Marie Rappold sings O Patria Mia from Aida on Diamond Disc

[52089]

Not particularly rare, but IMHO a rather extraordinary acoustic recording. Enjoy, and please check out my other Diamond Disc videos!

[youtube]http://www.youtube.com/watch?v=-MAT9iqmnWE[/youtube]

[Wolfe]

M. Rappold gave a hail and hearty turn on that old aria.

But the DD sounds great! Would like to hear it on some proper modern equipment. It could sound miles better.

[operabass78s]

I think you have to be in the room with the phonograph to get the full depth of the sound, the camera doesn't do it justice. A pity that Edison's sonic superiority wasn't greatly realized at the time. Despite some rather drab repertoire at times, Edison did record some stellar operatic personalities. Speaking from experience, I honestly think Diamond Discs sound better on well calibrated original equipment than with modern counterparts.

[52089]

Would like to hear it on some proper modern equipment. It could sound miles better.

I have to disagree. Electric/modern reproduction of these discs is never as good as hearing them on a well-tuned period phonograph. Compare Caruso on vinyl to Caruso on a Victrola with a restored reproducer - right in front of you - and you will choose the Victrola 99% of the time.

[operabass78s]

I agree. I spend many hours a week doing analog to digital transfers, and although we can adjust levels and improve clarity somewhat, the depth is not there. Same thing goes for vinyl records (recorded as such) the depth and presence of the recording is much better than digital counterparts. Of course, it's not going to sound as good on a YouTube video because the sound quality cannot surpass the capacity of the camera microphone.

[Nat]

I'm not an Edison fan, but that really is an extraordinarily good recording! I'd like to hear it unfiltered by the camera mike.

[Lenoirstreetguy]

Very nice indeed! That reproducer sounds very good. What model is the machine? It's an A or B something! I've always been fond of Rappold. She's virtually unknown now, but she was a stalwart of the Met between 1905 and 1920. Her big problem was that she was firmly tied to Edison. Had she been a Victor artist she'd be better known today. She was a versatile artist: her roles ranged from Wagner to the more lyric stuff, and she sang major roles at the Met. Moreover she was very well received critically... but she paid the price for being an Edison star. Carl Flesch, the violinist, grumbles about the " Edison syndrome" in his autobiography. He felt that he'd wasted his best years as "exclusively Edison " and thereby missed his change with HMV and Victor. I think in his case case there was more to it than just that, ( Flesch wasn't the most congenial of artists) but there is a grain of truth.

Jim

[52089]

Very nice indeed! That reproducer sounds very good. What model is the machine? It's an A or B something! I've always been fond of Rappold. She's virtually unknown now, but she was a stalwart of the Met between 1905 and 1920. Her big problem was that she was firmly tied to Edison. Had she been a Victor artist she'd be better known today. She was a versatile artist: her roles ranged from Wagner to the more lyric stuff, and she sang major roles at the Met. Moreover she was very well received critically... but she paid the price for being an Edison star. Carl Flesch, the violinist, grumbles about the " Edison syndrome" in his autobiography. He felt that he'd wasted his best years as "exclusively Edison " and thereby missed his change with HMV and Victor. I think in his case case there was more to it than just that, ( Flesch wasn't the most congenial of artists) but there is a grain of truth.

Jim

The machine is a common C-150 Sheraton, one of the earlier ones with decals on the bedplate. I got it cheap, cleaned it up well, let George V. put a new spring in it, and have enjoyed it thoroughly ever since. The motor needed absolutely nothing. It's so quiet you can't tell that it's running!

The reproducer is original to the machine, but it has one of Jeff and John's diaphragms, which I'm very fond of using on clean records. There is a short thread on the board about this specific reproducer, as the weight does not have the usual cup shaped recess, but instead has a textured, nearly flat surface.

Yes, you're right, Rappold should be better known. For the most part, I am not fond of acoustic records of sopranos (or violins for that matter), but this one is definitely a favorite. I posted another Rappold yesterday as well.

Yes, the camera is somewhat limited in its sound recording capabilities, but I have tested far worse. My old Flip camera worked too hard evening out the volume on videos. This camera is primarily a still camera, but it does quite well for this kind of thing. Unfortunately, because it's not a "real" movie camera, it doesn't focus well when zooming in and out, so my videos generally just have a stationary shot. And again, experiencing this in person is quite different!

I just got 15 new wax Amberols including 5 operatics. I'm hoping to post those within a day or 2.

Thanks for listening!

[operabass78s]

Carl Flesch, the violinist, grumbles about the " Edison syndrome" in his autobiography. He felt that he'd wasted his best years as "exclusively Edison " and thereby missed his change with HMV and Victor. I think in his case case there was more to it than just that, ( Flesch wasn't the most congenial of artists) but there is a grain of truth.

In retrospect, this is rather unfortunate. Imagine what would be if Edison's advances in sonic fidelity were combined with Victor's market popularity, especially in regards to opera.

[larryh]

I suppose I am in a minority here but for my taste and ear, having the lids up during performances adds to excessive feedback from the diaphragm which is unavoidable but accented by the lids remaining up in play.. In my many hours of testing I have gone a bit both ways in listening. Some feedback is natural and some is due to either the records or the diaphragm. Probably some of each plays in most instances. Sometimes when I stand back from a machine opening the lid seems to increase the tonal range, which might be true. On the other hand when I am standing near the machine and lower the lid while in play I am often struck by how the solid effects are enhanced by the sound coming only though the grills.

I have only made one video of my diaphragm and that wasn't easy for me.. I then proceeded to drop the camera and that ended that. I am lousy at computers and find the process daunting to get the thing loaded, edited and off to You Tube. I am considering a new recording video player but not sure what would be quality sound and also be very simple to understand. That latter part is almost unheard of today.

I realize the most people like to see the record revolving but the overall musical effects are better with it down in my opinion.. For a while I wondered if it was a fault of my designs or if it was a natural thing to happen in taxing portions of the music. Ron D and Steven M both assured me that indeed edisons are going to reveal feedback from the reproducer its just the way it is.. Thus I play mine with the lid down. Naturally the design also tends to add to this dilemma so the amount of feedback will vary depending.

Larry