The Edison phonograph monthly (Jan-Dec 1916)

The Edison Phonograph Monthly Volume XIV JULY, 1916 Number 7 Score: Amberola, 12; Talking Machine, 1 TWELVE to one in favor of the Diamond Amberola and Blue Amberol records over the best known needle type of talking-machine and talking-machine records! That is the result of a vote made by the members of the North London (Eng.) Phonograph and Gramophone Society following a contest in which an Amberola was heard in direct comparison with the talking-machine. This verdict of an unbiased assembly of fairminded people was satisfactory, but not surprising to us. We know that the Diamond Amberola is superior to any phonograph in the world that does not bear the name of Edison, and that is why we have urged you to give "curtain-test" demonstrations to prove to phonograph buyers that this is true. If there is the feeling in the mind of any dealer that our praise of the Amberola and Blue Amberol records has been exaggerated or unwarranted, it will be dispelled by the following from the London "Sound Wave": "A full and representative meeting of members and friends took place at Highbury Hall on April 8, on the occasion of the cylinder and disc contest, which proved to be exceptionally interesting. Mr. Norman F. Hillyer presided, while Mr. Henry Seymour had charge of the cylinder machine (fitted with his latest tone-arm and attachments), and Mr. Wallace operated the 'His Master's Voice' gramophone with Exhibition sound-box. The cylinder had the Flaxite horn and the disc a metal horn of the same dimensions. 'Lohengrin's Farewell,' by Mr. J. Coates (tenor) was the first disc played, and then followed 'Take a Pair of Sparkling Eyes,' by Ernest Pike (Blue Amberol). No. 2, comparison was made with the disc ('His Master's Voice') 'Samson and Delilah,' by Mme. Kirkby Lunn (contralto), after which 'Ah! mon fils,' from 'Prophete,' sung in French by Mme. Marie Delna (grand opera Blue Amberol) was beautifully rendered. Comparison No. 3 was made with baritones, Mr. Robert Radford singing 'Honour and Arms' on the disc ('His Master's Voice') and Mr. Peter Dawson following with 'The Trumpeter' (Blue Amberol). ''At this stage Mr. Wallace desired to change the disc sound-box for an Exhibition box fitted with a 'Realtone' diaphragm, and also the metal horn for a wood horn, which, he thought, would be more successful. The next comparison was with a violin solo, 'Hungarian Dance,' by Eugene Ysaye (Columbia 12-in.) and a violoncello solo, 'Rondo' (Op. 94) (Dvorak) (Concert Blue Amberol), played by Paulo Gruppe. Following that was the waltz song from 'Romeo and Juliet,' by Miss Geraldine Farrar, in French ('His Master's Voice') as a soprano test, which was followed by 'Una voce poco fa,' from the 'Barber of Seville,' sung by Mme. Selma Kurz (grand opera Blue Amberol). The next was a comic song, 'Tobermory,' by Harry Lauder ('His Master's Voice'), which was followed by 'Breakfast in Bed,' by the same artist (Blue Amberol). "The next was a band contest, the Overture from Rienzi,' on the disc (Beka Meister), the Overture from 'Figaro,' by the Garde Republicaine on the Blue Amberol. Following this was Mme. Clara Butt in 'The Promise of Life' ('His Master's Voice'), and 'Love's Dream After the Ball,' by Miss Elizabeth Spencer on the Blue Amberol. Next in order was a disc (Citizen record), 'Until,' by Miss Ethel Toms, which was well received, but the introduction of refreshments at this stage ushered in the usual interval, during which a good deal of conversational discussion took place. "The second part of the programme was proceeded with after the interval, and Mr. Seymour said still better results from the cylinder were obtainable by the use of a large Gilbert flower horn, which he attached to the phonograph tone-arm. The 'Souvenir de Moscow,' violin solo, by Mischa Elman ('His Master's Voice'), was played on the disc, followed by 'The Swan,' violin solo by Albert Spalding (concert Blue Amberol). The next was the duet from 'Boheme,' by Caruso and Melba ('His Master's Voice'), which was followed by the 'Gloria from the 12th Mass,' in Latin, by the Edison Mixed Quartette (Blue Amberol). 'Steadfast and True' March (Marathon), was followed by the 'Columbian Exposition March' (Blue Amberol). Next in order was Schubert's 'Unfinished Syphony,' by the Court Symphony Orchestra (Columbia 12in.), followed by 'Ballet Music from William Tell' (Blue Amberol). Next was 'Off to Philadelphia' (Citizen), by Mr. Hamilton Anderson, followed by 'Thy Sentinel Am I,' by J. Foster Why (Blue Amberol). A selection from 'Pagliacci,' by Caruso ('His Master's Voice') came next, followed by 'Lasca,' a monologue by Edgar Davenport (Blue Amberol). Next was 'The Rosary' (Citizen), by Miss Ethel Toms, followed by 'Baby Mine,' by Miss Elizabeth Spencer (Blue Amberol). The hour being late, the concert was brought to a close by 'God Save the King,' sung by Peter Dawson with full band on Blue Amberol. The chairman asked for discussion, and Mr. Seymour opened by saying that the question at issue was not so much the artistic, but the technical one; in other words, which system at present in vogue was the better for achieving the most perfect reproduction of