brass horn stamped pat'd. Solid bell with good paint on the body - $150.00 Very hard to find Edison Triumph A square hole crank, Excellent paint, knob, etc. - $200.00 Very nice 10 cone horn for Gem, Q, Eagle, etc. Solid paint/ striping - $165.00 Very nice Columbia AH 20 horn./ Uses the brass elbow - $175.00 5 Berliner Records each in excellent condition, with very hard to find, desirable titles - $500 for all. Can be sold individually priced if there is enough interest. 087 The Handicap March Vess Ossmann 98 Z Kaiser March The Banda Rossa 141Z Songs of Scotland Sousa's Band 0230A El Capitan March Sousa's Band 3018 Nearest and Dearest Mrs. Nellie Wilson Shir-Cliff and Mrs. Margaret Nolan Martin VERY VERY hard to find Christmas record on early etched label 7 inch ZONOPHONE J9375 (O) Holy Night Mr. Ed Franklin (Christmas song) Super, super condition - $100.00 High quality Color Reproduction Columbia Sign board papers suitable for a BS, AS, N. These are fantastically done and very striking! If you need one, ask for a picture and you'll be sold. Includes an instruction card to put on the curved glass - $16.00 each including shipping anywhere in the contiguous states of the USA Thank you Shawn O'Rourke - ban...@charter.net
[Phono-L] Lateral Vs Vertical.
My Gothic Art Model Actuelle has a door on the side as well as two doors in front the top raises also. I find it sounds best if all but the side door are closed so the cabinet acts as a sort of baffle. Ji m Cartwright Im mortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: DanKj edisone1 at verizon.net To: Antique Phonograph List phono-l at oldcrank.org Date: 06-Nov-2008 5:13:58 AM Subject: Re: [Phono-L] Lateral Vs Vertical. I have both the tone arm Actuelle and the direct Actuelle, but some nit-wit seems to have soaked my direct cone with tons of shellac, rendering it so stiff and heavy that it's almost silent. I might try soaking the whole thing in a big vat of alcohol, to dissolve the crud. I would think that the Actuelles with a louvered opening are a little better on bass tones, though I have not heard one. - Original Message - From: jimcip at earthlink.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Wednesday, November 05, 2008 2:05 PM Subject: Re: [Phono-L] Lateral Vs Vertical. Dear Mr. Wright: I have a Pathe Actuelle which use a paper cone drive by a mechanical connection to the playback stylus, not as directly as the diffuser you mention. Very pure sound but definitely mid-rage only, the mass of the linkage eliminating higher frequencys since there is no baffle to the cone, the lower frequencys are weakened by the air moved by the back of the cone, out of phase with that moved by the front of the cone cancelling it. If there had been some way to provide a baffle for the cone, the low frequency responce would have been far better. Very truly yours, Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 03-Nov-2008 5:57:19 PM Subject: Re: [Phono-L] Lateral Vs Vertical. Jim, Greg, Steve, and Thomas :-), Thanks very much for all the insight. I hadn't considered the possibility that vertical was inferior, but vertical companies worked that much harder for better sound; I assumed all other things were probably even. I do find it strange that so many vertical recordings by so many companies had superior sound to so many laterals, including as pointed out below, individual labels who issued records cut both ways. Anyone have any impressions of the Path? Diffusor? I would think that being a large diaphragm with a jewel tip sitting directly on the recorded groove, it would be the most direct playback mechanism of any that have existed. Right? No pivot point to worry about, just the simplest physics around -- true analog, as it were, the only example of it since Edison's original prototype, yes? Has anyone thought to try improving upon that particular playback methodology? Thanks again, all. I'm storing these in a special folder to revisit from time to time. Best to all, Robert - Original Message - From: Thomas Edison edisonphonoworks at hotmail.com To: phono-l at oldcrank.org Sent: Monday, November 03, 2008 4:10 PM Subject: [Phono-L] Lateral Vs Vertical. Hello everyone. Thinking of the L and V issue, I have a very simple response from cutting records. I had recorded Laquers with the Fairchild lathe , in order to record high frequencies, I had to boost them to a dangerous level almost burning the coil up. When you record you boost highs and limit the lows, and the opposite when you play them back. I used the same head to record hill and dale cylinder records on Edison blanks, and could record the cylinders almost flat, and the lows and highs sounded very similar to the original recording, and the highs did not have to be boosted to the dangerous levels of the lateral disc of which the head was designed to cut, so it certainly seems that it is harder to record highs on lateral recordings than vertical. Some of you on the list have some of these electrically recorded cylinders in your collections with modern music on them, you can state the same I am sure. When it comes to bass however, vertical records are much harder as li fts occur, but you can increase the ambient wax temperature and record deeper grooves, and record more bass The lowest bass note I had recorded on cylinders was 16 cps, however this was a test tone, with no other
[Phono-L] Lateral Vs Vertical.
Dear Mr. Wright: I have a Pathe Actuelle which use a paper cone drive by a mechanical connection to the playback stylus, not as directly as the diffuser you mention. Very pure sound but definitely mid-rage only, the mass of the linkage eliminating higher frequencys since there is no baffle to the cone, the lower frequencys are weakened by the air moved by the back of the cone, out of phase with that moved by the front of the cone cancelling it. If there had been some way to provide a baffle for the cone, the low frequency responce would have been far better. Very truly yours, Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 03-Nov-2008 5:57:19 PM Subject: Re: [Phono-L] Lateral Vs Vertical. Jim, Greg, Steve, and Thomas :-), Thanks very much for all the insight. I hadn't considered the possibility that vertical was inferior, but vertical companies worked that much harder for better sound; I assumed all other things were probably even. I do find it strange that so many vertical recordings by so many companies had superior sound to so many laterals, including as pointed out below, individual labels who issued records cut both ways. Anyone have any impressions of the Path? Diffusor? I would think that being a large diaphragm with a jewel tip sitting directly on the recorded groove, it would be the most direct playback mechanism of any that have existed. Right? No pivot point to worry about, just the simplest physics around -- true analog, as it were, the only example of it since Edison's original prototype, yes? Has anyone thought to try improving upon that particular playback methodology? Thanks again, all. I'm storing these in a special folder to revisit from time to time. Best to all, Robert - Original Message - From: Thomas Edison edisonphonoworks at hotmail.com To: phono-l at oldcrank.org Sent: Monday, November 03, 2008 4:10 PM Subject: [Phono-L] Lateral Vs Vertical. Hello everyone. Thinking of the L and V issue, I have a very simple response from cutting records. I had recorded Laquers with the Fairchild lathe , in order to record high frequencies, I had to boost them to a dangerous level almost burning the coil up. When you record you boost highs and limit the lows, and the opposite when you play them back. I used the same head to record hill and dale cylinder records on Edison blanks, and could record the cylinders almost flat, and the lows and highs sounded very similar to the original recording, and the highs did not have to be boosted to the dangerous levels of the lateral disc of which the head was designed to cut, so it certainly seems that it is harder to record highs on lateral recordings than vertical. Some of you on the list have some of these electrically recorded cylinders in your collections with modern music on them, you can state the same I am sure. When it comes to bass however, vertical records are much harder as li fts occur, but you can increase the ambient wax temperature and record deeper grooves, and record more bass The lowest bass note I had recorded on cylinders was 16 cps, however this was a test tone, with no other frequencies added, it was very difficult to do but can be done. Lateral records record bass with relative ease, however if the volume is to high the grooves run into eachother and must be spaced apart more. (Most modern recording lathes do this automatically.) If you listen to companies that recorded lateral and vertical records you can hear much clearer records, with vertical recordings time and time again. Pathe', Gennette ect. _ Want to read Hotmail messages in Outlook? The Wordsmiths show you how. http://windowslive.com/connect/post/wedowindowslive.spaces.live.com-Blog-cns !20EE04FBC541789!167.entry?ocid=TXT_TAGLM_WL_hotmail_092008 ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz)
Dear Mr. Wright: I wasn't trying to start an argument but my thoughts on the subject of lateral vs. vertical cut recording are briefly. Over all, lateral-cut recording is superior to vertical-cut because of two main factors: 1. With lateral-cut, the vibration of the stylus is controlled from both directions during playback - with vertical-cut the bottom of the groove can push the stylus up leaving only the displacement elasticity of the reproducing diaphragm to push it back down. This becomes more of a problem with louder volume increased frequency responce.Acoustic lateral-cut 78s can have a far greater dynamic range than vertical-cut diamond discs to say nothing of cylinders. Nearly all the electrically recorded diamond discs I've heard are inferior to their Western Electric electrical counterpoints, Victor Columbia, in terms of frequency dynamic range and lack of audible distortion, to my ears at least. 2. The amount of wax removed in recording a waveform is constant in lateral-cut recording whereas with vertical-cut more wax is removed in engraving a downward motion of the cutting stylus, creating a deeper groove, and less when the stylus rises, creating a shallower groove, bringing about an uneven resistance to the cutting stylus in each half of the waveform. I admit that the high frequency responce of Edison vertical-cut cylinders diamond discs is often superior to many contemporary lateral-cut discs but this is due to Edison's limiting the mass of the recording diaphragm and cutting stylus assembly, not to the vertical-cut method itself. This limiting of vibratory mass could have, with proper design, been applied to the lateral-cut method, increasing its high frequency responce. Would still like to know how to get the best possible sound reproduction from all my antique machines whether lateral or vertical. Very truly yours, Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 01-Nov-2008 5:46:12 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) With all due respect, how is vertical cut recording inferior to lateral cut? Certainly in the phonograph's first 25 years, Edison's machines sounded substantially better than respectively contemporary lateral phonographs. I hear more treble extension on direct-recorded 4M amberols than any acoustic lateral recordings, as well as more general naturalness. I must respectfully disagree that vertical recording can be regarded as inherently inferior to lateral recording, generally speaking. I should perhaps mention that I have no allegiance to one method over the other whatsoever. Greg B., may I ask your thoughts on this? Any information about specific frequency responses, and especially, the physics involved with both the recording and playback (and duplication if you care to get that deep) processes, would be fascinating and greatly appreciated! Best to all, Robert - Original Message - From: jimcip at earthlink.net snip Obviously the great weakness of Edison phonographs (aside from vertical cut recording)... ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz)
Dear Mr. Bogantz: Thanks for the info on your diaphragm. I've talked with local antique phonograph repairman Jeff Cecil about his building an exponential horn to fit in my Edisonic's case but he is too busy to take this on and I lack the skills necessary. Perhaps fiberglass might be used?I'd love to see the pictures of your friends creation. All good wishes... Very truly yours, Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Greg Bogantz gbogantz1 at charter.net To: Antique Phonograph List phono-l at oldcrank.org Date: 02-Nov-2008 8:23:24 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Jim, I just talked with my friend who designed the Ediphonic and he said I could post some pictures of the horn and the complete machine. I'll try to get that done here shortly. I think I convinced him to join Phono-L, so you might see him contributing to our discussions here later. Regarding the use of a round link fastener on my diaphragms: I've tried several ways to make these, but the issue always comes down to keeping the moving mass as low as possible. The little piece of wire that I use is the simplest means of attaching the link and it sounds no different from the disc-shaped means that I tried. Greg Bogantz - Original Message - From: jimcip at earthlink.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Saturday, November 01, 2008 3:33 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Dear Mr. Bogantz: Your friend's experimental exponential Amberola horn sounds fascinating - wish I could hear it. I tried playing diamond discs through one of my Orthophonic Credenzas using the Bruswick Ultona arm and soundbox this was quite an improvement over the diamond disc machines - am sure it would have been much better if it had been possible to use an Edison reproducer. Obviously the great weakness of Edison phonographs (aside from vertical cut recording), both cylinder disc, is that they, unlike their lateral-cut competitors' acoustic machines, did not employ tone arms that by their very existance elogated the narrower portion of the tone passage, more closely approximating exponetial shape. One would have thought that mathmatician Theodore Edison would have exponentially elongated the narrow portion of the horn in the Edisonic. Wish your friend would market an aftermarket exponetial horn for both Amberola Diamond Disc phonographs.Let me know if he does. I bought one of your diamond disc diaphragms several years ago thought it might be improved by having the link attached to the diaphragm by a round something against the diaphragm rather than the little straight bar.Have you by any chance incorporated this improvement? Am always interested in obtaining the best sound quality from my vintage machines. All good wishes... Very truly yours, Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. ... [Original Message] From: Greg Bogantz gbogantz1 at charter.net To: Antique Phonograph List phono-l at oldcrank.org Date: 28-Oct-2008 5:48:38 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Bruce, the only reason that I discount the 1A from being the best cylinder player is because of its inferior motor. The straight-cut spur gears of the 1A are decidedly noisier than the Opera motor of the 1B and the III. When I first got my 1A, it sounded like and electric drill whenever I ran it. The noise comes mostly from the high speed governor gears, and the only fix for it is to replace these gears with nearly perfect new ones. Try to find those anywhere! I got lucky and swapped a fellow collector some items for a set of nearly new gears which quieted my 1A down to the point where it is enjoyable, but still not as quiet as my 1B. The other big problem with the 1A is that it doesn't have the mechanical flutter filter and flywheel that Edison added to some of his later motors such as the Opera, Amberola V, and all the late amberolas. The lack of a sufficient flywheel coupled with the belt drive of the 1A virtually ensures that you'll get flutter and wow that is just an essential aspect of this design. Acoustically, the 1A is the same as the 1B, but the motor spoils the total experience a little. However, since the 1A motor is no worse than any found on any other 2 minute cylinder machine, the superior horn of the 1A makes it the best overall 2 minute machine in my estimation.
[Phono-L] Research: Amberolas 1A and 1B
Dear Mr. Paul: Am glad you are expanding the number of questions asked about the Amberolas I, A and B.In addition to the different feet number of side sound vents you might want to include a more detailed question about the carving on the front upper corner columns since the earlier style with smooth sided lid has either smooth upper columns between the vertical beading or an Art Noveau style leaf design that is completely different from the carving on the later stepped sided lid cabinets. Also the early cabinet has a two piece fretwork with rectangular slots surrounding the neck of the horn whereas later machines have a one piece fretwork with curliqued slots. I'll help in any way I can. Thanks and all good wishes... Very truly yours, Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: gpaul2000 at aol.com To: phono-l at oldcrank.org Date: 30-Oct-2008 3:26:34 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B Jim, Thanks very much for your very helpful listing of all 7 (!) of your Amberola 1As and 1Bs.? I appreciate the trouble you took to compile this for me.? As I dig deeper into this, I may impose upon you for more details re: number of louvers and interior markings - particularly for the examples with cloven hooves.? Thanks again for your tremendous help, Jim! Best, George -Original Message- From: jimcip at earthlink.net jimcip at earthlink.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Wed, 29 Oct 2008 10:52 pm Subject: Re: [Phono-L] Research: Amberolas 1A and 1B Dear Mr. Paul: Am glad you are researching the early Edison Amberolas.I have the following: A, Serial Number 289, mechanism same as nameplate, Lyre grille, smooth lid, no carving on front corner posts other than vertical trim at edges that runs all the way down, door extends downward with serpentine curved bottom - no board under door, wooden dividers in drawers two sound vents on each side, mahogany, single piece wooden fretwork around neck of horn A, Serial Number 859, mechanism same as nameplate, Lyre grille, smooth lid, no carving on front corner posts other than vertical trim at edges that runs all the way down, door extends downward with serpentine curved bottom - no board under door, wooden dividers in drawers, mahogany A, Serial Number on nameplate 887, mechanism Serial Number 495, later Rococo grille, carving on top of front corner posts with cloven hoof feet, smooth lid, flat bottom door with board beneath, metal clips in drawers, mahogany A, Serial Number 1179, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front columns with cloven hoof feet, bottom of door flat with board under door, metal clips in drawers, mahogany A, Serial Number 2786, mechanism same as nameplate, later Rococo grille, smooth lid, Art Noveau leaf carving top of front corner posts, door extends downward with serpentine curved bottom - no board under door, metal clips in drawers, mahogany B, Serial Number 4106, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front columns with cloven hoof feet, flat door bottom with board below, metal clips in drawers, mahogany B, Serial Number 4189, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front column, flat door bottom with board below, metal clips in drawers, golden oak In case you are interested, I have the following also: Amberola III, Model B, Serial Number 293, mechanism Serial Number 8617, elaborate Amberola decal in lid, mahogany Amberola III, Serial Number 1299 (it is in storage but I believe mechanism serial number matches), plain Edison decal in lid, mahogany Your efforts in documeneting early phonographs are much appreciated. Many thanks! All good wishes... Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: gpaul2000 at aol.com To: phono-l at oldcrank.org Date: 25-Oct-2008 10:47:11 AM Subject: [Phono-L] Research: Amberolas 1A and 1B I'm asking for data from owners of Amberolas 1A and 1B. I'm working on an
[Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz)
Dear Mr. Bogantz: Your friend's experimental exponential Amberola horn sounds fascinating - wish I could hear it. I tried playing diamond discs through one of my Orthophonic Credenzas using the Bruswick Ultona arm and soundbox this was quite an improvement over the diamond disc machines - am sure it would have been much better if it had been possible to use an Edison reproducer. Obviously the great weakness of Edison phonographs (aside from vertical cut recording), both cylinder disc, is that they, unlike their lateral-cut competitors' acoustic machines, did not employ tone arms that by their very existance elogated the narrower portion of the tone passage, more closely approximating exponetial shape. One would have thought that mathmatician Theodore Edison would have exponentially elongated the narrow portion of the horn in the Edisonic. Wish your friend would market an aftermarket exponetial horn for both Amberola Diamond Disc phonographs.Let me know if he does. I bought one of your diamond disc diaphragms several years ago thought it might be improved by having the link attached to the diaphragm by a round something against the diaphragm rather than the little straight bar.Have you by any chance incorporated this improvement? Am always interested in obtaining the best sound quality from my vintage machines. All good wishes... Very truly yours, Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. ... [Original Message] From: Greg Bogantz gbogantz1 at charter.net To: Antique Phonograph List phono-l at oldcrank.org Date: 28-Oct-2008 5:48:38 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Bruce, the only reason that I discount the 1A from being the best cylinder player is because of its inferior motor. The straight-cut spur gears of the 1A are decidedly noisier than the Opera motor of the 1B and the III. When I first got my 1A, it sounded like and electric drill whenever I ran it. The noise comes mostly from the high speed governor gears, and the only fix for it is to replace these gears with nearly perfect new ones. Try to find those anywhere! I got lucky and swapped a fellow collector some items for a set of nearly new gears which quieted my 1A down to the point where it is enjoyable, but still not as quiet as my 1B. The other big problem with the 1A is that it doesn't have the mechanical flutter filter and flywheel that Edison added to some of his later motors such as the Opera, Amberola V, and all the late amberolas. The lack of a sufficient flywheel coupled with the belt drive of the 1A virtually ensures that you'll get flutter and wow that is just an essential aspect of this design. Acoustically, the 1A is the same as the 1B, but the motor spoils the total experience a little. However, since the 1A motor is no worse than any found on any other 2 minute cylinder machine, the superior horn of the 1A makes it the best overall 2 minute machine in my estimation. AND it has the added benefit that you can play 2 minute celluloid records with the Diamond A reproducer which is truly the best 2 minute experience that you can get in a commercially made machine. I like my 1A just fine, but I prefer to hear 4 minute celluloids on my 1B or my III. I don't include the Opera among the very best sounding machines because I haven't heard ANY commercially made outside horns on cylinder machines that are the sonic equal to the horns in the Amberola 1s and III. I mentioned on the OTV board that I have a mechanical engineer friend who decided to make his own large genuine cygnet shaped exponential outside horn. He has fitted it to an Amberola 50 motor which he has put into a custom tabletop cabinet. The horn is suspended over the carriage by a clever, original design double crane pantographic system that works much better than any original design. He calls his machine the Ediphonic and has even put an Edison-style logo on it with that name. The reproducer is a modified Diamond B which has a custom diaphragm in it similar to the ones that I make. The entire project is very well-done, tidy, and authentic looking. I can tell you with first-ear assurance that this is the BEST sounding acoustic 4 minute cylinder player I have EVER heard. The exponential horn works wonderfully well with the Diamond B, and the results from playing the early directly recorded BA records (not the
[Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz)
Why would the Lyre grille model sound better than other Amberola I-A phonographs? Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: George Glastris glastris at comcast.net To: Antique Phonograph List phono-l at oldcrank.org Date: 28-Oct-2008 8:24:47 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Greg is correct on his points about the IA. I've had mine for almost 20 years and it has followed me around England, then to Boston with a couple moves in town, then to Chicago with a couple of moves. Of the 50 or so machines I own or have owned,(not to mention the 1,000s I've handled professionally) it is by far my favourite. If I could only keep one it would be the one. Yes, wax Amberols may sound better on a III and Blue Amberols better on an Opera, but only the IA plays all three as well as non-Edison celluloids. And you get storage for your 100 fave cylinders. And given a choice, the Lyre grille is the best. Long live the Amberola IA!!! Best to all, George - Original Message - From: Greg Bogantz gbogantz1 at charter.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Tuesday, October 28, 2008 5:48 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Bruce, the only reason that I discount the 1A from being the best cylinder player is because of its inferior motor. The straight-cut spur gears of the 1A are decidedly noisier than the Opera motor of the 1B and the III. When I first got my 1A, it sounded like and electric drill whenever I ran it. The noise comes mostly from the high speed governor gears, and the only fix for it is to replace these gears with nearly perfect new ones. Try to find those anywhere! I got lucky and swapped a fellow collector some items for a set of nearly new gears which quieted my 1A down to the point where it is enjoyable, but still not as quiet as my 1B. The other big problem with the 1A is that it doesn't have the mechanical flutter filter and flywheel that Edison added to some of his later motors such as the Opera, Amberola V, and all the late amberolas. The lack of a sufficient flywheel coupled with the belt drive of the 1A virtually ensures that you'll get flutter and wow that is just an essential aspect of this design. Acoustically, the 1A is the same as the 1B, but the motor spoils the total experience a little. However, since the 1A motor is no worse than any found on any other 2 minute cylinder machine, the superior horn of the 1A makes it the best overall 2 minute machine in my estimation. AND it has the added benefit that you can play 2 minute celluloid records with the Diamond A reproducer which is truly the best 2 minute experience that you can get in a commercially made machine. I like my 1A just fine, but I prefer to hear 4 minute celluloids on my 1B or my III. I don't include the Opera among the very best sounding machines because I haven't heard ANY commercially made outside horns on cylinder machines that are the sonic equal to the horns in the Amberola 1s and III. I mentioned on the OTV board that I have a mechanical engineer friend who decided to make his own large genuine cygnet shaped exponential outside horn. He has fitted it to an Amberola 50 motor which he has put into a custom tabletop cabinet. The horn is suspended over the carriage by a clever, original design double crane pantographic system that works much better than any original design. He calls his machine the Ediphonic and has even put an Edison-style logo on it with that name. The reproducer is a modified Diamond B which has a custom diaphragm in it similar to the ones that I make. The entire project is very well-done, tidy, and authentic looking. I can tell you with first-ear assurance that this is the BEST sounding acoustic 4 minute cylinder player I have EVER heard. The exponential horn works wonderfully well with the Diamond B, and the results from playing the early directly recorded BA records (not the dubs) is some of the best sounding acoustic reproduction you will ever hear. Greg Bogantz - Original Message - From: valecnik57-purc at yahoo.com To: phono-l at oldcrank.org Sent: Tuesday, October 28, 2008 5:46 PM Subject: Re: [Phono-L] Research: Amberolas 1A and 1B (Greg Bogantz) Greg, I'd be interested to know more about why an Amberola 1A would not sound equally as good as the 1B for 4 min wax or blue amberols assuming the correct reproducer is used, (the M for 4 min wax and the diamond A for blue amberols)? Thanks, Bruce Bruce Johnson
[Phono-L] Research: Amberolas 1A and 1B
Dear Mr. Paul: Am glad you are researching the early Edison Amberolas.I have the following: A, Serial Number 289, mechanism same as nameplate, Lyre grille, smooth lid, no carving on front corner posts other than vertical trim at edges that runs all the way down, door extends downward with serpentine curved bottom - no board under door, wooden dividers in drawers two sound vents on each side, mahogany, single piece wooden fretwork around neck of horn A, Serial Number 859, mechanism same as nameplate, Lyre grille, smooth lid, no carving on front corner posts other than vertical trim at edges that runs all the way down, door extends downward with serpentine curved bottom - no board under door, wooden dividers in drawers, mahogany A, Serial Number on nameplate 887, mechanism Serial Number 495, later Rococo grille, carving on top of front corner posts with cloven hoof feet, smooth lid, flat bottom door with board beneath, metal clips in drawers, mahogany A, Serial Number 1179, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front columns with cloven hoof feet, bottom of door flat with board under door, metal clips in drawers, mahogany A, Serial Number 2786, mechanism same as nameplate, later Rococo grille, smooth lid, Art Noveau leaf carving top of front corner posts, door extends downward with serpentine curved bottom - no board under door, metal clips in drawers, mahogany B, Serial Number 4106, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front columns with cloven hoof feet, flat door bottom with board below, metal clips in drawers, mahogany B, Serial Number 4189, mechanism same as nameplate, later Rococo grille, stepped lid, carved tops of front column, flat door bottom with board below, metal clips in drawers, golden oak In case you are interested, I have the following also: Amberola III, Model B, Serial Number 293, mechanism Serial Number 8617, elaborate Amberola decal in lid, mahogany Amberola III, Serial Number 1299 (it is in storage but I believe mechanism serial number matches), plain Edison decal in lid, mahogany Your efforts in documeneting early phonographs are much appreciated. Many thanks! All good wishes... Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: gpaul2000 at aol.com To: phono-l at oldcrank.org Date: 25-Oct-2008 10:47:11 AM Subject: [Phono-L] Research: Amberolas 1A and 1B I'm asking for data from owners of Amberolas 1A and 1B. I'm working on an article on the early Amberolas, similar to a study done on suitcase Homes two years ago and published in The Sound Box. Data received will be compiled in an article scheduled to appear in the March 2009 issue of The Sound Box, and all contributors will be acknowledged. (If you'd like your data/identity to be kept confidential, I will of course honor your wishes. I can be contacted directly at gpaul2000 at aol.com.) I'm looking for the following information from owners of Amberolas 1A or 1B: 1) Type (1A or 1B)? 2) Serial Number (and do data plate and mechanism numbers match? 3) Lid: smooth or stepped? 4) Upper front corner posts: plain or carved? 5) Grille: Lyre, first rococo, or second rococo (all shown on page 163 of Frow)? 6) Apron (bottom of cabinet): wavy or more flattened (as shown on page 163 of Frow)? 7) Drawers: wooden separators or metal clips? I will gratefully accept data here at Phono-L, or at gpaul2000 at aol.com. Thanks in advance for your help! Best to all, George Paul ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] McGinty at the Living Pictures
When I was in First Grade in Beaumont, Texas in 1951 students teachers were costumed posed in a large picture frame on the auditorium stage to re-create famous paintings - I was Boy With a Rabbit, my former kindergarten teacher was Whistler's Mother The Gleaners Blueboy were among the other Living Pictures represented. Maybe the words of the song would aid in determining whether it refers to these Living Pictures in which we had to pose perfectly still or early motion pictures. Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: BruceY Bruce78rpm at comcast.net To: Antique Phonograph List phono-l at oldcrank.org Date: 09-Oct-2008 8:18:37 PM Subject: Re: [Phono-L] McGinty at the Living Pictures Two very nice additions to the list. What was the Difference between a Living Picture Show, as opposed to a Moving Picture show. I have tried to find an explanation on line but can't find one. I am just guessing, but maybe an early form of late 19th century amusement where the performers actually appeared on stage in a big giant frame in still form and then came to life to perform? Just a guess, if anyone else knows please enlighten me. I had never heard the reference to Living Pictures before and assumed it was an early reference to the first motion pictures. An obvious mistake on my part. Bruce - Original Message - From: john robles john9ten at pacbell.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Thursday, October 09, 2008 9:06 PM Subject: Re: [Phono-L] McGinty at the Living Pictures Don't forget Billy Murray's great Blue Amberols 'He's Working in the Movies Now' and 'Since Mother Goes to Movie Shows'. --- On Thu, 10/9/08, BruceY Bruce78rpm at comcast.net wrote: From: BruceY Bruce78rpm at comcast.net Subject: [Phono-L] McGinty at the Living Pictures To: phonolist at yahoogroups.com Cc: Phono-l at oldcrank.org Date: Thursday, October 9, 2008, 5:49 PM At a recent meeting of our MAPS chapter phonograph Society, one of our members demonstrated how early moving Pictures were shown using an Edison Kinetoscope. This brought to mind some of the early phonograph records made which refer to early movies or motion pictures, some of which I have in my collection, including At the Moving Picture Ball (on an Edison BA), Take your Girlie to the Movies, on both Victor (by Billy Murray) Columbia by Irving Kaufman, Ever Since the Movies learned to talk by Billy Murray, If I had a Talking Picture of you, by various artists, and the earliest McGinty at the Living Pictures by Edward M. Favor on Columbia black wax two minute Cylinder 32495. I am sure there are others, but I was curious if there were any earlier then the McGinty song which from what I understand was originally recorded by Favor in 1897, I believe my Columbia is a 1904 effort by Favor. Also feel free to add to the list of the others titles that I'm sure must exist from th e first couple decades of the twentieth century. ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Columbia BC friction wheel drive
I have two Columbia Twentieth Century BC Graphophones, one which plays fairly well, but not optimally I understand the other which hardly plays at all, the problems lying with the reproducers.If anyone can supply the amber wheel hard rubber shoe to restore these reproducers to original performance please let me know I will have the local antique phonograph repairer order install them or if necessary I can send the reproducers away for repair if I am instructed how to remove them from the machine - I'd hate to have to ship the whole machines.. Thanks. Jim Cartwright Immortal Pewrformances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Zonophone2006 at aol.com To: phono-l at oldcrank.org Date: 31-Aug-2008 4:16:41 AM Subject: Re: [Phono-L] Columbia BC friction wheel drive paul baker used to restore these but he takes a long time to do it In a message dated 8/30/2008 3:49:30 P.M. Eastern Daylight Time, steve_noreen at msn.com writes: Hi Greg, Does anyone make reproduction parts for these reproducers? Steve : [Phono-L] Columbia BC friction wheel drive Ron, it's difficult to explain the BC friction wheel driveshaft system without pictures or handwaving :o) The drive train begins with a gear-driven piece of metal tubing which is enclosed in the stationary outer housing which is fastened to the gear housing casting on the side of the machine. This first piece of tubing (call it part 1) rotates but does not translate axially. Inside this rotating tubing is the brass coupling sleeve (part 2) which can rotate and also slide along its axis. And inside the brass sleeve is the solid rod (part 3) which connects with the amber wheel. This part 3 rotates and also slides axially. Part 2 has two slots, diametrically opposed and milled into its outside surface that run almost the full length of the part. Part 1 transmits its torque via two setscrews which extend inward from Part 1 into the slots milled in part 2. (Access to these screws is via a hole drilled in the s tationary outer tube.) This allows Part 2 to be rotated by part 1 and also to slide axially inside part 1. Part 3 has a T shaped fixture at its end that engages two longitudinal slots milled INSIDE of part 2. This is what transmits the torque from part 2 to part 3 and also allows part 3 to translate axially. The slots inside of part 2 do not extend all the way to the ends of part 2. When part 3 is pulled along the mandrel with the reproducer, its T fixture hits the ends of the slots inside of part 2 and thereby drags part 2 along with it axially. All this assemblage has a purposefully sloppy fit to allow the amber wheel end of part 3 to wobble around radially so it can follow the stylus assembly as it is raised and lowered from the record surface. Clear as mud? Again, it's hard to envision what's happening without seeing the structure in detail. But maybe this helps understand it. Greg Bogantz ___ Phono-L mailing list http://phono-l.oldcrank.org **It's only a deal if it's where you want to go. Find your travel deal here. (http://information.travel.aol.com/deals?ncid=aoltrv000547) ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] John McCormack
Dear Mr.Holzenagel: Thanks so much for the McCormack material. My address is: Jim Cartwright Immortal Performances 1404 West 30th Street Austin, Texas 78703 All good wishes jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: wayne holznagel ethanuel1 at yahoo.com To: Antique Phonograph List phono-l at oldcrank.org Date: 03-Aug-2008 12:32:47 PM Subject: Re: [Phono-L] John McCormack Hi Jim, Two sets it is.? From your message . . . you may want a copy of the new paper articles as well so I will include that.? Also, I will put the pictures on a CDR so your friend will have a better quality set of pictures should he want them. When time permits please send me your mailing address so the items can be sent.? BTW there is no need to reimburse me for postage.? I make my little projects available free of charge . .. my way of giving back to the hobby that I enjoy. :) Wayne H ? My website is at http://www.phonomantiques.com/ --- On Sat, 8/2/08, jimcip at earthlink.net jimcip at earthlink.net wrote: From: jimcip at earthlink.net jimcip at earthlink.net Subject: Re: [Phono-L] John McCormack To: Antique Phonograph List phono-l at oldcrank.org Date: Saturday, August 2, 2008, 11:40 PM Dear Mr. Holznagel: I should very much like a set of the John McCormack photos, in fact two sets if possible for which I'll be happy to pay postage, etc., one for myself one for my co-author, Paul Worth, of the John McCormack Discography published by Greenwood Press. Mr. Worth is currently working on another book on John McCormack, incorporating his unpublished memoirs I know he would greatly value photos, reviews or other information on McCormack. Many thanks for sharing these photos. All good wishes... Very truly yours, Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: wayne holznagel ethanuel1 at yahoo.com To: phono-l at oldcrank.org Date: 28-Jul-2008 11:39:40 PM Subject: [Phono-L] John McCormack Hello All, I recently came across about a half dozen rather nice photos of John MacCormack, irish tenor, and his family from the 10s-20s.? Am pretty sure these are private photos that have not been published before.? I checked the photo album of the John MacCormack Society and the pictures are not in it. If there are any JM fans out there that would like a copy of the photos please send me?offilist?your name and mailing address.? The photo shop? that helped me in the past to make reprints has gone out of business.? I will be making the reprints on my home pc . . . approx 4 x 6 picts unless you request otherwise.? As in the past I offer these photos FREE to the first dozen or so people that respond. I also have a large assortment of newsclippings about JM from the 20s through his death in 1945.? If anyone would like copies of these . . . which would take me a little time to make . . . you can let me know also. :) Wayne H ? My website is at http://www.phonomantiques.com/ ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] John McCormack
Dear Mr. Holznagel: I should very much like a set of the John McCormack photos, in fact two sets if possible for which I'll be happy to pay postage, etc., one for myself one for my co-author, Paul Worth, of the John McCormack Discography published by Greenwood Press. Mr. Worth is currently working on another book on John McCormack, incorporating his unpublished memoirs I know he would greatly value photos, reviews or other information on McCormack. Many thanks for sharing these photos. All good wishes... Very truly yours, Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: wayne holznagel ethanuel1 at yahoo.com To: phono-l at oldcrank.org Date: 28-Jul-2008 11:39:40 PM Subject: [Phono-L] John McCormack Hello All, I recently came across about a half dozen rather nice photos of John MacCormack, irish tenor, and his family from the 10s-20s.? Am pretty sure these are private photos that have not been published before.? I checked the photo album of the John MacCormack Society and the pictures are not in it. If there are any JM fans out there that would like a copy of the photos please send me?offilist?your name and mailing address.? The photo shop? that helped me in the past to make reprints has gone out of business.? I will be making the reprints on my home pc . . . approx 4 x 6 picts unless you request otherwise.? As in the past I offer these photos FREE to the first dozen or so people that respond. I also have a large assortment of newsclippings about JM from the 20s through his death in 1945.? If anyone would like copies of these . . . which would take me a little time to make . . . you can let me know also. :) Wayne H ? My website is at http://www.phonomantiques.com/ ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Styli
Dear Mr. Wright: Thanks for responding to my query as to how to reach Mr. Sage.I finally went to his web site the address of which you had kindly me learned how to send an e-mail to Mr. Sage have done so but not yet received a reply. My question is where can I order cantilevers with custom ground styli to play vertical-cut Pathe discs, 2 4 minute cylinders Edison Diamond Discs optimally with Shure cartridges through modern electronic audio equipment?I need contact information for anyone who can provide such. Thanks again all good wishes... Very truly yours, Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 15-Jul-2008 3:02:55 PM Subject: Re: [Phono-L] Styli www.tinfoil.com is Glenn's website. His email address, as listed on the site, is glenn at tinfoil.com. Although I am consistently impressed with the sound of his early brown wax transfers, I'd be surprised if he had more information to offer than the message Greg Bogantz posted today. Best Regards, Robert - Original Message - From: jimcip at earthlink.net Dear Mr. Wright: I tried to send an :e-mail message to Glen Sage at the address you gave (www.tinfoil.com) but this address was rejected as invalid. Is there another address I should try to use to contact Mr. Sage? Thanks all good wishes... Very truly yours, Jim Cartwright ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Styli
A friend has asked me to record electrically some of my vertical-cut Pathe records I also want to record electrically Edison Diamond Discs two four-minute cylinders.I have sophisticated equipment for playing 78s electrically (for 17 years I produced a weekly show for the local FM station of Classical 78s) including a Packburn Noise Suppressor which has switch for playing vertical-cut recordings but I need styluses to play Pathe, Diamond Discs, two four-minute cylinders (using a Rabco tangential tracking arm the mandrel motor from an Amberola 30) that will fit either a Shure M44 cartridge, Shure M78S cartridge or Shure Model V cartridge If any of you all have had experience in electrically-reproducing vertical-cut records of various types can advise me on sources for such styli I would greatly appreciate it. (I know of Expert Pickups in England but their prices are out of this world so I hope to find a more affordable source.0 Thanks! Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You.
[Phono-L] Styli
Dear Mr. Wright: I tried to send an :e-mail message to Glen Sage at the address you gave (www.tinfoil.com) but this address was rejected as invalid. Is there another address I should try to use to contact Mr. Sage? Thanks all good wishes... Very truly yours, Jim Cartwright Immort al Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 15-Jul-2008 12:59:56 PM Subject: Re: [Phono-L] Styli Hi Jim! Kurt Nauck's assistent Brian told me years ago he uses an LP stylus for Pathe's, but when I'm doing restoration work, I get much better results using a 78 stylus. Ideally I'd use a sapphire ball mounted on a modern cartridges cantilever (tip mass be damned!), but like you said, Expert's prices are hard to swallow, even if the product is worth it. Modern LP stylii work great for Diamond Discs, and it would be safe to assume they'd fit 4M cylinder grooves as well. I can't speak intelligently about the width of 2M cylinder grooves. You might ask Glenn Sage of www.tinfoil.com what he uses. Please share with us whatever you find out! Best, Robert - Original Message - From: jimcip at earthlink.net To: Phono-L at oldcrank.org Sent: Tuesday, July 15, 2008 12:40 PM Subject: [Phono-L] Styli A friend has asked me to record electrically some of my vertical-cut Pathe records I also want to record electrically Edison Diamond Discs two four-minute cylinders.I have sophisticated equipment for playing 78s electrically (for 17 years I produced a weekly show for the local FM station of Classical 78s) including a Packburn Noise Suppressor which has switch for playing vertical-cut recordings but I need styluses to play Pathe, Diamond Discs, two four-minute cylinders (using a Rabco tangential tracking arm the mandrel motor from an Amberola 30) that will fit either a Shure M44 cartridge, Shure M78S cartridge or Shure Model V cartridge If any of you all have had experience in electrically-reproducing vertical-cut records of various types can advise me on sources for such styli I would greatly appreciate it. (I know of Expert Pickups in England but their prices are out of this world so I hope to find a more affordable source.0 Thanks! Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Need info on Geaorge A. Copeland
I see that I misspelled Mr. Copeland's first name - it is George, NOT Geaorge! I inquired of the U.S. Embassy in London if they had received a request for assistance from a Mr. George Copeland they replied they had not this the e-mail appeal I received was most certainly a scam.Thank you all for your warnings about this matter.I don't know how it came about or what to do about it, that is whether it resulted from security problems at my end or Mr. Copeland's end. We had a few e-mail exchanged about records over the last few months. I'd like to remain in touch with Mr. Copeland obviously the messages I send him are being detoured to a scammer. Does anyone on the list have his current physical address or telephone number? J im Cartwright I mmortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Kuglarb at wmconnect.com To: phono-l at oldcrank.org Date: 25-Jun-2008 9:43:07 AM Subject: Re: [Phono-L] Need info on Geaorge A. Copeland Don't do it! This is a scam. I am not sure how these crooks find out about our hobbies, buying and selling historys, etc., but this sounds like a 'stinker' to me. So many people fall for these scams and find their bank accounts empty! Brantley South Carolina /HTML ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Need info on Geaorge A. Copeland
Dear Mr. Hughes: I responded to the initial message purporting to be from Mr. Copeland by sending a message to his e-mail address already in my computer's address book which incorporated the digits 25 somehow these were changed to 250 the person claiming to be Mr. Copeland stranded received the e-mail responded with a second plea. Therefore, I cannot contact the real Mr. Copeland using his e-mail address.I believe that he receives e-mails at the library, not through his own computer so there may be some delay before he accesses them giving the scammer time to somehow intercept or divert.This is why I seek some other means of contacting Mr. Copeland to warn him that his identity has been stolen.The initial message purporting to be from him in London used the same closing that he had used in previous messages to me which made me think his e-mails were being intercepted. Anyway, he needs to know what is going on. Thanks to you, Mr. Rondeau others who have given me guidance in this matter. Jim Cartwright Immorta l Performances. jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Loran Hughes loran at oldcrank.com To: Antique Phonograph List phono-l at oldcrank.org Date: 25-Jun-2008 12:47:22 PM Subject: Re: [Phono-L] Need info on Geaorge A. Copeland Jim, Since you and Rene seem to have gotten the same email, I'd say that Mr. Copeland has a nasty bug on his computer which stole his contact list. I rather doubt his emails are being detoured, rather the scammer is just using Mr. Copeland's name (it's fairly easy to spoof email headers in that way). So drop Mr. Copeland an email and let him know that he should have his PC checked for viruses. Regards, Loran On Jun 25, 2008, at 10:30 AM, jimcip at earthlink.net wrote: I'd like to remain in touch with Mr. Copeland obviously the messages I send him are being detoured to a scammer. On Jun 24, 2008, at 9:18 PM, TAEdisonJR at aol.com wrote: I am baiting this scammer using a fake name and throwaway yahoo email address. His IP shows he is in Lagos, Nigeria, not London. In a message dated 6/24/2008 8:09:57 P.M. Pacific Daylight Time, jimcip at earthlink.net writes: Yesterday, I received an e-mail message, not addressed to me personally, represented as being from the well known record collector discographer George A.. Copeland claiming that he was in London, his money passport had been stolen saying he needed 900 Pounds asking the recipient to help. ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Need info on Geaorge A. Copeland
Yesterday, I received an e-mail message, not addressed to me personally, represented as being from the well known record collector discographer George A.. Copeland claiming that he was in London, his money passport had been stolen saying he needed 900 Pounds asking the recipient to help. I have bought records from Mr. Copeland but have never met him or spoken to him on the telephone.I am pleased with the records I have obtained from him find him to be trustworthy in all the dealings that I have had with him. If he is truly in trouble I would try to help.However, these messages appear to me to be a scam.He moved a few months ago I do not know his new physical address or current telephone number, having in the last few months only been in touch with him via e-mail. A message sent to his e-mail asking if the appeal was really from him drew a reply from a slightly different e-mail address. I am not that computer savy, but fear that Mr. Copeland may be a victim of identity theft. I hesitate to try to send any funds. Do any of you know Mr. Copeland's new physical address current telephone number? Have any of you received the appeal purporting to be from him stranded in London? Thanks for any help you all may be able to provide in sorting out this matter. Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You.
[Phono-L] Looking for decent K reproducer
Can Mr. Medved restore the Columbia Higham reproducers used in Twentieth Century Graphophones?If so, I have a couple that need help. Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esroberto at hotmail.com To: Antique Phonograph List phono-l at oldcrank.org Date: 6/13/2008 1:02:56 AM Subject: Re: [Phono-L] Looking for decent K reproducer Hey Chris, Let me officially be the third person to recommend Steve Medved to you for any reproducer work. His knowledge is unlimited, and I'll put the reproducer he reworked for me up against anyone's for volume and sheer clarity. Best, Robert - Original Message - From: Chris Kocsis chrisk33 at cox.net To: Antique Phonograph List phono-l at oldcrank.org Sent: Thursday, June 12, 2008 9:00 PM Subject: Re: [Phono-L] Looking for decent K reproducer Hi Al, many thanks for the reply. I'll remember what you say if I find a K. For now I have decided to get an H and have a line on one. You are the second person to refer me to Steve Medved and I'm grateful for that information! Chris ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Looking for decent K reproducer
Other things being equal, a K Reproducer will sound less good than either a C or an H because both stylus bars are attached to the linkage so there is greater mass in the vibratory train. Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: ClockworkHome at aol.com To: phono-l at oldcrank.org Date: 6/12/2008 4:09:55 PM Subject: Re: [Phono-L] Looking for decent K reproducer Ideally you would want a brass body K that has not been previously worked on. Usually all they need is to have new gaskets put in properly under correct compression, the copper diaphragm cleaned (and lacquered with instrument lacquer), and the styli turned if needed. The two minute stylus is often in such good shape that it does not need turning but the four minute stylus will likely need to be turned. The four minute stylus that has played many Blue Amberols will have a flat spot. I do only my own reproducers but I believe Steve Medved, our list expert on Edison reproducers, will do rebuilds. In my experience the reproduction K reproducers suffer from a thicker diaphragm and improper compression of the gaskets. They can be tuned up to give better results. Best Wishes, Al The Edison Guy... **Vote for your city's best dining and nightlife. City's Best 2008. (http://citysbest.aol.com?ncid=aolacg0005000102) ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] edisonic vs. dance?
I always thought the Dance Reproducer had a second spring inside attached to the upper side of the diaphragm the little bolt above - I don't have one so can't be sure. Would be interested in how their performance differs. Jim Cartwright Immortal Performances jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Peter Fraser pjfraser at alamedanet.net To: Antique List Phonograph phono-l at oldcrank.org Date: 5/8/2008 1:00:17 PM Subject: [Phono-L] edisonic vs. dance? can anyone expound on the differences between the Edison Dance reproducer and its successor, the Edisonic? As near as i can tell, it's just the bolt-on neck...but does the little spring have different characteristics? is there anything else? do they sound appreciably different when equally restored? thanks for anything you can offer... -- peter ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] edisonic vs. dance?
I think the ringing of the Edisonic Reproducer is due to the vibration of the weight, acting like a bell, being transmitted to the stylus bar thus to the diaphragm by the spring, not by vibrations generated by the spring itself. Jim Cartwright jimcip at earthlink.net EarthLink Revolves Around You. [Original Message] From: Greg Bogantz gbogantz1 at charter.net To: Antique Phonograph List phono-l at oldcrank.org Date: 5/8/2008 2:47:39 PM Subject: Re: [Phono-L] edisonic vs. dance? Ron L is correct. But both of these springs were bad ideas to begin with. They were a lame attempt to account for the escessive bias placed on the diaphragm by the extra weight which causes the diaphragm to be stressed (and strained) downward even more by the tension in the stylus bar link. The extra weight used in the Dance and Edisonic models was required to reduce mistracking and distortion when playing highly modulated records, particularly the later electrics. It DOES NOT make the reproducer play louder, contrary to the bilge in the Edison blurbs to that effect. The loudness can only be controlled by changing the mechanical gain of the stylus bar which is the ratio of the stylus tip distance to the bar pivot relative to the distance from the bar pivot to the link. This ratio is the same for ALL Edison DD stylus bars, hence they all play at the same loudness. You can confirm this to yourself by using the different models of reproducer to play very soft recordings which do not tax the reproducers - they will all sound the same loudness. The fact that they may sound different when playing loud recordings is due to the differences in mistracking and distortion that they exhibit on those records. This biasing of the diaphragm is indigenous to the tracking of vertical modulation and is one of the several problems with that technology. (This problem does not exist with lateral reproduction.) Having a permanent bias or bend in one direction while playing a record causes the diaphragm to exhibit assymmetric nonlinear behavior (due to it nonlinear elasticity) which is yet another contributor to the generation of even orders (2nd, 4th, 6th, etc.) of harmonic distortion. Edison tried to reduce this bias (or permanent bending offset under playing tension) of the diaphragm with the addition of these springs into his later models of DD reproducers. There is a lot of bloviation about the purpose of the springs in his patent disclosure for the Dance reproducer, but compensation for the bias was their intended purpose. It didn't work. Mostly because he didn't account for the added spring constants these springs introduced into the diaphragm resonance which changes and/or adds to the mechanical resonances of the system. In particular, he didn't damp the springs sufficiently or at all. The diaphragm spring was designed with some damping in it, but it was ineffective. The stylus bar spring has no damping that I can find. Consequently, you can hear this spring ring when you play records. If you pay attention, you can hear a ringing noise behind the music which is this spring boinging or oscillating. Bad idea. My advice is to just remove both of these springs. The reproducer will sound cleaner and clearer with fewer resonances and extraneous noises. Greg Bogantz - Original Message - From: Ron L lherault at bu.edu To: 'Antique Phonograph List' phono-l at oldcrank.org Sent: Thursday, May 08, 2008 2:07 PM Subject: Re: [Phono-L] edisonic vs. dance? I believe one has two springs and the other has only one. I think the Edisonic has the spring only on the needle bar and the Dance has one on the diaphragm as well, hence the bolt-on neck. Ron L -Original Message- From: phono-l-bounces at oldcrank.org [mailto:phono-l-bounces at oldcrank.org] On Behalf Of Peter Fraser Sent: Thursday, May 08, 2008 1:46 PM To: Antique List Phonograph Subject: [Phono-L] edisonic vs. dance? can anyone expound on the differences between the Edison Dance reproducer and its successor, the Edisonic? As near as i can tell, it's just the bolt-on neck...but does the little spring have different characteristics? is there anything else? do they sound appreciably different when equally restored? thanks for anything you can offer... -- peter ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org
[Phono-L] Edison C2 performance
None of my C-2 chassis give ideal performance but I have an Edison radio with the same chassis have connected the C-2 turntable to it and the sound is superb. I had the repairman make the filter switcheable never use it. I don't find the surface noise to be excessive.All diamond discs sound better played this way than acoustically. Strangely, some of the acoustically recorded diamond discs such as the Prelude to FAUST have true bass (sadly the Golden Gate Orchestra's acoustically recorded diamond discs DO NOT exhibit this bass where one would want it most - to hear Adrian Rollini's bass sax) naturally the electrically recorded diamond disc reveal both bass highs not heard with acoustical reproduction though the overload distortion on some, oddly found on later electrically recorded dismond discs than earlier, is still quite apparent. I find the sound quality superior to my early Brunswick Panatrope as well as my Orthophonic Victrolas. I look forward someday to having my C-2 chassis put in proper playing condition - the performance through the Edison radio shows how they SHOULD sound. Very truly yours, Jim Cartwright Immor tal Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Peter Fraser pjfra...@alamedanet.net To: Antique Phonograph List phono-l@oldcrank.org Date: 3/21/2008 6:10:48 PM Subject: Re: [Phono-L] Edison C2 performance I've been meaning to ask this for some time now...how do the Edison electrical reproducers sound, when playing diamond discs? Sent from my iPhone -- Peter pjfra...@mac.com On Mar 21, 2008, at 1:41 PM, Bruce Mercer maxbu...@wowway.com wrote: Yes to all of the above. A C-2 I purchased some time ago had both the 12Roth and Martinelli records (among others) in the albums along with a bunch of pop black with gold lettering on the labels. Ha anyone ever seen a 10 classical with a gold label with black lettering? Needle cuts, as far as I remember were sold from mid July to mid October 1929. They were superior sounding records. Bruce ___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.21.7/1335 - Release Date: 3/19/2008 9:54 AM
[Phono-L] Shellac records and damage from steel needles
Dear John, The box the attachment came in is marked Edison Needle-Cut Attachment the soundbox (reproducer) has what appears to be an aluminum diaphragm. Its case is nickel plated on the back it says in letters EDISON in smaller letters it saysOrange, N.J., Made in U.S.A.There is also a facsimile of Edison's famous signature. On the front there is a large script E on the diaphragm cover over the stylus bar a cut out ligthtening bolt cut on either side. On a twelve inch 78, when I lower the horn to engage the feed gear in the far right position by the time the record has played the horn has swung to the left the tracking is absolutely terrible. Does anyone have instructions put out by the Edison company for using this attachment when was obviously manufactured by them probably included with the Edison models? Thanks. All good wishes... Very truly yours, Jim Cartwright Immortal Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Teri Andolina tando...@rochester.rr.com To: Antique Phonograph List phono-l@oldcrank.org Date: 3/9/2008 3:00:03 PM Subject: Re: [Phono-L] Shellac records and damage from steel needles Hello Jim, I start it having the arm in a straight position, in relation to the start of the record itself. Then I lower it. What brand is the reproducer marked? Does it say Edison under it's mica? I have never seen an Edison brand reproducer made for playing regular 78's, on the DD machines. Thank you, John. - Original Message - From: jim...@earthlink.net To: Antique Phonograph List phono-l@oldcrank.org Sent: Sunday, March 09, 2008 2:22 PM Subject: Re: [Phono-L] Shellac records and damage from steel needles Dear John, Thanks for your responce to my query about playing lateral-cut records on diamond disc phonographs.. My attachment for playing lateral-cut records on Edison diamond disc phonographs was made by Edison.When you lower the horn to play the 78s on your Edison with the Kent attachment, at what point do you position it? All the best... Very truly yours, Jim Cartwright Immorta l Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Teri Andolina tando...@rochester.rr.com To: Antique Phonograph List phono-l@oldcrank.org Date: 3/9/2008 9:06:40 AM Subject: Re: [Phono-L] Shellac records and damage from steel needles Yes! Jim, I always lowerd the horn. Never really used these to enjoy my best78's, just enough to test the fact that these did indeed, work pretty well. The best ones used the Victrola number two/Exhibition reproducers, mounted on Kent brand arms. Kent's own brand of reproducer is not the same quality as the Victors are. John. ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG. Version: 7.5.518 / Virus Database: 269.21.7/1322 - Release Date: 3/9/2008 12:17 PM ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG. Version: 7.5.518 / Virus Database: 269.21.7/1319 - Release Date: 3/8/2008 10:14 AM ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG. Version: 7.5.518 / Virus Database: 269.21.7/1322 - Release Date: 3/9/2008 12:17 PM
[Phono-L] Shellac records and damage from steel needles
I have an Edison Needle Cut Attachment to play lateral cut records on diamond disc phonographs.It appears to mistrack terribly. When using it, is the horn supposed to be lowered so as to engage the feed screw or is the horn to be put in a single position, not lowered, so the attachment pivots from a stationary point?If so, what would this position be?This attachment came with an Edisonic but would fit most other diamond disc phonographs. Thanks for any information regarding the proper use of this attachment. Very truly yours, Jim Cartwright Immortal Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esrobe...@hotmail.com To: Antique Phonograph List phono-l@oldcrank.org Date: 3/7/2008 2:32:00 AM Subject: Re: [Phono-L] Shellac records and damage from steel needles As far as Rega, Lyra, clearaudio, and a number of other high-grade cartridge makers are concerned, I'm positive the entire cantilever is replaced, as well as the suspension. I have heard in the past about companies that merely reground the tip, which seems cheap and somewhat pointless when misaligned magnets and coils reduce output and futz with phase coherency. You're right, of course, you aren't defending steel needles any more strongly than I'm condemning them. They were, after all, the only alternative at one time. But in my experience, I'm not comdemning steel needles any more strongly than they condemned my records by replacing the upper octaves of frequency response with a few dB of white noise. Thank goodness for stacks and stacks of virtually worthless shellac! Best, Robert - Original Message - From: Ron L lhera...@bu.edu To: 'Antique Phonograph List' phono-l@oldcrank.org Sent: Thursday, March 06, 2008 2:55 PM Subject: RE: [Phono-L] Shellac records and damage from steel needles Are you sure the whole cantilever is replaced during a re-tip? I don't think I am defending steel needles any more strongly than you are condemning them. I don't use steel needles exclusively but I don't shy away from steel needles either. Ron L -Original Message- From: phono-l-boun...@oldcrank.org [mailto:phono-l-boun...@oldcrank.org] On Behalf Of Robert Wright Sent: Thursday, March 06, 2008 2:20 PM To: Antique Phonograph List Subject: Re: [Phono-L] Shellac records and damage from steel needles I don't think anyone ever said that no wear (not damage-the choice of terms shows a prejudice) to a record occurs. Au contraire, dear Ron, it is eBay seller nickjay (or that's what he used to go by) who has said in no uncertain terms that he believes ZERO damage (or wear) happens with a single playback with a new steel needle. So yes, I'm afraid someone has said it, and I'm sure he's not the only true believer out there, as Rich pointed out. I'm suprised by the strongly defensive stance you take on behalf of steel needles, though I know you must have your reasons. But no amount of positive semantics replacing my negatively prejudiced choice of terms is going to reduce the amount of shellac dust I find all over the tip of every brand new soft-tone steel needle I play a shellac record with, so the terms really don't make any difference in the real world. I absolutely agree that optimal set-up on any machine reduces wear to a minimum (that's most of what the set-up is for, as minimum wear often equals optimum sound), but I was pointing out the one aspect of pivoted playback that the purveyors of this myth seem to be either ignorant or unaware: that azimuth error reduces the new needles wear down to precisely match the groove and cause little to no wear after the first few grooves theory to bunk. I also agree some machines had better designs than others. I know a lot of earlier, outside-horn machines had tonearms that were pretty darn long; every millimeter of added distance between the pivot point and the needle tip helps correct the azimuth error by some degree. I don't know how much heavier or lighter these older machines register at the needle tip, but I'd be willing to bet records suffered less wear played on them with new needles than on newer, shorter-tonearm'd models. (Unless, of course, there was very little compliance at the needle shank pivot on the older machines... I wouldn't know, I've never messed with any of them.) What I don't
[Phono-L] Shellac records and damage from steel needles
Skating may not be a problem with standard Edison diamond discs played on a diamond disc phonograph but I have found it to cause difficulties when playing the Edison long play diamond discs, especially in the outside inside grooves the twelve inch Edison long playing records exhibit greater tracking problems than the ten inch.I feel that if Edison had introduced linear tracking in his long playing diamond disc phonographs, with the record moving under a stationary reproducer as in the early Amberolas, these tracking problems would have been substancially eliminated.Of course this would not have affected long playing attachments added to existing diamond disc phonographs. Very truly yours, Jim Cartwright Immortal Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Robert Wright esrobe...@hotmail.com To: Antique Phonograph List phono-l@oldcrank.org Date: 3/7/2008 7:54:29 AM Subject: Re: [Phono-L] Shellac records and damage from steel needles Oh Greg, I have a thousand things to pick your brain about (I knew about CED being a vertical modulation and would LOVE to get into finer details of it with you, as I'm an obsolete technology junkie across the board)! I knew you'd come in with a bunch of relevatory and reliable information, and you have my thanks. This hit the spot. So what I'm understanding is that every time the groove modulates away from its silent center, it is showing the needle to yet more lateral tracking error (Mikey Fremer, Art Dudley, and all those guys call it azimuth -- you know buzzwords fly around the office in America's corporate state! What do they know, anyway?). But because the overall phase of the groove is typically zero (except for the universal cut, but we're only talking about strictly lateral here), the convex wear on both sides of the needle is typically even, and the louder the record, the more safely shaved off the needle becomes. It seems like a pretty good system, if this is true, since the higher modulation exerts more force against the needle, so it is receiving more severe blows from the needle as it passes each ridge. So the more severe the groove works the needle, increasing the prospect of damage, the better-suited that needle becomes along the way. Pretty nifty! It's obvious I should clarify things real quick: to say vinyl could never wear a diamond is to say rocks can't be cut by water, which we all know isn't true. Every time I've said it, I have meant that a modern vinyl record would never substantially wear a modern diamond stylus within the confines of recommended use, which is to say that the cantilever suspension gives out way before the stylus starts to see any wear. I should've pointed this out all along; my apologies for any confusion. I should also point out that while my intention was to illustrate provable damage to modern vinyl records by playback with modern lightweight tonearms, the truth is that negligible doesn't even scratch the surface (so to speak, ha ha) -- in my example, a locked groove left playing for 5 hours more than once resulted in audible frequency changes. At 33.3 rpm, this represents 20,000 plays! So obviously, this kind of wear doesn't really translate in the real world. Again, my point was only proof that such wear does exist, and is measurable. Regarding DD's, Pathe's, and the virtual absence of LTA as a mitigating factor, you have pointed out all the same things I've pointed out. I did say that there is some error with the DD machines, but that it made no difference to the playback characteristics. I didn't point out that the arc was reversed, but it brings up an interesting point: Edison could've easily included one more extension to the tonearm suspension that would've given him bona fide linear tracking, i.e., zero lateral tracking error. It is my belief that he knew this and chose not to, for a few reasons. One, with a feedscrew driving the tonearm, it was not necessary to optimize skate/anti-skate issues for playback reasons. Two (and this one's a stretch), the reverse arc puts the lateral tracking error at the end of the disc towards the outside (I'm not sure how to say this correctly in technical terms), the way it is at the outside edge of the disc on a standard back-pivot tonearm, increasing the amount of skate force at the inside of the record -- certainly handy to ensure a quick skate towards the label after the groove ran out to trip the Duncan stop, though
[Phono-L] threaded needles
The consideration in trying to reduce the weight of the needle holder in acoustic soundboxes is not the weight of the needle holder compare with the total weight of the soundbox but as its weight increases the weight and mass of the vibratory train whose of which total mass it can be a significant fraction.The more mass in the vibratory train, the more inertia that limits high frequency response. Also the position of the mass is important, the closer to the pivot the less detriment. Jim Cartwright Immortal Performances jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Bob rvu...@comcast.net To: Antique Phonograph List phono-l@oldcrank.org Date: 2/14/2008 7:49:23 AM Subject: Re: [Phono-L] threaded needles Hi Greg, I've read this whole discussion with interest. As I understand it the goal of this exercise in mental masturbation is to reduce the mass of the reproducer by the weight of the thumb screw. I do not have accurate measuring tools to weigh a standard thumb screw and don't remember the weight of your custom aluminum reproducer but emphericly I don't think the thumbscrew makes up a significant proportion of the total mass which is why I made the comment about mental masturbation. That being said, I do have a practical solution to eliminate most of the mass of the thumbscrew. I would think the majority of the mass of the thumbscrew is in the knurled disk at the end used for tightening it against the needle. This section and a good portion of the threaded shaft could be eliminated if you machined a hex or a flat on the end that is left sticking out of the needle bar after the needle is inserted and tightened. You would use either a small pair of pliers or a custom hex wrench to tighten the threaded piece. RMV - Original Message - From: Greg Bogantz gbogan...@charter.net To: Antique Phonograph List phono-l@oldcrank.org Sent: Wednesday, February 13, 2008 4:33 PM Subject: Re: [Phono-L] threaded needles Thatcher, That's essentially what I am now doing. The present design is a press fit of the needle shank into the hole (deep well, actually) in the needle bar. But the fit must be tight to prevent rattling. This makes the machining difficult, but more significantly, it makes the needle exchange difficult because you must use pliers, tweezers, or some similar tool to hold both the needle bar and the needle shank for both insertion and removal. Not user-friendly. Specialized tools and/or jigs could be furnished to make the job easier, but it's still a tedious task. A friend of mine has experimented with a similar design. His solution is to glue the needle shank into the needle bar. That works, but getting the worn needle out of the needle bar is a b*tch. He gets around this by using the semi-permanant osmium Pfanstiehl needles that were popular in the 1940s and can last for several playings. I don't agree with this because these needles are too hard, as I've commented before, and must be worn in over several playings on junk records to form their flats. He removes the needle by heating the glue with a soldering iron to cause it to flow. Still, very tedious. Greg Bogantz - Original Message - From: Thatcher Graham thatc...@mediaguide.com To: Antique Phonograph List phono-l@oldcrank.org Sent: Wednesday, February 13, 2008 3:16 PM Subject: Re: [Phono-L] threaded needles As an engineer I could not help but to fixate on this threaded needle idea. I agree that threading needles solves the mass issue hence the instinctive appeal, but the difficult manufacture is equally discouraging. As an alternative, have you considered a sabot? -Thatcher Jon Noring wrote: Greg wrote: Threading the needle shank and having it screw into the needle bar is an option. I hadn't considered that before, but it would pretty well solve the extra mass problem. But it would make the needles pretty involved to manufacture. I'll keep it in mind. Yes, it would be involved if all the needles are threaded by hand or in small numbers, especially at the diameter being considered. It is intriguing to consider using a very fine threaded rod, if even manufactured in the desired material(s). One would have to grind and polish to create the tip geometry. Which brings up the idea that if a needle is to be especially manufactured, one could consider
[Phono-L] Victor versus Columbia big guns
Dear Mr. Bogantz, Very interesting. Wouldn't lowering the mass of an acoustic soundbox reduce the lateral inertia and cause the whole tone arm to vibrate with lower frequencies rather than transmitting them to the diaphragm? The low frequency response of the Actuelle is impaired because there is no baffle to prevent the air compression from behind its cone canceling that from in front the mass of its long vibratory link limits high frequency response. Am enjoying this discussion since I want to obtain optimum sound quality from my vintage phonographs. Many thanks! Very truly yours, Jim Cartwright jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Greg Bogantz gbogan...@charter.net To: Antique Phonograph List phono-l@oldcrank.org Date: 2/8/2008 9:13:35 PM Subject: Re: [Phono-L] Victor versus Columbia big guns Hi Robert, To answer your general curiosity, yes, I have tried many of the things you suggest. I have designed and made a complete New Orthophonic (with apologies to RCA who couldn't care less at this point since they're owned by the Chinese) reproducer to fit Victor ortho tonearms out of lathe-turned aluminum - none of the parts are recycled from old designs. The aluminum model weighs about half of the potmetal design. I don't want to divulge too much more of the design in case I eventually want to make and market it. But it really isn't ready for that yet. Even so, I don't know how much market there would be for a toy like this. Most phono collectors don't obsess about the audio performance of their acoustic machines like you and I do. Their attitude is that anything that isn't an original 100 year old design constitutes a frankenphone and they don't want anything to do with it. So I'm not encouraged that there are more than a dozen of us with this interest. As an adjunct to this design, I also have been making for some time now my own tungsten needles. This started out because I needed durable needles to use in my oldest record changers that are designed for steel needles. Steel needles are no good for these changers because they wear out completely after two record sides are played. So, what's the point of having a record changer if you have to change the needle every two record sides? Victor recommended their Tungstones for this purpose, and indeed, they were the best choice for this application at the time. But I didn't want to use up expensive, original, antique Tungstones so I designed my own. What I found out was that the original tungsten wire used by Victor is .007 inch (7 mils) in diameter. This is really too big for the typical groove which is around 5 to 5.5 mils in width. But they used it because anything smaller is too delicate and bends too easily. Also, the heavy tracking force of the early reproducers, both the acoustic and the early horseshoe magnet electric types was sufficient to mash the fat wire into the record groove and keep it working even though it was wearing shoulders on the sides of the too-big wire. So when I tried to use these 7 mil tungstens in my new reproducer which tracked at half the force of the Victor (about 80 grams versus 135 grams), the wire didn't wear down properly on the shoulders and stay in contact with the groove walls. This caused audible mistracking. I have since gone to 6 mil wire which works pretty well. I would rather use 5 mil wire, but I've tried it and it's just too fragile and bends too easily. So this is yet another problem that requires some compromise. To address your suggestions about using large diaphragms: you are faced with a tradeoff between diaphragm compliance, resonance, and application requirements. If you want to try a Lumiere type of very large diaphragm, or direct radiator cone really, then you can't effectively horn load it, and you probably don't want to anyway. You can simply let such a large vibrating surface radiate directly into the surrounding acoustic space as is done with the Lumiere and Pathe Actuelle designs. Such a design can sound pretty good in the midrange of audio, but it is inherently limited in how much bass it can reproduce - there just isn't efficient coupling with the air mass at very long wavelengths of audio (bass frequencies) to get good bass response. To load a large diaphragm into a horn would require a large horn throat to accommodate it. Which would require a VERY large horn to work into to keep the compression horn acoustic principle working properly. Improper mismatches in sizes here result in vastly reduced efficiency. Long story short(er), the approximate sizes of the diaphragm, reproducer throat, and horn length
[Phono-L]
Bags Unlimited. jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Thatcher Graham thatc...@mediaguide.com To: Antique Phonograph List phono-l@oldcrank.org Date: 2/3/2008 1:40:20 PM Subject: [Phono-L] I need to get some sleeves for my 78s. Can anyone make a reccomendation? I'm uncertain if I shodl be buying sleeves or jackets or from where. -- Thatcher p://phono-l.oldcrank.org___ Phono-L mailing list http://phono-l.oldcrank.org ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.19/1257 - Release Date: 2/3/2008 5:49 PM
[Phono-L] Electrola light bulbs
Dear Mr. Melvin: My Victrola Electrola XVIII has a tipped light bulb that is frosted. It still works. I has no shield. Very truly yours, Jim Cartwright jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: Daniel Melvin d...@old-phonographs.com To: phono-L@oldcrank.org Date: 11/18/2007 4:13:52 PM Subject: [Phono-L] Electrola light bulbs Does anyone know what type of bulbs were used in 20s Eletrolas on the inside light? There are a number of moderm bulbs that fit the fixture, but I'm curious if the style of what would have been used then is still available anywhere? Dan ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.503 / Virus Database: 269.16.0/1137 - Release Date: 11/18/2007 5:15 PM
[Phono-L] Auxetophone Sold!
Have never heard an Auxetophone but would expect one would sound better with morning glory shaped horn instead of the conical horn that always accompany them in pictures. Jim Cartwright jim...@earthlink.net EarthLink Revolves Around You. [Original Message] From: DeeDee Blais deedeebl...@yahoo.com To: phono-l@oldcrank.org Date: 8/12/2007 10:13:33 AM Subject: [Phono-L] Auxetophone Sold! Portland seems to be the place to find an Auxetophone. In addition to the two that surfaced a few years ago, one sold this weekend. I believe I was second in line but another collector scraped up the asking price of $2500. I don't know if it had the blower assembly but the seller said the electronics did not work. It had the large mahogany horn and had been refinished. I don't know who bought it but he's one lucky collector! Yahoo! oneSearch: Finally, mobile search that gives answers, not web links. http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC ___ Phono-L mailing list http://phono-l.oldcrank.org -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.15/949 - Release Date: 8/12/2007 11:03 AM
[Phono-L] Info on Edison C-250 wanted
Mesdames or Gentlemen: I just bought an early mahogany Edison C-250 Diamond Disc Phonograph with pentagonal Official Laboratory Model medallion, reproducer with stylus holder screwed to weight green felt covered mute ball. It is missing its original grille cloth the silk link in the reproducer is broken the diamond stylus may be missing or damaged. What color type material would have been used for the original grille cloth where might I obtain a replacement? Where can I obtain a replacement for the little silk linkage in the reproducer , if needed, have the stylus bar re-tipped with a diamond?Who does the best restorations of Diamond Disc Reproducers? I have over 150 antique phonographs am interested in putting them back into top playing condition.Many thanks for your attention to this query every good wish... Very truly yours, Jim Cartwright jim...@earthlink.net EarthLink Revolves Around You. From appywan...@hotmail.com Wed Jul 25 19:38:12 2007 From: appywan...@hotmail.com (John Maeder) Date: Wed Jul 25 19:39:50 2007 Subject: [Phono-L] Photo of early L Message-ID: bay106-f2785b2e747ef998955afd2dc...@phx.gbl My last post didn't make it with the photo attached for some reason. I'll try again. Limit loop is attached to the weight, Al. The hinge block is large and unusual as well. No markings except for the serial number. Regards, John
