Category Archives: Phonograph History

From The People Who Brought You the Flame Thrower…

This young woman, even if she weren’t armed with a giant magnifying glass, could easily change records without soiling her finger nails, thanks to the Vacuum Record Lifter, from Vacuum Record Lifter Ltd., 701 Seventh Avenue, New York.

The device appears to be a suction cup which is placed on the record. It had a vent hole at the top, which was covered by one finger. When the record is safely lifted, the vent can be opened, and the record falls gently into the other hand.

The device was invented by Joseph Menchen, whom the article calls the inventor of “the first liquid fire appliances used by the Allied armies.” Sure enough, Wikipedia lists Menchen as the inventor of a flame thrower, as well as “self-made businessman, film producer, screenwriter, and literary agent.”

The ad appeared a hundred years ago this month in the February 1920 issue of Talking Machine World.

Arvin Model 302 Radio-Phono

If you needed an inexpensive radio-phonograph 80 years ago, then the Arvin model 302 (brown with ivory trim) or 302A (ivory with chrome trim) was just the thing. The four-tube (12SK7, 12SQ7, 50L6GT, and 35Z5GT) superhet would pull in the local stations, and the would also play either 10″ or 12″ records.

For full portability, a carrying case was available for only $2.95 extra.

The ad, which also shows a car radio, table radio, and portable, appeared in the January 1940 issue of Radio Retailing.

Freddy Fender Museum, San Benito, TX

We recently had the opportunity to visit the Freddy Fender Museum in San Benito, Texas. We are shown above in front of Freddy’s motorcycle and one of the suits in which he performed. The museum is part of the Museums of San Benito, along with the San Benito History Museum and the Texas Conjunto Music Hall of Fame and Museum.

We were shown around by a friendly volunteer, and the visit was well worth the small detour we took to get there. Unfortunately, the exact future of the museum is in question, and it might not be there when you read this. On the very day we visited in December 2019, some of the Freddy Fender exhibits were being removed. The museum will be moving to a new location, but the exact new location is not known at this time. Some of the exhibits were apparently on their way back to Freddy’s widow in Corpus Christi. The volunteer seemed optimistic, however, that the museum would continue in either San Benito or Corpus Christi. But the exact future location has not been determined. Before making a special trip, I would contact the museum to check on the status. The museum is currently open Thursday, Friday, and Saturday.

Fortunately, some of the exhibits remained, and are shown here. Notably, Freddy’s two gold records are still on display, for Before the Next Teardrop Falls, and Wasted Days and Wasted Nights:

Of particular interest to our readers is this chair, marked “Zenith Arm Chair Radio,” in which Freddy Fender probably sat. I’ve heard of Zenith chairside radios, but this is the first I ever heard of an actual Zenith chair. The tag on the exhibit indicated that the chair was from “the 1970s”. Perhaps it was in use then, but my guess would be closer to the 1930s or 1940s. The tag indicated that the chair was last used at the Rio Grande Music Company recording studio, 1165 Sam Houston, San Benito, TX.

The museum also contained another room displaying some of the equipment from the studio, shown below:

The “Rek-Kut” record cutting machine is shown below. You can click on the images for a larger version:

There were also two Ampex recorders, one identified as a Model 354:

As mentioned above, there were two other museums in the same building, and this radio was part of the display in the general history museum:

I couldn’t make out any brand name, but it appears to be from the late 1930s or 1940s, and covers the broadcast band and 5.8-15 MHz shortwave.

Finally, this shell casing was in the museum. It was from a captured German gun from World War 1, and was engraved with the names of the American soldiers against whom it was directed. The engraved text was very hard to read, and I unfortunately didn’t have time to try to transcribe much of it. It would be a great service if some reader in the area could take the time to transcribe the text and post it online somewhere. I’m sure that the relatives of the soldiers listed would be very appreciative.

Crosley B-439A Portable Radio-Phono, 1939

When one thinks of a crank phonograph, one normally associates that with a mechanical reproducer and no electronics. But there’s no reason why a particular phonograph can’t be a hybrid. It could have an electric motor but a mechanical reproducer. Here is the opposite, namely, an electronic phonograph with a wind-up mechanical motor, in this Crosley Model B-5549A portable radio-phonograph, as shown in the December 1939 issue of Radio Today.

The reason why this particular unit is a hybrid is because it can operate on either batteries or household current. With an electric motor, the turntable would rapidly run down the batteries, and there would be no convenient way to have a motor than ran on different voltages. So the easiest solution to the problem was to add a hand crank.

The radio in this unit was the same as the Crosley model 549, a five-tube superhet. It employed a 1A7GT oscillator, 1N5GT IF amplifier, 1H5GT detector and first audio stage, and 1A5GT audio output. A 117Z6GT rectifier rounded out the tube complement. The set included a relay which automatically disconnected the batteries when hooked up to AC power. Since the rectifier was a dual tube, one half was used to power the filaments, with the other half providing the B+.

Up to eight records could be stowed inside, and with the unit weighing only 24 pounds, it could be toted anywhere to provide either radio or recorded music.

Happy Thanksgiving!

Happy Thanksgiving from OneTubeRadio.com!

The illustration appeared a hundred years ago this month in the November, 1919, issue of Talking Machine World.

Phonographs Replace Preachers: 1919

At its 1918 General Assembly, the Presbyterian Church USA created the New Era Expansion program, an attempt to hammer out a five year plan to foster cooperation and unity among Presbyterian bodies.

A New Era conference was held at Lake Geneva Wisconsin on September 9, 1919, and one of the actions taken is detailed in this article, from Music Trades magazine, September 13, 1919:

PHONOGRAPHIC SERMONS FOR PASTORLESS CHURCHES

Presbyterian Conference Recommends Use of Phonograph Records of Approved Sermons in Vacant Pulpits

LAKE GENEVA, WIS., Sept. 9.—”Phonographic sermons” are a possibility in pastorless Presbyterian churches as a result of action taken to-day at the Presbyterian New Era conference, after it was disclosed that 3,000 of the 10,000 Presbyterian pulpits are vacant.

The delegates outlined plans for filling those pulpits temporarily until ordained ministers could be obtained. Dr. W. S. Marquis of Chicago, associate secretary, urged each presbytery to develop immediately strong laymen as leaders and indorsed the recommendations that phonograph records of approved sermons by ordained ministers be provided for use in vacant pulpits.

According to the October 1919 issue of Talking Machine World, the proposal had some doubters. But not surprisingly, the magazine eagerly supported the proposal. It noted that of the 10,000 Presbyterian pulpits in the country, a full 3000 were vacant. While those congregations took steps to fill the gaps, “there is nothing so monotonous and lacking in appeal as a poor preacher. On the other hand, congregations could acquire records of sermons by great preachers, and “half a dozen five-minute records would make a sermon that would be worth listening to.”

In particular, “the best sermons of a $20,000 preacher could be had in any church for the cost of a machine and a few records. Can anyone imagine that a congregation would not prefer to listen to the voice of a great minister, representing the highest intellect and the finest expression of religious thought to be found in the church, rather than the hackneyed phrases of a man who struggles along in martyrdom trying to eke out his $70 salary with preaching ability of the same worth.”

Particularly in rural areas served by circuit-riding preachers, the phonographic preacher would be a Godsend. Some churches saw a real preacher only once every two or three weeks. But with a library of records and method to distribute them, new sermons could be supplied each week, and even during the week.

Phonographs at the Minnesota State Fair: 1919

This article appeared a hundred years ago this month in the September 1919 issue of Talking Machine World.

TALKING MACHINES AT THE BIG MINNESOTA STATE FAIR

Enormous Crowds Attracted-Exhibits of Edison, Pathé, Starr, Vista Phonographs Attract Much Attention-Exhibitors Well Repaid for Their Investment

Wikipedia image.

MINNEAPOLIS AND ST. PAUL, September 6. Everybody went to the big Minnesota state fair, August 20 to September 6. It was the biggest fair ever held either in Minnesota or any other state. The attendance on Labor Day was 201,619 and with fine weather predicted the turnstile count for the show should have been in the neighborhood of 600 000.

Music was in the air throughout the eight days of the fair. Four big military bands, the “Million Dollar” Sunset Division band, the 151st Field Artillery band, the Minnesota State band and Thaviu’s concert band, with a score of smaller organizations and a hundred or more talking machines, kept music ringing in the ears of every visitor.

Library of Congress image.

Only a small number of the Twin City dealers deemed it to their advantage to make displays at the show, but those who were there were amply repaid for their efforts. In the first place the attendance was unprecedentedly large and then a change has come over the ruralites, for they are no longer afraid to spend money.

The exhibitors were Laurence H. Lucker and the Minnesota Phonograph Co., G. Sommers & Co., M. L. McGinnis & Co., the Northwestern Music House and the Vista Talking Machine Co. in connection with Hochman Bros., Minneapolis.

Wikipedia image.

A life-sized photograph of The Wizard himself attracted attention to “the phonograph with a soul” shown and demonstrated by Laurence H. Lucker and the Minnesota Phonograph Co. That the people of the Northwest are familiar with the Edison products was amply testified by the throngs about the booth. A very complete line of cabinet machines was on display together with some period cases.

The center of attraction in the Sommers booth was the new Pathé Actuelle. About twenty Pathé machines were on exhibition. Demonstrators expatiated upon the advantages of the Pathé Sapphire ball and the durability of the Pathé records.

Starr phonographs and Gennett records were shown by M. L McGinnis & Co. Mr. McGinnis, who is a veteran piano man, has now become a phonograph enthusiast and almost has been weaned away from his old love. Four fine types of the $300 models of the Starr machines formed the most conspicuous feature of the exhibit.

Linderman and Columbia phonographs, together with Boland band instruments and Mathushek pianos, completely filled the extensive space obtallied by the Northwestern Music Co. President Boland was in charge of the show and was full of enthusiasm for the success of his venture at the fair. His house, while handling a full line of Columbia Grafonolas and records, is pushing the Linderman phonograph, in the manufacture of which the company is interested.

New in the state fair field was the Vista talking machine, made at Port Washington, Wis., and six other places. The concern also makes the Paramount records. Its display at the fair was made in conjunction with Hochman Bros., dealers at 416 East Hennepin avenue, Minneapolis. P. F. Moses, of the Chicago headquarters, is taking the exhibit about the country and is signing Vista contracts with many merchants.

Phono for Dubbing Your Old 78’s

For those seeking to convert their 78 RPM records to a digital format, this product seems to fit the bill. I haven’t had an opportunity to try it, but this Victrola model V50-200-BLU turntable stands out as about the only modern turntable I’ve seen that will play 78 RPM records. Of course, it’s possible to use your vintage phonograph and run the audio into your computer’s sound card. But this is probably the only 78 RPM phonograph ever made with a USB connection to go directly to your computer.

Even if you use the unit to copy just a few old 78’s, the low price makes it worthwhile. It is available at Amazon. The set also includes CD player, AM-FM radio, and serves as a Bluetooth speaker.

Links on this page are affiliate links, meaning that this site is paid a small commission if you order after clicking on these links.

Labor Day 1944: Ritz Crackers!

The final Labor Day of World War II fell on September 4, 1944, and that day’s issue of Life Magazine showed Americans how the holiday could be celebrated, namely, with Ritz Crackers!

The Nabisco ad in the issue included the illustration shown above of a of a Record Party. “Let the gang bring the records they like best … you supply the Ritz. Favorite bands and favorite cracker–what more could the ‘gaters’ want for a good time!” I’m not sure what a “gater” is, but the gaters shown here seem to be having fun. According to the ad, Ritz crackers were also suitable for a backyard picnic, or just a quiet evening at home.

Dance Any Time: The Victrola Is Always Ready

Today, the ability to listen to music is something we take for granted, and it has been for a little over a century. But for most of human history, you could listen to music only when there was someone around who was able to play it. In other words, most of the time, if you wanted music, you had to make it yourself.

A century ago, the phonograph was already well established. But as this ad shows, most people still remembered what it was like before. The ad appeared in the July 1919 issue of Popular Science.