TG: material (cilindro sonoro)(por)
UP (variação de): cilindro de fonógrafo de cera marrón(spa)
UP (variação de): cylindres de cire de carnauba(fre)
UP (variação de): brown wax cylinders(eng)
TR (matéria prima/produto): cera de carnaúba(por)
TR (características do produto): cilindro sonoro(por)
UP (variação de): cilindro de fonógrafo de cera marrón(spa)
UP (variação de): cylindres de cire de carnauba(fre)
UP (variação de): brown wax cylinders(eng)
TR (matéria prima/produto): cera de carnaúba(por)
TR (características do produto): cilindro sonoro(por)
Definição do conceito
[POR] cilindro de cera (marrom, carnaúba): mistura de ceras (cor marrom) lançado em 1888 por Thomas Edison. São mais macios e mais frágeis. Este tipo de cilindro não permitia copias e era gravado artesanalmente um a um - dur. 2 min (TRIANTAFYLLOU, Andreas).
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[SPA] cera (carnaúba y otras) Thomas Edison concibió el fonógrafo el 18 de julio de 1877 para grabar mensajes telefónicos, usando papel encerado en su primera prueba. En las primeras versiones en producción, las grabaciones se realizaban sobre la superficie exterior de una tira de papel de estaño enrollada alrededor de un cilindro giratorio de metal. En la década de 1880 se empezaron a producir en masa los cilindros de cera. Estos contenían las grabaciones de sonido en surcos sobre el exterior de unos cilindros huecos de cera ligeramente blanda. Estos cilindros se podían retirar y colocar con facilidad en el mandril de la máquina que los reproducía. Las primeras grabaciones en cilindro se solían desgastar tras haber sido reproducidos unas pocas decenas de veces; el comprador podía entonces retornar el cilindro gastado al vendedor para cambiarlo por un crédito parcial que le servía para adquirir nuevas grabaciones, o para pulirlo de nuevo para que se pudieran realizar nuevas grabaciones sobre él. En 1890, Charles Tainter patentó el uso de cera de carnaúba como sustituto de la típica mezcla de parafina y cera alba utilizada en los cilindros de fonógrafo.
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[SPA] Durante la mayor parte de la década de 1890, los cilindro de fonógrafo de cera marrón de pequeño diámetro de la competencia se grabaron a aproximadamente 120 rpm, con una capacidad de unos tres minutos, aunque las grabaciones de esta duración eran poco comunes. A finales de la década, los fabricantes de cilindros comenzaron una transición a velocidades más altas, principalmente para producir un sonido más fuerte que pudiera competir mejor con el gramófono, que permitía obtener un nivel sonoro considerablemente más elevado (los cilindros generalmente se escuchaban a través de tubos de escucha individuales tipo estetoscopio que producía un sonido relativamente débil, en lugar de utilizar una bocina). | FUENTE: https://es.wikipedia.org/wiki/Berliner_Gramophone
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[FRE] Cylindres ... avec cire de carnauba, employée par Edison en 1888 et adoptée largement par l´industrie par la suite, pure ou mélangée avec divers autres composants dans de grandes proportions : stéarate de plomb, stéarate d´aluminium, aussi nommés « savons métalliques », avec également des adjuvants en petites quantités : noir de fumée, gomme-laque, entre autres. De par l´évolution de leur composition, les cylindres de cire sont de couleur marron (du beige au brun), de 1888 à 1903, puis ils sont majoritairement de couleur noire de 1902 à 1908-1909. | SOURCE: https://fr.wikipedia.org/wiki/Cylindre_phonographique
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[ENG] Brown Wax Cylinders (1895–1901): Brown wax cylinders were the first sound recordings produced on a widespread commercial scale. Physically, these recordings are closest to the commonly understood idea of "wax"—that is, something waxy in a tactile sense, like a candle. In fact, the earliest cylinders, the so-called "white wax" cylinders, were originally derived from a blend of plant and animal waxes. The variability of the wax quality from these sources, however, caused Edison to abandon them in favor of a standardized metallic soap composite, which created a cylinder that felt waxy, even if it wasn´t technically a wax. | During their heyday at the turn of the 20th century, brown wax cylinders were sold with an accompanying slip of paper to identify the recording. Since only a release number was inscribed on the circumference of most cylinders, the paper was the sole visual evidence of the contents of the recording. Most of these original slips have been lost, so determining exactly what is on a given brown wax cylinder can be challenging. Fortunately, virtually all of the commercial brown wax cylinders contained spoken introductions identifying at least the song title and performer. Factors inhibiting identification of these cylinders include their unfortunate tendency to develop mold growth and the variable rate at which these early cylinders were recorded—ranging generally between 120 and 160 rpm. | Besides the commercially released brown wax cylinders, the UCSB collection also contains a small series of home recordings. These cylinders were made from wax "blanks," which Edison claimed could be reused up to 100 times by literally shaving off the old grooves. In this way, brown wax blanks could perhaps be considered an early rewritable medium, akin to a CD-RW today. For these home recordings, discerning identification information as well as playback speed is often impossible. Yet hearing them can be a fascinating, even otherworldly experience: a crying baby who cannot be pacified, say, or a drunken caterwauler flailing through a song, their identities forever lost to time. | SOURCE: https://cylinders.library.ucsb.edu/history-brownwax.php
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[ENG] Brown wax cylinder represent the ´archetype´ of an Edison wax cylinder and were first made in 1888. However, the first wax cylinders are not to be credited to Edison but are based on the development by Chichester Bell and Charles Sumner Tainter, financed by Alexander Graham Bell. 1884 was the fateful year where both developers came to the idea of using a wax composition instead of the common tinfoil as introduced by Edison. Their phonograph was called Graphophone, a simple wordplay. 1886, Bell and Tainter were able to present a working dictation phonograph that was recording its contents on a cardboard cylinder covered with thin layer of wax. | ... | Brown wax cylinders were commercially discontinued by Edison in 1902 with the introduction of the new Gold Moulded Record (also just called Moulded Record or later Standard Record). The last commercially recorded brown wax cylinders were likely made in Europe by small labels until about 1906. | ... | In 1898, Columbia introduced a new luxury format of cylinders with a diameter of 5". These so called Grand Graphophone cylinders required a compatible phonograph with a larger mandrel and did only provide the same playing time of 2-3 minutes - just like a standard cylinder, related to the recording speed. Because of the higher surface speed, the volume and clarity was improved and Edison stepped into this business just one year later with his identical Concert cylinders. However, this format could not achieve a wide customer acceptance as the price was over twice as much as regular cylinder record did cost plus a quite cumbersome handling. With the introduction of the Gold Moulded cylinders in 1902, the separate production of these oversized cylinders was discontinued. Also other brands such as Lambert, Pathé (France) and Edison-Bell (England) made concert cylinders for a few years but were also quite unsuccessful. In 1909 owners of concert phonographs could still order current titles, which were then custom made by the old pantographic process, of course, without any quality advantages. | Playing and handling: Brown wax cylinders are extremely sensitive and fragile. Because of the direct recording manufacture, the wax is softer than those of the later black wax cylinders. With the use of any old acoustic phonograph, these cylinders should be played more than necessary as they tend to wear relatively fast and the noise/signal ratio will change for the worse. Therefore, the recording will become quieter with every (acoustic) playback. Many of these early cylinders were already recorded at low volume and will play accordingly. Digitization with the help of low-weight modern pickup systems can be very helpful in this case. | However, any acoustic playback of wax cylinders at a temperature exceeding 25°C (77 °F) should be absolutely avoided as wear may increase significantly. | Acoustic playback with an Edison phonograph must be only accomplished with a suitable reproducer. In general, brown wax cylinders can be played with any intact Automatic or Model B (not to be mixed up with the much later Diamond B!) reproducer. Later reproducers as the far more common Model C carry an unsuitable doorknob stylus and should not used with brown wax like Model K, H and O. Be sure to always have the correct reproducer selected as the wrong model may cause irreversible damage to the cylinder! | Because of the long time span of brown wax production, virtually any playback speed can be found which usually varies between 90 and 185 rpm. In most cases, the desired speed will be found between 120-160 rpm. Although several standard speeds existed (120, 125, 140, 144 and 160 rpm), it is not uncommon to find any other possible speed. For a proper speed adjustment, a good hearing and tonal comparison will be necessary. This may easily result in odd speeds such as 136 rpm. | SOURCE: https://www.cylinder.de/guide_brown-wax-cylinders.html
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[ENG] Both the Graphophone and Edison´s "Perfected Phonograph" were commercialized in 1888. Eventually, a patent-sharing agreement was signed and the wax-coated cardboard tubes were abandoned in favor of Edison´s all-wax cylinders as an interchangeable standard format. | Beginning in 1889, prerecorded wax cylinders were marketed. These have professionally made recordings of songs, instrumental music or humorous monologues in their grooves. | ... Unlike later, shorter-playing high-speed cylinders, early cylinder recordings were usually cut at a speed of about 120 rpm and can play for as long as three minutes. They were made of a relatively soft wax formulation and would wear out after they were played a few dozen times. The buyer could then use a mechanism which left their surfaces shaved smooth so new recordings could be made on them. | SOURCE: https://en.wikipedia.org/wiki/Phonograph_cylinder
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[POR] A cera de carnaúba é uma cera das folhas da palmeira Copernicia prunifera, uma planta nativa do Brasil, que cresce somente nos estados do Ceará, Piauí, e Rio Grande do Norte. | Geralmente a cera é extraída na forma de flocos duros amarronzados a partir de um pó obtido das folhas da carnaúba em um processo que envolve batê-las para liberar a cera, seguido do seu refinamento. | É o produto mais conhecido obtido a partir da carnaúba, possuindo diversas aplicações.[8] Tem um ponto de fusão muito maior que outras ceras (78 graus Celsius), além de ser extremamente dura. | FONTE: https://pt.wikipedia.org/wiki/Cera_de_carna%C3%BAba
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[ENG] carnauba wax, also called Brazil wax and palm wax, is a wax of the leaves of the carnauba palm Copernicia prunifera (synonym: Copernicia cerifera), a plant native to and grown only in the northeastern Brazilian states of Ceará, Piauí, Pernambuco, Rio Grande do Norte, Maranhão and Bahia. It is known as the "Queen of Waxes". In its pure state, it is usually available in the form of hard yellow-brown flakes. It is obtained by collecting and drying the leaves, beating them to loosen the wax, then refining and bleaching the wax. As a food additive, its E number is E903. | SOURCE: https://en.wikipedia.org/wiki/Carnauba_wax
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