OtherObjects.EMGXAEVideo History
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24 March 2016
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Changed line 47 from:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928 - so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!![^For more on his career and stunning virtuosity see [[http://www.johnwion.com/amadio.html|Ann Cecil-Sterman, "John Amadio - Virtuoso Flutist"]]^]
to:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928 - so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!![^For more on the career and stunning virtuosity of John Amadio see [[http://www.johnwion.com/amadio.html|Ann Cecil-Sterman, "John Amadio - Virtuoso Flutist"]]^]
24 March 2016
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Changed line 47 from:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928 - so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
to:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928 - so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!![^For more on his career and stunning virtuosity see [[http://www.johnwion.com/amadio.html|Ann Cecil-Sterman, "John Amadio - Virtuoso Flutist"]]^]
13 March 2016
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Changed line 47 from:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928, so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
to:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928 - so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
13 March 2016
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Changed line 47 from:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
to:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch - even now, and certainly in 1928, so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
13 March 2016
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Deleted lines 45-47:
Over time, more recordings will be added here.
Changed lines 47-52 from:
I have received a query as to whether, given the extraordinarily fast rendition of this concerto, the record was in fact being played too fast on the gramophone. As reassurance, the speed was both checked with a stroboscopic disk, and also from the digital reproduction. In particular I took bar 336 of the concerto, which read from the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the recording, put it in a loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed to 0.99 (ie by 1%) (using Audacity software) it produces a truer D against the frequency standard, but for all intents and purposes the record shows intonation which is within the legitimate range for concert pitch confirming it is being played at correct speed (as reported also by the strobe). So, Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps to fit the piece onto one side of a 78 rpm record! What a virtuoso player he was!!
to:
I have received a query as to whether, given the apparently extraordinarily fast rendition of this Mozart concerto by Amadio, the record was in fact being played too fast on the gramophone. As reassurance, I checked the speed of the turntable with a stroboscopic disk before playing the disk , and then, after recording, also checked the speed of the digital reproduction by checking the pitch. In particular I took bar 336 of the concerto, which in the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the digital recording, put the extract into a repeating loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed in the digital recording to 0.99 (ie by 1%) (using Audacity software) a truer D is produced against the frequency standard. But 1% is a legitimate variation in concert pitch so as far as such a test can show, the record was being played at correct speed (as reported also by the strobe). I conclude that Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps because he was aiming to fit the piece onto one side of a 78 rpm record! Whatever his reason, and it could be because it just sounds so stunning, what a virtuoso player he was!!
!!Other recordings from the gramophone.
Over time, more recordings will be added here.
!!Other recordings from the gramophone.
Over time, more recordings will be added here.
13 March 2016
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I have received a query as to whether, given the blindingly fast rendition, the record was in fact being played to fast on the gramophone. As reassurance, the speed was both checked with a stroboscopic disk, and also from the digital reproduction. In particular I took bar 336 of the recording, which as read from the score is a full bar (a minim in 2/4) of solo D natural, put it in a loop and tested it with a chromatic frequency meter app ("n-track tuner") on my iPhone. The note clocks in as a D natural just as it should! It shows a tad sharp, and if I reduce the play speed to 0.99 (ie by 1%) (using Audacity software) it produces a truer D against the frequency standard, but for all intents and purposes the record shows intonation which is within the legitimate range for concert pitch confirming it is being played at correct speed (as reported also by the strobe). So, Amadio really played that fast (a bit faster even that Galway), perhaps to fit the piece onto one side of a 78 rpm record! What a virtuoso player he was!!
to:
I have received a query as to whether, given the extraordinarily fast rendition of this concerto, the record was in fact being played too fast on the gramophone. As reassurance, the speed was both checked with a stroboscopic disk, and also from the digital reproduction. In particular I took bar 336 of the concerto, which read from the score is a full bar (a minim in 2/4) of solo D natural, extracted it from the recording, put it in a loop and tested it with a chromatic frequency meter app ("n-track tuner") on an iPhone. The note clocks in as a D natural just as it should. It shows a tad sharp, and if I reduce the play speed to 0.99 (ie by 1%) (using Audacity software) it produces a truer D against the frequency standard, but for all intents and purposes the record shows intonation which is within the legitimate range for concert pitch confirming it is being played at correct speed (as reported also by the strobe). So, Amadio really played that fast (a bit faster even than the Galway recording I have listened to), perhaps to fit the piece onto one side of a 78 rpm record! What a virtuoso player he was!!
13 March 2016
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Added lines 48-52:
!!Note
I have received a query as to whether, given the blindingly fast rendition, the record was in fact being played to fast on the gramophone. As reassurance, the speed was both checked with a stroboscopic disk, and also from the digital reproduction. In particular I took bar 336 of the recording, which as read from the score is a full bar (a minim in 2/4) of solo D natural, put it in a loop and tested it with a chromatic frequency meter app ("n-track tuner") on my iPhone. The note clocks in as a D natural just as it should! It shows a tad sharp, and if I reduce the play speed to 0.99 (ie by 1%) (using Audacity software) it produces a truer D against the frequency standard, but for all intents and purposes the record shows intonation which is within the legitimate range for concert pitch confirming it is being played at correct speed (as reported also by the strobe). So, Amadio really played that fast (a bit faster even that Galway), perhaps to fit the piece onto one side of a 78 rpm record! What a virtuoso player he was!!
22 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the white play arrow, to watch a //video of this gramophone in action with John Amadio playing the Finale of Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
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[[https://www.youtube.com/embed/xHccLGwTUbg|Click on the image below, and then on the white play arrow, to watch a //video of this gramophone in action with John Amadio playing the Finale of Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
22 January 2016
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%center% [[https://www.youtube.com/embed/Xe78fl1Klk4|http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg]]
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%center% [[https://www.youtube.com/embed/xHccLGwTUbg|http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg]]
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*with EMG 4-spring soundbox with mica diaphragm and steel needle. [[https://www.youtube.com/embed/hdbUIFbJPUg|Click here, to listen to this video]]
20 January 2016
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NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible. In addition, some slight wobble in the turntable platen was observed. This has now been rectified and a re-recording with that problem removed can be heard at the bottom of this page.
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NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible. In addition, some slight wobble in the turntable platen was observed. This has now been rectified and a re-recording with that problem removed can be heard from the set of additional recordings presented below.
20 January 2016
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NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible.
to:
NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible. In addition, some slight wobble in the turntable platen was observed. This has now been rectified and a re-recording with that problem removed can be heard at the bottom of this page.
20 January 2016
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the platen now rectified) [[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the turntable platen now rectified) [[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
20 January 2016
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the platen rectified)[[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
to:
*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the platen now rectified) [[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
20 January 2016
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Changed lines 40-42 from:
*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded). [[https://www.youtube.com/embed/hdbUIFbJPUg|Click here, to listen to this video]]
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*with EMG 4-spring soundbox with mica diaphragm and steel needle. [[https://www.youtube.com/embed/hdbUIFbJPUg|Click here, to listen to this video]]
*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the platen rectified)[[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded with wobble in the platen rectified)[[https://www.youtube.com/embed/2YLq6Ao446g|Click here, to listen to this video]]
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Conservation of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!).
to:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Conservation of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The Meltrope-III is shown below on the left, and the EMG 4-spring with mica on the right.
18 January 2016
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%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGMeltropeIII.jpg
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||%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGMeltropeIII.jpg||%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGRebuilt.jpg||
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Conservation of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
to:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Conservation of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!).
%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGMeltropeIII.jpg
The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGMeltropeIII.jpg
The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
18 January 2016
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%center% %height=100px% http://meta-studies.net/pmwiki/uploads/EMGRecordingSetup.jpg
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%center% %height=200px% http://meta-studies.net/pmwiki/uploads/EMGRecordingSetup.jpg
18 January 2016
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%center% %height=100px% http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg
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%center% %height=100px% http://meta-studies.net/pmwiki/uploads/EMGRecordingSetup.jpg
18 January 2016
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%center% %height=100px% [[http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg]]
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%center% %height=100px% http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg
18 January 2016
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%center% %height=100px% [[http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg]]
18 January 2016
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (as previously listed). [[https://www.youtube.com/embed/Xe78fl1Klk4|Click here, to listen to this video]]
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (re-recorded). [[https://www.youtube.com/embed/hdbUIFbJPUg|Click here, to listen to this video]]
18 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the white play arrow, to watch a //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
to:
[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the white play arrow, to watch a //video of this gramophone in action with John Amadio playing the Finale of Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
18 January 2016
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<<|[[HistoryTrail|]]|>>
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[^#^]
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[^#^]
<<|[[HistoryTrail|]]|>>
<<|[[HistoryTrail|]]|>>
18 January 2016
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Changed line 25 from:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Restoration of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
to:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Conservation of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
18 January 2016
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John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now at his peak as having risen to be the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand close to and facing the centre of the outer rim of the horn bell.
to:
John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now at his peak as having risen to be the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. This digital recording of the music was made using a Zoom H5 digital recording microphone placed on a stand close to and facing the centre of the outer rim of the EMG XA horn bell.
18 January 2016
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!!!John Amadio, Mozart Concerto in D Major, for Flute and Orchestra (recorded by His Masters Voice in 1928), on the EMG XA (Export) Gramophone with various soundboxes and styluses.
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!!!John Amadio, Finale, Mozart Concerto in D Major, for Flute and Orchestra (recorded by His Masters Voice in 1928), on the EMG XA (Export) Gramophone with various soundboxes and styluses.
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone|Restoration of the Gramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
18 January 2016
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18 January 2016
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!!Other recordings from the gramophone.
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.Over time, more recordings will be added to the list.
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
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!!Comparison recordings from the gramophone.
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox.
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[^#^]
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!!Other recordings from the gramophone.
Over time, more recordings will be added here.
[^#^]
Over time, more recordings will be added here.
[^#^]
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]]| for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox. Over time, more recordings will be added to the list.
to:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]] for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox. Over time, more recordings will be added to the list.
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny. (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox. Over time, more recordings will be added to the list.
to:
As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny.[^See [[OtherObjects.RestorationOfTheGramophone]]| for details of Chunny's rebuild of the EMG soundbox^] (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox. Over time, more recordings will be added to the list.
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[^#^]
18 January 2016
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*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
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*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
18 January 2016
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*with EMG 4-spring soundbox with mica diaphragm and steel needle (as previously listed). [[https://www.youtube.com/embed/Xe78fl1Klk4|Click here, to listen to this video]]
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*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
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*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
18 January 2016
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As part of the process of turning what had been a curiosity into a functioning 1932 music centre I was lucky to acquire from friends some 60 early 78rpm records, which after washing turned out to be in surprisingly good condition, to which I added some purchases on-line. It was also interesting to compare the Mica diaphragm with the more common aluminium diaphragm and for this purpose acquired a Meltrope-III soundbox (in spectacularly good condition) from Chunny. (Thanks Chunny once again!). The first set of recordings below show the different results from thorn and steel needles on the rebuilt EMG 4-spring soundbox, compared with the same configurations for the Meltrope-III soundbox. Over time, more recordings will be added to the list.
18 January 2016
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*with EMG 4-spring soundbox with mica diaphragm and thorn needle.
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle.
*with Meltrope-III soundbox with aluminium diaphragm and steel needle.
[[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle.
*with Meltrope-III soundbox with aluminium diaphragm and steel needle.
[[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
to:
*with EMG 4-spring soundbox with mica diaphragm and thorn needle. [[https://www.youtube.com/embed/3UzVnJhKIFY|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle. [[https://www.youtube.com/embed/ShZdJFSwW4U|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle. [[https://www.youtube.com/embed/ShZdJFSwW4U|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and steel needle. [[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
18 January 2016
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!!!John Amadio, Mozart Concerto in D Major, for Flute and Orchestra (recorded by His Masters Voice in 1928), on the EMG XA (Export) Gramophone with various sound boxes and styluses.
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!!!John Amadio, Mozart Concerto in D Major, for Flute and Orchestra (recorded by His Masters Voice in 1928), on the EMG XA (Export) Gramophone with various soundboxes and styluses.
18 January 2016
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!!!John Amadio, Mozart Concerto in D Major, for Flute and Orchestra (recorded by His Masters Voice in 1928), on the EMG XA (Export) Gramophone with various sound boxes and styluses.
*with EMG 4-spring soundbox with mica diaphragm and thorn needle.
[[https://www.youtube.com/embed/3UzVnJhKIFY|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle.
[[https://www.youtube.com/embed/ShZdJFSwW4U|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and steel needle.
[[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
*with EMG 4-spring soundbox with mica diaphragm and thorn needle.
[[https://www.youtube.com/embed/3UzVnJhKIFY|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and thorn needle.
[[https://www.youtube.com/embed/ShZdJFSwW4U|Click here, to listen to this video]]
*with Meltrope-III soundbox with aluminium diaphragm and steel needle.
[[https://www.youtube.com/embed/ibxlbEVeeOk|Click here, to listen to this video]]
16 January 2016
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John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now at his peak as having risen to be the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand just outside the horn.
to:
John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now at his peak as having risen to be the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand close to and facing the centre of the outer rim of the horn bell.
16 January 2016
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John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now as the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand just outside the horn.
to:
John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now at his peak as having risen to be the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand just outside the horn.
16 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the red play arrow, to watch a //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
to:
[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the white play arrow, to watch a //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
16 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Click to watch //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
to:
[[https://www.youtube.com/embed/Xe78fl1Klk4|Click on the image below, and then on the red play arrow, to watch a //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
16 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Click to watch //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]
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16 January 2016
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16 January 2016
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%center% [[https://www.youtube.com/embed/Xe78fl1Klk4|http://meta-studies.net/pmwiki/uploads/EMGV1.jpg]]
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%center% [[https://www.youtube.com/embed/Xe78fl1Klk4|http://meta-studies.net/pmwiki/uploads/EMGV.1.jpg]]
16 January 2016
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%center% [[https://www.youtube.com/embed/Xe78fl1Klk4|http://meta-studies.net/pmwiki/uploads/EMGV1.jpg]]
16 January 2016
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In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded.
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In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded.
I would like to acknowledge the expertise of Martin Bartfeld and Annette Blonski in the videoing and production of this video.
I would like to acknowledge the expertise of Martin Bartfeld and Annette Blonski in the videoing and production of this video.
16 January 2016
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In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded. If the sound is played with good equipment and amplification the astute listener will detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in that area. In many less fastidious circumstances the click is not audible.
to:
In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded.
NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible.
NB. If the sound is played with good equipment and amplification the astute listener may detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in those inner tracks. In many less fastidious circumstances the click is not audible.
16 January 2016
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In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded. If the sound is played with good equipment and amplification the astute listener will detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in that area. It should not disturb listening on a computer.
to:
In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded. If the sound is played with good equipment and amplification the astute listener will detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in that area. In many less fastidious circumstances the click is not audible.
16 January 2016
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John Amadio was a flautist of extraordinary virtuosity, with a technique of similar accomplishment to [[http://jamesgalway.com|Sir James Galway]] widely regarded now as the most technically adroit flautist in the world. Here we hear Amadio playing the glittering finale to Mozart's Concerto in D, providing good insight into why the EMG gramophone was so well regarded in 1932, 4 years after this performance was recorded. The music was recorded using a Zoom H5 digital recording microphone placed on a stand just outside the horn.
In order to show the gramophone in action, the sound was recorded first and then dubbed onto a video with the lid open. Of course the lid was closed to shut out surface noise while the sound was actually being recorded. If the sound is played with good equipment and amplification the astute listener will detect a base click developing between 3.15 and 4.15 minutes. Unfortunately, after some 87 years of service, the record has developed a minor fault in that area. It should not disturb listening on a computer.
16 January 2016
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***[[https://www.youtube.com/embed/Xe78fl1Klk4|Click here to watch //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928//]]**
to:
***[[https://www.youtube.com/embed/Xe78fl1Klk4|Click here to watch //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra (recorded by His Masters Voice in 1928)//]]**
16 January 2016
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***[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928//]]**
to:
***[[https://www.youtube.com/embed/Xe78fl1Klk4|Click here to watch //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928//]]**
16 January 2016
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***[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]**
to:
***[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to //video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928//]]**
16 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]
to:
***[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]**
16 January 2016
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[[https://www.youtube.com/embed/Xe78fl1Klk4|Link to video of this gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]
16 January 2016
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Click [[https://www.youtube.com/embed/Xe78fl1Klk4|To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]
to:
Click this link [[https://www.youtube.com/embed/Xe78fl1Klk4|To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]
16 January 2016
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Click [[https://www.youtube.com/embed/Xe78fl1Klk4|To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928]]
16 January 2016
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To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://www.youtube.com/embed/Xe78fl1Klk4|here]]
to:
To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://www.youtube.com/embed/Xe78fl1Klk4|here]]
!!Other recordings from the gramophone.
- in progress
!!Other recordings from the gramophone.
- in progress
16 January 2016
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To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://youtu.be/Xe78fl1Klk4|here]]
to:
To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://www.youtube.com/embed/Xe78fl1Klk4|here]]
16 January 2016
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!!Video demonstration of the EMG Xa (Export) Gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928.
To view the video click [[https://youtu.be/Xe78fl1Klk4|here]]
To view the video
to:
!!Video demonstration of the EMG Xa (Export) Gramophone
To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://youtu.be/Xe78fl1Klk4|here]]
To see the gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928 click [[https://youtu.be/Xe78fl1Klk4|here]]
16 January 2016
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(:title The Gramophone in action:)
to:
(:title The Gramophone in action:)
(:toc:)
!!Video demonstration of the EMG Xa (Export) Gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928.
To view the video click [[https://youtu.be/Xe78fl1Klk4|here]]
(:toc:)
!!Video demonstration of the EMG Xa (Export) Gramophone in action with John Amadio playing Mozart Concerto in D Major for Flute and Orchestra recorded by His Masters Voice in 1928.
To view the video click [[https://youtu.be/Xe78fl1Klk4|here]]
16 January 2016
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(:The Gramophone in action:)
to:
(:title The Gramophone in action:)