TG: material (cilindro sonoro)(por)
UP (variação de): cilindro Blue Amberol(por)
UP (variação de): cilindro de Amberol(spa)
TR (conceito ou objeto/propriedade): Blue Amberol Records(eng)
TR (características do produto): cilindro sonoro(por)
UP (variação de): cilindro Blue Amberol(por)
UP (variação de): cilindro de Amberol(spa)
TR (conceito ou objeto/propriedade): Blue Amberol Records(eng)
TR (características do produto): cilindro sonoro(por)
Definição do conceito
[POR] cilindro Blue Amberol tem duração de 4 minutos (TRIANTAFYLLOU, Andreas).
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[SPA] Blue Amberol Records era el nombre comercial de los cilindros de fonógrafo fabricados por Thomas A. Edison, Inc. en los Estados Unidos entre 1912 y 1929. Reemplazaron a los cilindros Amberol de cera negra de 4 minutos introducidos en 1908, que a su vez habían sustituido a los cilindros de cera de 2 minutos, que habían sido el formato estándar desde finales de 1880. Los cilindros Blue Amberol podían reproducir hasta 4 minutos y 45 segundos, y estaban recubiertos por una capa superficial del plástico "indestructible" (celuloide), que Edison tiñó con un color azul que formaba parte de la marca registrada. Los fonógrafos de la marca Edison diseñados para tocar cilindros de Amberol se llamaron Amberolas. | El nombre Amberol tuvo su origen en abril de 1908, cuando Edison se reunió con su equipo ejecutivo para elegir una denominación comercial para su nuevo producto. Se barajaron nombres como "amber" (ámbar en inglés) y derivados como "amberite" o "amberole", así como otros que icluían las palabaras "ebonite" o "fourminit". Finalmente, y tras descartarse algunas opciones por problemas de patente, se eligió "amberol", que de alguna manera ligaba el nuevo producto con un material apreciado en joyería como el ámbar. | Los cilindros Amberol de cuatro minutos hicieron su aparición en el mercado ese mismo año de 1908. Estaban hechos de un compuesto frágil de color negro, parecido a la cera, que era más duro que la cera negra original de 1902. Esta cera Amberol también se utilizó para registros estándar de 2 minutos desde 1908 hasta que apareció el Amberol azul en 1912. La introducción del Amberol inició un resurgimiento del interés por los registros en soportes cilíndricos, pero los problemas de esta técnica pronto se hicieron evidentes. Los Amberol se agrietaban con bastante facilidad y podían romperse durante la reproducción, y a menudo se disgregaban por completo, a diferencia de algunos otros tipos de cilindros de cera de 2 minutos que simplemente se partían en algunos pedazos. Otro problema era que la cera Amberol se desgastaba demasiado rápido. Algunos cilindros perdían el surco o se reproducían con un tono vacilante debido a una contracción desigual durante el proceso de fabricación. | Técnica: Los Edison Blue Amberol están hechos de celuloide sobre un núcleo de yeso moldeado.6? La superficie de celuloide era capaz de soportar cientos de reproducciones con solo un aumento moderado del ruido superficial si se utilizaba una máquina correctamente mantenida y con una aguja en buenas condiciones. | Los Blue Amberol tenían una duración máxima de reproducción de aproximadamente 4 minutos y 45 segundos, girando a la velocidad estándar del cilindro posterior a 1902 de 160 rpm. Al igual que los Amberol de cera negra anteriores, proporcionaban el doble de tiempo de reproducción que los cilindros de 2 minutos, al usar un surco más fino con una densidad de 200 líneas por pulgada en lugar de 100. No se podían reproducir en máquinas más antiguas configuradas para utilizar solo el estándar anterior con cilindros de 2 minutos, ya que tanto la cera como los Amberol de celuloide requieren una punta de aguja más pequeña para adaptarse a la ranura más fina, y el tornillo sin fin que mueve la aguja sobre la superficie del cilindro debe girar a una velocidad diferente. Thomas A. Edison, Inc. vendía kits con conjuntos de engranajes y cápsulas de aguja que podían ser instalados por el propietario de una máquina Edison más antigua para poder reproducir tanto discos estándar como de 4 minutos. La compañía Edison también comercializó nuevos modelos capaces de reproducir ambos tipos. Con estas máquinas combinadas, el operador necesitaba ajustar una palanca que cambiaba la velocidad, asegurándose de que la configufación correcta estuviera en posición al cambiar de un tipo de cilindro a otro. | Los fonógrafos Edison de bocina interna diseñados para tocar cilindros de 4 minutos se llamaban Amberolas. El primer modelo de Amberola, el Amberola IA de 1909, estaba equipado con engranajes seleccionables de 2 y 4 minutos, y después de ser lanzado inicialmente equipado con un reproductor Modelo "L" que se mostró casi inmediatamente como "insatisfactorio", se reacondicionó con el reproductor Modelo "M" equipado con aguja de zafiro para reproducir cilindros de cera de 2 y de 4 minutos. Hay al menos un ejemplo conocido de un primer reproductor Modelo M también equipado con una aguja convencional. | FUENTE: https://es.wikipedia.org/wiki/Blue_Amberol_Records |
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[SPA] El plástico duro sustituye a la cera: En 1906, la empresa Indestructible Record Company empezó a vender masivamente cilindros hechos de celuloide, uno de los primeros plásticos duros, que no se rompía si se caía y se podía reproducir miles de veces sin que se desgastara. Este material inflexible no se podía pulir y reutilizar como los cilindros de cera, pero tenía la ventaja de ser una grabación casi permanente. Podría decirse que estos cilindros "Indestructibles" son el medio más perdurable de grabación de sonido desarrollado en toda la era del audio analógico, antes de la introducción del audio digital; pueden soportar muchas más reproducciones que otros soportes posteriores como el disco de vinilo o la cinta magnética. Esta tecnología superior fue adquirida por la empresa Columbia Phonograph Company. Más tarde, la compañía de Edison desarrolló su propio tipo de cilindro de larga duración, que consistía en un tipo de plástico llamado Amberol alrededor de un núcleo de escayola (yeso), el cual se denominaba cilindro de Amberol. Aproximadamente al mismo tiempo, Edison introdujo los cilindros de 4 minutos, que tenían el doble de tiempo de reproducción que los viejos cilindros estándar, lo que se consiguió simplemente disminuyendo el tamaño de los surcos y espaciándolos con la mitad de distancia en la espiral que rodeaba al cilindro. La mayoría (pero no todos) los cilindros de Amberol son de la variedad de cuatro minutos. Los fonógrafos de Edison para reproducir estos cilindros mejorados se llamaban amberolas. | https://es.wikipedia.org/wiki/Cilindro_de_fon%C3%B3grafo
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[ENG] Blue Amberol Records was the trademark name for cylinder records manufactured by Thomas A. Edison, Inc. in the US from 1912 to 1929. They replaced the 4-minute black wax Amberol cylinders introduced in 1908, which had replaced the 2-minute wax cylinders that had been the standard format since the late 1880s.[citation needed] Blue Amberols can play for as long as 4 minutes and 45 seconds[citation needed] and have a surface layer of the "indestructible" plastic celluloid, which Edison tinted a trademark blue color. Edison brand phonographs designed to play Amberol cylinders were named Amberolas. | Edison Blue Amberols : by 1912, the shortcomings of the wax Amberol were obvious. Edison, who did not want to pay royalties to Thomas B. Lambert for his celluloid cylinder patent, eventually bought it and changed production over to a thin but tough blue-tinted celluloid reinforced with a plaster of Paris core. The introduction of these "Blue Amberols" helped to hike cylinder sales. The early Blue Amberol releases offered excellent audio quality for their era — better, in fact, than later issues, because from January 1915 onward Thomas A. Edison, Inc., which had been concentrating its efforts on improving the quality of Diamond Disc phonograph records, began to release cylinders which were acoustically dubbed from Diamond Discs. The dubbing technique used was non-electronic (the disc phonograph horn played into the cylinder recording horn) until December 1927, when electronic dubbing was introduced. This resulted in a somewhat hollow "dead" sound on the cylinders compared to the original discs. On many dubbed cylinders, when the cylinder´s own 160 rpm surface noise is low enough, 80 rpm disc surface noise can be heard starting up shortly before the music begins. | Beyond the main popular and sacred music series, which began with record number 1501 in 1912 and ended with record number 5719 in 1929, Edison offered a special line of prestigious Concert Blue Amberols of opera arias, light classical pieces, and other "cultured" music performed by "name" artists, later supplanted by the distinctively tinted Royal Purple Amberol cylinders. A set of special wax Amberols or Blue Amberols identified by the letters A through H, rather than the more usual numbers, were given away with 4-minute conversion kits sold for updating some earlier 2-minute phonographs. There were Blue Amberol instructional records to accompany the Edison School Phonograph, ICS language courses, Blue Amberols for Morse code training, Blue Amberols for the French and German markets, special 2-minute Blue Amberols for the rural Mexican market, and 6-inch-long (15 cm) dictation instruction cylinders for the Ediphone that were essentially long Blue Amberols and remained in production for many years after the demise of the cylinder format as an entertainment medium. | Technical: Edison Blue Amberols are made of celluloid on a molded plaster core. The celluloid surface is able to withstand hundreds of playings with only a moderate increase in surface noise if played on a well-maintained machine with a stylus in good condition. | Blue Amberols have a maximum playing time of about 4 minutes and 45 seconds and play at the standard post-1902 cylinder speed of 160 rpm. Like the preceding black wax Amberols, they provide twice the playing time of 2-minute cylinders by using a finer groove with a pitch of 200 lines per inch instead of 100. They cannot be played on older machines set up to play only the earlier standard 2 minute cylinders, as both wax and celluloid Amberols require a smaller stylus tip to fit the finer groove and the worm-gear which moves the stylus over the surface of the cylinder must turn at a different rate. Thomas A. Edison, Inc. sold kits with gear assemblies and reproducers that could be installed by the owner of an older Edison machine so that both standard and 4-minute records could be played. The Edison company also marketed new models capable of playing both. With these combination machines the operator needed to adjust a knob or lever that shifted gears and make sure the correct reproducing stylus was in position when switching from one record type to the other. | Internal horn Edison phonographs designed to play 4-minute cylinders were called Amberolas. The earliest Amberola model, the 1909 Amberola IA, was equipped with selectable 2 and 4-minute gearing, and after initially being sent out fitted with an unmarked Model "L" reproducer with a flattened fishtail weight that was recalled almost immediately as being "unsatisfactory", was refitted with the Model "M" reproducer with flip-over 2 and 4-minute sapphire styli for playing wax cylinders. There is at least one known example of an early Model M reproducer also fitted with a flattened fishtail weight. | Upon the introduction of Blue Amberols in 1912, the M reproducer was supplanted by the Diamond A reproducer, which was designed for playing only celluloid cylinders. Its small-tipped conical diamond stylus and increased stylus pressure would seriously damage wax cylinders. External horn Edison phonographs were available with the Diamond B reproducer. Several other Amberola models less expensive than the IA (and later the 4-minute-only IB and III) were available, such as the V, VI, and X. | After an Edison factory fire in December 1914, the Amberola line was simplified in both mechanical and cabinet design, resulting in the 4-minute-only Amberola 30, 50, and 75, each model number indicating the initial retail price in dollars. They were equipped with the Diamond C reproducer. The 4-minute-only external horn Opera (later renamed Concert) model of 1911-1912, which used the same mechanism as the IB and III, was initially fitted with the Model L reproducer, which had an elliptical sapphire stylus for playing wax Amberols, but after the introduction of Blue Amberols it shipped with the Diamond A reproducer. | Archival storage of cylinders: The "Amberol" plastic is on a plaster of Paris core. This core is proving to be problematic for the long-term survival of Blue Amberol Records, as the plaster often tends to expand over the decades, especially if exposed to moisture or kept in humid conditions. In moderate cases, swollen plaster can make the record not fit properly on the phonograph mandrel (this can be fairly easily remedied by gently reaming out the plaster to restore the correct inner diameter) or can warp the cylinder out of round, making it not play properly. In worse cases, the expanding plaster will crack or split the plastic playing surface, rendering the record unusable. Freezing causes any moisture in the plaster to expand but makes the celluloid contract, a combination which can cause the celluloid to split lengthwise very abruptly. | The Blue Amberol plastic is nitrocellulose and therefore flammable. Being an organic plastic, celluloid is subject to chemical decomposition, but acute deterioration, as seen in nitrate film reels, has so far rarely if ever been observed in Blue Amberols or other (e.g., Lambert, Albany Indestructible, and US Everlasting) celluloid cylinders. | SOURCE: https://en.wikipedia.org/wiki/Blue_Amberol_Records
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[ENG] Edison Blue Amberol Cylinders (1912–1929): The rapid rate of technological development in the cylinder era culminated in a shift to a new cylinder medium—celluloid. Albany had begun selling celluloid-based Indestructible cylinders as early as 1907 and the Lambert Co. in Chicago had sold them as early as 1901. Nonetheless, for Edison, the switch was more complete and long-lasting than it was for his rival companies: the Blue Amberol, introduced in 1912, would be the last incarnation of the cylinder line for the Edison Company. Like the Amberols, the Edison Blue Amberols had a playing time of around four minutes (200 TPI). When they were first introduced, durability was seen as the chief virtue of celluloid media; a misstep with a celluloid cylinder, unlike the fragile wax recordings, wouldn´t cause it to shatter. While resistance to breakage was rightly considered to be progress in 1912, today it is viewed as the celluloid cylinder´s only redeeming quality. Shrinkage and deformation over time have rendered the cylinders difficult to play, and their sound today often is worse than that of the earlier wax cylinders. | SOURCE: https://cylinders.library.ucsb.edu/history-blueamberol.php
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