And now, I need to chime in on the quality of Columbia floating reproducers.
In many respects the Columbia cylinder Graphophones exceeded the aesthetic qualities of the Edison product. Often making the Edison machines look purpose-built, instead of a harmony of engineering and beauty. Compare the beautifully engineered Edison Class-M to a Graphophone Type N. It is like comparing a Case tractor to a Singer Sewing machine. Both get the job done, but one can be carried with one hand on the train to Philly.
In the "powder room" department, the "N" upper works with its beautiful aluminium construction, drop down end gate, bullet mandrel and sharp lettering is the perfect example of design and function working together. Very user friendly. Even when comparing other classes of product, we see industrial design exceeding with the Graphophone. The added complication of simply hiding that "unsightly" carriage feedscrew inside a shaft (or under a cover) pays off exponentially in the beauty department.
I know I am supposed to talk about reproducers here, but hang in there with me for a moment more.
Columbia's sexy serpentine cabinets just ooze appeal. The Edison Standard.....looks like its name describes it. A 'Standard.'
Edison motors are very well made. Purpose built. They are inside cabinets, so obviously they don't need to be beautiful. They are built like tanks, and they work like two Belgian draft horses pulling a 500 pound plow. All Edison phonographs do. They are tough as nails, and require very little attention.
Columbia phonograph motors are just fascinating to me. Thank goodness the "B" or "Eagle" has an exposed gearworks, otherwise I would be rather depressed.
The "N" and "A" motors are favorites of mine. So much to watch. And everything is so well planned and fitted.
Ok. Before I go too far here and hijack this subject with my rambling on practical Phonograph Industrial Design for the years 1889-1908, I will get back on point.
In the same way that the word GRAPH-O-PHONE is a remangled arrangement of the word PHONO-GRAPH, the Columbia designs seem to reflect those of a company who observed the competing product, identified what made it work well, and then simply makde it better. And at times, they not only made it better, but they set a new standard for the industry.
Now, we move on to REPRODUCERS.
Let's compare FLOATERS and EDISON REPRODUCERS in a few rounds.
ROUND 1: aluminum "Eagle" versus Edison Automatic (Standard Speaker, too), on BROWN WAX
EDISON: tracks groove, most of the time, sapphire linkages rattle when diaphragm is overmodulated, either by diaphragm being too tight, or sapphire bar linkages being too loose and rattling. Can be adjusted to sound perfect, and tantalize the ears, but needs constant attention for optimum sound.
EAGLE: Sound is transmitted in a "direct attack" approach from the sapphire, through the needle bar, directly to the diaphragm. No allowances for rattle. No reproducer weight. Fewer moving parts. Reproducer itself acts as a weight, and also pivots on its mount to track the groove.
-you decide winner-
ROUND 2: Columbia "wedding cake" floater Versus the venerable Edison Model C, on black wax
EDISON: Very much in line with the Automatic, but with a larger and heavier weight and greater L-R pivot of the weight for improved tracking. Sound still has to travel over 3 pivot points (stylus pin, and both ends of the stylus wire). If copper alloy diaphragm is too tight, you get overmodulation and distortion. I am convinced that this is a problem caused by having a diaphragm that is essentially too small to handle the duty of such a broad range of frequencies on the cylinder. As an aside, if Edison diaphragms aren't installed "just under finger tight," they blast. When adjusted, they sound pretty darned great! Ada Jones sounds pretty good.
Columbia "wedding cake": Sound is transmitted "direct attack" to the diaphragm, and diaphragm has 3 stepped discs in it to strengthen it and allow it to reproduce a greater range of frequencies. Fewer moving parts. Groove tracking excellent. Sound is pretty darned phenomenal when everything is in adjustment.
----------
The spring-tensioned "Lyric" reproducers used on the later Graphophones are VERY mis-understood. The diaphragms in them are incredibly delicate, and difficult to handle for fear of breaking them. LYRIC reproducers ELIMINATE overmodulation by keeping the sapphire IN THE GROOVE, not allowing it to "jump". They require very VERY thin gaskets, and the condition of the sapphire needs to be PERFECT. They work under tremendous pressure. When you hear a good LYRIC reproducer, you will NEVER forget the sound!
So. Am I an "Edison Man" or a "Columbia Man". I am both, and always will be!
