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Phonograph cylinders (also referred to as Edison cylinders after its creator Thomas Edison) are the earliest commercial medium for recording and reproducing sound.Commonly known simply as "records" in their heyday (c. 1896–1916), a name which has been passed on to their disc-shaped successor, these hollow cylindrical objects have an audio recording engraved on the outside surface which can ...
Upon the introduction of Blue Amberols in 1912, the M reproducer was supplanted by the Diamond A reproducer, which was designed for playing only celluloid cylinders. Its small-tipped conical diamond stylus and increased stylus pressure would seriously damage wax cylinders. External horn Edison phonographs were available with the Diamond B ...
Nevertheless, the Blue Amberol format was the longest-lived cylinder record series employed by the Edison Company. [1] These were designed to be played on an Amberola, a type of Edison machine specially designed for celluloid records that did not play older wax cylinders. Blue Amberols are more commonly seen today than earlier Edison 2-minute ...
In 1902, Edison's National Phonograph Company introduced Edison Gold Moulded Records, cylinder records of improved hard black wax, capable of being played hundreds of times before wearing out. These new records were under the working title of "Edison Hi-Speed Extra Loud Moulded Records", running at the speed of 160 RPM instead of the usual (ca ...
The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of 1886 was the method of recording. Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus. [46]
The phonograph, invented by Thomas Edison in 1877, [12] could both record sound and play it back. The earliest type of phonograph sold recorded on a thin sheet of tinfoil wrapped around a grooved metal cylinder. A stylus connected to a sound-vibrated diaphragm indented the foil into the groove as the cylinder rotated.
The horn on the Edison-Bell machine was black and after a failed attempt at selling the painting to a cylinder record supplier of Edison Phonographs in the UK, a friend of Barraud's suggested that the painting could be brightened up (and possibly made more marketable) by substituting one of the brass-belled horns on display in the window at the ...
In 1888, he began working for Thomas Edison as an assistant at his laboratory in West Orange, New Jersey. In 1889, Edison sent Wangemann to keep the phonograph at the 1889 Paris Expo in good working condition. The trip was extended and Wangemann made numerous early sound recordings on wax cylinders, some of which were lost for more than 100 years.
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