The Talking Machine Forum — For All Antique Phonographs & Recordings

Its official, I am Pathé capable now!

http://www.youtube.com/watch?v=JyeOMKx3 ... ideo_title

Those Pathé records can sound marvelous. They may not be as loud as lateral records, but can have remarkable natural voice reproduction. I wouldn't advice to play etched label records though. They play inside out and may wear out quite rapidly and will quite probably skip if they're not brand new. Almost all acoustic Pathé's were dubbed pantographically from cylinders, at least up and into a lot of the paper label records. That is why you can find the same title on so many formats. From the cheapest small ones to the most expensive (and loudest) 20 inch ones. All records had the same playing duration by the way. Size meant volume and longevity.
Pathé records sound best when played acoustically. Somehow a modern gramophone, even when equipped with a fitting stylus and correct equalisation, just cannot grasp what is on the record. The best sounding re-issues are those made with a restored horn gramophone and a mike stuck into the horn. With other 78s modern technique is perfect, with Pathé's you really need to get back to the bronze age of sound reproduction to extract the best out of your record.
A bit like those marvelous, but potential lethal if unrestored magnetic cartridges from the 1930s. If in mint condition, you're in for a huge surprise. If not, your collection will be ruined.

The adopter is neat! Hadn't seen one before.

Clay

Isn't this basically what Sears did with their machines by providing an adaptor that would change the position of the reproducer?

larryh wrote:Isn't this basically what Sears did with their machines by providing an adaptor that would change the position of the reproducer?

Yes, though Sears Silvertone phonographs came with a shorter zig-zag shaped adapter. In fact, most--if not all--of the off brand phonographs sold in the US market came with adapters, or had provisions to turn the front of the tonearm or sound box, for playing Edison and Pathé' discs.

Of course, none of them were allowed to produce a true tapering tonearm--maybe with the exception of Brunswick(?)--so there, Victor would have had some advantage.

Upon the introduction of electrical recording, and the "Phonic" knock-offs -- Tru-Phonic, Melophonic, etc. -- this came to an abrupt halt. Interestingly, during this later period, there were a few sound boxes, as well as tonearm adapters, produced by some third-party suppliers, that enabled Edison Diamond Discs to be played on Orthophonic Victrolas. I've seen a couple of these surface over the past 30 years, or so.

syncopeter wrote: Pathé records sound best when played acoustically. Somehow a modern gramophone, even when equipped with a fitting stylus and correct equalisation, just cannot grasp what is on the record. The best sounding re-issues are those made with a restored horn gramophone and a mike stuck into the horn. With other 78s modern technique is perfect, with Pathé's you really need to get back to the bronze age of sound reproduction to extract the best out of your record.

That's what I experienced when I transferred my 1906 recording of Edouard Colonne's rendition of Rakoczy March. I tried every single modern equipment that I could use, but the best results were obtained when I used Pathé Solo-phone Model. Pathé records sometimes can sound really good, but some of them are pretty much disappointing as well - simply hear one of those early titles as well as some records by Edouard Risler - they are very, very disappointing.

[youtubehq]http://www.youtube.com/watch?v=18n4RKcbOIk[/youtubehq]

Many Pathé discs are so loud as to drive a person out of the room, especially when played on a Reflex machine! I usually retreat to the next room, to preserve my hearing.

syncopeter wrote:Those Pathé records can sound marvelous. They may not be as loud as lateral records, but can have remarkable natural voice reproduction. I wouldn't advice to play etched label records though. They play inside out and may wear out quite rapidly and will quite probably skip if they're not brand new. Almost all acoustic Pathé's were dubbed pantographically from cylinders, at least up and into a lot of the paper label records. That is why you can find the same title on so many formats. From the cheapest small ones to the most expensive (and loudest) 20 inch ones. All records had the same playing duration by the way. Size meant volume and longevity.
Pathé records sound best when played acoustically. Somehow a modern gramophone, even when equipped with a fitting stylus and correct equalisation, just cannot grasp what is on the record. The best sounding re-issues are those made with a restored horn gramophone and a mike stuck into the horn. With other 78s modern technique is perfect, with Pathé's you really need to get back to the bronze age of sound reproduction to extract the best out of your record.
A bit like those marvelous, but potential lethal if unrestored magnetic cartridges from the 1930s. If in mint condition, you're in for a huge surprise. If not, your collection will be ruined.

That's good advice thanks! I only have a handful of outside start records at the moment. The sound quality
is very good, I agree.

FloridaClay wrote:The adopter is neat! Hadn't seen one before.

Clay

Thanks Clay. I got it with my L-Door when I bought it a while back. Works great for Pathé
and Diamond Discs too.

transformingArt wrote:
That's what I experienced when I transferred my 1906 recording of Edouard Colonne's rendition of Rakoczy March. I tried every single modern equipment that I could use, but the best results were obtained when I used Pathé Solo-phone Model. Pathé records sometimes can sound really good, but some of them are pretty much disappointing as well - simply hear one of those early titles as well as some records by Edouard Risler - they are very, very disappointing.

Beautiful transfer, and very interesting performance!