Here is my story: I was stationed in San Diego, CA 1n 1988, aboard the USS Cape Cod (AD-43). I was in supply, so I had plenty of room. I was at an antique store in San Diego and saw a Victrola VI from 1918. I always wanted a Victrola and this small one was perfect to bring aboard ship. It included 10 records and needles and was good to go. During trips out to sea, I would play that Victrola.. She sure sounded good.When I was due to transfer to Bremerton, WA, I had it shipped to the barracks. Once I was settled in the barracks, I played the heck out of the Victrola. I was bit by the bug.Later on I got an Edison Fireside, and a Columbia Q. I had three phonographs in my barracks room. Thank goodness my room mate was always out.I would play all of my machines while my household goods were still in storage.I got Eric Reiss's book and learned about repairs and restoration. These machines were my source of entertainment. In the meantime I was buying a home, in Bremerton. While I was living in the barracks, my neighbor would play rap records. I asked him many times to to turn down the music.He would not comply. I took my Edison Fireside with the big horn and crane added to it and placed the horn on the wall. I played the most obnoxious cylinders over and over again. There was a knock on my door and my neighbor was pleading for me to stop. He wanted to know what was making all of this noise, so I showed him the Fireside with the big horn against the wall. He was fascinated with my mini collection. A month later, I moved into the house and these phonographs breed like rabbits!!! I have been collecting for close to 25 years. Harvey Kravitz
________________________________ From: Andrew Baron <a...@popyrus.com> To: Antique Phonograph List <phono-l@oldcrank.org> Sent: Thursday, August 2, 2012 7:52 AM Subject: Re: [Phono-L] How it Started Glad you enjoyed it. Taking the time to type out these remembrances brought out some old memories. The only thing of real importance that I omitted, was that the waitresses at Flynns would now and then offer me a tall, icy Coca Cola for free while I worked on reviving the machines; a tremendous and always unexpected perk. I got to work on phonographs AND got free soft drinks. So, to the list of those who've been generous and supportive must be added the waitresses of Flynn's Dixie Ribs of the mid 1970s. Andrew On Aug 2, 2012, at 3:50 AM, john robles wrote: > Great story, Andrew! I am loving reading all these histories! > John Robles > > > > > ________________________________ > From: Andrew Baron <a...@popyrus.com> > To: Antique Phonograph List <phono-l@oldcrank.org> > Sent: Wed, August 1, 2012 9:09:01 PM > Subject: Re: [Phono-L] How it Started > > Great to hear everyone's stories. Here's mine. > > I've had an affinity for history, machines and the phonograph for as long as > I > can remember, and recall creating a paper model of an upright phonograph > before > I ever had a real one. I also remember standing in utter awe, in the Edison > Winter Home and Museum in Fort Myers (now the Edison-Ford estates), gazing at > the wall-to-wall, floor-to-ceiling display of cylinder players sprouting > morning > glory horns in such profusion that it looked like a massive, enchanted > garden. > I have to admit reaching out to touch some of the uprights and consoles > there, > lined up behind velvet barrier rails, just so I could feel the history. > > In 1974 when I was 12 my family moved, and within bike-riding distance of our > new home was a restaurant called "Flynn's Dixie Ribs". For ambience, it was > decorated with old relics, including Singer sewing machines and several > mostly > 1920s phonographs. I don't recall if they were for sale, but my first > phonograph, a "Berg-Artone" portable, was procured from there. The > management > was very kind, letting me tinker with the machines in the off hours, and it > was > there that I got my first hands-on phonograph mechanism education. I recall > that I paid for the Berg-Artone with a fine Morgan silver dollar and $5.00 > hard-earned from mowing ten lawns in the Florida heat. That portable had a > broken mainspring, a punctured, wrinkled aluminum diaphragm and a dangling > needle chuck. You might say that the management got the better end of the > deal, > but for me it was a major coup to get the solid makings of a viable machine. > I > got two records with it; a tired copy of Jimmie Lunceford's "R > hythm is Our Business" on Decca, and "Till We Meet Again" (paired with "Have > a > Smile") on Victor. > > > First I sorted out the reproducer and for a time I just spun the records by > finger-on-the-label, enthralled at how so much sound could come out of a > purely > mechanical device. I was already into electronics and had built some kits > and a > little transistorized amplifier, so discovering that acoustic reproduction > could > yield such bold volume and detail was a revelation. I also learned that the > motor's centrifugal governor worked quite well to regulate my hand-driving of > the platter, and that in its own right was an education. Eventually I got > brave, liberated the mainspring and repaired it, and from that point forward > the > Berg-Artone was capable of playing records without human intervention, once > set > in motion. Well-meaning adults would ask how I knew what to do, which I > always > thought was some kind of trick question. It never occurred to me that they > wouldn't necessarily know a lot more than I did about that sort of thing. > > For needles, I used whatever was in the little spring-lidded needle cup and > found that the pointy ones sounded better than the blunted ones, and resulted > in > less black powdery buildup on the needle tip. After that, I scrounged > through > the needle bins of the other phonographs in the restaurant, weeding out the > obviously worn ones. In search of more, an experiment of cutting the heads > off > of little brads from the local hardware store yielded poor results, but added > to > my evolving education. I remember the great moment when at a hi-fi store, I > found several new blister packs of 25 needles for 25 cents each, and bought > them > all. They must have been old stock then, as none further appeared to replace > them. > > The big event when I was 13, was the acquisition from the same restaurant, of > a > "Cecilian Melophonic" upright model; something of an Orthophonic wannabe, but > in > fine condition with attractive burl overlay accents. I derived hours of > pleasure listening to that machine and its comparatively full-bodied tone. > The > record I played most often on it was a cornet solo of Carry Me Back to Ole > Virginny on a blue-label Columbia. It had a mournful quality, and a > perceived > richness that seemed to also carry me back in time. The performer's name > remains embedded in my memory; Nellie Hoone Wetmore. Guess I was an odd kid. > > At 14 I worked for a time at a low-level antique store cleaning up things in > the > back, and arranged to trade my time for a tantalizing Edison Home with a > brightly repainted red MG horn. With heavy heart I terminated my employment > when they sold this treasure to a cash buyer. Later that year came the next > milestone, when I managed to buy my first Edison phonograph, a near-mint > BC-34 > console, from a phonograph enthusiast named Mark Stark whom I met at the > Miami > Tropicaire Flea Market. Two weeks prior, Mark had sold me some Diamond Disc > records, but I quickly realized I was doing them harm, attempting play with a > steel needle. Mark had the BC-34 across the back end of his pickup truck > when I > bought the records. The following week I went back, and running through the > aisles soon found Mark and his pickup truck, but no BC-34. He told me that > he > just hadn't brought it out that day. I don't recall what I did to raise the > $135.00 for that machine, but it must have taxed every > > horse-trading avenue I had at the time. I used to collect coins, and it's > likely I turned in some of the collection. The big bonus for me, however, > was > going to Mark's house to pick up the machine (with much arm-twisting of my > new-driver older brother). There, my host provided us with a guided tour of > his > phonograph collection. My eyes must have been big as saucers, and my ears > standing at attention to pick up every sound. > > My first cylinder phonograph finally came to hand about two years later > around > 1978, courtesy of Les Goldberg at his store "Everything Audio". This shop > was > clear across the city, a harrowing drive on three expressways to the unknown > treasures that lay at the other end of the journey. Everything Audio > inspired > me endlessly with the restored radios, phonographs and occasional Jukebox in > its > little front showroom, while Les toiled in back, dealing with the day-to-day > life of TV and tape player repair, and unappreciative consumer-customers. In > his showroom, however, he had seemingly endless piles of 78's standing > precariously tall and at an affordable fifty cents each, and I would spend > hours > sifting through these, hobbling out in the early afternoon with bent knees > and > numb legs, to get sustenance from the burger joint next door. The rest of > the > afternoon would be spent sorting the records into the "can live without", > "maybe" and "have to have" piles. A glance inside my wa > llet would often dictate the final cull, though. One day Les gave me the > unexpected, golden opportunity to take my pick of one of two non-functional > Edison Home phonographs, in exchange for returning one to him working and > salable. > > > These were my phonograph beginnings. I've loved the mechanics of it, getting > to > know the artists and records, reading the histories and enjoying the simple, > aesthetic pleasure of seeing the machines. As time goes on and I mature, I > find > myself feeling less possessive about the machines, and spending far more time > thinking about the generosity and support of the people I've met over the > years > through this passion, one of whom continues to be a prized mentor, and others > whose wisdom I've been privileged to dip into with a dedicated question now > and > then about a particular machine. > > My phonograph collection these days numbers a dozen machines, which in the > rush > of life tend to fade into the woodwork when left alone, but shine forth when > interest from other, and sometimes younger people gives them an added reason > to > be played. In roughly chronological order they are: > > An early Edison banner Triumph improved for performance with a 2/4 setup, a > prized Medved-rebuilt O-reproducer and Gfell Music Master horn; a Victor Type > E > front mount (Monarch Junior), a Zonophone Grand Opera, Edisons: maroon Gem > and > Home model D's, early A-250, a Victrola XVIII, a Brunswick 17 with the > dual-diaphragm Ultona, an Amberola 50, a Kameraphone & Thorens Excelda, and > an > electric-motored Victor Orthophonic Credenza. > > Andrew Baron > Santa Fe > _______________________________________________ > Phono-L mailing list > http://phono-l.org > _______________________________________________ > Phono-L mailing list > http://phono-l.org > _______________________________________________ Phono-L mailing list http://phono-l.org _______________________________________________ Phono-L mailing list http://phono-l.org
