shellophone
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Post by shellophone on Oct 24, 2011 7:46:17 GMT -5
Are you saying that you have an Edison Disc Phonograph Model 1C? If so, these were Long Play Phonographs and originally had two Edison reproducers -- one for standard Diamond Disc records and one for Long Play Discs. An Edison Diamond Disc reproducer is fitted with s stylus more properly than a needle. The term needle implies an impermanent disposable point such as a steel, tungsten, bamboo or cactus needle. The term stylus implies a permanent jeweled point such as the Edison conical diamond or the Pathé (and others) sapphire ball. At any rate, bothe sized Edison styli are available from Expert Stylus in England or from Jeff Whittington and I as part of a reproducer rebuild package when one of our Million-Dollar Diaphragms is installed. Currently, there is about a six-week delay on standard styli from Expert.
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shellophone
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Stand close enough and you can hear the ocean!
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Keys
Feb 23, 2011 6:16:05 GMT -5
Post by shellophone on Feb 23, 2011 6:16:05 GMT -5
Not really sure what I have here. (#19 Edison/ Claus & Schroeder) Don't know much about phonographs.... Just know I saw it and fell in love!!! I NEED KEYS! Found an old key around the house which opens the top however it doesn't open the bottom, where the records are stored. Any suggestions? Thanks, Valerie Valerie, Welcome to the hobby! If you look closely, the '19' that is stamped into the metal data plate on your Edison 'Diamond Disc' Phonograph is preceded by a letter, perhaps a C-, an H-, W-, or an S-. The C stands for Chippendale, the H for Hepplewhite, the W for William & Mary, and the S for Sheraton. These are the names of the furniture styles that inspired the cabinets. So your machine is properly one of those letters and the number 19, for example a Model H-19, not just a "#19". The use of the '-19' suffix indicates that your machine was produced after 1919. In that year, all Edison Disc Phonographs were re-designed with simpler cabinets that used vertical dividers rather than drawers for record storage. This made the cabinets cheaper to manufacture and gave Edison a greater profit margin. Edison Phonographs -- both disc and cylinder -- were much more mechanically complex than, say, a Victor Victrola or a Columbia Grafonola, and cost Edison more to produce meaning that he didn't make as much profit on a unit as did his competition, so any savings in manufacturing costs were welcome. 'Claus & Schroeder' is likely the dealer that sold the machine originally. It is not uncommon to find dealer decals and plates on old phonograph cases and cabinets. I agree with Condensite that your lock simply needs lubricating, but I am not a huge fan of WD-40. It was originally intended as a rust-proofer and has a very light lubricant in a solvent carrier that evaporates away. I would spray into the lock with a silicon lube after using the WD-40 to make sure that things stay lubricated for a while. Your Edison is not designed to play anything but Edison 'Diamond Disc' records at 80rpm, unless you use an adapter to play conventional 78rpm records (which use steel needles). Here is a link to a brief article about the history of Edison 'Diamond Disc' Phonographs: inventors.about.com/library/inventors/bledisondiscphpgraph2.htm
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shellophone
Junior Member
Stand close enough and you can hear the ocean!
Posts: 69
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Post by shellophone on Feb 16, 2011 12:30:00 GMT -5
The C-250 was introduced in 1914 and produced until 1919. It was the top-of-the-standard-line Diamond Disc Phonograph during it's run, and was available in oak and mahogany. Edison did sell fancier and more expensive machines during that time, but those were special-order art-case models. The C-250 features gold-plated hardware, a two-spring motor, and the large No. 250-series horn. The case styling was described by Edison as being Chinese Chippendale, but is actually a mixture of styles with a pronounced Art Nouveau influence in the sloping, angled corner pillars. In 1919, all the Diamond Disc Phonographs were redesigned to make the cabinets less expensive to manufacture (Edison's profit margin was much slimmer than Victor's due to the complex engineering of the Diamond Disc Phonographs). In the case of the C-250, the drawers were eliminated and replaced with a less-costly system of vertical divider slats, and the C-250 appellation was dropped and the model renamed the C-19. The C-19 was produced until 1924 and remained in stock into 1926.
Both the C-250 and C-19 were produced over a relatively long time span, sold in great numbers, and are built like tanks -- consequently many survive today. Because collectors have so many to choose from, condition is very important. Pristine examples bring in approximately the $300-$500 range, but demand is tempered by the fact that the machine is quite commonly found. The soft economy may temper prices even further. Diamond Disc records were also produced in great quantities. Certain selections, of course, are worth more than others. Generally speaking, a Diamond Disc record in E/E+ condition is worth $3-$5, but again, demand is low for much of the material, in particular sentimental, sacred, and Hawaiian tunes. Hot dance band selections from the mid-late 1920's and early proto-country and 'hill-billy' string band material is most desirable, along with many classical and operatic selections, and vaudeville entertainers.
The technology behind the Diamond Disc is different from the technology of a conventional 78rpm record. On a conventional 78, the needle modulates side-to-side in the record groove, and the reproducer is moved across the surface of the record by the needle riding in the groove. The needles are also largely disposable or resharpenable. The Diamond Disc format is derived from cylinder record technology -- the groove of the record modulates up-and-down, the reproducer is driven across the record surface by a feedscrew, and the stylus is a permanent diamond point.
If you have any other questions, fire away.
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shellophone
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Post by shellophone on Jan 27, 2011 11:10:07 GMT -5
The cylinder repairman is Dr. Michael Khanchalian of Pasadena, California. His office # is (626)793-0279. Please be advised that cylinder restoration work of this calibre does not come cheap!
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Jan 18, 2011 12:44:20 GMT -5
The top segment of the crane (actually the section with the square portion that fits into the socket on the lower segment, is fitted into the lower segment upside-down. Flip it so that the finial is pointing downward.
Did you receive my personal message?
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Dec 26, 2010 10:30:55 GMT -5
The Duncan Automatic Stop was designed to address the shortcoming of the factory mechanical stop on Edison Disc Phonographs, the problem being that the machine shut off at a pre-determined point regardless of the length of the selection. The machine would just sit there with surface hiss emanating from the horn and wasting spring-power until the mechanical stop kicked in. The Duncan Stop -- which was a factory-endorsed, non-Edison product -- consists of an electrically activated stop switch below the turntable, a modified reproducer that has the weight electrically isolated from the body of the reproducer by an insulating hinge-block, wiring, and a dry-cell battery held in place by a bent metal strap. The concept is that the reproducer body -- and specifically the limit loop -- along with all other contiguous metal parts act as ground (neutral as attached to the battery), while the positive terminal is attached to the switch and then on to the wire protruding from the back of the hinge block which applies a current to the weight. As the reproducer makes the end of the recording, the stylus hangs in the groove. Since the reproducer is still tracking across the surface, it only has to move a short distance until the limit loop touches the limit pin. When it does, the circuit is made and electricity flows completely through the circuit causing the solenoids in the switch to pull and release the brake. There should be a small rubber tube that is around the V-shaped bottom portion of the limit loop. This allows the circuit to only be made when the limit pin touches the sides of the limit loop, but is insulated from the bottom so that the circuit does not make when the reproducer is in the raised position. Cranking the Phonograph has no bearing on the charging of the battery. The spring-motor and the battery are completely separate in function and purpose.
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Dec 17, 2010 20:56:54 GMT -5
Steve, The bedplate isn't coated with paint, per se, but rather with a thick substance called 'asphaltum' that is very difficult to remove, and removal is really unnecessary. Restoration should utilize the least destructive processes first -- the idea being to conserve and preserve the original features before more extreme measures such as replacement of original finishes. I have found that cleaning the bedplate with a waterless hand cleaner such as Goop (without pumice), and then polishing it with rottenstone in oil, followed by another cleaning with Goop, and then waxing with coats of a paste wax will make the bedplate look it's best. in areas of heavy oil buildup, gently and slowly remove only the buildup with 0000 steel wool dampened with Goop. Be sure to do any pinstriping restoration after cleaning and polishing, but before waxing. Be careful when polishing with rottenstone over the existing striping.
Goop is also excellent for cleaning the surface of the wood, too. Wipe it off with a white cotton cloth.
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Sept 2, 2010 20:10:44 GMT -5
You need to make them smaller and set the resolution to 72dpi in a photo editing program such as Photoshop.
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shellophone
Junior Member
Stand close enough and you can hear the ocean!
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Post by shellophone on Aug 3, 2010 10:42:17 GMT -5
Hello! Your posting should actually be in the 'Edison Disc Phonographs' section rather than the cylinder phonographs section, but whatever. The A-100 was a low-priced model with a small horn and single-spring motor. When new, dealers jokingly referred to them as 'Amputee-100's because of the ease with which the legs snapped off in shipping and transport. Not a great deal of collector demand for this model because it is so basic and still plentiful. $175-$250. The record is worth a buck or two.
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shellophone
Junior Member
Stand close enough and you can hear the ocean!
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Post by shellophone on Jul 3, 2010 1:03:57 GMT -5
I think your grandmother is trying to communicate the fact that Diamond Disc Phonographs have a gear drive that propels the entire horn and reproducer across the surface of the record. This is different from the design concept of, say, a Victor Victrola wherein the only function of the motor is to rotate the turntable because the reproducer is driven across the record by the action of the needle riding in the spiral record groove -- a fundamental Victor patent. The construction of the spring and spring barrel is similar in both the Edison design and the Victor design and differs only in the actual construction details. The springs in both are a type of coil spring (I've never heard them referred to as "band springs"). The type of spring that is in both the Edison and Victor is actually a sign of what these machines have in common, rather than of their differences, which are many.
The Edison gear drive system addressed both the need to adapt Edison's proven cylinder technology to a disc application, as well as Edison's need to engineer around Victor's patent for the reproducer being driven across the surface of the record by action of the record groove. Many other features of the Diamond Disc Phonographs are responses to Victor's patents, such as the motor being mounted to a metal bedplate (or being mounted to the floor of the horn chamber in the earlier belt-driven machines) rather than to a contiguous wooden motorboard; the metal bedplate being minimally mounted to brackets in turn mounted to the inner sides of the cabinet; the horn not touching the cabinet; a volume control mounted within the horn, rather than using doors to control volume, etc.
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shellophone
Junior Member
Stand close enough and you can hear the ocean!
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Post by shellophone on Jun 23, 2010 23:34:52 GMT -5
What is being referred to as a 'blade' is properly called a 'bit' by locksmiths.
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Mar 30, 2010 12:48:51 GMT -5
Unless you plan on playing a lot of wax Amberols, I would leave it as is for sake of originality and because these reproducers are serially numbered. Put your efforts into making sure the reproducer is tuned nicely and that the stylus is turned to a fresh edge and is parallel to the groove.
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Mar 28, 2010 20:44:10 GMT -5
Larry, the source of my information on that is restorer David Teti. I don't have anything other than that to add to the conversation!
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shellophone
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Post by shellophone on Mar 28, 2010 14:00:50 GMT -5
Please know that what is being called 'paint' in this discussion is actually a pigmented shellac. That's the reason for the flaking.
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shellophone
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Stand close enough and you can hear the ocean!
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Post by shellophone on Mar 26, 2010 13:13:04 GMT -5
Is the half-nut aligned with threads of the feedscrew? Lower the carriage to engage the half-nut with the feedscrew, slightly loosen the two machine screws that hold the half-nut to the half-nut bar and jiggle it with slightly with your fingertip while pressing down on the top of the half-nut. Re-tighten the machine screws while pressing down. Also, be sure that the feed screw is completely but lightly lubricated with a light oil such as Singer Sewing Machine Oil. Is it slowing down with no horn in place?
The thumping is caused by dried grease in the main-spring barrel. When your Phonograph left the factory, the barrel contained grease that allowed the coils of the spring to easily slide past one another when unwinding. Winding the spring forces the grease through the spring coils to the barrel end. When the spring unwinds, the grease is forced to the center again, so once charged with fresh grease, the main-spring is self-lubricating for the life of the grease. When the grease dries out and hardens, the spring coils cannot lay tightly against one another anymore, and they catch against one another when moving. This results in sudden bursts of energy released in the spring rather than one long smoothe consistent release. Some collectors refer to this condition as 'chugging' or 'thumping'. Not only is it distracting, but it is hard on the spring -- which can easily split or break due to the abrupt energy releases the spring is experiencing.
Time to pull the spring barrel, clean all the old grease out (ask a local auto service garage to clean it for you in their parts washer), and relubricate it with a couple of healthy squirts of a modern black molybdenum grease.
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