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I should post highlights here, but Ive been working on my radio-phonograph combination page of my website. Most links have some sort of content now. http://www.theradiofox.com/phono/index.html Yes, I've included practically everything including incomplete machines or what many would consider "ugly or unwanted" -Steve

Hi, For my book project on cylinder record brands I am seeking for someone who owns an example of the Canadian dictation cylinder brand "Stenophone". Jean-Paul Agnard once had this, but it was sold and he doesn't remember to whom. I would need some photos of the box and would be very grateful if someone would be able to help. I attach all the bad quality images of it that I have found in CAPS magazines. Thanks! Helmut

Thank you for the clarity. Like others, I will be interested in your progress. One could only hope that the example still exists in Teheran, but the chances that it would ever appear are less than zero. Following is text from a conversation I had with Allen K. several months ago about this topic: "(65). 711,706 Multiple Graphophone (Thomas Macdonald) Filed June 11, 1898 Issued Oct 21, 1902 Methods of increasing volume from brown wax cylinders were in vogue in the late 1890s, but Thomas Macdonald wished to obtain “the effects of concerted music.” In this first attempt at single-record stereo recording, Claim #14 proposed “a plurality of simultaneously‑operative diaphragms, each of which, by its construction, material or proportions, [is] adapted to respond to sounds of a given pitch or quality different from the others,...” He may have known C. F. Dussaud’s early-1898 Macrophonograph involving separate records and machines. When Macdonald’s device appeared as the Columbia Multiplex Grand for the Paris Exposition of June 1900, and subsequently custom-made, it simultaneously recorded three separately-spaced tracks and played them on a cylinder about 7” in diameter (14” long) through three 56-inch-long all-brass horns. The complete unit, with six mainsprings and twelve pre-recorded cylinders, was advertised for sale at $1000, and claimed, “An intensity of volume and a sweetness and richness of tone almost beyond belief.” The Paris model was seen by the visiting Shah of Persia (Muzaffa-ad-Din) on July 29th, ordered by him and shipped from Bridge­port on March 21, 1901 (along with 32 barrels of cylinders), and then transported to Teheran on the backs of camels. Columbia thought for several years afterwards that they were dealing with his father Nasir (who had been assassinated in 1896). Only the three-reproducer carriage, adapted for the 1904 St. Louis World’s Fair (Columbia Exhibit,) survives, in the author’s collection; none of the records (long-play single-track or triple‑track stereo) have been found. The March 1898 Phonoscope credited this invention to Leon Douglass, who later did apply for a tandem‑reproducer, 5” machine in May 1899 (630,869); however, this citation is either fortune‑telling of a high order or more likely a misattribution. The later (brown wax 1900/moulded 1905) 8.3O-long Pathé Céleste cylinders (using the Columbia three-spring motor) were all monaural, as were their over-size (12O-long) master cylinders; cf. J. Hajek=s 1,308,065. Anthony Pollok, one of the attorneys who handled this application, originally worked for A. G. Bell and died at sea with his wife when the elegant French liner La Bourgogne sank in a scandalous north-Atlantic collision on July 4, 1898, leaving Philip Mauro, at the age of 39, the chief patent attorney for the American Graphophone Co. Edison and his wife had sailed on the same ship for the 8-day journey to the Paris Exposition on Aug. 3, 1889."

What a once-in-a-lifetime project. It couldn't have been entrusted to a better restorer. I, along with many others, will be following the progress with great interest and admiration every step of the way.

The 1900 version has the reproducers 3 inches appart (76,2mm) and uses 10 inches cylinders. This is the one I'm making. The 1904 version has the reproducers 4,5 inches appart and uses the 14 inches cylinders. And the 2 reproducer prototype has the reproducers 2 inches appart. I'm reproducing the 10 inches cylinder. (And making plans for the 14 inches in the near future:-) )

What a phenomenal project! I eagerly look forward to updates, and certainly the eventual completion. That will be epic.

Out of curiosity, are your reproducers 10 cm apart to accommodate a 14 inch long cylinder? And What are the dimensions of the cylinders you are reproducing?

Hi, How are you? Would you sell the political Speeches? Thank you Steve

Pedro, This is one of the most significant restorations undertaken in our field. Since no complete Multiplex Grand is known to have survived into the 21st century, you're essentially reconstructing this groundbreaking apparatus based on the relatively few clues available. Much like completing a puzzle missing many of its pieces. Your progress thus far looks impressive. Best of luck as you continue to bring the Multiplex Grand back to life. George P.

Hi all, As some already know, I'm currently working on the restoration of the 1900 Columbia Multiplex prototype. I've been asked to reproduce his famous 3 reproducer carriage for recording and reproducing and to cast 30 cylinders for it. Its current owner sent me the carriage of the 2 reproducer prototype, the single reproducer carriage ofm the 1900 version and the frame of the carriage of the 1904 version to study them and make blueprints. So far, what I've discovered is way beyond my expectations. These carriages hide multitude of details that prove that Columbia engineers just didn't made a 3 reproducer gramophone but something much more sophisticated in terms of sound. The challenge will be to decipher all those hints and fill the gaps where the information is missing. I'm planning to write a detailed article of the restoration process, cast of the cylinders and test of the beast but, until then, you will have to content yourselves just watching the pictures of the process. Feel free to ask questions. I will gladly answer them. Hi all, As some of you already know, I’m currently working on the restoration of the 1900 Columbia Multiplex prototype. I’ve been commissioned to reproduce its famous three-reproducer carriage, designed for both recording and reproducing, as well as to cast 30 cylinders for it. The current owner sent me the carriage from the two-reproducer prototype, the single-reproducer carriage from the 1900 version, and the carriage frame from the 1904 version, so that I can study them and produce detailed drawings. So far, what I’ve discovered has gone far beyond my expectations. These carriages are full of fascinating details that suggest that Columbia’s engineers were not simply trying to build a gramophone with three reproducers. They were developing something far more sophisticated, particularly when it comes to the way the sound was intended to be reproduced. The real challenge now will be to decipher all these clues and fill in the gaps where information is missing. I’m planning to write a detailed article about the entire restoration process, the casting of the cylinders, and, of course, the final testing of this beast but until then, you’ll have to content yourselves with watching the pictures of the process! Feel free to ask any questions. I’ll be very happy to answer them.

Wow! I've been interested in this for years. I always hoped to someday hear an Edison 2-minute Blue Amberol from the Panama Canal replica. Jim Nichol

Perfect! Many thanks, Rod!

Three of the field’s leading collectors and researchers have teamed to produce the definitive Indestructible cylinderography. Between them, they have personally inspected and auditioned more than 95% of Indestructible’s known output to produce the most comprehensive study to date. Here’s What’s New in the Third Edition: • All confirmed matrix numbers and takes • Numerous previously undocumented takes, alternate versions, and remakes • Expanded historical introduction, including newly uncovered details of the Lambert-to-Indestructible transition and Indestructible’s British operations • New user’s guide, including a detailed explanation of Indestructible’s complex matrix series, take indicators, mold markings, and use of colored celluloid • Indestructible ephemera section — Vintage advertisements, photos, box styles, and more • Expanded accompaniment details, medley contents, and composer/show credits To download, visit the Mainspring Press website at https://mainspringpress.org/ . Like all Mainspring online publications, "Indestructible Cylinders" is in PDF format and free to download for personal, non-commercial use.

Guests can now view attachments. MP3 and WAV files both attached so that Safari users can listen.

Three of the field’s leading collectors and researchers have teamed to produce the definitive Indestructible cylinderography. Between them, they have personally inspected and auditioned more than 95% of Indestructible’s known output to produce the most comprehensive study to date. Here’s What’s New in the Third Edition: • All confirmed matrix numbers and takes • Numerous previously undocumented takes, alternate versions, and remakes • Expanded historical introduction, including newly uncovered details of the Lambert-to-Indestructible transition and Indestructible’s British operations • New user’s guide, including a detailed explanation of Indestructible’s complex matrix series, take indicators, mold markings, and use of colored celluloid • Indestructible ephemera section — Vintage advertisements, photos, box styles, and more • Expanded accompaniment details, medley contents, and composer/show credits To download, visit the Mainspring Press website at http://www.mainspringpress.org. Like all Mainspring online publications, "Indestructible Cylinders" is in PDF format and free to download for personal, non-commercial use.

I just noticed that the files won't play unless I am logged in to the forum. I also noticed that although I uploaded the audio as wav files they have been downconverted to mp3. I have notifies Aaron of these issues.

Be very careful when cleaning Edison Diamond Discs. Wetting the edges can cause the fibrous cores to swell and crack the playing surfaces. Edison warned against using water on Diamond Discs (for good reason!), instead recommending a soft cloth moistened with alcohol. Alcohol will not harm the phenolic resin used for Diamond Disc playing surfaces, but it will do major damage to regular shellac pressings, so stick with the above recommendations for those.

That's wonderful -- thank you so much! What a great service to the collecting community.

We've recently updated all of the Mainspring Press online discographies and cylinderographies - Twenty titles, including Leeds & Catlin, International Record Co. (Excelsior, et al.), American Record Co., Keen-O-Phone / Imperial / Rex, Pathe / Perfect, Emerson, Olympic, Black Swan, Edison Two- and Four-Minute Cylinders, and Ragtime on Records 1894-1950. All are in PDF format and are free to download for personal, non-commercial use. Visit the Mainspring Press website (www.mainspringpress.org) and click the "Mainspring Press E-Book" link to get started. Enjoy!

I’m offering an interesting as-found Edison cylinder phonograph collection for sale. I’m hoping it will find its way to an Edison collector who will appreciate the history and originality of the group. Included: • Antique Edison cylinder phonograph with wooden cabinet and original lid • Large black metal Edison-style horn • Edison Model H reproducer • 20 cylinder records and original tubes/lids • Edison Gold Moulded Records • Edison Amberol 4-minute records • Oxford Indestructible Cylinder Records • Numerous original Edison cardboard tubes and labeled lids Some of the cylinders have identifiable titles/numbers, including: • Edison Amberol No. 415 – “Moonlight in Jungleland” – Collins & Harlan – 4 Min. • Edison Record No. 10389 – “Ogallala” – Billy Murray & Chorus • Edison cylinder No. 3890 (label is damaged but number/title information remains partially visible) The phonograph has an Edison Model H reproducer and appears to retain a substantial amount of its original mechanism. I have not restored, refinished, polished or modified it. Condition: As-found. The cabinet and metalwork show normal age, wear and dirt. The machine has not been professionally serviced or tested by me, and I have not played the cylinders. I am particularly interested in hearing from someone knowledgeable about Edison cylinder machines and records. I would welcome identification of the machine and any information collectors may have about the particular cylinders included. Location: Salem, New Hampshire Sale: Prefer to sell the phonograph, horn and cylinders as one collection. I have photographs available showing the machine, horn, Model H reproducer, patent plate/mechanism and individual cylinders/tubes. I can provide additional close-ups of serial numbers, labels and mechanisms to serious buyers. Private messages welcome. I’m not an Edison specialist, so if I have misidentified any part of the machine or records, I would genuinely appreciate being corrected.

Thanks, melvind. I don't want to switch to Chrome! . I got enough Google in my life already.

They show up fine in Chrome, but in Safai the error shows up. I'm not sure what that might be. I'll pass it on to the tech guys.

The sound files posted by Jeff238 don't open on my iMac. It just says "Error" on both tracks.

I will pay handsomely for a copy of Indian War Dance on Lambert #1019. Thanks! George P.

And not perfected. In this thread and the associated LINK for the 1928 radio broadcasts: https://forum.antiquephono.org/topic/2460-congressional-medal-of-honor-blue-amberol-ediphone-cylinders/ cylinder 1-2 has a snippet of a song from being played from the radio station, presumably, before they switched to the Congressional Award broadcast. They left the song-snippet on the BA.