Well from what I am reading it sounds like I should just leave it on the curb. Just kidding

I have to say, its not go the allure of early machines for me. An Opera still seems more "phonographically romantic" The machine does have an EMG soundbox, but it's not marked EMG. It has very similar features to many googled "emg soundboxes". It does play great even without the horn, and sounds wildly clear. I know this sounds cheesy, but it seems eager, even enthusiastic, to play the record. I am wondering what to do about this horn. It does sag forward a huge amount. However, its solid in this position. It came from New Mexico, where it is dry so I imagine the sag was very gradual. Also there are no major distress cracks to suggest a violent bend. It is not any machine bought at auction in the UK anytime recently. Its just by chance the original photo looked similar. The nice old woman who sold it to me got it someplace, a long time ago, in the midwest. You can tell, just from the hardware and the case and so on, that the quality is very high. Its strangely anachronistic and at the same time (for the 1930's) somewhat futuristic, AND Futurist.
Here are a few pictures, just with my cameraphone, so not great.
The black and white photo: Photo of Russolo, Ugo Piatti and their “noise intoners” (intonarumori), Milan circa 1920. These were invented in 1914 to correspond with the theories outlined in this essay. There were ultimately 27 different types of intoners, each producing a unique sound in one of the six “families” listed, including “howlers”, “exploders”, “crumplers”, “hissers”, “scrapers”, etc. Russolo performed several concerts with these in the 1920’s. Unfortunately, only one very brief recording is known to exist of these (the intoners have apparently been destroyed).