The Talking Machine Forum — For All Antique Phonographs & Recordings

While the Melotone recordings were from 1941, I think there's just as valid an argument that she belonged to the cylinder era as not:

"Jenkins began giving private vocal recitals in 1912, when she was in her early forties.[14] In 1917, she became founder and "President Soprano Hostess" of her own social organization, the Verdi Club,[6][16] dedicated to "fostering a love and patronage of Grand Opera in English". Its membership quickly swelled to over 400; honorary members included Enrico Caruso.[5] When Jenkins's mother died in 1930, additional financial resources became available for the expansion and promotion of her singing career.[17]"

Unfortunately, history has left us with no evidence of what her voice may have sounded like in her 'prime'

That cylinder will start all the dogs in my neighborhood to start howling! edisonplayer

bfinan11 wrote:While the Melotone recordings were from 1941, I think there's just as valid an argument that she belonged to the cylinder era as not:

"Jenkins began giving private vocal recitals in 1912, when she was in her early forties.[14] In 1917, she became founder and "President Soprano Hostess" of her own social organization, the Verdi Club,[6][16] dedicated to "fostering a love and patronage of Grand Opera in English". Its membership quickly swelled to over 400; honorary members included Enrico Caruso.[5] When Jenkins's mother died in 1930, additional financial resources became available for the expansion and promotion of her singing career.[17]"

Unfortunately, history has left us with no evidence of what her voice may have sounded like in her 'prime'

You raise a good point, her voice may have actually been better in her prime. By the time she recorded, she was well into her golden years.

So, it's o.k. to record old music in new formats, but sort of frowned upon to record new music in old formats? Don't see the logic. Nobody's trying to create a historic "document". Just a curiosity, as someone suggested. Agreed. What's wrong with that? Seems kind of fun actually.

It depends on who it is, if they make approval or not. Because they are worried (still not sure who they are) that in the future people will not be able to tell original from new, it muddies the waters........ so I have been told. It seems certain collectors, that think they have a pedigree to make rules for this kind of thing. I have met with it my whole time re-discovering cylinder blanks and records. If you are a certain someone, it is OK, but if you are certain someone else, it is not OK. However do what you want to do, you don't have to have permission from anyone. If you enjoy Elvis, or Metallica, or Florence Foster Jenkins on cylinder, go for it! There is certain people who do horrible things to precious brown wax, but it seems to be accepted, and defended by "they". So who am I to stick my nose in it. They have stuck there nose in my business several times, and caused problems with events, that is why I don't tell where I am doing lectures, recording, or whatever until after. I have learned the hard way!

epigramophone wrote:Whilst I can understand the demand for re-issues of rare original cylinders, such as those produced by the CLPGS, why would anyone want 1940's 78rpm recordings re-issued on cylinder? Florence Foster Jenkins does not belong to the cylinder era.

I'm with the traditionalists here. I'm very interested in reissues of historically interesting recordings like those offered by CLPGS and many of those by Berlin Phonograph works.

There may be a market elsewhere for Elvis and Florence Jenkins on cylinder but it's not for me.

I'm thinking traditional too... ABBA's Money, Money, Money or Steely Dan's Josie never got the chance to premier on cylinders - aren't they old songs?

At the end of the day I guess it is a function of demand. To produce bespoke wax recordings of non-cylinder sources is an affordable product, and to play Elvis on wax on the trusty Edison Fireside is a bit of fun so why not?

Up to now the CLPGS Masters Series has focused on producing durable copies of wax cylinders which were never copied onto Blue Amberol, with a view to preserving the source record such that cylinder owners can play them as much as they like. All our cylinders have been in four minute format and have come from Edison Grand Opera records, either as dubs of four minute cylinders or by putting 2 two minute records together on the same cylinder. We are looking at making some two minute cylinders for future release.

However the cost of producing masters is quite high, so we have been selective about sound material. If there is sufficient demand we would be happy to consider other titles (eg Edison D Series? Rare small cylinder makers?) but naturally we would need to at least come close to covering costs.

Keith

RefSeries wrote:At the end of the day I guess it is a function of demand. To produce bespoke wax recordings of non-cylinder sources is an affordable product, and to play Elvis on wax on the trusty Edison Fireside is a bit of fun so why not?

Up to now the CLPGS Masters Series has focused on producing durable copies of wax cylinders which were never copied onto Blue Amberol, with a view to preserving the source record such that cylinder owners can play them as much as they like. All our cylinders have been in four minute format and have come from Edison Grand Opera records, either as dubs of four minute cylinders or by putting 2 two minute records together on the same cylinder. We are looking at making some two minute cylinders for future release.

However the cost of producing masters is quite high, so we have been selective about sound material. If there is sufficient demand we would be happy to consider other titles (eg Edison D Series? Rare small cylinder makers?) but naturally we would need to at least come close to covering costs.

Keith

I think your focus is correct. I've only got a few of the wax Grand Opera cylinders and I've only played them once or twice for fear of breaking them. Clean wax Amberols sound fantastic as do the two minute wax records in good condition so having these rare titles in an indestructible format is really appealing to me.

Playing Elvis on my Fireside? Not so much interesting but if someone wants to do it, no harm done. Have at it.

What I hope to do in the future, maybe months, maybe years from now. Is put out new music, and skits, some of modern contemporary origin, and some re-enacted, that is real musicians and singers re-creating original recording, and putting that out. It is nice it will be recorded with similar equipment, and some of the same equipment that recorded Edison masters, the recording head I have cut Edison master cylinders.