The Talking Machine Forum — For All Antique Phonographs & Recordings

I've read this thread and the other one that concerns the future of the hobby. Responses to the original posts have wandered quite a bit. That is not a criticism, rather something to be expected. But come back to the original question: how would one tell the difference between the three horns referred to? People will always want to know the origins of what they have. Mind you, I said nothing about how one feels about reproductions, whether you like them or not. Nor have I said anything about value. Not interested in that. I refer only to the empirical question of how to sort these horns out. There is only one way to do it out. One must bring together multiple horns of each of the three makers and examine them closely. Weight may be a factor. So might overall dimensions. Whatever. The distinguishing parameters can not be foretold until several examples are brought together and closely examined. Why several examples? Because I'm reasonably sure there were/are variations in all of them. Perhaps through such an examination a unique set of parameters will emerge that will allow us to make the distinction. This has already been done in many areas, furniture for example. Antique glass for another. Some collectors will say they don't care, but I'm sure they actually do. Everyone wants to know where this or that came from.

Should we try to get leadership in the collecting community on board with this idea?

krkey1 wrote:Should we try to get leadership in the collecting community on board with this idea?

For what purpose?

gramophone-georg wrote:

krkey1 wrote:Should we try to get leadership in the collecting community on board with this idea?

For what purpose?

To get this type of knowledge for future collectors

krkey1 wrote:

gramophone-georg wrote:

krkey1 wrote:Should we try to get leadership in the collecting community on board with this idea?

For what purpose?

To get this type of knowledge for future collectors

Who is this leadership?

Who is this leadership?[/quote]


The people already writing books on this subject, editors of phonograph magazines.

krkey1 wrote:

The people already writing books on this subject, editors of phonograph magazines.

OK, so if by your own admission we already have books being written, etc., then what is the point of this?

How would I know an original from a reproduction or even a fake? I would use "The power of Thinking without Thinking". I know it when I see it! I think it's that way for a lot of collectors who have been around these things for years... they can just see it in the blink of an eye without having to ponder it.

I suppose someone with examples of all the different horns could do a tips guide, but I don't think there's a great reason to make sure everyone is informed an/or warned.

(O/T Read Malcolm Gladwell's "Blink")

I could spot a reproduction horn in an instant. Some because they're too good to be original... and some because they're not good enough. (Not knocking Don or Eduardo or their products.) Once you've collected for many years you know original when you see it.

JerryVan wrote:I could spot a reproduction horn in an instant. Some because they're too good to be original... and some because they're not good enough. (Not knocking Don or Eduardo or their products.) Once you've collected for many years you know original when you see it.

That is meaningless vaguary. What does too good to be original mean??? Some originals are excellent. Some have been restored. What does not good enough mean... As if no original horn never was rough made. As if you could not take a repro horn and scuff it up some.

What are some features unique to an Eduardo or Gfell horn that would clearly and measurably be useful for distinquishing them from originals? Wood grain? Weight? Diameter? Decal?

Get my question. If the true experts can be tricked I know for one I would be a whole lot less confident with just saying "eyeball it" http://history.howstuffworks.com/histor ... tiques.htm