EDISON DIAMOND DISC CONCERTS


AN EDISON ACOUSTIC RECORDING SESSION




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EDISON ACOUSTIC & ELECTRICAL (HILL and DALE) RECORDINGS



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  [1] PRELIMINARY COMMENTS

  [1] NOSTALGIA

  I grew up in a country town, Bowen , in North Queensland in the Thirties.
Our nearest broadcast transmitter, 4QN, had a power output of 6.6KW and was situated at a distance of about 100 miles.
Static frequently rendered the signal unuseable on summer nights, and entertainment came from recorded music, usually an Edison Diamond Disc - Sheraton Model - although there was also a gramophone which played laterally recorded 78 discs in the house.
The discs were chosen at random and the concerts usually lasted about an hour.
The following concerts are chosen to "re-create" - as Edison would put it - those times.
Each concert lasts about 80 minutes and is a mixture of acoustic and electrically recorded discs.
The discs came from the collections of Mr. Peter Tadman and Mr. John Simpson.
Many thanks to them for their foresight in collecting and preserving these wonderful discs demonstrating the verve and drive of the Edison orchestras, and preserving the memory of almost forgotten melodies.
The discs will probably come as a shock to those used to modern "pop" recordings.
They contain novelties like melody, rhythm, and understandable words : all performed by professional musicians.
The discs "re-create" exactly what went on in the recording studio with no editing : no Auto-Tune!


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  THE SUPERIORITY OF VERTICAL RECORDING

  DISCUSSION

  The statement that lateral recording is ""superior" to vertical recording seems to be almost universal.
This belief seems to have originated from an analysis of tracing distortion by the Cruft laboratory, Harvard in 1941:-
A Theory of Tracing Distortion in Sound Reproduction from Phonograph Records
by W.D. Lewis and F.V. Hunt
The Journal of The Acoustical Society of America pp 348 - 365 1941
The mathematics predicted the absence of even order harmonics in lateral recording while vertical recording produced both even and odd harmonics.
This is not surprising.
The shape of the reproduced waveform when a spherical stylus travels over a "hill" is different from when it traverses the bottom of a "dale".
The tracing distortion from a vertical cut disc shows asymmetry.
On the other hand, left and right deviations in a lateral track produce the same distortion. The tracing distortion in lateral recording is therefore symmetrical.
Now asymmetry produces even order distortion and symmetry produces odd order distortion.
It is not surprising, then, that second order harmonic distortion in vertical recording came out of the above analysis. The first distortion component in lateral recording was third harmonic. This seemed to give vertical recording a bad name and interest was lost.
This is a pity.
The analysis does not tell the full story.
Vertical recording has a lot of desirable characteristics such as: longer playing time: freedom from retracking on overcutting: no problems with stylus fit - its greatest strength.
Vertical recording gives rise to excellent geometry in acoustical recorders and reproducers.
Here the recording or reproducer diaphragm is parallel to the record surface with a very direct linkage to the stylus.
In lateral recording the diaphragm is at right angles to the record surface and a complicated lever system is used to communicate lateral diaplacement to the cutting stylus.
This can only degrade the transient or high frequency response.
It is highly significant that Bell engineers chose vertical recording for their high fidelity experiments in the early thirties.
Tracing distortion decreases with the diameter of the reproducing stylus. The limit on this is set by the pressure on the disc surface set by the dynamic forces in the reproducer.
With modern light weight pickups the diameter of the reproducing stylus in vertical recording can be greatly reduced with a dramatic reduction of ALL tracing distortion.
For Edison Diamond discs I use a 1 thou. spherical stylus at a weight of 1.5 grams. Unlike all my lateral 78s, no tracing distortion is evident on the end of the Edison tracks.
Edison always believed in the superiority of vertical or " hill and dale " recording.
I think his intuition got it right.


  EDISON ACOUSTIC AND ELECTRICAL RECORDERS

  PICTURES

 

  AN EDISON ACOUSTIC RECORDER
The Edison cutting stylus acted like a plough and met the wax or soap master head on.
Edison recording heads, then, appear to be on the "wrong" side.
In almost all acoustic recorders the recording head and horn were fixed and the turntable moved .
This appears to be the case here.
The main turntable bearing is supported by a steel arm driven by a screw thread at the front.
Many acoustic recorders were driven by a weight for constant torque.
The dynamic behaviour of the acoustic recording head was discussed in the previous section.
Computer studies show that it was virtually impossible to terminate the complex output impedance of the horn with a mechanical cutting head. This gave rise to reflections which, in turn, manifested as horn resonances or "funnel tones" as Edison called them.
Horn resonances cause the characteristic sound of acoustic recording.
it would appear that Edison was well aware of the superior transient response of his acoustic hill and dale recorders and that no opportunity was lost in the recoding studio to exploit this -- such as hitting wooden blocks, symbols etc.

  AN EDISON ELECTRICAL RECORDER
It is believed that the adoption of electrical recording was opposed by Edison and developed by his son, Theodore.
So far I have been unable to find details of the Edison electrical recorder.
There are indications that it was based on an RCA lateral recording system with the cutting head modified for vertical recording.
Since the Columbia and Victor studios used the Western Electric recording system, it would be interesting to enquire if the RCA system was used in other studios.
The Edison electricals compare very favourably with lateral discs cut with the Bell - Harrison cutter.

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  DISC PLAYBACK DETAILS

PLAY BACK DETAILS

ACOUSTICS

Playback characteristic:
Constant velocity.
Signal Filtering:-
4th Order Maximally Flat Low Pass 6.5KHz.
4th Order maximally Flat High Pass 100Hz.
Stylus Diameter: 1 thou. Spherical.
Tracking Weight: 1.5 grams.


ELECTRICALS

Playback characteristic:
Constant velocity above 250Hz.
Constant Amplitude below 250Hz.
Signal Filtering:-
4th Order Maximally Flat Low Pass 8KHz.
4th Order maximally Flat High Pass 50Hz.
Stylus Diameter: 1 thou. Spherical.
Tracking Weight: 1.5 grams.
Electrically Recorded Discs are denoted by an Asterisk on their Matrix Number: 18000*


  Note: The average depth of cut on an Edison acoustic disc seems to be about 0.8 thou., so the maximum displacement with modulation is +(-) 0.8 thou..
The maximum displacement on a 78 lateral is about +(-) 2 thou., so the output from an Edison diamond disc is about 10 db down on a lateral.
An Edison acoustic reproducer is much easier on a disc than the lateral equivalent, which also had the nasty habit of sheddig slivers of steel onto the track. Nevertheless Edison discs did wear, and all the discs featured show signs of wear.
Some of the distortion on heavily cut transients is due to wear - not the recording or reproducing equipment.

  EQUALISATION

  All the acoustically recorded Edison discs were played back with a constant velocity transfer function.
This is equivalent to play back on a perfect acoustic reproducer.
It is noted in the previous section on acoustic recording that Edison acoustic recorders approximated the ideal constant velocity curve, but there were errors.
It would appear that the small recording horns were used as a high pass filter to reject low frequencies where they would occupy valuable space on the track, but contribute nothing to the "loudness" : the small reproducing horns would not respond to the low frequencies.
The output impedance of a conical horn goes highly reactive around the cutoff frequency and produces a slow rolloff of low and intermediate frequencies rather than a sharp cutoff.
This can be seen in the computer simulation of the recorder steady state response in the last section.
This low frequency "droop" can be roughly approximated and equalised giving a sound with more "body".
Equalisation is only successful in the absence of noise, so discs with a good surface offer the most improvement.
For convenience the steady state results of the computer simulation are repeated here.

   Steady State Response given by Computer Simulation

  The response to a sinusoidal pressure wave of varying frequency at the mouth of the horn is shown.
Reflected waves add at some frequencies and cancel at others giving a rippled response curve.
It is this behaviour which gives acoustic recording its characteristic sound.
Note the decrease in response of the green displacement curve across the audio band. This is a characteristic of constant velocity recording.
As predicted by the transient response, the performance of a conical horn at the low end of the spectrum ( 150Hz.to 400Hz.) is poor.
The sound of acoustic recordings can usually be greatly improved by equalisation in this region.
The phase change due to horn delay has been removed to give the equivalent phase change for a minimum phase transfer function.

  The response to a sinusoidal pressure wave of varying frequency at the mouth of the horn is shown.
Reflected waves add at some frequencies and cancel at others giving a rippled response curve.
It is this behaviour which gives acoustic recording its characteristic sound.
Note the decrease in response of the green displacement curve across the audio band. This is a characteristic of constant velocity recording.
As predicted by the transient response, the performance of a hyperbolic horn at low frequencies is much better than that of the conical horn.
Any recordings made with this horn would have more "body", since the horn is much better behaved around cutoff.
The phase change due to horn delay has been removed to give the equivalent phase change for a minimum phase transfer function.

   Horn Shape

  The shape of th conical horn used in the simulation is shown.

  The shape of th hyperbolic horn used in the simulation is shown.

TWO VERSIONS OF THE CONCERTS ARE PRESENTED

[1] CONSTANT VELOCITY AS REPRODUCED ON AN IDEAL ACOUSTIC REPRODUCER

[2] EQUALISED TRACKS TO CORRECT DYNAMIC ERRORS IN THE ACOUSTIC RECORDER

Note: The computer analysis shows that these low frequency dynamic errors are greatly reduced with the use of a hyperbolic recording horn. Unfortunately this was developed after acoustic recording had ended.


  THE CONCERTS

  CONCERT NO 1

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 2

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 3

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 4

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 5

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 6

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 7

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 8

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS

  CONCERT NO 9

PLAY WITH CONSTANT VELOCITY
PLAY EQUALISED VERSION
DISC DETAILS
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  DISC DETAILS

  CONCERT NO 1

Note: All the discs in Concert No 1 are acoustically recorded.

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

11,372

51900-R

1927

Where Do You Work-a John? - Earl Oliver's Jazz Babies

[2]

11,373

51900-L

1927

Pretty Lips - Earl Oliver's Jazz Babies

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

10937

51745-R

1926-1927

Chick, Chick, Chick, Chicken. - Earl Oliver's Jazz Babies.
Vocal: Tom Howard

[4]

10938

51745-L

1926-1927

Show That Fellow The Door - Earl Oliver's Jazz Babies.
Vocal: Tom Howard.

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

9772

51418-L

1924-1925

Tea for Two - Green Brothers' Novelty Band

[6]

9770

51418-R

1924-1925

Somebody Loves Me - Nathan Glantz and His Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

10759

51679-L

1926-1927

Love Bound - Jack Stillman's Orchestra

[8]

10758

51679-R

1926-1927

Dreaming of a Castle in The Air - Jack Stillman's Orchestra.

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

11178

51826-L

1926-1927

Measley Blues - Joe Candullo and His Everglades Orchestra

[10]

11177

51826-R

1926-1927

Bass Ale Blues - Joe Candullo and His Everglades Orchestra.

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

10293

51538-L

1925-1926

On The Oregon Trail - Golden Gate Orchestra

[12]

10290

51538-R

1925-1926

Little Peach - Jack Stillman's Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

8929

51155-L

1923-1924

King Tut - Billy Jones and Ernest Hare

[14]

8923

51155-R

1923-1924

Barney Google - Billy Jones and Ernest Hare

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

10565

51568-L

1925-1926

The Old Grey Mare - Billy Jones and Ernest Hare

[16]

10505

51618-R

1925-1926

How's Your Folks and My Folks - Billy Jones and Ernest Hare

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

7075

50661-L

1920

Alice Blue Gown - Helen Clark

[18]

7077

50661-R

1920

Irene - Helen Clark

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[19]

8618

51089-R

1922-1923

Lonesome Mama Blues - Fred Van Eps

[20]

8635

51089-L

1922-1923

Frolic of The Coons - Fred Van Eps

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  CONCERT NO 2

Note: The electrically recorded discs in CONCERT 2 are denoted by "*"

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

18,314*

52258-L

1928-1929

That Wonderful Night and You
Jack Stillman's Orchestra
Vocal:Happy Jack

[2]

18313*

52258-R

1928-1929

Little Mother
Jack Stillman's Orchestra
Vocal:Happy Jack

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

18165*

52229-R

1928-1929

Old Plantation Melody
Vernon Delhart and Company

[4]

81166*

55229-L

1928-1929

A Memory that Time Cannot Erase
Vernon Delhart

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

11235

51852-R

1926-1927

Brown Sugar
Joe Candullo and His Everglades Orchestra

[6]

11243

51852-L

1926-1927

I Found a Million Dollar Baby in a Five and Ten Cents Store
Joe Candullo and His Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

9581

51362-R

1924-1925

You'll Never Get To Heaven with Those Eyes
Atlantic Dance Orchestra
Song:Billy Jones

[8]

9575

51362-L

1924-1925

I'll Keep on Dreaming
The Merry Sparklers
Sung by George Wilton Ballard

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

11762

52057-L

1927

Rosa Lee
Oreste and His Orchestra

[10]

11760

52057-R

1927

Gonna Get a Girl
B.A Rolfe (Trumpet Virtuoso) and His Palais D'Or Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

9880

51455-R

1924-1925

Nightingale
Polla's Clover Garden Orchestra

[12]

9777

51455-L

1924-1925

Me and the Boyfriend
Meadowbrook Dance Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

9619

51379-R

1924-1925

Lonely Little Melody
Atlantic Dance Orchestra

[14]

9620

51379-L

1924-1925

My Dream Girl
Atlantic Dance Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

18460*

52305-R

1928-1929

Girl of My Dreams
Al Friedman's Orchestra
Vocal: Theo Alban

[16]

18469*

52305-L

1928-1929

No Label

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

9698

51404-L

1924-1925

Someone Loves You After All
(The Rain Song from Kid Boots)
The Top Notchers

[18]

9697

51404-R

1924-1925

Along the Old Lake Trail
The Top Notchers

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[19]

10938

51745-L

1926-1927

Show That Fellow The Door
Earl Oliver's Jazz Babies
Vocal: Tom Howard

[20]

----

----

----

----

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  CONCERT NO 3

Note: The electrically recorded discs in CONCERT 3 are denoted by "*"

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

11559

51972-R

1927

There's A Little White House
Hotel Commodore Dance Orchestra under the Direction of Bernard Levitow

[2]

11555

51972-L

1927

You're The One for Me
B.A. Rolfe and His Palais D'Or Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

9718

51407-L

1924-1925

Words of Love
Harry Raderman's Dance Orchestra

[4]

9670

61407-R

1924-1925

Haunting Melody
Harry Raderman's Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

18078*

52159-L

1928-1929

What'll You Do?
Vaughn De Leath (The Radio Girl)
with Muriel Pollock at the Piano

[6]

18077*

52159-R

1926-1927

There Must be Somebody Else
Vaughn De Leath (The Radio Girl)
with Muriel Polock at the Piano

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

11769

52068-L

1927

Danube Waves Waltz
Joe Green and His Novelty Marimba Band

[8]

11768

52068-R

1927

Spring Beautiful Spring
Joe Green and His Novelty Marimba band

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

10457

51581-R

1925-1926

Funny
Jack Stillman's Orchestra
Note: This side is coupled with Track 14

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[10]

11299

51717-L

1926-1927

Where Do You Work-A, John?
Guy Hunter and Chorus (The Blind Entertainer)

[11]

11276

51917-R

1926-1927

Give Me a Ukulele (and a Ukulele Baby) and Leave The Rest to Me
National Male Quartet

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[12]

9547

51355-L

1924-1925

Love is Just a Gamble
Nathan Glantz and His Orchestra

[13]

9538

51355-R

1924-1925

Driftwood
Harry Raderman's Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[14]

10458

51581-L

1925-1926

Day Dreaming
Jack Stillman's Orchestra
Note:This side is coupled with track #9

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

10333

51552-R

1925-1926

Who Takes Care of The Caretaker's Daughter
( while the Caretaker's Busy Taking Care )
Bud Birmingham and His Uke

[16]

10291

51552-L

1925-1926

We're Gonna Have Weather
(whether or not)
Bud Birmingham and His Uke

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

51873-R

51745-L

1925-1926

Son of the Shiek
Clyde Doerr and His Orchestra

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  CONCERT NO 4

Note: All the discs in Concert No 4 are acoustically recorded.

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

10254

51527-L

1924-1926

Chromatic
Xylophone: George Hamilton Green
Piano: Frank Banta

[2]

10253

551527-R

1925-1926

No Label

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

11260

51863-L

1926-1927

My Pal Jerry
Duke Yellman and His Orchestra
Vocal: Hall and Ryan

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[4]

9501

51343-R

1924-1925

Spain
Harry Raderman's Dance Orchestra

[5]

9506

51343-L

1924-1925

Don't Blame It All On Me
Tommy Monaco's Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[6]

8560

51031-R

1922-1923

Cow Bells
Harry Raderman's Orchestra

[7]

8559

51031-L

1922-1923

My Southern Home
Harry Raderman's Orechestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[8]

8635

51089-L

1922-1923

Frolic of The Coons
Fred Van Eps (Banjo Solo)

[9]

8618

51089-R

1922-1923

Lonesome Mama Blues
Fred Van Eps (Banjo Solo)

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[10]

10917

51730-R

1926-1927

Rhythm of The Day
Geogia Melodians

[11]

10918

51730-L

1926-1927

Everybody's Charleston Crazy
Georgia Melodians

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[12]

9602

51374-R

1919-1920

The Side Walks of New York
Billy Jones

[13]

3586

51374-L

1915-1916

I'm Just a Ragged Newsboy But my Heart is True Blue
Walter Scanlan

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[14]

10815

51686-R

1926-1927

Always (part only)
Walter Scanlan

[15]

10834

551686-L

1926-1927

My Little Nest of Heavenly Blue (part only)
Walter Scanlan

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[16]

11513

51982-R

1927

I'm Looking for a Girl Called Mary
James Doherty

[17]

11456

51892-L

1927

That's What I Call a Pal
James Doherty

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[18]

11004

51765-R

1926-1927

Truly I Do
Arthur Hall and John Ryan

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  CONCERT NO 5

Note: All the discs in Concert No 5 were acoustically recorded.
The surfaces of many of the discs used in this concert were so bad that it was difficult to recover a useable signal.

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

9501

51343-R

1924-1925

Spain
Harry Raderman's Dance Orchestra

[2]

9506

51343-L

1924-1925

Don't Blame It All on Me
Tommy Monaco's Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

9028

82297-R

1923-1924

Long Ago in Alcalar
Arthur Middleton
Piano:Charles A Baker

[4]

9029

82297-L

1923-1924

Down Deep Within the Cellar
Arthur Middleton with Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

11260

51863-L

1926-1927

My Pal Jerry
Duke Yellman and his Orchestra
Vocal:Hall and Ryan

[6]

11004

51765-R

1926-1927

Truly I Do
Arthur Hall and John Ryan

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

8560

51031-R

1922-1923

Cow Bells
Harry Raderman's Orchestra

[8]

8559

51031-L

1922-1923

My Southern Home
Harry Raderman's Orchestra

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

2490

Black Label

1913-1914

Glow Worm
Edison Concert Band

[10]

2630

Black Label

1913-1914

Garden of Roses Waltz
Edison Concert Band

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TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

4250

83063-L

1915-1916

The Bandelero
Arthur Middleton

[12]

4934

83063-R

1916-1917

Stille Nacht ! Hellige Nacht !
Marie Rappold

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

3764

80293-R

1915-1916

Mother Machree
Walter Van Brunt

[14]

4168

80293-L

1915-1916

My Wild Irish Rose
Walter Van Brunt

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

10254

51527-L

1925-1926

Chromatic
Xylophone: George Hamilton Green

[16]

10253

No Label

1925-1926

No Label

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

11513

51982-R

1927

I'm Looking for a Girl Called Mary
James Doherty

[18]

11456

51982-L

1927

That's What I Call a Pal
James Doherty

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[19]

10815

51686-R

1922-1923

Always
Walter Scanlan
Note: Start of Disc Unplayable

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  CONCERT NO 6

Note: All the discs in this concert are acoustically recorded

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

10706

51677-R

1926-1927

Hokey Pokey Diddle Dee-Dum
Cliff Hass and Wendell Hall
Billy Jones and Ernest Hare

[2]

10756

51677-L

1926-1927

I Wish I Was in Peoria
Billy Rose, Mart Dixon, Harry Woods
Billy Jones and Ernest Hare

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

9907

51470-L

1924-1925

Laff It Off
Bert Kalmar Harry Ruby
Billy Jones and Ernest Hare

[4]

9885

51470-R

1924-1925

On My Ukulele
Lou Herscher Mike Morris Mitchell Parish
Billy Jones and Ernest Hare

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

10381

51577-L

1925-1926

The King Isn't King Anymore
Edgar leslie James V Monaco Al Bernard
Billy Jones and Ernest Hare

[6]

10426

51577-R

1925-1926

The Farmer took Another Load Away Hay! Hay!
Edgar Leslie Charles O'Flynn Larry Vincent
Billy Jones and Ernest Hare

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

10201

51526-L

1925-1926

I'll Make the Pies Like Your Mother Made
( If You'll Make the Dough Like Dad! )
Billy Curtis and Harry von Tilzer
Billy Jones

[8]

10236

51526-R

1925-1926

I'm Looking for a Union Sweethart
Ben Smith

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

9791

51430-L

1924-1925

Ain't You Comin' Out Tonight?
Robinson and Massey
Vernon Dalhart and Company

[10]

9779

51430-R

1924-1925

It Ain't Gonna Rain No Mo'
Wendell Hall
Billy Jones and Ernest Hare

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

10962

51755-L

1926-1927

The Lunatic's Lullaby
Leslie Moore Johnny Tucker Edgar Leslie
Billy Jones and Ernest Hare
Dave Kaplan at the Piano

[12]

10961

51755-R

1926-1927

The Pump song
Sammy Lerner Buddy Fields Richard A Whiting
Billy Jones and Ernest Hare

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

11318

51884-R

1926-1927

Schultz Is Back Again
( with his Boom, Boom, Boom )
Billy Jones

return

  CONCERT NO 7

All the discs in this concert are acoustically rcorded

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

11559

51972-R

1927

There's a Little White House
Hotel Commodore Dance Orchestra
under the direction of Bernhardt Levitow

[2]

11555

51972-L

1927

You're the One for Me
B A Rolfe and His Palais D'Or Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

9718

51407-L

1924-1925

Words of Love
Harry Raderman's Dance Orchestra

[4]

9670

51407-R

1924-1925

Haunting Melody
Harry Raderman's Dance Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

10725

51666-R

1926-1927

The Prisoner's Song
Kaplan's Melodists : Vernon Dalhart

[6]

10726

51666-L

1926-1927

I'll Take You Home again Kathleen
Kaplan's Melodists : Vernon Dalhart

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

10333

51522-R

1925-1926

Who Takes care of the Caretaker's Daughter
( when the Caretaker's Busy Taking Care )
Bud Birmingham and His Uke

[8]

10291

51552-L

1925-1926

We're Gonna Have Weather
( whether or not )
Bud Birmingham and His Uke

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

9982

51565-L

1924-1925

Old Lady
Imperial Marimba Band

[10]

9981

51565-R

1924-1925

Colnel Bogey March ( part only )
Imperial Marimba Band

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

8695

51111-R

1922-1923

On a Moonlight Night
Kaplan's Melodists

[12]

8696

51111-L

1922-1923

Underneath the Mellow Moon
Kaplan's Melodists

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

10850

51706-R

1926-1927

Lo-Nah
Mike Speciale and His Orchestra

[14]

10851

51706-L

1926-1927

Tentin' Down in Tennessee
Mike Speciale and His Orchestra
Vocal by Bud Kennedy

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

9563

51356-R

1924-1925

Somewhere in Napoli
Harry Raderman's Dance Orchestra
Vocal by Vernon Dalhar

[16]

9564

51356-L

1924-1925

In Dreams with You

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

11302

51887-R

1926-1927

Because I Love You
Dan Vorhees and His Orchestra
Vocal: Arthur Hart

[18]

11380

51906-R

1927

Still Waters
jack Stillman's Orchestra

return

  CONCERT NO 8

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

9547

51355-L

1924-1925

Love is Just a Gamble
Nathan Glantz and His Orchestra

[2]

9538

51355-R

1924-1925

Driftwood
Harry Raderman's Orchestra
Vocal: Arthur Hall

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

18744*

52418-R

1928-1929

Somewhere a Voice is Calling
Frank Munn

[4]

18743*

52418-L

1928-1929

Mavis
Frank Munn

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

10457

51581-R

1925-1926

Funny
Jack Stillman's Orchestra

[6]

10458

51581-L

1925-1926

Day Dreaming
Jack Stillman's Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

18078*

52159-L

1928-1929

What'll You Do?
Vaughn De Leath [ The Radio Girl ]
with Muriel Pollock at the Piano

[8]

18077*

52159-R

1928-1929

There Muat be Somebody Else
Vaughn De Leath [ The Radio Girl ]
with Muriel Pollock at the Piano

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

9602

51374-R

1919-1920

The Side Walks of New York
Billy Jones

[10]

3586

51374-L

1915-1916

I'm Just a Ragged Newsboy but My Heart's True Blue
Walter Scanlan

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

11769

52068-L

1927

Danube Waves Waltz
Joe Green and His Novelty Marimba Band

[12]

11768

52068-R

1927

Spring, Beautiful Spring
Joe Green and His Marimba Band

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

11270

51873-R

1925-1926

Son of the Shiek
Clyde Doerr and His Orchestra

[14]

5258

50410-L

1917-1918

The New Colonial March
New York City Band

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

5259

50410-R

1917-1918

American Eagle March
New York City Band

[16]

5273

50455-R

1917-1918

One, Two, Three, Four
Waikiki Hawaiian Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

5107

50455-L

1916-1917

Ellis March
Ford Hawaiians

[18]

6912

50671-R

1919-1920

Semper Fidelis March
New York Military Band

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[19]

6114

50671-L

1918-1919

Trumpeter's Carnival
New York Military Band

return

  CONCERT NO 9

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[1]

10918

51732-L

1926

Everybody's Charleston Crazy
Gerogia Melodians

[2]

10917

51730-R

1926

Rhythm of The Day
Georgia Melodians

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[3]

10929

51737-L

1926-1927

What a Man!
Golden Gate Orchestra
Vocal: Arthur Fields
Part only

[4]

10930

51737-R

1926-1927

Shake
Golden Gate Orchestra
Vocal: Arthur Fields

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[5]

11034

51786-R

1926-1927

My Dream of The Big Parade
Arthur Fields

[6]

10948

51786-L

1926-1927

Gone!
Manuel Romain

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[7]

11083

51793-R

1926-1927

Breezin' Along with The Breeze
Johnny Marvin

[8]

11086

51793-L

1926-1927

Who Wouldn't ?
Johnny Marvin

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[9]

3726

Black Label

1915

The Stars and Stripes Forever
Sodero's Band

[10]

9187

80867-L

1924

Danube Waves Waltz
Peerless Orchestra

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[11]

8742

51208-R

1923

Who's Sorry Now ?
Ernest L Stevens : Piano

[12]

9084

51208-L

1923

Broken Hearted Melody
Ernest L Stevens : Piano

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[13]

4122

50968-L

1915

Dominion of Canada March
Sodero's Band

[14]

5761

50968-R

1918

The Three Republics Grand March
New York Military Band

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[15]

10577

51624-R

1925

Pardon Me Ha! Ha! Ha! While I Laugh
Billy Jones and Ernest Hare

[16]

10583

51624-L

1925

Old Uncle Bill
Al Bernard [ The Boy from Dixie ]

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[17]

10268

51528-R

1925-1926

By The Waters of Minnetonka
Mel Craig's Orchestrta
See below for comments on distortion.

[18]

10269

51528-L

1925-1926

In The Garden of Tomorrow
Mel Craig's Orcherstra
See below for comments on distortion.

return

TRACK

MATRIX

CATALOG

YEAR

TITLE - ARTIST

[19]

7118

50674-R

1920

The Homeward march
Accordion Solo : john J Kimmel

return

  DIAMOND DISC MANUFACTURING DIFFICULTIES

   DISTORTION with EXAMPLE

  As discussed in the previous section, the (non-linear) distortion in the acoustic hill and dale recording process is inherently low.
The disc cutting force presents a non-linear load to the cutting head, but this can be made small compared with the viscous damping force: and so reduce distortion to a low value.
Nevertheless, non-linear distortion does occur on playback.
This is mostly due to wear and has a significant signiture: the distortion increases towards the centre of the disc.
High frequency transients produce a sharp spike or hill on the track. The width ( and the structural strength) of this decreases with velocity, and so more damage is done by the large dynamic forces of the acoustic reproducer towards the centre of the disc.
In some discs the distortion is uniform across the surface, and it can be inferred that the distortion occurred in the manufacturing process.
Tracks 17 and 18 in concert No. 9 are good examples of this.
They are repeated here for convenience.
PLAY DISTORTED TRACKS
The fact that the same type of distortion appears on both sides of the disc strongly points to manufacturing faults.
Unlike their lateral counterparts, the stampers for hill and dale recording are fragile and highly susceptible to damage and wear.
This presented an enormous manufacturing problem, and was frequently the source of distortion.
This is discussed in the next section.


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     DIFFICULTIES WITH HILL AND DALE STAMPERS

   High frequency transients appear as thin hair like spikes protruding from the surface of hill and dale stampers.
Their structural strength is very low and they are very easily damaged - particularly if the stamper is laid on a flat hard surface.
They are unable to support the weight of the stamper.
The damage is equivalent to clipping the peaks on the audio and the result is horrendous distortion.
Edison describes this in his patent 1417463 of 1919.
I quote:-
"These minute projections of the sound record matrices are subjected to considerable wear and are very apt to be injured by the record blanks disposed between the dies."
The full patent is shown below:-






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     CORE MANUFACTURE

  The composition and full directions for constructing the cores are given in the following patents:-






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     CONDENSITE SURFACE A

Frequently insufficient condensite was applied to the surface of the blank and the rough surface penetrated into the track causing surface noise.
The process is described here:-





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     CONDENSITE SURFACE B

The surface layers of condensite sometimes shrink on the blank causing rough patches.
These cause "rumble" and low frequency surface noise.
This effect is particularly disastrous on electrically recorded discs since these require low frequency boost for the equalisation of their recording characteristic.
The effect is evident in tracks 3 and 4 of Concert No. 2
This is discussed in the following patent:-





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