All Activity

Hi gramaphone1, In many ways the productions of records evolved slowly from the early years through to the 1940s. Original recordings were cut in wax and then solidified with electrolysis creating a master matrix. From that, mother matrixes were made from which stampers could be created. The huge difference is the way the recordings were made and cut. Acoustic recordings were made not that much different than home recordings. The artist sang or performed in front of a large horn where the sound vibrations were concentrated and moved the cutter stylus as the sounds were captured in wax. For an entire band, many times musical instruments were modified or created just for recording so that their sound was concentrated in one direction. Soloists would have to quietly and quickly move up to the horn for their solo and large instruments such as the piano had to be set up as not to obstruct the band but still have the sound board aimed in the best direction. All of this was difficult, but an even larger obstacle was the lowest and highest octaves away from middle C could not be captured by the acoustic recording process. Recording was completely revolutionized in 1925 as Western Electric introduced a new method of recording and then playback using electric microphones to capture the sound and cut the record with much greater fidelity, volume and scale. Suddenly recordings could capture the whole performance on a greater and clearer scale. A small child's voice was just as clear as a Mezzo-soprano performing Carmen and the percussion would not drown out the strings. Performances could also be captured much farther away than just the other side of the wall in the recording studio. The major recording and phonograph companies went into agreement not to divulge the information until the fall of 1925 when they could also premiere their new machines designed for play back of the new records. As a result, both Victor and Columbia were recording electrically but not telling their customers. You asked if there was a way to tell the difference visually. On Victor records, if you see a VE in an oval in the dead wax (or run off area) usually just above the label, that stands for Victor Electric. It means that the recording was made electrically with a microphone in the new process. You can find these on many acoustic batwing labels from 1925, which are referred to as "Electric Batwings" The same is true for Columbia. However, Columbia changed their "New Process" label from the flag label to Black and Gold label that would become the Viva-Tonal or living sound recording label. The New Process refers to changes in their lamination process which helped reinforce discs but also make them play much quieter with less surface noise even as they appear to wear and age. Many people think this first black label is all acoustic, but the key is in again dead wax. Next to the matrix ID number you can find a W in a circle. This is the Western Electric recording process notation. So just like Victor, there are many early electric Columbia recordings where the label does not state as such. I hope this helps. I'd like to go on about my favorite, Brunswick, but this is enough for now. D

I was fortunate enough to obtain a nice Pooley "Flattop" VTLA and need a key escutcheon and key. I believe the "wreath" key is appropriate for these but please let me know otherwise if I'm off on that. The escutcheon does NOT have pins or nails or screws holding it in place per the photo attached. Appreciate any assist on this! Thanks in advance. Terry Baer St. Louis Terry@AntiquePhono.org

Found

New price. $100 for everything in the three pictures. Shipping included in the Continental USA.

Thanks for the great ad. I will forward it to him.

Seeking pics from the show in Buena Park last month. Thanks

Let him know it's a 1923-1924 Louis XIV model. (https://archive.org/details/montgomerywardc1923mont_0/page/456/mode/2up)

Here is one of the more amusing comic duets by Ada Jones and Len Spencer. From June of 1907, here's "Burying The Hatchet" on Edison Gold Moulded cylinder #9623. I'm amazed at the fidelity the Edison company was able to achieve 118 years ago. The sound effects especially are really well recorded. Ada Jones & Len Spencer - Burying The Hatchet.wav

Steve, I expect the hardware on an A-250 or B-250 would work as well. George P.

Wanted: Rear door latch for an Edison Amberola 1A. Thanks!

Watch any Warner Brothers cartoon from the golden age scored by Carl Stalling. Any time in the cartoon where food was involved, he would incorporate this song into the score. I’m also familiar with this version. You posted this awhile back. But sadly no vocal.

Hello, I have sent you a message. Looking forward to your reply. Thank you

Welcome David , Are you new to the hobby ? Dan

Good morning I was wondering how rare these are and if anyone has one for sale ? I have parts that I can use to rebuild one? Dan

New prices. The two Cheney reproducers are in mint condition. $30 each. Two empty boxes that had reproducer adapters for Edison DD machines: $5, All the record dusters: $30, Blank Edison recording discs: $10 , All the post cards: $15 All the books: $15. Shipping is additional.

Nice. I've not heard that version. A number of years ago I posted the original with Jack Buchanan and Gertrude Lawrence. It's fun. https://youtu.be/ou2VAZy_6BY?si=t9Glr-vovpFH3R7o

I have a version by Helen Clark and Franklin Burr

“A Cup Of Coffee, A Sandwich And You” by Orchestre Chez Fysher (Ben Selvin) 1926

New rear rubber flanges / isolators, for use on Victor Exhibition reproducers. The isolators are assembled using an original Victor brass insert bonded between two pieces of die cut rubber. They are engineered to have a space (gap) between the insert and the rear of the reproducer body. I would suggest using a tiny amount of sealant between the flange and the back of the reproducer rear housing to ensure an airtight seal. I've sold over 1000 so far with many positive comments received. I currently have enough original brass inserts on hand to make about 300 flanges, and try to keep at least 50 finished ones in stock. $13 each plus $5 shipping per total order if payment is made thru Paypal Friends and Family (or Venmo.) Please e-mail me at: ascobill@aol.com Let me know the quantity you would like and provide your shipping address, and I will respond with the USPS Ground Advantage tracking number once paid. (The same e-mail address can be used for payment) Note: I will offer a $1 credit for each usable Victor brass insert that is returned for repurposing. Thank you for your business. Regards, Bill Meyer East Syracuse, N.Y. http://ascobill.wixsite.com/edisonphono

It looks like a nice machine. I've been looking for a model B. It would be hard for me to set a price. I'd be biased but if you decide what you would like for it, contact me by pm. Thanks!

I live in the Pacifist Northwest (Oregon) and I have in my possession an Edison Fireside Model B phonograph, serial # 105712. I believe the case and Cygnet horn are oak. It belonged to my grandparents and has been either in their attic or mine for about 70 years. It is complete as far as I can tell except for 1 broken latch on the case. It does work, as I have played it a few times recently. I would like to sell it, and I also have 80 cylinder records to sell. I’m wondering if any of your members could help me with a fair price for both items? I will try to attach some photos, any help would greatly be appreciated. Thank you..

Motor and door knob shipped out today. Glad to help.

The two Cheney reproducers are in mint condition. $50 each. Two empty boxes that had reproducer adapters for Edison DD machines: $5 All the record dusters: $40 Blank Edison recording discs: $20 All the post cards: $30 All the books: $25 Shipping is additional. Best to email me at kbab1@charte.net if interested.