Victor Phonograph

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RARE Little Alabama Coon 1905 Columbia 7 Black Silver Disc Phonograph Record
$24.99
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Antique Replica RCA Victor Phonograph Gramophone with Large Engraved Brass Horn
$159.99
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Victor Victrola Model VV IV tabletop phonograph for parts or repair 1916
$135.00
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Victrola Phonograph Tone Arm BracketSupport BrunswickPathe 5
$5.99
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Victrola Victor VV X Phonograph Record Player Victor Talking Machine WORKS
$199.99
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BOOK phonograph Victrola Zonophone Diamond Disc brown wax cylinder Edison 78 rpm
$29.99
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VIVCTOR VICTROLA VV X OAK MOTOR BOARD
$9.99
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THE VOCALION RED RECORD Catalog 1922 Phonograph Artist Listing Photos 78s
$29.99
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Victor Victrola No2 Phonograph Reproducer Rubber Flange Gasket Rear Insert
$11.25
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Victor Victrol VV 50 Portable Phonograph Mahogany Case Working
$149.00
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Cheney Talking Machine Phonograph in Working Condition
$59.95
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ANTIQUE 1912 VICTOR VICTROLA VV XVI L DOOR PHONOGRAPH
$500.00
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Working VICTOR VICTROLA VV VI Talking Machine 78 Record Player Oak
$199.00
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Standard Talking Machine Style X All Original
$425.00
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ANTIQUE RECORD PLAYER IN WOODEN CABINET
$250.00
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RCA VICTOR J 2 45 RPM RECORD CHANGER PLAYER TURNTABLE PHONOGRAPH RESTORED 52
$200.00
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Victor Victrola Exhibition Phonograph Reproducer Flange Rubber Tone Arm Gasket
$11.25
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Vintage RCA Victrola Radio record Player Old 45 Silvertone Victor Records
$71.00
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WONDERFUL ANTIQUE VICTROLA PHONOGRAPH HORN
$137.38
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NICE RESTORED RCA VICTOR 45 EY 2 VICTROLA 45 RPM RECORD PLAYER
$329.95
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Antique Victor Victrola Phonograph Talking Machine Record Player 1923 Mahogany
$295.00
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Victor Talking Machine Co Victrola phonograph No2 VV IX 343031 hand crank works
$125.00
quality
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VINTAGE PORTABLE QUAKERTONE HORN CONE PHONOGRAPH W THORENS PLATTER
$29.99
quality
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Antique Victor Victrola VV X Phonograph Record Player Windup Floor Standing NR
$0.99
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FLEMISH OAK VICTOR VICTROLA PHONOGRAPH TALKING MACHINE CABINET VV XI
$125.00
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12 ANTIQUE Victrola Vinyl 78 RPM ALBUM BY STROMBERG CARLSON VOLUME FIVE
$20.89
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Midcentury Danish ORTHOPHONIC High Fidelity RCA VICTOR PHONOGRAPH Record Player
$195.00
quality
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Victor No 2 Phonograph Reproducer Sound Box gold Color
$95.00
quality
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VICTOR R MOTOR PARTS ORIGINAL PHONOGRAPH PARTS
$67.00
quality
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Antique Genuine Victrola Tone Arm and No 2 Reproducer Fine Complete
$31.00
quality
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Early Oak Victor Victrola VV IX Table Top Victrola W NOS Needles
$299.00
quality
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Victor Victrola Vv Xia Phonograph Talking Machine Vv Xia
$349.99
quality
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Busy Bee Phonograph Cylinder Record 269 Ive Got My Fingers Crossed OBT
$99.99
quality
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Victor Outside Horn Phonograph Bullet Brake
$79.99
quality
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Victrola
$600.00
quality
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Victor Talking Machine Victrola VV IX 479301 crank phonograph oak body
$300.00
quality
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Original Early Phonograph Reproducer to Horn TIZIT Swivel Connector
$49.99
quality
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Original Victor Phonograph Backmount Screws
$39.99
quality
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Antique Victor Talking Machine Horn 26 1 4
$167.50
quality
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Reproduction Victor R Phonograph Slotted Crank
$49.99
quality
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Original Edison 2 4 Minute K Phonograph Reproducer
$189.99
quality
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Paul Morris 5 Inch Concert Brown Wax Phonograph Cylinder Phonograph Record
$99.99
quality
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Phonograph Doll Cylinder Record in Original Box Universal Talking Toys Co RARE
$99.99
quality
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Victor Victrola Phonograph Key
$24.99
quality
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Pink Lambert Phonograph Cylinder Record 537 Whistling C n SH Dudley
$249.99
quality
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RCA NIPPER HIS MASTERS VOICE 14 HEAVY EMOBOSSED METAL SIGN
$13.95
quality
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Victrola RCA Victor New Vista Solid State Console Turntable and Radio from 1970s
$49.99
quality
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Victor Talking Machine Model II 2 Phonograph with Black Petal Horn
$1,499.99
quality
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Gamewell Fire Box Cover Nipper Camden NJ Victor Talking Machine RCA
$2,900.00
quality
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Vintage Victor Victrola Phonograph Parts As Found
$20.50
quality
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Vintage Large 36 RCA Nipper Store Display Dog Plastic
$300.00
quality
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Victor No2 Reproducer Mica Diaphragm Gasket Kit
$12.99
quality
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Phonograph Vintage Portable Suitcase Wooden Gramophone Crank Handle
$39.99
quality
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REBUILT VICTOR VICTROLA GOVERNOR
$19.99
quality
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Antique Victor Victrola Phonograph Case Crank Handle Escutcheon Talking Machine
$14.99
quality
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LOT OF 5 VICTROLA MAIN SPRING RETAINING CLIPS TWO SPRING MOTOR
$2.25
quality
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VICTOR VICTROLA VV 120 PHONOGRAPH BURL WALNUT
$499.99
quality
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VICTOR PHONOGRAPH GOLD IMPROVED CONCERT REPRODUCER PLAYS GREAT
$152.50
quality
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Victor Phonograph LARGE LIGHT GREEN Turntable Felt Round fits 12 diameter
$11.99
quality
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VICTROLA PHONOGRAPH OAK DOOR 16 X 7 7 8 X 11 16
$0.99
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Lot of 5 RCA Victor Bakelite 45 RPM Record Players for Parts or Repair
$36.00
quality
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Vintage Antique Victrola Talking Machine Portable Phonograph Record Player No 2
$99.00
quality
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Antique VV 260 Victor Victrola Phonograph Hand Crank Handle Talking Machine
$19.99
quality
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Ca 1910 Photograph Girl w Large Nipper Statue Victor Phonograph Co Trade Mark
$78.00
quality
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VINTAGE ANTIQUE VICTROLA RECORDSCOLUMBIACONQUERORRCA VICTOR SHIRLEY TEMPLE
$12.99
quality
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VICTROLA TUNGS TONE Stylus Case of 8 SAMPLES NEEDLES in the TIN
$35.00
quality
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GRAMOPHONE REPLICA ANTIQUE RCA VICTOR PHONOGRAPH WITH BRASS HORN
$158.75
quality
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Working VICTROLA VV XI Victor Talking Machine Phonograph Nice Tiger Oak Finish
$275.00
quality
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1937 Zenith Model 6S229 Tombstone Radio Refurbished and Working
$112.50
quality
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NICKEL FINISH VICTOR PHONOGRAPH 4 A IN ORIGINAL BOX LOOKS AND SOUNDS GREAT
$20.51
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RCA Nipper Victor Victrola Wine Glasses NIBSet Of 2
$12.99
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Original Vintage Victor Talking Machine Phonograph I II IIIIVVVIHorns Book
$34.00
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Victor Victrola VV 50 Phonograph
$100.00
quality
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ANTIQUE BRASS TAG VICTOR TALKING MACHINE CO
$9.99
quality
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1915 ANTIQUE VICTOR VV IX TABLE TOP PHONOGRAPH VICTROLA RECORD PLAYER VINTAGE
$225.00
quality
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Vintage 78 rpm Victrola Tungs Tone Soft Tone Phono Needle Tin 1 Needle
$2.99
quality
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Vintage 78 rpm Victrola Tungs Tone Phono Needle Tin 5 Needles
$11.50
quality
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100 MEDIUM Tone Victrola Gramophone PHONOGRAPH 78rpm Record Player NEEDLES
$4.04
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Vintage 78 rpm Victrola Steel Phono Needles 1
$2.99
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Vintage 78 rpm Victrola Steel Phono Needles 3
$2.99
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NIPPER RCA DOG STATUE RESIN
$4.99
quality
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ANTIQUE REPLICA GRAMOPHONE PHONOGRAPH RCA VICTOR WITH BRASS HORN
$158.75
quality
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Victrola Model A 78 1950
$67.00
quality
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Original Victor Victrola Needle Tins Phonograph Talking Machine
$40.00
quality
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1900s RCA Victor VICTROLA VV 80 Horn Shipped to your Door
$10.00
quality
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300 SOFT MED LOUD Victrola Needles Victor Columbia Antique Phonographs
$11.39
quality
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VICTOR TALKING MACHINE PARTS LOT VV 120 NR Phonograph
$39.00
quality
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Victor phonograph oak horn
$855.00
quality
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1902 VICTOR MONARCH FRONT MOUNT PHONOGRAPH
$1,450.00
quality
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RCA Victor 45 RPM Record Player Repair Literature
$9.95
quality
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ANTIQUE SONORA VICTROLA FLEXIBLE BRASS TONE ARM REPRODUCER
$9.95
quality
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Vintage 1955 RCA Victor 45EY3 RECORD PLAYER 45 RPM NICE BAKELITE Repair As Is
$41.00
quality
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Vintage 1941 RCA Victor 45 EY 4 TUBE RECORD PLAYER Phonograph Custom Cabinet
$69.00
quality
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RCA NIPPER DOG RESIN BOBBLEHEAD DOLL VICTOR HIS MASTERS VOICE RECORD COMPANY
$23.99
quality
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ANTIQUE 1905 PAPER MACHE RCA NIPPER DOG W STUD COLLAR HUGE FLOOR MODEL RARE SIZE
$10.50
quality
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RCA VICTOR HIS MASTERS VOICE MIRROR
$60.00
quality
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+VINTAGE VICTOR VICTROLA PHONOGRAPH RECORD PLAYER NO2 REPRODUCER TESTED
$31.00
quality
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Large Antique Victor Edison Victrola Horn Phonograph Part
$120.00
quality
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DAN DYNE VICTROLA ELECTRIC PHONOGRAPH CHILDS PHONOGRAPH MUST SEE THIS
$49.95
quality
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RCA Victor Model 45 EY 2 Bakelite Tube Type Phonograph WORKING
$64.99
quality

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Victor Phonograph


Victor Phonograph

Frequently Asked Questions...

I need an appraisal on my Victor Victrola Phonograph. Does anyone know of a free website?

Answer:

you can appraise it yourself, what i did is i take pictures of my art work, then write my estimate of the value (the appraisal) on the back of the photo, then i have my homeowners insurance carrier file those photos in their archives. should any thing happen to my art, it is covered for what ever the value i put on it, once the insurance company accepts the photos you can technically say what that item is worth for whatever it was approved for.-blurey

1901 Williams And Walker Victor Monarch Record Played On Victor Model 'D' Phonograph


Here are related products on Collectible Memorabilia, please check out the following:

Production Of Gramophone Records

Mass producing

The soft master known as a lacquer would then be silvered using the same process as the silvering of mirrors, commonly the lacquer was sprayed with a saponin mix, rinsed, spraying with Stannous Chloride which sensitized the surface, rinsed again before the finally simultaneously spraying the Silver solution and dextrose reducer. This silver coating provided the conductive layer to carry the current for the subsequent nickel plating electroplated with a metal, commonly a nickel alloy. In the early days (19401960) the nickel plating was only brief, just an hour or less, before transferring to a copper plating tank. This was due to copper plating being both quicker and simpler to manage at that time. Later with advent of Nickel Sulphamate plating solutions all matrices were solid nickel. Most factories transferred the Master Matrix after an initial flash of Nickel in a slow warm nickel electroplating bath at around 15 ampere to a hot 130 degree Nickel plating bath where the amperage would be raised at regular intervals until the amperage reached between 110A and 200A depending on the standard of the equipment and the skill of the operators. This and all subsequent metal copies were known as matrices. When this metal master was removed from the lacquer (master), it would be a negative master or Master Matrix, since it was a negative copy of the lacquer. (In the UK, this was called the master; note the difference from soft master/lacquer disc above). In the earliest days the negative master was used as a mold to press records sold to the public, but as demand for mass production of records grew, another step was added to the process.

The metal master was then electroplated (electroformed)to create metal positive matrices, or "mothers". From these positives, stampers (negative) would be formed. Producing mothers was similar to electroforming Masters, except the time allowed to turn-up to full amperage was much shorter and the heavier Mothers could be produced in as little as one hour and stampers (145 grams) could be made in 45 minutes. Prior to plating either the Nickel Master or Nickel Mother it needed to be passified to prevent the next matrix adhering to the previous matrix. There were several methods used, EMI favoured the fairly difficult, Albumin soaking method where as CBS Records and Phillips used the Electrolytic method. Soaking in a di-chromate solution was another popular method. The electrolytic method was similar to the standard electrolytic cleaning method except the cycles were reversed finishing the process with Matrix as the anode. This also cleaned the surface of the matrix about to be copied. After separating from the Master a new mother was polished with a fine abrasive to remove or at least round-off the microscopic "horns" at the top of the grooves, produced by the cutting lathe. This allowed the vinyl to flow better in the pressing stage and reduced the non-fill problem. Stampers produced from the mothers after separating were chrome plated to provide a hard stain-free surface. Each stamper was next centre punched, methods used included aligning the final locked groove over three pins or tapping the edge while rotating under the punch until the grooves could be seen (through a microscope) to move constantly towards the centre. Either method was quite skilled and took much effort to learn. The centre punch not only punched a hole but formed a lip which would be used to secure the stamper into the press. The stamper was next trimmed to size and the back sanded smooth to ensure a smooth finish to the mouldings and improve contact between the stamper and the press die. The edge was then pressed hydraulically to form another lip to clamp the edge down on the press. The stampers would be used in hydraulic presses to mould the LP discs. The advantages of this system over the earlier more direct system included ability to make a large number of records quickly by using multiple stampers. Also, more records could be produced from each master since molds would eventually wear out.

Since the master was the unique source of the positive, made to produce the stampers, it was considered a library item. Accordingly, copy positives, required to replace worn positives, were made from unused early stampers. These were known as copy shells and were the physical equivalent of the first positive.

The "pedigree" of any record can be traced through the positive/stamper identities used, by reading the lettering found on the record run-out area.

Packaging and distribution

Singles are typically sold in plain or label-logo paper sleeves, though EPs are often treated to a cover in similar style to an LP. LPs are universally packaged in cardboard covers with a paper (usually additional artwork, photography, and/or lyrics) or plastic liner (or "poly-lined" paper) protecting the delicate surface of the record. Few albums have had records packaged inside with a 3 mil polyethylene plastic sleeve, either square or round-bottomed (also called "U" shaped), and an accompanying 11x11 paper insert with the additional artwork, photography, and/or lyrics as described above. The insert could be single- or double-sided, in color or grayscale, and glossy or matte.

Packaging methods have changed since the introduction of the LP record. The 'wrap-around' or 'flipback' sleeve initially became the standard packaging method for LPs during the 1950s. In this packaging method the front cover is able to be printed in colour and is laminated, whereas the back cover features only black text on a white background and is usually unlaminated. These sleeves are constructed in two parts: a laminated front section is wrapped around a separate back panel. Three 'flaps' are used to fix the front and back panels together on the outside. As the unlaminated cardboard back cover section is prone to discolouration due to exposure to natural light, in some instances a single printed sheet containing the back cover information is pasted over the entire back panel, covering the 'wrap-around' flaps but not reaching the outer edge of the sleeve, thus allowing some of the laminated 'flaps' to be exposed. Whilst discolouration still occurs with this method, it is often less evident than when the cardboard back cover alone is exposed. A common feature of flipback sleeves in the 1960s was for information specific to either monaural or stereo versions of the record (typically a format-specific catalogue number and a "MONO" or "STEREO" disclaimer) would be printed on the same front cover artwork, and the whole front panel shifted up or down to expose the appropriate "version" on the front while the unused one would be covered up (but often not very well) by the back cover panel.

Towards the end of the 1960s advances in printing and packaging technology lead to the introduction of the 'fully laminated' sleeve. Rather than the two-part construction of the 'wrap-around' sleeve, this method consists of a single component part, which is printed in full colour and is completely laminated with the 'flaps' tucked inside the back sleeve section. This is the method generally used for all subsequent releases in the vinyl age and is considered superior not only because of the additional ease allowed in the use of a single component, but also because the fully laminated finish offers far better protection from discolouration caused by exposure to natural light.

With the advent of long-playing records, the album cover became more than just packaging and protection, and album cover art became an important part of the music marketing and consuming experience. In the 1970s it became more common to have picture covers on singles. Many singles with picture sleeves (especially from the 1960s) are sought out by collectors, and the sleeves alone can go for a high price. LPs can have embossed cover art (with some sections being raised), an effect rarely seen on CD covers. The label area on the disc itself may contain themed or custom artwork rather than the standard record company's logo layout.

An array of albums pressed in varying presentations

Records are made at large manufacturing plants, either owned by the major labels, or run by independent operators to whom smaller operations and independent labels could go for smaller runs. A band starting out might get a few hundred disks stamped, whereas big selling artists need the presses running full time to manufacture the hundreds of thousands of copies needed for the launch of a big album.

Records are generally sold through specialist shops, although some big chain stores also have record departments. Many records are sold from stock, but it is normal to place special orders for less common records. Stock is expensive, so only large city center stores can afford to have several copies of a record.

While records are generally pressed on plain black vinyl, the album itself is given a much more ornamental appearance. This can include a solid color (other than black), splatter art, a marble look, or transparency (either tinged with a color or clear). Some examples of this can be seen to the right. One of the most well known examples of this technique is the white vinyl repressing of The Beatles' White Album.

Labels

RCA logo with Nipper, the RCA/HMV dog.

Record companies organised their products into labels. These could either be subsidiary companies, or they could simply be just a brand name. For example, EMI published records under the His Master's Voice (HMV) label which was their classical recording brand, Harvest for their progressive rock brand, home to Pink Floyd. They also had Music for Pleasure and Classics for Pleasure as their economy labels. EMI also used the Parlophone brand in the UK for Beatles records in the early 1960s.

In the 1970s successful musicians sought greater control, and one way they achieved this was with their own labels, though normally they were still operated by the large music corporations. Two of the most famous early examples of this were the Beatles' Apple Records and Led Zeppelin's Swan Song Records

In the late 1970s the anarchic punk rock movement gave rise to the independent record labels. These were not owned or even distributed by the major corporations. In the UK, examples were Stiff Records who published Ian Dury and the Blockheads and Two Tone Records, label for The Specials. These allowed smaller bands to step onto the ladder without having to conform to the rigid rules of the large corporations.

Home recording

One example of an "instantaneous recording" machine, available to the home recording enthusiast by about 1929 or 1930, was the "Sentinel Chromatron" machine. The Sentinel Chromatron recorded on a single side of uncoated aluminum; its records were read with a fibre needle. It was "rather unstable technology" which produced poor sound quality in comparison to shellac records and was rarely used after 1935.

RCA Victor introduced home phonograph disk recorders in October 1930. These phonographs featured a large counter-balanced tone arm with horseshoe magnet pick-up. These types of pick-ups could also be "driven" to actually move the needle and RCA took advantage of that by designing a system of home recording that used "pre-grooved" records. The material that the records were made from (advertised as "Victrolac") was soft and it was possible to somewhat modulate the grooves using the pick-up with proper recording needle and a fairly heavy weight placed on the pick-up. The discs were only six inches in diameter so recording time at 78rpm was brief. Larger size Victor blanks were introduced late in 1931, when RCA-Victor introduced the Radiola-Electrola RE-57. These machines were capable of recording at 33 1/3 rpm as well as 78 rpm. One could select to record something from the radio or one could record using the hand-held microphone. The RAE-59 sold for a hefty $350.00 at a time when many manufacturers had trouble finding buyers for $50.00 radios.

The home phonograph disk recorders of the 1930s were expensive machines that few could afford. Cheaper machines, such as the Wilcox-Gay Recordio line, were sold during the late 1940s and early 1950s. They operated at 78 rpm only and were similar in appearance to (and not much larger than) a portable phonograph of the era. One 1941 model that included a radio sold for $39.95, approximately equivalent to $500 in 2005 dollars. The fidelity was adequate for clear voice recordings.

In the past (approximately from the 1940s through the 1970s), there were booths called Voice-O-Graphs, that let the user record their own voice onto a record when money was inserted. These were often found at arcades and tourist attractions alongside other vending and game machines. The Empire State Building's 86th floor observatory in New York City, Coney Island, NY and Conneaut Lake Park, PA are some of the locations which had such machines. Gem Razors also created thousands of free Voice-O-Graph records during wartime for the troops to send home to their families.

During the reign of the Communist Party in the former USSR, records were commonly homemade using discarded medical x-rays. These records, nicknamed "Bones" or "Ribs", were usually inscribed with illegal copies of popular music banned by the government. They also became a popular means of distribution among Soviet punk bands; in addition to the high cost and low availability of vinyl, punk music was politically suppressed, and publishing outlets were limited.

Home-made "Bone" record

Currently, two companies (Vestax and Vinylrecorder) offer disk recorders priced in the high four figures which enable "experienced professional users" and enthusiasts to produce high-fidelity stereo vinyl recordings. The Gakken Company in Japan also offers the Emile Berliner Gramophone Kit, and while it does not record actual records, it enables the user to physically inscribe sounds onto a CD (or any flat, smooth surface) with a needle and replay them back on any similar machine.

Home recording equipment made a cameo appearance in the 1941 Marx Brothers film, The Big Store. A custom recording was also the original surprise Christmas present in the 1931 version of The Bobbsey Twins' Wonderful Secret (when the book was rewritten in 1962 as The Bobbsey Twins' Wonderful Winter Secret, it became an 8 mm movie).

References

^ a b The "Sentinel Chromatron" machine for recording on uncoated aluminum is described as part of a History Detectives 2007 investigation of an Amos 'n' Andy Recording (Official PBS transcript here). The Amos 'n' Andy radio episode recorded was called "Breach of Promise"; it was broadcast on March 5, 1931 by the Woodmen of the World on WOW radio in Omaha, Nebraska.

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