Others
- A Splendid AddictionA companion piece to "What Is An Antique Phonograph?", this is a very brief explanation of the hobby.
Aficionados of recorded sound seek out LPs, 45rpm, and/or 78rpm records – as well as the vintage machinery to play them – all of which may be 50-60 years old these days. A somewhat smaller fraternity seeks out records and phonographs dating back a century or more. These antique “talking machines” usually wind up with a crank, and the records play without the use of electricity. With no volume or tone controls on these ancient phonographs, the music has an eerie “presence” that collectors liken to a time machine. As one enthusiastic adherent recently exclaimed, “What a splendid addiction!”
The earliest phonographs that were available to the public may be divided into two general categories: those playing disc (flat) records, and those playing cylinder records. Both formats were envisioned from the first (1877) by the inventor of the phonograph, Thomas Edison. By the mid-1890s, prices had dropped enough for middle-class families to begin buying cylinder phonographs and records, as well as the rapidly evolving disc-playing machines (called “Gramophones”) and flat records. (Nowadays, some early 1890s talking machines can be worth as much as a brand-new luxury car!) Surprisingly, the cylinder and disc formats coexisted as competing products until 1929, after which time the 78rpm disc ruled supreme until the appearance of LPs in 1948, and 45s in the following year. Even so, the venerable 78 persisted as a viable product until the late 1950s. Millions still survive in attics, basements, and barns.
What’s the Attraction?
As you’d expect, some collectors seek out particular music such as jazz, or certain artists such as Blind Lemon Jefferson. What might surprise you is that others buy records solely for their artifact value. For instance, most cylinder records are about 4” long and 2¼” in diameter. Variations from this configuration – and the specialized phonographs designed to play them – are avidly pursued, regardless of what may be recorded on them. Some collectors focus on the many types of phonographs available, keeping only a token few records to demonstrate their machines. Conversely, many record collectors have no interest in machinery; they purchase only those phonographs necessary to play the records in their collections. Other collectors want only cylinder type machines and records. Some collectors buy only “external horn” talking machines, similar to that seen in the famous RCA Victor trademark of Nipper listening to “His Master’s Voice.”
Still others seek out Victrola-style phonographs with “internal horns” hidden inside attractive wooden cabinets. Some enjoy salvaging their finds from a pile of rusted metal into working examples, while others purchase only fully-restored phonographs. Whether your interest is mechanical, historical, or musical, collecting antique phonographs and records offers broad appeal and fits all budgets.
Phonographs can range from the ubiquitous Edison cylinder machines and Victor tabletop Victrolas to the more exotic machines such as this 1905 Illustrated Song Machine, which offers a peep-show while playing a cylinder record.
- Basic Antique Phonograph Operational TipsThis article may contain the best instruction for the new (or prospective) owner of an antique phonograph. Includes illustrated identification of cylinder record types and the reproducers that play them.
As collectors, we often receive questions from people who have just inherited or purchased an antique phonograph. We hope the following general guidelines will be helpful to new owners. NOTE: You may want to open our Glossary of Terminology in a separate window and refer to it as you read the following:General Guidelines for Cylinder Record Machines and 78 rpm Disc Machines:
Your antique phonograph is probably powered by a spring motor. Unless it has recently been serviced, the mainspring grease and lighter gear lubricants have probably dried out. Minimally, all bearings and governor pads should be lubricated with sewing machine oil or other good quality lubricant. (Paraffin-based products such as 3-In-One oil may become gummy and are not recommended). If a “thumping” or “chugging” sound is heard as the motor runs, it means the mainspring grease has become hardened or thickened in spots. Sometimes the repeated act of winding the mainsprings and allowing them to run down will redistribute the mainspring grease and the problem will resolve itself. Occasionally the problem is bad enough that the mainspring(s) will need to be disassembled, cleaned, regreased, and reassembled. This is a job best left to the experienced. In all cases, know your limits (we all have them) and seek advice or assistance with jobs that are beyond your present skill set. Important Note: a phonograph spring motor should never be disassembled until after the mainsprings have been allowed to completely run down!
Once you’re confident that your spring motor can be used without damaging it, winding the mainsprings is necessary. Newcomers to antique phonographs will often hesitate to wind the mainsprings too much. This is fine, but the mainsprings must be wound enough to provide sufficient power. Minimally, 25-30 revolutions of the crank should be enough to play one record. Motors with 2, 3 or 4 mainsprings can be wound 60, 90, or over 100 revolutions, although care should always be taken to avoid over-winding the mainspring. As the springs become fully wound, the operator will feel increasing resistance to cranking, followed by complete resistance. At that point, winding should stop. Except for small spring motors with single mainsprings, it shouldn’t be necessary to completely wind the motor. However, doing so should cause no damage as long as the mainspring is not forced beyond a fully wound state. One last word about mainsprings: these motors are in many cases over a century old. Mainsprings can and do break. New replacements are available at nominal cost, but their installation should be attempted only by a knowledgeable repair person. With yards of mainspring coiled tightly into a donut-size spring barrel, things can happen fast if it’s not properly controlled during removal – – sometimes resulting in injury. Let an expert handle it.
Antique phonographs are often housed in attractive wooden cabinets. Sometimes enthusiastic new owners, in a well-meaning attempt to improve the appearance of the cabinet, will apply tung oil, varnish, polyurethane, or other finishes to the cabinet. Unfortunately, this often results in regret later on when the owner discovers that they applied a finish that was inappropriate for that particular cabinet, or that a rare original finish was accidently ruined. Before doing anything to an antique phonograph’s cabinet beyond gentle cleaning and lemon or orange oil, consult an authority.
Acoustic (that is, non-electric) phonographs depend almost exclusively on a horn to shape and direct the sound. Early phonographs relied on external horns. In 1906, the first internal horn machines (where the horn was concealed inside the cabinet) became widely available, and by 1912 these were outselling the external horn models.
Sound reaches the horn in a surprisingly simple manner. The bumps and wiggles of a recording are set like stone in the groove of a disc or cylinder record. (These grooves are easily seen on the outside surface of a cylinder and on one or both sides of a disc.) When the steel needle of a disc machine’s sound box or the jewel stylus of a cylinder machine’s reproducer glides over these undulations, the needle/stylus is vibrated. The needle/stylus is attached to a diaphragm – – much like the head of a drum. The diaphragm, now vibrating in sympathy with the needle/stylus, produces sound. But at this point the sound is thin and “tinny.” If the sound waves are allowed to travel into a horn (sometimes through a hollow tone arm; other times directly into the horn), the sound is directed and allowed to expand its frequency range – especially in the lower end – and also in volume (think of a cheerleader’s megaphone). In general, a larger horn will make a record sound better.
Pointers for 78 rpm Disc Record Machines:
1) First and foremost, steel needles play laterally-recorded discs and are designed to be used once only – then thrown away. They’re readily available today, and are inexpensive. Remove and throw away any steel needle that is mounted in the sound box. Likewise throw away steel needles that are lying loose in the machine or in a “discard” container (these usually have a round hole in the lid to receive used needles). Use steel needles only from a paper envelope or metal container that contains shiny (not rusty) steel needles. By using only new steel needles and changing them with each record, your antique recordings will sound better and last much longer. (By the way, steel needles are meant only for 78 rpm shellac-based records. They will destroy vinyl records in short order, as well as thick Edison discs.) Some disc phonographs (such as Pathe) were designed to play vertically-recorded discs using a sapphire ball stylus.
If your machine’s sound box has a metal shank carrying a tiny round stylus at the tip, DO NOT throw it away, but protect it from damage. It cannot be used to play common records such as Victor, Columbia, etc., but can play Pathe, Rex, Phono-Cut, and other vertically-recorded discs (except Edison).
If you own an Edison Disc Phonograph, your stylus is a permanent diamond. It can be used to play only Edison records of ¼” thickness. Unless it has been damaged, it should need no maintenance. To determine if your Edison stylus is good, gently lower it into the run-out area just outside the label and carefully examine that area under strong light. If the surface remains mirror-smooth, your stylus is probably fine. But if a tiny line has been inscribed by the stylus, it needs to be replaced. Do not play your records with it.
2) Cleanliness will contribute to your records’ lifespan. If your disc records have been stored in albums or paper sleeves inside the phonograph, and look clean and shiny, they can probably be played with little or no harm (although many serious collectors never play new acquisitions until after carefully cleaning them). If there is visible dirt or other foreign matter in the record grooves, the record should be cleaned. Collectors argue over the best method of cleaning 78 rpm discs, but most use dishwashing detergent in lukewarm water with a soft brush or washcloth. (Note: Do not use water on Edison disc records. Rubbing alcohol is the best method for cleaning these.) A circular motion following the grooves is important, as well as a good rinsing and thorough drying. Professional archivists use specially prepared washing agents that are also available to collectors. Regardless of one’s approach to cleaning 78 rpm records, everyone agrees that a dirty record should be cleaned before being played.
3) When the steel needle in the sound box is lowered to the record, it should make contact at approximately a 60-degree angle. Be sure the sound box is properly positioned on the tone arm to insure this angle of contact. Also, the needle should point in the direction of the record’s travel; always being pulled through the groove (never being pointed against the record’s direction of travel).
The steel needle should always contact the record at an angle.
(Note: this is an unrestored sound box. For optimal playback and minimal record wear, your sound box should be rebuilt with new gaskets, rear flange, and proper adjustment. See #4 below.)
Proper tone arm position. The needle should point in the direction of the record’s travel.
Improper tone arm position. The needle will dig into the groove, quickly wearing out the record.4) Most antique disc phonograph sound boxes are equipped with mica diaphragms. Over the years, the rubber gaskets that suspend the diaphragm have probably dried out. This will cause the machine to play with buzzing and generally poor fidelity. In 99 cases out of 100, a newly-acquired antique phonograph will need its sound box rebuilt. Although not a difficult job, it is a delicate operation and should be performed by an experienced person.
5) Some later sound boxes (notably the Victor Orthophonic) use stamped aluminum diaphragms. Rebuilding these sound boxes is especially tricky, and should be attempted only by an experienced person.
6) Hold your disc records properly!
Hold disc records by their edges.Pointers for Cylinder Record Machines:
1) Do not attempt to play a cylinder record until you are certain you are playing it with the proper reproducer! From the 1890s until 1929, cylinder records were made from different materials, had grooves of different sizes, and played at different durations (2 minute or 4 minute). A variety of reproducers (employing various sized styli) were made to play these various cylinder records, and playing a record with the wrong reproducer can destroy it with a single play. Below are photos of commonly-found cylinder records and the proper reproducers designed to play them. Note that the phonograph must be capable of playing the same record as the reproducer! Some machines play records of 2 minute duration only; others can play records of both 2 and 4 minute duration by means of a gear shifting mechanism. The last models were designed to play cylinder records of only 4 minute duration.
Note: Cylinders with titles engraved on the ends are slid onto the mandrel blank end first; title end last. Brown wax and early black wax cylinders (without titles on the rims) are slid onto the mandrel beveled end first, flat end last. If you try to put it in backwards, the record will jam and if made of wax, it will break. In all cases, handle the cylinder carefully and never force it on the mandrel.
Brown Wax 2 Minute: (Safely played with these reproducers: Edison Automatic, B, D; Graphophone floating types.)
Brown wax cylinder records were made in a variety of shades, and are softer than cylinder records made from 1902 onward.
The Edison Automatic Reproducer has a ball stylus and was supplied with most Edison Phonographs prior to 1902.
Columbia Graphophones were equipped with a variety of “floating” reproducers until 1904 – all employing ball styli.
Another commonly seen Columbia Graphophone “floating” reproducer.Black Wax 2 Minute: (Safely played with Edison Automatic, B, C, D, K*, M*, O*, S*; Graphophone floating types, Lyric.)
The earliest examples of the harder black 2 minute cylinders lacked the title engraved on the rim, as seen on the right. By 1904, titles were engraved on the rim, as seen on the left.
The Model C Reproducer is the 2 minute type most commonly found with Edison Phonographs. The tailweight is almost always marked “MODEL C.”
The Model O Reproducer was designed to play both 2 and 4 minute cylinders by turning the knob at the front.
From late 1904 until late 1908, most Graphophones were equipped with a “Lyric” reproducer to play 2 minute cylinders.
Celluloid 2 Minute: (Safely played with Edison Automatic, B, C, K*, M*, O*, S*; Graphophone floating types, Lyric.)
The most common of the 2 minute celluloid cylinders is the Indestructible (on the left). To the right is a U.S. Everlasting – another commonly found brand.Black Wax 4 Minute: (Safely played with Edison H, J, L, M*, N, O*, R, S*.)
The Edison 4 minute wax cylinder was called the “Amberol,” and manufactured from 1908-1912. It is quite fragile and highly susceptible to rapid changes in temperature.
The Edison Model C (2 minute) and Model H (4 minute) Reproducers are quite similar. The green dye seen on the Model H was apparently applied only to the earliest of these in order to prevent accidental use of it on 2 minute cylinders. Fortunately, the tailweights of these models are engraved with the type.
The Edison Model K Reproducer is a “Combination Type,” having both 2 minute and 4 minute styli. It’s important to play records with the proper stylus. Other Edison Reproducers with both types of styli are the M, O, and S.Celluloid 4 Minute: (Safely played with Edison H, J, L, M*, N, O*, R, S*, Diamond A, Diamond B, Diamond C, Graphophone 4m Lyric.)
4 minute celluloid cylinders are found in a variety of shades. Those on the left are Indestructibles, manufactured until 1922. Those on the right are Edison Blue Amberols, manufactured until 1929.
The Edison Diamond A Reproducer was designed for 4 minute celluloid records only. These models were not marked.
The Edison Diamond B Reproducer was designed for 4 minute celluloid records only. These models were not marked.
The Edison Diamond C Reproducer was designed for 4 minute celluloid records only. These models were not marked. Later versions of this reproducer were painted black, and these are found in the Amberola 30, 50, and 75.2) Unlike disc playing phonographs, cylinder machine reproducers use permanent styli – – usually a sapphire or diamond. Unless the stylus is broken or worn out, the reproducer should be capable of playing a record. Like disc sound boxes, cylinder reproducers employ rubber gaskets to seat the diaphragm, and these dry out over time. This will cause the machine to play with buzzing and generally poor fidelity. In 99 cases out of 100, a newly-acquired antique phonograph should have its reproducer rebuilt. Although not a difficult job, it is a delicate operation and should be performed by an experienced person.
3) Some cylinder machines are capable of playing both 2 minute and 4 minute records. It’s important to set the machine’s gearing in the proper position, and make sure the proper reproducer is in place, or a combination reproducer is set for the same type of record. All 4 minute cylinders except Edison Blue Amberols will have “4M” engraved on the title rim. Only with rare exceptions are 2 minute records marked with the duration “2M”, if your record is black or brown (not blue) and does not say”4M”, it is most likely a 2 minute record.
4) Always keep your cylinder reproducer in the upper position when not playing a record. Sliding a cylinder record onto the mandrel while the reproducer is in the lower (playing) position can break off the stylus – – an expensive repair.
This reproducer carriage is in the upper position. By pulling the knurled button outward and lowering the carriage, the reproducer is put into playing position.5) Cleanliness will contribute to your cylinder records’ lifespan. If your cylinder records have been stored in a clean environment and appear clean and shiny, they can probably be played with little or no harm (although many serious collectors never play new acquisitions until after carefully cleaning them). If there is visible dirt or other foreign matter in the record grooves, the record should be cleaned. Generally the best way to clean mildly dusty or soiled brown wax or black wax cylinders is to gently wipe them with a clean cotton cloth in the direction of the grooves. This method works well on celluloid cylinders as well, although if necessary a damp sponge can be used to more thoroughly clean the record grooves, followed by careful drying with a soft cloth. Note: Do not allow water to contact the plaster cores of Edison Blue Amberol records or the paper cores of 2/4 minute Indestructible or Everlasting cylinder records. In the case of very dirty wax cylinders, they may be immersed in lukewarm water and dish detergent then gently cleaned with a soft clean cotton or terry cloth. Allow to air dry for at least 30 minutes. Note: Edison 4 minute wax cylinders are very sensitive to sudden changes in temperature, and will spontaneously crack when exposed to seemingly negligible temperature changes. Professional archivists use specially prepared washing agents that are also available to collectors. Regardless of one’s approach to cleaning cylinder records, everyone agrees that a dirty record should be cleaned before being played.
5) Moldy or mildewed cylinders are of little or no value. The mold, being a plant material, has consumed some of the wax compound of which the record is made. This material is gone forever and no amount of cleaning can ever restore it. Brown wax cylinders can be shaved down and re-recorded, but the black wax cylinders are beyond redemption. Worse yet, cylinders with active mold spores can contaminate mold-free cylinders over time. Moldy cylinders should be either segregated from non-moldy examples, or thrown away. Celluloid cylinders do not become moldy, and have survived in greater numbers than wax cylinders.
6) Hold your cylinder records properly!
Cylinder records should be handled like this.There’s a lot to learn about antique phonographs. Some of us have been studying them for 50 years and we’re still learning! Enjoy the process of discovery, and don’t be afraid to ask questions. For further information, go to info@antiquephono.org .
*When the reproducer is set to the appropriate stylus; 2 minute or 4 minute.
- Collecting Antique Phonographs
A look at the breadth of what was manufactured over a century ago. A must for the beginning collector.
We’ve all asked ourselves the same question: “What attracts a person to a particular hobby?” Whether it’s Aunt Matilda’s shelves lined with thimbles, friend Roy’s garage lined with dirty old oil cans, a local woman’s painstakingly-crafted (and quickly sold) quilts, or an acquaintance’s bag of antique gold coins kept in a safe-deposit box (seen perhaps every year or two), one must sometimes wonder. Hobbies are as diverse as the psyches in which they flourish. Some might contend that a person’s hobby is a window to their mind. I’d say with certainty only that a hobby suggests what a particular person finds appealing. I’m still puzzled with the “why”.
A large and varied category of hobbies is “collecting.” Many of us (myself included) were afflicted with the collecting bug at an early age. By the time I was 13, after collecting milk bottle caps (remember those?), 10-cent Rat Fink figurines, fossils, and (briefly) old radios, I found an outlet for my energies that satisfied my love of history, mechanical contrivances, music of the early 20th century, and restoration. Wind-up phonographs (or “talking machines”) provided it all for me. In the mid-1960s, such a hobby was unusual enough that a girl from a neighboring town approached me during our church youth group: “Aren’t you the guy who collects old Victrolas?” A few years later, when this girl and I were briefly dating, she reminded me of the incident and recalled my straight-faced response that I collected not old phonographs, but old doorknobs; mounted to pieces of plywood displayed all around my room. It appears that, even at age 14, I suspected my hobby wouldn’t enhance my attractiveness to the opposite sex, so a joke would be the best response. I hope she wasn’t disappointed when she learned the awful truth.
Today, collectors of wind-up phonographs (these have acquired the mantle of “antique” in the intervening years) number in the many thousands worldwide. These collectors scour estate sales, online auctions, and antique shops in pursuit of their hobby. Specialty shows and sales take place regularly around the world. Some collectors focus on acquisition; others on restoration. Some play their machines regularly; others rarely. Some keep only enough records to demonstrate their machines; others own only enough machines to play the various types/speeds of records in their collections. (Record collections will often number several thousand records). Some can recite the history of their machines right down to the patent date. Others are hard-pressed to date their machines to the proper decade. People collect the same things for a variety of reasons (which I believe puts to rest the “window to the mind” theory). And, much like my own reaction to Aunt Matilda, Roy, and the rest, people look at my collection of antique phonographs and ask me, “What got you interested in these things?” If you’re a collector, you’ve been asked this question. And you know what it means: “Are you crazy?”The ABCs of Antique Phonograph Collecting
Those unfamiliar with this hobby will sometimes confuse phonographs or talking machines with music boxes, roller organs, or other early mechanical music devices. Back in the late 1800s, the public – never having heard singing outside the presence of the singer – was often reluctant to believe in a machine that talked. Thus was born the early nomenclature – “Talking Machine” – which meant far more to our great-grandparents than to those of us who have grown up surrounded by recorded sound.
Antique phonographs or talking machines exist in two basic forms: those that play cylinder records (1888–1929), and those that play disc records (1889-present). Within each of those formats are machines with external horns (generally earlier) and those with internal horns hidden in cabinetry. With few exceptions, antique phonographs of the pre-1925 period employ spring-driven (wind up) motors.Cylinder-Playing Antique Phonographs
One attribute that all cylinder-playing phonographs had in common was a “permanent” stylus (needle) made of sapphire, diamond, or glass. At the turn of the 20th century, this was a major selling point vis-à-vis disc-playing phonographs which used steel needles requiring changing for each record.
The most common cylinder-playing phonographs today were manufactured by Edison, and certain models turn up regularly: Standard, Home, Triumph, Gem, Fireside (all with external horns), and several models of Amberola (with internal horns inside floor-standing or tabletop cabinets). The first three models listed can be found in A, B, C, D, E, and F variations, the Gem in versions A-E, and the Fireside in versions A-B. Thus one can collect 25 basic variations of just these first 5 models – some are quite rare.
Next are Columbia Graphophones, manufactured by the American Graphophone Company and sold by its sales arm, Columbia. Common models include the A, B, BX, Q, AT, AZ, BF, BK, and others. The Q Graphophone was widely sold as a “Busy Bee” with a slightly larger diameter mandrel to accommodate special Busy Bee cylinder records.
Ediphones and Dictaphones were business dictation machines offered by Edison and Columbia respectively, and generally are not pursued by phonograph collectors.Amplifying Horns
Unlike disc playing-phonographs (discussed below), most cylinder-playing phonographs were originally supplied with small 14” long horns. Customers often bought larger aftermarket horns to make their phonographs sound better. Until 1905 these larger horns were usually trumpet-shaped; either all brass or with a black body and brass bell. After 1905, flower horns (often called “morning-glory” horns) were popular, and available in a variety of colors and with added decorations. Sometimes these horns, if in uncommon colors/decorations and in fine condition, are valued as highly as the machines on which they are mounted. Thus, examples of a particular model cylinder phonograph may be found with a wide variety of legitimate horn equipments.
Disc-Playing Antique Phonographs
Although disc record rpm was not standardized in the industry for many years, the general rule was 78 rpm, and these discs are referred to by many today as “78s.” Virtually all disc records played at or about this speed until 1948 when the vinyl LP was introduced. As noted above, pre-1948 phonographs that play disc records employ steel needles that require changing after each record. This was well known a century ago, but today when these machines are encountered in grandma’s attic, dozens of records may be played with the same needle by unknowing listeners who wonder why the sound continues to deteriorate. As strange as it may seem, early disc records were made with an abrasive mixed into their material, and the purpose of this was to shape the steel needle to conform to the record’s particular groove configuration (record groove dimensions were not standardized until the 1920s). This constant need to change needles was gleefully pointed out by competitors offering cylinder machines. Today, the widespread inclination of the uninformed to re-use a single steel needle has resulted in the damage or destruction of millions of disc records. Fortunately, steel needles continue to be manufactured and are readily available through collectors and dealers.
Disc-playing phonographs of the 1890s and early 20th century were supplied with generally larger horns than their cylinder-playing counterparts, and it was unusual for an owner to purchase a substitute. For that reason, the correct horn equipment on a disc-playing machine can be a greater challenge to a collector simply because fewer options existed at the time than for cylinder-playing machines.
The Victor Talking Machine Company was the largest manufacturer of disc phonographs a century ago, and many of its products are commonly found today. The early line of external horn machines included the commonly-found E, M, R, and the 1-6 series (usually marked in Roman numerals I-VI). After 1906, the internal horn Victrola became available, and these sold in the millions (in dozens of variations). Some mistakenly assume that the advent of the Victrola ended Victor’s production of external horn models, but these continued to be manufactured into the 1920s, although in gradually diminishing numbers. Any external horn Victor or internal horn Victrola that originally varied from the catalog description is today avidly pursued by collectors.
Columbia was the next largest seller of disc playing phonographs, and today a virtual alphabet soup of models can be found, some barely distinguishable from one another. Like Victor, Columbia sometimes sold a machine that varied from the typical example, and today such artifacts send collectors into frenzies.The Edison Phonograph Works didn’t manufacture a disc phonograph in significant numbers until 1913, and all known examples of Edison Disc Phonographs are internal-horn models. The disc records for these machines are a full quarter-inch thick and commonly found today. These discs, unlike those of Victor, Columbia, and most others, were recorded vertically: meaning the needle vibrated up and down rather than side-to-side. For this reason, Edison records cannot be played on other brands of phonographs without adaptors, and competitors’ records cannot be played on Edison equipment. The Edison Disc Phonograph was available in a variety of models until 1929.
Off-brand disc playing phonographs with external horns can be interesting to a collector, and sometimes quite valuable, but most often not. Such machines are beyond the scope of this article, but when considering such a purchase, it would be best to consult an expert before purchasing. In the case of off-brand internal horn machines, the rule of thumb is: “Unless you want it for yourself, don’t buy it.” In the years 1916-1921, there were hundreds of different small brands surfacing as basic patents expired. This is a case where rarity usually does NOT equate to value. There are so many uncommon internal horn machines that “rarity is common” among these machines.
None of this explains the attraction that these antique music-makers exert upon collectors today. Ask one, and he may talk about the music, the workmanship of the brass gears, the beauty of the oak or mahogany that cannot be duplicated with today’s new-growth harvests, the smell of early wax cylinder records, the soft gleam of nickel plating, or the delicate pinstripes that have survived a century. Others may more objectively cite portability, and a recession-resistant investment. I must fall back on believing it simply involves what a particular person finds appealing. Many find that attraction and enjoy it every day with antique phonographs.
The Antique Phonograph Society sponsors an annual Phonograph, Music Box, Mechanical Music show every August. For details, see the home page of this website.
- Edison C250/C19 Database; Production Estimates 1915-1925 by Francis W. PrattThe definitive source for information on the iconic "Chippendale" Edison Disc Phonograph.
See below for detailed data on the classic Edison “Chippendale” Disc Phonograph (C 250/ C 19).
This data is intended as a companion to the four-part series of articles by Francis W. Pratt
titled, The Edison “Chippendale” C 250 And Its Successor, The C 19: A Centennial
Appreciation. These articles appeared in the APS quarterly journal, The Antique Phonograph,
from December 2015 through September 2016. - Edison Standard Patent Plate Notes
NOTE: To view Martin’s Edison Standard Data spreadsheet, click HERE
An illustrated guide to the styles of data plates found on the Edison Standard Phonograph, as well as the Gem, Home, Triumph, Concert, and Fireside.
EDISON STANDARD PATENT PLATE NOTES
by Martin KauperOver the last few years I’ve noted different types of patent plates used on different models of the Edison Standard. Configurations of the plate changed as needs arose for more information. This is especially true with the introduction of the Model C Standard and after.
My understanding of the prosaic patent plate is still evolving. I became aware of differences over the course of time. (After all, don’t your eyes glaze-over when confronted with the early “legal-lingo”?) So, yet-unidentified variations and sub-categories are still quite possible. I have numbered the discreet types of plates in what I consider to be their rough chronological order. This becomes complicated for the later years when so many machines were re-purposed and re-configured at the factory.
Speaking sequentially (in serial numbers), the first plates with Model Type windows (used in Plate type 7 and up) appeared at the top of the plate in the very earliest Model C & D machines. Before that, (and even after), plates had no model type window and model type was expressed as a “D” or “C” following the serial number (probably to use up existing stock). In contrast, the Model B didn’t use the plates with a model type window and carried no extra mark apart from the serial number.
The final plate style is seldom seen and probably mostly used on reconfigured, unsold machines. It refers to “Thomas A. Edison, Inc.” as the manufacturer and has a last patent date of Aug. 29, 1905.
Some plates (Types 7 to 9) are found with an “x” punched over one model type and a new model type punched next to it. This is yet another example of machine re-configuration and the Edison works’ policy of wasting nothing.
Type 8 plate with change from Model D to Model F. Courtesy of Alistair SandilandsThe following are examples of each type of Patent Plate:
TYPE 1:
Nickel-plated. Mounted under mandrel. Has no serial number. (Serial numbers were punched into raised boss on bedplate.) Last Patent date: Jun. 20, 1893. (The “20” appears to be a corrected “30” on most plates.) This plate was first used on the Edison Home. The June 30 typo appears to be uncorrected on the very earliest Home models but seems to have been corrected by the time the Standard was introduced. Size: 2 ½ ” x 1 ¼”.
Found mainly on 2 Clip Model A machines.
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TYPE 2:
Nickel-plated Brass. Mounted under mandrel. Has no serial number. (Serial numbers were punched into raised boss on bedplate.) Last Patent date: May 31, 1898. Size: 3 ¼ ” x 1 ¼”. Found mainly on 4 Clip Model A machines. Also found on the Edison Home.
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TYPE 3:
Nickel-plated Brass. Mounted under mandrel. This is the first plate with the serial number stamped into it and the machine type (Standard) is expressed as an “S” prefix. Last Patent date: May 31, 1898. Size: 4 ” x 1 ¾ ”. Found on late 4 Clip Model A machines. Also found on the Edison Home with an “H” prefix to the serial number.
Courtesy of Alistair Sandilands**************************************************************************************
TYPE 4:
Brass, finished with Black Japan enamel background with silver highlights. Plates are often found with silver worn off. Mounted under mandrel. Has serial number stamped into plate with machine type (Standard) expressed as an “S” prefix to the serial number. Last Patent date: May 31, 1898. Size: 4 ”x 1 ½”. Found on New style Model A machines up to around serial # 163610. Also found on the Edison Home with an “H” prefix to the serial number.
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TYPE 5:
Brass, finished with Black Japan enamel background with silver highlights (highlights are nickel starting with the Model B machines). Plates are often found with silver worn off. Mounted under mandrel. Has serial number stamped into plate with machine type (Standard) expressed as an “S” prefix to the serial number. Last Patent date: Nov. 17, 1903. Size: 4 ”x 1 ¾ ”. Found on New style Model A and Tall style Model B machines up to around serial # 400000. Also found on the Edison Home with an “H” prefix to the serial number.
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TYPE 6:
Brass, finished with Black Japan enamel background with nickel highlights. Mounted under mandrel until around serial #621061 when it was moved to rear of bedplate under the feedscrew. Has serial number stamped into it. Machine type “Edison Standard Phonograph” added at top.
Up to the type 6 plate, the previous plates were generic and could be used with other Edison machines such as the Home. The machine type on those plates were indicated by a prefix letter such as: “S” for Standard or “H” for Home. This type 6 plate eliminated the need for a prefix letter as it already referenced the machine type.
Last Patent date: Oct. 3, 1905. Size: 4 ”x 1 ½”. Found on Model B up to around 619431, and then interspersed on some early Model C & D machines with model type expressed as a suffix letter to the serial number, (and very late Model B machines up to around serial # 724560).
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TYPE 7:
Brass, finished with Black Japan enamel background with nickel highlights. Mounted at rear of bedplate under the feedscrew. Has serial number stamped into it. Last Patent date: Oct. 3, 1905. Model type window added at top of plate under “Edison Standard Phonograph”. Size: 4” x 1 3/4”. Mostly found on Model C and E machines up to the end of production.
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TYPE 8:
Brass, finished with Black Japan enamel background with nickel highlights. Mounted at rear of bedplate under the feedscrew. Has serial number stamped into it. Last Patent date: Oct. 3, 1905. Model type window was moved to bottom of plate. The words “Combination Type” added under “Edison Standard Phonograph” at top of plate.
Size: 4 ”x 1 7/8 ”. Mostly found on Model D and F machines up to the end of production.
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TYPE 9:
Brass, finished with Black Japan enamel background with nickel highlights. Mounted at rear of bedplate under the feedscrew. Has serial number stamped into it. Last Patent date: Aug. 29, 1905. Manufacturer name changed to “Thomas A. Edison, Inc.”. Model type window located under “Edison Standard Phonograph” at top of plate. Size: 4”x 1¾”. Spotted occasionally on Model C, D and E machines beginning about 784999 up to the end of production.
Courtesy of Scott Colgrove**************************************************************************************
EDISON – BELL plate examples:
Collectors in the UK and Europe are likely to also run across one of these plates affixed to their Standard. On Squaretop Standards they most likely will be found on the right side of the bedplate, mounted parallel to the endgate. They have been seen on New style Model A machines mounted on the front of the case, on top front of the bedplate frame and also on top of lid. I haven’t seen many examples of these, so other variations are quite possible.
found with serial number 9862. Courtesy of Alistair Sandilands.
found with serial number 12906. Courtesy of Alistair Sandilands. - Encountering Antique PhonographsAn illustrated sampling of common and rare machines every collector should know.
Often when I get into a conversation with a non-phonograph collector about my hobby, many ask, “If I stumble across something should I buy it for you?” Any collector of antiques knows that, despite good intentions, this is dangerous ground. In the case of antique phonographs, I politely demur – sadly shaking my head and lamenting that there are scores of different models, and condition is all-important. Plus, there are many, many phony phonographs out there, put together by basement handymen or by Asian factories. Unless one knows what he or she is doing, it’s easy to be taken in by a fake.What then can someone expect to find when searching for real antique phonographs? Here is sampling of common and rare machines that collectors look for.
- GLOSSARY OF ANTIQUE PHONOGRAPH TERMINOLOGY
Essential terminology for the collector of pre-1930 phonographs, gramophones, and talking machines.
AMBEROL: The name for the first four-minute cylinder developed by Edison, 1908-1912. These cylinders are black in color, made of especially hard metallic soap, and were usually sold in green and white containers. (also see BLUE AMBEROL)
AMBEROLA: The name denoting Edison’s line of internal-horn cylinder Phonographs, 1909-1929.
BACK MOUNT: A term used to describe a talking machine which uses a back bracket which supports the horn and thus removes its inertia from the SOUNDBOX. At the time, this configuration with a tone arm independent from the horn was generally known as “tapering arm.”
BEDPLATE: The metal motor mounting plate (often a casting) to which the upper mechanism of a cylinder talking machine is mounted, and from which the motor is suspended.
BLANK: A smooth, grooveless unrecorded cylinder.
BLUE AMBEROL: The blue celluloid four-minute cylinder sold by Edison, 1912-1929. The containers for these cylinders were blue until 1917, orange and blue thereafter.
CARRIAGE: The assembly which “carries” the REPRODUCER of a cylinder talking machine across the recording.
CARRIER ARM: Edison nomenclature for the CARRIAGE. The HALF-NUT and its flat supporting spring are attached directly to the carrier arm on nearly all Edison machines.
COMBINATION ATTACHMENT: Devices offered by Edison to convert pre-1908 Phonographs (which played two-minute cylinders only) to play four-minute cylinders as well.
CONCERT: Edison’s trade name for the five-inch diameter cylinder and the Edison Phonograph designed to play it.
CRANE: The support used to mount horns of 15-inch length or greater to cylinder talking machines.
CYLINDER: A geometric form on which entertainment recordings were made, 1877-1929. The earliest sheets of tinfoil were followed by self-supporting cylinders of ozocerite-covered cardboard, stearic acid/paraffin, hard metallic soap, and celluloid. Advantages of the cylinder format included a constant surface speed and the ability to make home recordings.
DIAMOND DISC: Edison’s line of disc records and machines, 1912-1929. The Diamond Discs were vertically recorded, and the Diamond Disc Phonographs were one of the very few disc talking machines to use a FEEDSCREW.
DIAPHRAGM: The flexible, circular vibrating membrane of a SOUNDBOX or REPRODUCER which converts mechanical energy to acoustic energy or sound waves. Mica, glass, compressed paper, copper and aluminum were commonly used as diaphragms in early talking machines.
ELBOW: The connection between the horn and the SOUNDBOX or TONE ARM of a disc talking machine. Earliest elbows were made of leather, gradually giving way to metal elbows after 1900.
ENDGATE: A swinging arm which supports one end of the MANDREL on some cylinder talking machines. To mount or remove a cylinder it is therefore necessary to open and close the endgate.
FEEDSCREW: A threaded rod which usually drives a half-nut fixed to the carriage of a cylinder talking machine, thus guiding the reproducer across the record groove. Certain disc machines used FEEDSCREWS to drive the SOUNDBOX across the record or to move the turntable beneath a fixed soundbox. Similarly, some cylinder machines used feedscrews to drive a mandrel longitudinally beneath a fixed reproducer.
FRONT MOUNT: A term used to describe a disc machine where the horn attaches directly to the SOUNDBOX, and the support arm (or mount) runs directly below and parallel to the HORN. In such an arrangement the support arm points in the same general direction as the bell of the horn. At the turn of the twentieth century, this configuration was known as “straight arm.”
GRAMOPHONE: Originally the name by which Emile Berliner’s disc talking machine was known, it became a generic term to denote any disc playing talking machine, but fell out of use in the United States.
GRAND: Columbia’s trade name for the five-inch diameter cylinder and the various Columbia machines designed to play it.
GOVERNOR: The mechanical assembly in a talking machine motor which keeps the motor at constant revolutions per minute.
HALF-NUT: An internally threaded metal piece usually in the form of a nut which has been cut in half. The threads of the half-nut correspond to the threads of the FEEDSCREW. As the feedscrew revolves, the half-nut will be propelled along it, thus driving the CARRIAGE of a talking machine.
LATERAL RECORDING: The type of disc talking machine recording where the information is encoded by the groove undulating from side to side but remains at constant depth. (see VERTICAL RECORDING)
MANDREL: The tapered drum upon which the cylinder record is placed for playing.
NEEDLE: The point (usually steel) of the SOUNDBOX which rides the groove of a recording and transmits vibrations to the DIAPHRAGM.
NEEDLE HEAD: A colloquial term for the SOUNDBOX or PICK-UP which accepts vibrations directly from the record.
NEEDLE TIN: A container to store and dispense steel talking machine needles.
NEEDLE SHARPENER (OR CUTTER): A device for repointing disc talking machine needles of fiber, thorn or steel.
PHONOGRAPH: Originally, the name given by Edison to the sound recording/reproducing device he invented in 1877. In American usage, the term has been applied to sound reproducing equipment in general, regardless of age or type of record played.
RECORDER: A device for recording cylinder or disc records with a cutter stylus.
REPEATING ATTACHMENT: A device for cylinder or disc talking machines which returns the NEEDLE or STYLUS to the beginning of the record after the selection has played.
REPRODUCER: The component comprising STYLUS, linkage and DIAPHRAGM, which reproduces the sound from the record groove. This term is most frequently applied to cylinder machines. (See SOUNDBOX)
SHAVER: On a cylinder talking machine, a device which holds a knife in position to pare the recorded surface from a wax cylinder to prepare a BLANK for a new recording.
SOUNDBOX: The component comprising NEEDLE, linkage and DIAPHRAGM, which reproduces the sound from the record groove. This term is most frequently applied to disc machines. (See REPRODUCER)
STYLUS: The point (usually sapphire or diamond) of the REPRODUCER which rides the groove of a recording and transmits vibrations to the DIAPHRAGM or PICK-UP.
TALKING MACHINE: A general term for sound reproducing devices playing either cylinder or disc records, made prior to the advent of electric reproduction. Specific brands such as Graphophone, Victrola or Amberola all fall within the general category of talking machines. Modern American usage substitutes PHONOGRAPH for the older term “talking machine.”
TONE ARM: A movable hollow tube which conducts sound to the HORN from the SOUNDBOX.
TRUNNION: Rightly, the sleeve visible on either side of the CARRIAGE which slides over the FEEDSCREW shaft on a Graphophone, but commonly used to denote the entire carriage.
TURNTABLE: The round platter which supports a disc record and revolves while the record is being played. After 1960, that separate component in a SOUND SYSTEM which comprised the TURNTABLE and RECORD CHANGER was often referred to simply as the TURNTABLE.
VERTICAL RECORDING: The type of cylinder or disc recording (also known as the hill and dale process) in which the sound vibrations are encoded in a groove of varying depth. (see LATERAL RECORDING)
WAX: Although the material from which many cylinder records were made is generally referred to as “wax,” it was more rightly various formulations of metallic soap. The resemblance of this material to conventional wax promotes the common descriptive term.
Compiled by Timothy Fabrizio and George Paul. All rights reserved.
- "Off Brand" Talking Machines
“Off Brand” Talking Machines by R.J. Wakeman
A comprehensive description of the genre, and a list of known brands that were advertised in the 1910-1925 era.
In his book, The Fabulous Phonograph, Roland Gelatt states that in 1919 there were nearly 200 phonograph
manufacturers in the U.S. Throughout the 1910’s the demand for phonographs and records exceeded supply.
Many new companies entered this lucrative field as basic phonographs patents held by Victor, Columbia, and
Edison were expiring. Many companies advertised in the phonograph trade journal, The Talking Machine World
(TMW). Below is a listing of the “off brand” phonographs from the 1910 to 1925 era. Not including major
companies—Aeolian-Vocalion, Brunswick, Columbia, Edison, Pathé, Sonora, and Victor—the list totaled over
400 companies. - Spotter's Guide to the Edison Standard Phonograph
Spotter’s Guide to the Edison Standard Phonograph
By Martin Kauper
(Revised July 3, 2016)NOTE: To view Martin’s Edison Standard Data spreadsheet, click HERE
An illustrated guide to all 7 models of the Edison Standard Phonograph, 1898-1913.The Edison Standard Phonograph was a real breakthrough in the “middle income” market of the late 19th and
early 20th centuries. Introduced in early 1898, it proved to be a durable machine with good performance that
sold well. As tastes and customer demands changed, the model types changed as well. They were made in great
quantities and are often the first choice for entry-level cylinder machine collectors today. The Edison Company
discontinued open horn phonographs (including the Standard) in late 1913. - What Is An Antique Phonograph?As time passes, many people are unfamiliar with what an antique phonograph is. A very brief explanation for the newcomer.
This Edison Standard Phonograph dates from 1905, plays cylinder records, and is typical of the period. Thousands of these machines still exist today and are avidly collected.Did you ever wonder how sound comes out of a CD or an iPod? Or what a Grammy Award is modeled after? It would take an electrical engineer to answer the first question, but the Grammy is simple: it’s a phonograph – -the great-grandfather to all sound reproducing inventions.
What exactly is a phonograph? It’s simply a device that recreates sound from a record through the mechanical action of a steel needle (most pre-1948 disc records) or a jeweled stylus (cylinder records and later discs).
For a century after its invention in 1877, the phonograph was the preeminent means by which people heard recorded music and speech. There had been music boxes prior to that time, but the pinned metal cylinders and perforated discs that plucked their musical combs cannot be considered “records.” In today’s parlance, they’re closer to “programs,” whereby a series of zeros and ones (holes or pins) act upon a limited number of bytes of memory (teeth of a musical comb) to produce sound. Roller organs and other mechanical music devices worked in similar ways. They all could play music, but in tones distinctive to that particular device, and immediately recognizable as mechanical. A music box or reed organ cannot sound like a piano or a banjo, and neither can it talk. But the phonograph can. What impressed early listeners most was the phonograph’s ability to cough, laugh, sing, and talk like a human being. No other machine could do that. Hence, the new invention was often called a Talking Machine.
From its introduction, the talking machine or phonograph played cylinder records (first on tinfoil; later on wax compounds and celluloid). Entertainment cylinder records sold well only until the early 1920s, but were produced until 1929. Disc (flat) records were commercially introduced in 1889, and have persisted in various materials, speeds, and recording technology to the present day. And all these records are played by phonographs. For a more detailed description of the various phonographs manufactured until approximately 1929, see the article, Collecting Antique Phonographs, elsewhere on this website.
This Victor I dates from about 1905 and plays disc records.
Phonographs that played cylinder or disc records coexisted for 40 years, and survive today in surprising numbers. In 1925, phonographs with electric amplifiers for playback were first made available, and 90 years later they are still being manufactured (in a highly refined form, of course). The acoustic phonograph (requiring no electric power) persisted commercially until the 1960s in the form of suitcase portables.
Today, all types of phonographs are avidly collected, although not all of them are a century old (the widely accepted definition of “antique”). The Antique Phonograph Society embraces all of these archaic devices, records, and those who collect them.
Perhaps the most common antique phonograph encountered today is the Victrola, a brand name so popular that it came to be used generically to denote any upright cabinet machine (although collectors today use the name only in reference to the original Victor product). This one is a Victor Victrola XVI (sixteen) dating from 1917. The various models of Victrolas often bear a close resemblance to each other.