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Podrían ayudarme a completar un inventario de las láminas de tinfoil conservadas? Could you help me complete an inventory of the preserved tinfoil sheets?

Institución signatura Fecha Observaciones Edison National Historic Site [1] - - Grabada en un Bergman Edison National Historic Site [2] - - Grabada en un Bergman Edison National Historic Site [3] - - - Edison National Historic Site [4] - 1878? - Institución Smithsonian [1] National Museum of American Historic Id Number:GA.00672 1878-04-18 ¿? https://americanhistory.si.edu/collections/object/nmah_808730 Institución Smithsonian [2] - - Donada en 1925 Biblioteca del Congreso [1] - 1970? Biblioteca del Congreso [2] - 1970? Audio Belfer (Universidad de Syracuse) - 1930? Schenectady Museum of Innovation and Science - 1878 Sant Louis Museo Henry Ford [1] - 1880? Voz de Sara Bernhardt ¿? Museo Henry Ford [2] - 1878? - Edison-Ford Winter Estates [1] - 1879-04-02 ¿? - Edison-Ford Winter Estates [2] - 1920ss? - Biblioteca británica - - - Museo Noruego de Ciencia y Tecnología [1] - 1879? Corneta? Museo Noruego de Ciencia y Tecnología [2] - 1882-1884c - Museo Tekniska de Estocolmo [1] - - - Museo Tekniska de Estocolmo [2] - - - - - 1890? Lambert Talking Clock Charles Hummel Collection (privado) - - Christie's de Londres (venta) - - Vendida en diciembre de 1999, grabada en un Parlor

This comment was received from an earlier conversation: "Wonder what rotational speed Theodore E. had in mind? 90, 100, 160, or whatever? Anyway, at the rotational speed you are playing it with, even though your governor is a smidge inconsistent, the pitches of the tones are: A above middle C, followed by the next higher C sharp, next higher G sharp, next higher C sharp, and then the next higher E. These tones will however let you hear any waver in the reproduction due to even a minuscule amount of wow. Might be a great way to test a recording machine that Theodore’s team would be using to record tones for perfect consistent pitch. Another thought: The US Signal Army Corps was working with TAE Inc. to produce morse code teaching and testing cylinders in 4 inch and 6 inch lengths and they use tones of this sort. Was this experimental series of cylinders used “in house” to develop the morse code cylinders for production?"

I'm sure you are sick to death of me posting stuff but I've amalgamated all material - videos, photos, provenance into these folders. Three new videos: https://photos.app.goo.gl/QB4DWNPGRFJz8Qj98 - front, back and flywheel Phono photos: https://photos.app.goo.gl/PRgvbJebWefXkivb9 Provenance: https://photos.app.goo.gl/8u1WNrLyt4bitGQr7 Photos of family with the phonograph: https://photos.app.goo.gl/PBTWGA5vKQY8jNxT6 Tin foils: https://photos.app.goo.gl/Uwg8UijpN43XQHpTA Carrying case/box: https://photos.app.goo.gl/x7KSVLErkLTwyonW6 It's unlikely that I will do any more work on it, unless I decide to keep it, which or course I would love to. However, that now seems unlikely too.

I'd rather listen to this than to Uncle Josh! I wonder what the Edison technicians would have been testing for in April 1930? Possibly the steadiness of an electric motor? If so, it would have been for an Ediphone. Whatever the circumstances, it's an interesting mystery. George P.

I've now completed my 'light clean' and it now looks absolutely great. I've made two videos one for the front and one for the back, that covers everything. 6 and 8 minutes, plus a video of the axle spinning - so smooth! I don't think I will do anything more - in my eyes it's perfect as it is - old but clean. I may not even put any Renaissance wax on it. I have a dehumidifier running so it's very dry. It's been a pleasure working on it and remembering my Dad showing it to me 60+ years ago.. I'm now going to consider what to do with it. In an ideal world I wish you could all have it! Anyway videos here. Some repetition of what you have seen before. Don't fall asleep! https://photos.app.goo.gl/QB4DWNPGRFJz8Qj98

I'm in possession of a 4-minute Blue Amberol, etched as "Ed. EX. No. 16 4/3/30", presumably for Edison Experiment No. 16. Recorded are a series of short-duration "tone tests", each different. An Internet search for "blue amberol tone tests" revealed the following; however, these all likely refer to the tone-test cylinders dated 1929 or earlier. Attached are photos for reference and a link to a crude acoustic recording made with the smart-phone voice recorder. It was played on an Edison Fireside, Model K reproducer. WARNING: The recording is painful to hear. Comments welcome. Edison Experimental BA Tone Test no 16 4-3-30 .mp3

Perhaps this was true for the cylinders as well. The restored cylinder Charley had was the correct diameter, nearly 7 inches, but only 9 inches in length, not 14 - "The Old Oaken Bucket". I believe it was a single-track, not multiple, but not really sure. If my information is incorrect, apologies.

The fact that Charley had a couple of different Multiplex mechanisms from the Columbia archives suggests that the company could/would supply the buyer with whatever he wanted - - for a price! George P.

Fran, The Clover Leaf Horn, for all its crazy visual effect, has a subtle effect on the sound. While a single horn has a "sweet spot" for listening or recording, the Clover Leaf disperses the sound so that people in different room positions can hear the same thing. To my ear, it feels a bit "smoother," without the differences in sound so obvious when walking in front of a single horn. Apparently, most potential buyers of 1900 didn't think it was worth the fifteen dollars! George

An impressive and imposing trio of horns, George. I truly wonder what exactly the designer was trying to achieve. I'm trying to remember the result of the sound comparison of the Cloverleaf and a "single bell" horn you, @NateO and I conducted. I do recall there was a distinct difference but to what end I cannot recollect. Should've taken notes.😎

Very interesting!

Yes, and the 14 inch, triple-track cylinders had the 3-reproducers spaced 4 inches (3.99) apart.

Rather than hijacking this thread on the Multiplex Grand, there is now a separate thread on the Clover Leaf Horn: I cordially invite Rod and Rene to comment on the new thread!

One of the oddest talking machine horns ever offered to the public was Hawthorne & Sheble's "Clover Leaf Horn." For lots of detailed information on this horn, refer to the article that appeared in the December 2018 issue of the APS magazine. Here's what the horn looked like when discovered in a small Pennsylvania auction in November 2017: This picture (above) shows what to me is a very important part of this Clover Leaf Horn. The original price tag! Apparently, this one never sold, and was hung up in some out-of-the-way spot where it passed the years unloved and neglected. The tag is now carefully preserved in a plastic sleeve.

It appears that there were at least THREE models of the Multiplex Grand. The specifications in Columbia literature vary, and this picture (on Rolf Kramer's website show an MG sitting to the left of an AD. Look at the length of the mandrel. The cabinet differs from the 1904 machine pictured in Chew and at the Columbia display in St. Louis. Also, the existing machine has a mandrel about 10.5 inches long, but 14-inch records were reportedly supplied for at least some of the MGs. This has turned into a most interesting thread! George P.

That's is quite remarkable to me. Not so backward then.... Now I come to think of it though, I've seen fabulous watches in museums, with many complications, from around the 1700s.

I am not a tinfoil phonograph expert by any stretch, however, I believe the stylus ("needle") is not meant to touch the groove in the mandrel, therefore, the stylus crossing the gap should not create any interference. If the stylus were to make contact with the mandrel groove, it would not leave any undulations in the tinfoil, but would instead just push it down to the bottom of the groove, making one smooth "silent" impression. It would also probably rip the tinfoil.

The precision involved with machining during the expansion of the industrial revolution is surprising. Consider the machinery that was being developed for manufacturing after about 1850 and it becomes understandable that a tolerance of 1/10,000th of an inch was quite achievable and in fact required of journeyman toolmakers.

To attend one of those events would've been really fun!

I very, very, very seriously considered buying that horn at Union..... I spent a ridiculous amount of time admiring it. But no matter how much I tried, I couldn't imagine any place in this house where I could possibly display such a huge thing. I would have LOVED to mount it to my own GG, but the only option would have been to remove the dining table, and somehow I didn't think that proposal would pass muster with my wife. *sigh* It is an amazing artifact, and I'd love to hear a crisp, clear Grand cylinder playing through it. Must be impressive!

Gee Rod - I guess I owe you a vote of thanks for your reluctance to buy it! It's one of my favorite things in the collection. And Fran, I owe you and Nate thanks for convincing me to mount the Cloverleaf on the GG. I truly didn't want to gild the lily, but once you held it in place, I was convinced. (By the way, you're right. As of now, no other Cloverleaf horn is known to exist.)

Glad you all enjoyed these! I'm a big fan of music of this era— it's what I listen to on a daily basis, either digitally or on a phonograph. So, I enjoy collecting mementos of these singers. I certainly wish these autographs were easier to come by. I'd say my 'holy grail' autographs would be those of Harry Macdonough and Billy Murray. I don't know that this collection would necessarily warrant an article, but I suppose it could be interesting. My other oddly specialized collection is seeking out very late/the final recordings of these artists, especially for the guys who recorded for Berliner or on brown wax. George, be careful what you wish for! I've got several articles written on Oakland, and others in progress. I'm just a slow writer. One of these days… Fran, that's very cool! I thought you had one of those. I wasn't familiar with either of those artists, but I find the Fleming Trio to be interesting choice. Looks like they were an instrumental group, so I imagine that made for a different tone test recital than the usual vocalists. What I wouldn't give to have attended one of those events.

How the engineering in 1878 was able to achieve such tolerance is amazing to me. https://drive.google.com/file/d/1mrfxzC89Q9y1B0lSIkfFT_Ku-kRKFL0X/view?usp=sharing Edit: Corrected link

Just a couple of extra photos. Inside the drawer was a steel rod. I'm guessing this was used to compress the tin foil into the groove of the mandrel. The interesting thing is there is probably just enough room for the thickness of a 0.15mm sheet either side - the width of the tin foils I have. If so, the tolerance is exceptional. I would also think that maybe there would be no need for a rubber 'rod' to hold the foil in place. By compressing the foil against the brass grooves either side, maybe the indentations it made would secure it in place. However, that might mean the needle having to go over the gap when rotated. I'd imagine it would destroy needles pretty quickly. Unless the rod was kept there? Anyway, just a thought. As I've got so many tin foils maybe I will try fitting one at some point. The other photo is of the compression(?) pad and bracket against the back of the mica, in the recorder cone. Very tarnished and fragile I would imagine, so another reason not to mess with the cone.