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Yet another machine you've found with the original owner's record library in it. Wasn't the one from Athens Italian too?

I own two of these, an 800 in walnut and the 810 in mahogany. I must have an early 810 as it doesn't have a shut off mechanism, but my 800 does! Looks like you got a very good one there! Of the big three (Credenza, Cortez, and Columbia 810), which i have owned, and have done the comparison side by side, the Columbia Viva Tonal ranks high. I think the Cortez is the loudest in a belt it out way. I can't really rank them in order as all three have special qualities.

Last night I spent the better part of 3 hours chipping off the old wax from the horn seals, cleaning, vacuuming out, and resealing all the horn joints with clear silicone. Man, what an involved job it was. I fitted a Meltrope I soundbox to it with some force and listened to a few discs before I did anything with the horn. It sounded good, nice volume, but not much "punch". After I redid all the seals, I grabbed a couple clean electrics from the period to test and WOW, volume had to at least triple and there was suddenly a great deal of "punch" and even bass which I'd heard wasn't very present with these. I'd have to say just so far this sounds about the same as my Credenza, of course once the original reproducer is rebuilt by Wyatt and back in place, things could change. I'm very impressed!

And no, the machine from Athens (8-35) was full of German discs.

Sean

Great score Sean. I hope that when you've worked your magic that we will see the photos here and as it's such a special machine a you tube video as well?

That difference on the motor board pre and post gojo is amazing! And really cool and intricate fretwork over the horn opening. You must be over the moon with getting this machine.

Sean, You are right when you said these big Columbias are heavy. The horn neck looks like part of skyscraper it's so thick and heavy. Only in the 20s would they make something like this so big! The best way to move them is with a large appliance dolly with straps. I love the saying on the decal, Viva-tonal, like life itself! I've read that the Columbia reproducer does not come up to the quality of the Orthophonic, which is not too surprising. But Wyatt will do a great job on it, I'm sure. I've heard of someone who adapted an Orthophonic reproducer to fit the Viva-tonal with excellent results. I think a lot of the negative press on Columbia 810's has to do with people who didn't bother to seal the horn before comparing it to a Credenza. You have to admit that it has one of the oddest looking horns I've ever seen on a phonograph.

That sure looks like it was worth the trip. When you finish publish a few new pictures. Tom

I will when it's done, I've had a busy week and haven't had any time to do any further cleaning. I'm planning on taking my time with this one, it's worth the extra effort. It's growing on me though!

Sean

Nice Find for Sure, not too many just showing up now days. I hauled one home on the roof of a old volvo. That took some doing, heavy isn't the word for them. I sold that one which had a nearly perfect cabinet to a friend in NY who still owns it. When an 800 showed up just around the corner from me here in the country I couldn't resist. I also at the time had the Credenza. To my ear the Columbia had something about it that made it seem a bit more realistic sounding. The reviews of the day comment that some thought Columbia had Bested Victor in the sound quality. It does seem to me that the volume levels are less forceful than the Victor and if the smaller Brunswick are anything like the Cortez, then its even louder. Not having it so quick to blast away while listening is a point I like. I find many records do nicely on a loud record needle, where the Brunswick needs a soft often needed to be bearable. It will be interesting to hear what you think of the sound.

Larry

I think that Columbia balanced their VivaTonal recordings differently than the Orthophonics- with Victor you hear superb sound and room tone, but the Columbias tend to sound very up front- Ruth Etting can sound like she's right next to you.

Beautiful machine. I like those big guys from the mid/late 20s, but years ago I had to make a decision, and I went with "Earlier." I still have a Credenza though. Just wish I'd had the room for the 8-35 and 8-12 I sold. The Viva-Tonal 800 and 810 have a great look. You brought home a beautiful example - congratulations!

estott wrote:Columbias tend to sound very up front- Ruth Etting can sound like she's right next to you.

Wow - if a Viva-Tonal could put Ruth Etting (circa 1929) right next to me, I'd find room...!

George P.