Phonograph Monthly Review, Vol. 6, No. 3 (1931-12)

48 The Phonograph Monthly Review The combination is in my home only a little more than a year. Up to the time of its acquisition we used a Lawson phonograph equipped with a goose-neck tone- arm. Then the weight on the point of the needle was somewhat more than 8V2 ounces. Being careful of my records, I used only Hall fibres. When the new machines came along about 1925, I purchased a new tone-arm for my instrument, and a Meltrope sound-box. With this outfit I had much less weight on the needle; and was then using Euphonic and Sympathetic fine-guage needles, and Edison-*Bell Chromic (Electric). The alignment was not good for the new tone-arm was too long—the point of the needle extend- ing nearly an inch beyond the turn-table spindle. I play- ed all sorts of heavy recordings on the outfit, yet there is not a single worn-out record in the collection, nor one badly worn record. How they used to prattle in the early days about fibres breaking down incontinently on the new records. On the phonograph with the old tone-arm, a fibre with- out sharpening, would play a dozen 12-inch record sides time and time again. I got the music from the records, both vocal, orchestral (and band). Got many a chuckle because of the prattle. Now comes Otto Schneider in the November issue of P. M. R. with some more of it. How long will records last if played by careful people? Forever. Mr. James Hadley tells us that two recordings of the Blue Danube occupy a place of honor on his shelves— the Stokowski and Kleiber versions. The Stokowski version I heard on occasion. I was never interested in it; and I do not possess it. The Kleiber version I purchased from Mr. Mai of Chicago. He had it in stock at that time. The latter version is in my possession at least two years. It has not been played more than six times, I am sure. Also have the two-part versions of Blech, Kopsch, Pruewer, Wein- gartner. Nothing has ever so captivated me as the Weingartner Blue Danube. In fact, I have three copies, holding two in reserve. Now listen to this for record wear. The working copy of Weingartner’s Blue Danube was played on the phono- graph at least, I am sure, three hundred times, using mostly fine-guage needles, occasionally Edison-Bell electrics, and ordinary steel needles. It was played on the combination at least two hundred times, using electrocolors and B. C. N. Just the other day, I got one of the unplayed copies, and played the old and the new copy. There was ab- solutely no difference. I should add that the old copy is absolutely noiseless. After reading Mr. Otto Schneider’s article, I got Stokowski’s L’ Arlesienne Suite, and Toscaninni’s Clock Symphony (Haydn); and played them both with an Electrocolor, which had been used for some time with- out re-sharpening. It was turned three times, while playing them. Although I have a Meltrope sharpener for the needle, it was sharpened by hand before playing.. Before turning it, it played four sides of Stokowski. Af- ter each turn, it played respectively, three parts, five parts, two parts. The next morning I played the first part of Robert Hood Bowers’ Morning, Noon and Night overture without turning the needle. So that the needle played three parts after the last turn. Some records do not play like that, then one must persist. Never re-sharpened a Hall fibre. Why should I. They were very cheap at that. But there were some mechanical records which gave me trouble. I have an old Odeon Portuguese band record (10 inch), which I had to play a great many times before the fibre would play one side through. So with the old Pryor Stars and Stripes Forever. I persisted and succeeded. Now you should hear those old records on my combination. Use only Electrocolors and BCN with the pick-up. No other needles bring out the music to my liking as they do. Using them, I believe that there is no record wear. How often do you think a careful person can play a particular record? Foolish question. The instrument I use is a Columbia-Kolster 961. May the P. M. R. and you Philadelphia, Penna. have great success. King Kole The Long Playing Records Editor, Phonograph Monthly Review: In “Observer’s” comments on the new long-playing records, or “program transcriptions,” he spoke of a great advantage of the new method being that it would not render obsolete the present recorded reper- tory. And obviously, from the list of the first Victor releases, it is apparent that for a time at least the majority of the releases will be “adaptions” or re- recordings” of works already issued on the old style discs. This is very fine, if one thing is taken into consideration. Not all works can be so adapted effec- tively. Naturally works that have brief repeats at the beginning of new sides—in order to build up climaxes better—will be impossible or difficult to adapt, but certain works, by tlneir musical nature, cannot be effectively adapted. The first example which comes into my mind is the celebrated Bolero. Now it is exactly in works like this that the long-playing record can be most effective, for it enables the essential continuity and unbroken crescendo to remain intact. The present recordings of this work, divided into record sides, necessarily lose a great deal of the music’s most characteristic effect. To “adapt” one of the present recordings to the new discs would be a waste of time and effort. This particular work will have to be played directly for the new records. The Meistersinger prelude also suffers greatly from division, especially from division into three sides, for the working up to the final peoration is entirely lost when the record has to break off and be turned over. The dramatic fff in the first movement of the Patheti- que Symphony, the Finale of Tchaikowsky’s Fifth Symphony, are other examples that come to my mind. By all means adapt as much as possible of the present recorded repertory to the new discs, but bear in mind the important fact that not every piece can be successfully adapted. New Rochelle, N. Y. y. C. PHONOGRAPHIC ECHOES Victor Hugo Society In response to many requests for recordings of Hugo Wolf’s lieder, H. M. V. in England has announced plans