Phonograph Monthly Review, Vol. 3, No. 1 (1928-10)

October, 1928 The Phonograph Monthly Review 13 ▼ . Special reference was made to |xl/\fpk • these needles in the February ^ • issue of this Journal. GOLD PLATED CHROMIC GRAMOPHONE NEEDLES add 75% to the life of your RECORDS and enhance the beauty of Reproduction After extensive research and experiments, Chromic Needles have been produced to give the finest possible reproductions to all Electric Re- cordings. They are manufactured of special steel, are gold plated with symmetrical taper points. Each Needle will play up to ten Records. Packed in boxes containing 100 NEEDLES SYMPATHETIC CHROMIC NEEDLE and GRIP Will Control the Volume of Your Gramophone Fits any Sound-box r PHIS new Needle and attach - m e n t is revolutionizing gramophone reproduction. The “Sympathetic” is a gold-plated needle with a point at either end. It fits into the Grip which is held in the Sound-Box the same as an ordinary needle. With this device you can ob- tain any volume from a whisper to the sound, almost of a loud needle. Further, as the long tapering point of the “Sym- pathetic” perfectly bottoms the record track, it is able to give a rich body of tone even to Illustration well worn records, and will shows S y m - please the most fastidious. pathetic fitted to play a very Each Sympathetic Needle fine soft vol- ume, almost a Will Play Up to 40 Records whisper. Sympathetic N e e.d 1 e Grip showing needle inserted for full volume. The re- producing point is shown slight- 1 y projecting from the base. DISTRIBUTED ONLY THROUGH AUTHORISED JOBBERS Enquiries solicited EDISON BELL, Limited, London, S.E. 15 England Willem Mengelberg (Photograph on Front Cover) Mengelberg—a name to conjure with! In many ways he is the most representative of all re- cording conductors by virtue of his not identi- fying himself with any one orchestra or manu- facturer solely and by his diversified and original choice of recording selections. Not to mention his genial and irresistible personality, as inimita- ble on the phonograph as it is in the concert hall. Mengelberg’s records have been made with two of the world’s most famous orchestras: the New York Philharmonic and his own Concertgebouw Orchestra of Amsterdam. They bear the labels of four leading companies: Victor, Brunswick, Columbia, and Odeon (Germany.) They cover a range from the early days of recorded orchestral music up to the present time and its perfected electrical processes. The compositions played range from the classicism of Cherubini and Beethoven through the romanticism of Weber and Schubert, the emotionalism of Liszt, Tchaikow- sky, and Wagner, to the modernism of Mahler and Schelling. There are few record collectors who do not still hold fast to the old axiom that “Any Men- gelberg release can be bought unheard!” His name on a label gives definite assurance of the record’s worth—a worth which is always out- standing and always individual. No matter how well any other musician may play the same work, there is something in Mengelberg’s performance that is all his own and which once heard is al- ways looked for. We hear and admire the other conductors’ electrical recordings of the pieces which Mengelberg recorded long ago acoustically, and invariably the most striking merits of the new disks’ realistic recording of brilliant per- formance can not atone for that indescribable “something” which marked the great Dutchman’s reading. It is many years since Mengelberg first ap- peared with the New York Philharmonic during