His Master’s Voice – 78 RPM – Label Discography

The first discs were released in , and in that year Berliner also established the Berliner Gramophone Co. In the National Gramophone Company, formed by Frank Seaman, was given rights to distribute Gramophone machines and discs, but in a legal battle which can only be described as a double-cross by Seaman over Berliner, Berliner was prohibited from distribuiting his own inventions in the USA, so he looked to England. In The Gramophone Company was founded in London. In , The Gramophobe Co. In , the factory at Hayes, Middlesex was opened, the foundation stone havcing been laid the year before by Dame Nellie Melba. In , Nipper the fox terrier was seen on the label for the first time.

His Masters Voice Gramophone HMV 104 78 record player OAK CABINET

These refer to the different stages in the manufacture of discs. If you are not sure of how records in general — 78s in particular — were made, click this link for an outline of the process. The most important things about most recent records are their performer, and the title. And often so do we, to help us keep our collections in order.

Why 78 rpm speed? Although the speeds of the earliest discs can vary considerably from 78 rpm they are still called “78s”. The recording speed chosen was a compromise between playing time (faster = shorter playing time), groove and needle size, wear on the record and needle, and fidelity of reproduction.

Odeon The International Talking Machine Company Odeon was the first company to institute a system of independent agents who worked with local artists to record local music. This limited slate of releases indicates the relatively small commercial opportunity presented by Sephardic music. Gramophone Odeon’s arch-rival, the Gramophone Company had been the first to record in the Ottoman Empire, in In May of that year, the Gramophone engineer William Sinkler Darby visited Belgrade and Bucharest, then recorded Greek and Turkish songs in Constantinople on single-sided, 7-inch records.

This office handled the company’s affairs for the Near East, and issued the Greek and Turkish catalogues, including many of the so-called “Oriental Jewish” recordings discussed here. In Gramophone engineers went to Sarajevo and Constantinople, recording masters that quickly found their way onto almost 30 releases. It’s surely no coincidence that Gramophone added their first Sephardic titles shortly after Odeon did.

The same artists often recorded for several companies; for instance, Jacob Algava recorded for both Odeon and Gramophone. It was also impossible to disguise the very bulky equipment and supplies that recording engineers carried in those days.


Introduction Antique phonographs are fun, functional machines! Are you thinking of starting a phonograph collection? Did you just find one at a shop, online, or in your garage, and are trying to make sense of what it is? Have you had one in your home for some time and trying to learn more about it? This guide is intended as advice to those building a collection and looking for straightforward tips on how to judge the quality of an antique musical machine for the most value and enjoyment.

My suggestions are focused on phonographs from the acoustic era:

78 rpm Record Labels – Victor. His first records came out in There were a couple types before any you see here. The first two labels are considered “Pre-Dog” labels, as they lack the famous Nipper logo yet to be used. The first example is the first type where the word Victor was used on the label and is a .

This essay would be incomplete if I didn’t address this Issue: Are Deccas better than Londons? The short answer is; Sometimes they are and sometimes they are NOT. It all depends on when and where they were mastered and pressed, as described above. When the respective LPs are both mastered and pressed at exactly the same time and place, then they will usually sound the same. In other words, identical pressings, with different labels, almost always sound exactly the same. However, there is one “Caveat” to the above statement, and also one “Exception”.

Why are Deccas more expensive than Londons? The monetary premium you pay for DECCA is for the relative rarity of the Decca “brand name” on the jacket and on the inner label, and the subsequent extra demand for them. This “extra demand” is due to the hype and nonsense discussed below of the used record dealers and “collectors”, who are usually the same people.

It is not based, in any manner, on the superior technical quality of the Decca record. The only practical advantage Decca has is in their early box sets, where the records can be played in chronological order, without constantly changing LPs.


There is much published about them so I will not attempt to tell the story here. Victor was started by Eldridge R. Johnson, a machinist from Camden, NJ. His first records came out in The first two labels are considered “Pre-Dog” labels, as they lack the famous Nipper logo yet to be used. The first example is the first type where the word Victor was used on the label and is a 7″ example.

As regards HMV/EMI and the Decca group of labels, these systems remained steadfastly in place, hardly changed, right until the end of the production of 78 rpm discs in If you take ‘smash hit’ records that sold in their hundreds of thousands, you can find some astonishingly high stamper numbers.

Parlophone established a master leasing arrangement with the American label Okeh Records , making Parlophone a leading jazz label in the UK. Under EMI, Parlophone maintained its status as a jazz label. As time went on, the label also released speciality recordings of spoken word and comedy, such as the Goons and Flanders and Swann. In , Preuss hired George Martin as his assistant. When Preuss retired in , Martin succeeded him as Parlophone’s manager. Treading a path similar to other British record labels of the era, Parlophone released all manner of domestic and foreign licensed products including that of James Brown , but had little success in comparison to that of EMI’s sibling companies HMV and Columbia Graphophone Company.

The label’s fortunes began to rise in , when Martin signed the Liverpool band The Beatles. Along with Cilla Black , Billy J. Kramer The Fourmost , and The Hollies , The Beatles brought worldwide attention to Parlophone, and it became one of the world’s most prestigious record labels. On 23 April , Miles Leonard was confirmed as the label’s president. Warner Music closed the deal on July 1.

Edgar Jackson was the director of this series, which was issued within the existing R- series the first issue was R

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Establishment by General Electric[ edit ] Company logo in stressed its leadership in international communication. In , the Wireless Telegraph and Signal Company, Limited, was founded in London to promote the radio then known as “wireless telegraphy” inventions of Guglielmo Marconi. As part of a worldwide expansion, in American Marconi was organized as a subsidiary company, holding the rights to the use the Marconi patents in the United States and Cuba. With the entry of the United States into World War One in April , most civilian radio stations were taken over by government, to be used for the war effort.

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Odeon in America If ever a label suffered from an identity crisis, it was American Odeon. During the decade that it was produced domestically, Odeon served in turn as a sister label to Okeh, a reissue vehicle for aging European operatic recordings, an ethnic and foreign- language series, and a premium-quality classical label, only to end its life in the United States as it had begun: Despite high technical and musical quality, favorable reviews, and good press coverage, Odeon 78s never achieved the popularity in the United States that it enjoyed in Europe.

Prescott, who had recently resigned as head of the European branch of Zon-O-Phone. The International Talking Machine Company introduced the Odeon label in Germany in , and the company lost no time in applying for a U. Its application, filed at the Patent Office on November 5, , claimed use of the Odeon brand on 78 records since October 1 of that year.

The company soon attracted attention for its double-sided pressings marketed initially in South America at a time when single-sided records were the industry norm. Although German-made Odeon records were occasionally exported to the United States on special order, there does not seem to have been any serious attempt to market the label here before the early s. Odeons The first Odeon discs produced in the United States were intended solely for export to Europe.

Prescott’s brother John O. Prescott , who in partnership with Ellsworth Hawthorne and Horace Sheble was acting as sales agent for the newly formed American Record Company. In or , American began to produce American Odeon Records for export. In the United States, the American Record Company issued double-sided pressings sporadically, and then only on special order.

Why 16, 33 1/3, 45 and 78 rpm?

Ferrier recorded the Alto Rhapsody for Decca in with Clemens Krauss; this Norwegian broadcast of two years later is to be preferred. Benefiting from a fabulously voiced instrument, [this is] an overwhelming experience, outstandingly recorded in a golden acoustic. Sadly it was not always so. His career started well enough he won the acclaimed Geneva competition, amongst others, in but after a near fatal plane crash Fiorentino withdrew for a time from playing in public and he never managed to re-establish himself at the level he deserved.

Also at this time between and Fiorentino began recording again, this time for APR, and 10 CDs were made of which this is the ninth to be released.

His Master’s Voice – 78 RPM – Label Discography UK: Records: Latest Updates: Gallery.

The P06 printed circuit board is available for this project. Click the image for details. Introduction Vinyl equalisation EQ has been with us in a stable and predictable form for quite a long time, but for those who are interested in the old 78 rpm records there are a great many problems to overcome. One of these is obtaining a turntable that runs at 78 rpm, and preferably has the range to cover the somewhat variable actual recording speed, which can apparently be anything from odd to over 84 rpm.

The next obstacle is finding a suitable stylus — again, these are hard to get, and modern ones are usually too small for the larger grooves used back then Finally, there is the vast number of EQ ‘standards’ that were used, ranging from none at all for acoustic recordings, through to an approximation of the modern RIAA and CCIR standards.

Of these issues, I intend to address only one — the EQ in the phono amplifier stage. I can do this easily, since the Project 06 phono preamp uses separate equalisation stages. This means that using the standard unit PCB with virtually no modification, it is possible easy, actually to add the switching needed to accommodate every recording standard ever used. The references contain quite a bit of useful information that you can use if you don’t already have the needed equipment.

It is mistakenly believed by many that accurate EQ is important No, this is not blasphemy, just a simple statement of fact. The problem is that few records are or were ever cut using only the standard EQ. The mastering engineer would most commonly adjust the EQ until the disk sounded right — in his room, on his speakers, and to his ears.

Enrico Caruso sings “La Donna e Mobile” on HMV 78rpm record. 1930s Remastered Version.

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