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Polking around on the internets, I found this image on the cover of a CLPGS issue (there is another picture at the link below of the front).




http://www.clpgs.org.uk/for_the_record_page.htm

From what I understand, the Victor 10's purpose was to be a high end version of the concert reproducer, for use with the Vic VI, and of course, is exceedingly rare (just the front piece recently sold on ebay for over $1k). I can't tell for sure, but it looks to me like this version also wasn't origianlly intended to be a long throat reproducer, and that is just an addition, but it still leave the question to me, considering this looks only to be nickle plated, what purpose did it serve? There was already the Concert reproducer, so why would there be a need to produce these at all? So does anyone out there know anything about this reproducer?

This is a G&T Melba soundbox which realised £2200 at the sale of the Roger Thorne collection in July 2011. It was believed to have been a record auction price for a soundbox at the time.

The CLPGS magazine for Autumn 2011 contained an article about this soundbox, which was essentially a larger version of the Concert.

As often happens, the publicity surrounding the sale revealed the existence of another example, more complete than the first and with an adaptor for use with a travelling arm.

epigramophone wrote: As often happens, the publicity surrounding the sale revealed the existence of another example, more complete than the first and with an adaptor for use with a travelling arm.

Can you show a photo, or post a link to an article about this second example?

The second example is pictured and described in the Winter 2011 magazine No.40 on Page 447.

The second example is pictured and described in the Winter 2011 magazine No.40 on Page 447.

Sorry, but I think you've just scored an own goal for the Anti-CLPGS brigade (elsewhere) who regularly peddle propaganda about how the society and its members conspire to keep all historical information for paid up subscription only instead of it being freely available to everyone.

Steve wrote:

The second example is pictured and described in the Winter 2011 magazine No.40 on Page 447.

Sorry, but I think you've just scored an own goal for the Anti-CLPGS brigade (elsewhere) who regularly peddle propaganda about how the society and its members conspire to keep all historical information for paid up subscription only instead of it being freely available to everyone.

Well, I disagree. I think it's safe to say that none of the "phono" publications UK or US are freely handed out to non-members. Certainly not here on the forum and if so......I'm sure without permission. I'm more surprised that a "scholar" in this field like Starkton is "not" a member of the CLPGS...???. I seem to recall he was able to get a copy of the article we wrote in "For The Record" #36 Winter 2010...???.

Steve wrote:

The second example is pictured and described in the Winter 2011 magazine No.40 on Page 447.

Sorry, but I think you've just scored an own goal for the Anti-CLPGS brigade (elsewhere) who regularly peddle propaganda about how the society and its members conspire to keep all historical information for paid up subscription only instead of it being freely available to everyone.

The rules are quite clear. Copyright in all articles remains the property of the authors.

This applies not just to the CLPGS, but to any club or society which publishes a member's magazine.

epigramophone wrote: The rules are quite clear. Copyright in all articles remains the property of the authors.

This applies not just to the CLPGS, but to any club or society which publishes a member's magazine.

Main problem with smaller magazines is, that I cannot find them in public libraries. Therefore, it would be a good idea to show selected articles publicly to bring forward research.

As an alternative, I vote for the introduction of a members area in the TMF, similar to the German forum. After consulting with the author, articles and photos could then be shown to the members.

All this is very interesting. Perhaps it would be even more so if I knew what "CLPGS" meant. Been collecting for over 30 years, belonged to MAPS for 26 years, and have never heard of CLPGS. Perhaps a shadowy, elite, secret society of phono "insiders"?

JerryVan wrote:All this is very interesting. Perhaps it would be even more so if I knew what "CLPGS" meant. Been collecting for over 30 years, belonged to MAPS for 26 years, and have never heard of CLPGS. Perhaps a shadowy, elite, secret society of phono "insiders"?

City of London Phonograph and Gramophone Society

http://www.clpgs.org.uk/

Neither shadowy, elite, nor secret. Anyone can become a member.