Edison Premium phonograph..anybody got pics?

[Phototone]

In the book "From Tinfoil to Stereo" there is a photo of an Edison cylinder phonograph called a "Premium" model, which was a very low cost machine housed in a tin cabinet that appears to enclose everything, including the cylinder. I'm guessing that end of the cabinet swings up to change records. I have NEVER seen any other references to this unit. Book says they are very rare. Anybody got one, and has pics they can post showing its construction and arrangement of parts? Would love to know more about them.

[phonogfp]

In the book "From Tinfoil to Stereo" there is a photo of an Edison cylinder phonograph called a "Premium" model, which was a very low cost machine housed in a tin cabinet that appears to enclose everything, including the cylinder. I'm guessing that end of the cabinet swings up to change records. I have NEVER seen any other references to this unit. Book says they are very rare. Anybody got one, and has pics they can post showing its construction and arrangement of parts? Would love to know more about them.

The photo of that Edison "Premium" Phonograph haunted many of us for years, along with the Diamond Disc Phonograph with a "Loud Speaking Attachment," and the external horn Disc Phonograph. (All of these are on Plate IX of the book.) Unfortunately, each of these machines was a prototype, and they were never put into production. If Read & Welch knew this, they should have mentioned it. In any event, if the "Premium" machine still exists, it's not at the West Orange complex. Perhaps an employee took it home a century ago and it lies undiscovered somewhere...

George P.

[estott]

It probably ended up like the Victor prototypes for using the Lumiere Diaphragm- built, tested, photographed, then eventually destroyed.

I knew an old time collector named Dr. Lynwood Hedges. He was singularly convinced that the prototype open horn Diamond Disc machine was "out there" and he'd find it. (He WAS persistent in getting what he wanted, to the point of being a pest)

[VintageTechnologies]

I'll bet there were lots of prototypes that we'll never know about. Some were doubtless destroyed, but others went home with workmen. A friend of mine has a prototype oil-pan Gem whose base has more holes drilled into it than a piece of Swiss cheese; its reproducer carriage arm is machined, not cast.

I often wondered about the open horn Diamond Disc machine. The reproducer was obviously inspired by Pathé, but I wonder if the record propelled the horn or if this model had a feedscrew hidden inside the cabinet?

[Lucius1958]

I often wondered about the open horn Diamond Disc machine. The reproducer was obviously inspired by Pathé, but I wonder if the record propelled the horn or if this model had a feedscrew hidden inside the cabinet?

There was an article in ITG some years ago (not to hand, unfortunately) that had a period photo of the works of the open horn DD prototype: it clearly showed the feed rack and worm wheel.

As for its fate, my hunch is that it was most likely lost in the factory fire of 1914….

Bill

[JohnM]

For the record, the late Grosvenor Fattic -- at either the first or second CAPS show -- sold a beautiful replica of a an external horn Edison Disc Phonograph that he had someone build for him. It was just the cabinet. He had planned on making a functional copy, but had quit the project. It was mahogany and in the rough.

[Edisone]

Frow's book has 2 extra photos of the "Premium" - one shows the tin lid (hinged on the left) open, other pic shows the motor at the opposite end, with wooden flap door open (hinged at bottom)

[Lenoirstreetguy]

Wasn't the concept of the Premium machine instigated at the suggestion of the British Branch of the National Phonograph Co.? The cylinder sales were dropping fast in the UK. after 1908 and I seem to recall that they wanted a super cheap machine to compensate for the rise in prices of the combination equipment. I will check on this.

Jim

[Lenoirstreetguy]

I was half right: the Premium was the idea of Dobeer, the Edison sales manager in the US, but was supported by Paul Cromelin who was the director of the British works .