Western Historic

RADIO MUSEUM

Floor Model Radios and Radio-Phonographs

1924 to 1940

RCA-GE

Radiola  Super-VIII

Introduced in early 1924, the Super-VIII uses a six tube, catacomb-type, superheterodyne chassis with built-in antenna and built-in horn speaker. The center control rotates the loop antenna. Internal shelves are provided for battery storage. All of this results in a radio set that is entirely self-contained with no external connections required. Opening the fall board accuates a switch, turning the set on and providing the listener with a writing desk for logging stations. Originally, the Radiola SuperVIII sold for $425, a very expensive radio for 1924.

Victor Talking Machine Co.

"Nine Fifty-Four"

Although the name is Victor Talking Machine Co., actually the old "Victrola" company had been sold to a bank syndicate in 1926 due to Victor's CEO Eldridge Johnson's failing health. In early-1929, the VTMCo  was purchased for $32 million by GE, Westinghouse and RCA and the plant in Camden, NJ modernized. Priced at $1350, the "Nine Fifty-Four" Automatic Electrola-Radiola was one of the more expensive machines available in 1929. The cabinet was a fabulous 60" tall Spanish influenced walnut cabinet. Unfortunately, the 9-54 was fraught with problems. The deluxe receiver, the Radiola 64, was an eleven tube superheterodyne with tuning meter, AVC and impressive audio from a single-ended UX-250. To obtain maximum power from the UX-250 its plate was running at nearly +400 vdc. After a few years operation the power transformer's insulation failed - usually in a dramatic, smoke filled fashion. The automatic record changer was a second generation version of the original Victor automatic changer but the new changer was released before all of the bugs could be worked out. All of the second generation changers were recalled within a few months and reworked but even then the changers were unreliable and developed a reputation for breaking records - either by a failed ejection allowing the lifter ring to crush the record or by tossing the record onto the floor. Many 9-54s had their original radio and phonograph replaced with newer equipment, also some were "gutted" and converted into liquor bars or book cases. As a result, very few 9-54s survive intact today. This particular 9-54 is a complete, original example that was owned by 1920s-1930s cowboy movie-star, Hoot Gibson. Interestingly, another famous cowboy movie star also was a 9-54 owner, William S. Hart had one at his ranch in Newhall, California.

Victor Talking Machine Co.

(Radio-Victor Corp. of America)

Radio-Electrola RE-156

RCA,GE and Westinghouse were in a partnership running Victor since early-1929. Actually two companies were formed to run Victor, (AudioVision Appliance and Radio-Victor.) In late 1929, RCA-Victor was formed to consolidate everything into one company. In 1930, an Anti-trust suit was filed against the group which broke-up the longtime partnership (cross-licensing arrangement) and essentially put RCA in sole ownership of RCA-Victor. Due to the Depression, expensive machines were no longer a saleable item, so RCA-Victor utilized left-over cabinets from the previous year's most expensive model, the 9-56 Automatic Electrola-Radiola, ($1750 selling price in 1929) and replaced the 9-56's problem prone Radiola 64 and notorious automatic changer with the reliable ten-tube Microsynchronous TRF receiver and a simple manual turntable. Standing 65" tall, the Chinese Chippendale cabinet is decorated with oriental motifs in red, black and gold lacquer. Walnut veneer panels with black, gold and green lacquer trim are used on the exterior. With the doors closed, ten filigree bronze hinges and the filigree bronze door-pull escutcheons are visible. Selling for a mere $595, only 245 of these behemoths were produced.

RCA Victor Co., Inc.

Radiola-Electrola RE-57

For 1931, RCA-Victor continued to offer the old Microsynchronous receiver in some of their Radiola-Electrola models. These later TRF radios have screen-grid tubes and an improved amplifier but still feature the odd tuning system of levers and rollers. The manual phonograph 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 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 was brief. One could select to record something from the radio or one could record using the hand-held microphone. Actually, for 78RPM record playback, the RE-57 and similar Electrolas provide great performance with ample sound and plenty of bass, as long as the pick-up has been rebuilt and the rest of the electronics are in good condition.

RCA-Victor Co., Inc.

Radiola-Automatic Electrola,  RAE-59

RCA-Victor incorporated several new features into their deluxe radio-phonograph, for 1932 (introduced in late 1931.) Though the Microsynchronous receiver was still used in the lower-cost models, the RAE-59 had a newly designed ten-tube superheterodyne with Push-Pull 47s for greater audio power. The phonograph had a two-speed automatic changer that would continuously cycle through a stack of ten, 10" records loaded into the "magazine." The design of the changer allowed only a single side of each record to be played during the cycle which allowed about 35 minutes of music with 78RPM records and two and a half hours of music with RCA's new Program Transcription Long-Playing records. The new PTs were 10" in diameter and ran at 33.3RPM, featuring both popular and classical music. The changer would continue to play through the ten records as long as the user didn't interupt the cycle, however 78RPM records and PTs could not be intermixed on the automatic cycle. Additionally, one could make recordings off of the radio or using the "studio quality" double button microphone onto RCA Pre-grooved recording discs, (introduced in 1930.) The recording time was increased as the new pre-grooved discs were ten inches in diameter. The RAE-59 sold for a hefty $350.00 at a time when many manufacturers had trouble finding buyers for $50.00 radios.

Program Transcription by RCA Victor

RCA introduced these 33.3RPM long-playing records in late 1931. Produced through most of 1933, they were considered an engineering failure because the heavy pick-ups, used on all players at the time, caused severe wear to the fairly soft material used for PTs, (RCA called it "Victrolac.") Additionally, surface noise and frequency "wow" were problems in the early PTs. Introduced at the all-time low of record sales (due to the Depression) and with the increased price of PTs, combined with the fact that not many machines  could play them (only expensive deluxe models,) PTs were almost assured of low customer interest and slow sales. Most PTs were 10" in diameter though a few 12" PTs were produced. A few PTs were single-sided. The labels were either gold or silver in color. Even though the PTs were a flop, some were still shown as available in the 1939 RCA catalog (old stock?)

Crosley Radio Corp.

Model 609 - "Gemchest"

Crosley introduced the "Gemchest" in 1929, using their "Gembox" chassis installed into a small, Chinese Chippendale styled, metal console cabinet. The "Gemchest" was available in three colors, Mandarin Red, Nanking Green and Manchu Black. All featured an improved Crosley Dynacone speaker mounted behind an oriental styled grille with reeds and an unidentifiable water-fowl. Selling for $94 in 1929, the 609 was expensive for a Crosley and was fairly popular. All of Crosley's advertising artwork showed the "Gemchest" without a grille cloth installed, however most are encountered nowadays with a grille cloth installed (to hide damage to the Dynacone speaker cone.)

General Motors

Model 281 "Ashtray"/ Converter

This 1931 device has probably caused more confusion as to its real purpose than any other radio item. Most importantly, the 281 is not a radio receiver - it is a converter. A converter receives an incoming radio signal at that signal's frequency and then converts that frequency to another frequency by heterodyning the signal with a local oscillator. This intermediate frequency can then be connected to the antenna input of a radio receiver and amplified and detected, resulting in better selectivity, stability and sensitivity. The GM 281 is a heterodyning-type converter which was designed to be connected to any receiver to provide several different functions. First, as a converter, when used with a TRF (Tuned Radio Frequency - a non-superheterodyne) receiver, that receiver would then become a superheterodyne - providing the advantages of better sensitivity and selectivity. If used with a superhet receiver, that radio would then become a double-conversion superhet - advantages were better image rejection. An added advantage to the 281 installation was that it allowed for remote control of any receiver it was used with, providing remote tuning and remote volume control. Finally, it was also a floor-type ash stand. The IF frequency was 535Kc - so the receiver used with the 281 had to be tuned to 535Kc in order for the combination to work together. The 281 AC plug was to provide the 6.3vac heater voltage for the two tubes in the converter but B+ (high voltage) had to be supplied by the receiver (connecting wires were from the metal "coupler unit" which was mounted in the receiver cabinet.) A 25' cable allowed the 281 to be placed anywhere in the room, preferably next to the "over-stuffed" easy chair and the pipe. Today, many GM 281 converters are encountered with the cables removed and the seller trying to convince the buyer that the 281 is a radio receiver - it isn't. Neither was it ever intended to be set up in GM automobile dealerships for customer entertainment. The erroneous auto-related story variations are endless. The 281 was designed for home use and was to provide the user a way to upgrade his older TRF console radio into a remotely controlled superheterodyne radio. 

Crosley Radio Corp.

Model 53 - "Mate"

Crosley introduced an entire line of "Repwood" radios in 1931. All were given "nicknames" to go along with their official model number. Table models, like the "Buddy Boy" were popular, however console models are seldom seen. Shown is the Model 53, or the "Mate," a miniature console that is only 30" tall. The chassis was a small five tube TRF using three 24-A tubes, a single 45 output tube and an 80 rectifier. The Crosley Dynacone speaker was allowed to hang on a hook behind the grille. The "Mate" sold for $79.50 in 1931. "Repwood" was Crosley's trade name for the wood and binder combination that was compressed and molded into trim pieces, panels and cabinets.

Sears Roebuck & Co.

Silvertone  1570

When the 1570 was introduced in 1933, most radios were located in cities where AC power was available. Many rural areas were not "on the grid" and power to operate appliances had to come from batteries, windcharger/battery combos, DC generators or other sources for self-sufficient power. The term, "Farm Set" is usually applied to radios built specifically for use in rural areas where AC power was not available. Most Farm Sets had a minimal number of tubes to conserve battery power and usually had a PM speaker since the current draw had to be kept to a minimum. The Silvertone 1570 is an unusual Deluxe Farm Set using an eight tube circuit with three bands - AM BC plus two Shortwave bands. The tuning dial is unique in that the pointer and the dial scale both move (in opposite directions.) Power is supplied thru a dual ballast allowing the user to select either a 2vdc or  6vdc battery for filaments. One 135vdc B battery and two C bias batteries are also used. An 8" PM speaker provides the audio.

Scott Radio Laboratories

All-wave Fifteen

The Scott Radio Laboratories built some of the most "powerful"(an adjective E.H. Scott liked to use in his advertising) receivers from the late twenties up through the forties. Ernest H. Scott came from New Zealand and started in the transformer business in Chicago just after WWI. He later started producing superheterodyne kit radios. His interest in shortwave developed into world record reception using his receivers. When the RCA superhet licenses became available in 1931, Scott started to produce complete receivers. By 1933, Scott was offering his first chrome plated, semi-custom built receivers. The Allwave Fifteen (1934) is a 15 tube receiver using P-P 2A3s driving a twelve inch speaker. The power supply and audio output amplifier are located on a smaller chassis mounted by the speaker. Chrome plated chassis, projection tuning dial with shadow-graph meter, BFO (not for CW but for locating weak stations - the actuator is a push button) and a noise limiter are some of the modern features used in this 1934 receiver.  This AW-15 is housed in a small Tasman cabinet and is totally original, including all the original 1934 tubes! I've owned this Scott since 1975 and it still performs great and sounds incredible.

RCA-Victor

381 All-wave Duo

RCA's "top-of-the-line" for 1934 was the 381 Allwave Duo. The receiver was a 12 tube all-wave covering 140kc to 40mc in five bands. Push-Pull audio using type 42 tubes  resulted in fabulous sound reproduction. Separate treble and bass controls allowed the user to further adjust the sound to their particular taste. The automatic phonograph utilized the standard "horse-shoe" magnetic pick-up with two-speed changer, allowing both 78RPM discs and RCA Program Transcriptions (33.3RPM) to be played. Record ejection used a mechanically driven, weighted arm to slide the top record off of the stack (on the turntable) into an angled, padded compartment to the left. Recording onto RCA Pre-grooved recording discs was also provided using either the radio or the double-button microphone as a source. The selling price of $375.00 certainly must have limited the number of these high-end machines that were ultimately sold. In 1934, most radio purchases were for small inexpensive table models that were within the budget of Depression era buyers.  

Philco

Model 680

This massive, 15 tube receiver was top-of-the-line from Philco in 1936.  Art deco and architectural styles influenced the cabinet design and the chassis featured everything Philco had to offer for the best in radio reception and high fidelity audio reproduction. The output is 20 watts of undistorted, class "A" push-pull audio, supplied by a pair of 6A3s driving a massive 11" electrodynamic speaker along with an 11" passive radiator and two  8" passive radiators, (Philco called them Acoustic Clarifiers.) A separate bias rectifier tube is used for the audio stages. Additionally, there is a separate bass amplifier circuit with adjustable bass control and variable-coupled IF transformers with an expansion switch for maximum bandwidth and audio highs. The shadowgraph tuning meter has its own tuned stage with rectifier and is separate from the AVC line. Also included is dual amplified AVC, dual speed tuning from 150kc to 22mc in four bands with Philco's superb dial accuracy and excellent sensitivity. Philco went all-out on the 680, producing a great performing receiver with absolutely magnificent sound that rivals any Scott. The 680 shown is the early version with the receiver chassis mounted vertically in the cabinet and a lid that covers the controls. Many collectors consider Philco a "cheap" brand and not worthy of their note. However, Philco was number one in sales all through the thirties because they made hundreds-of thousands of "cheap" radios that would sell during the tough economic times of the Depression. A "cheap" Philco is like any other brand of "cheap" radio - mediocre in performance and lacking in features. Unfortunately, the mass quantity of "cheap" Philcos that have survived have given collectors the wrong impression of Philco's capabilities. High-end Philcos will feature everything (and sometimes more) that any other high priced radio of the time had. Superb engineering, high fidelity, innovative designs are all found in the high end Philcos. Well,...that is until about 1940.

General Electric

Model G-106

When watching this radio in operation, one must have thought that the "future" was here,....in 1938! Even though the GE Model G-106 is a standard, 10 tube chassis with P-P 6V6s in the audio, driving a 12" speaker, it is its incredible automatic operation that truely makes it an impressive radio. Using 96 preset switches which can select 6 different station adjustable presets and a clock-timer, this receiver can turn itself on, motor-drive to any one of the 6 selected stations, play the program (time duration is setable in 15 minute increments up to a total of 24 hours), when that program is finished, motor-drive to the next selected station/program (any of the 6) and, when finished with the entire pre-programed cycle, turn itself off. Actually, number six selector determines the station selected by "sensing" which of the 13 push-button station selectors is engaged. One can use the push-buttons for manual (motor-driven) selection also. Certainly, the G-106 was designed to amaze the radio enthusiast's friends.

McMurdo Silver  -   Masterpiece VI

McMurdo Silver was a prolific author, flamboyant genius and possibly the first antique radio collector. He used to offer $30 off on his Masterpiece Receivers if the purchaser would trade-in a "genuine antique." His efforts benefited the Ford Museum, a "hobby" of his, as he stated in many letters. The Masterpiece VI dates from 1937 and featured 21 tubes, five bands, double-preselection, volume expander, selectable bandwidth, cathode-ray tuning indicator and terrific deco styling, (the chrome dust cover was removed for the photo.) This Masterpiece VI was originally owned by Rheingold Redelius, a prominent Reno, Nevada businessman. Unfortunately, the set had been stored in a basement that flooded in the infamous 1950 Reno Flood. Redelius managed to save the receiver but he discarded the severely damaged Clifton cabinet with 18" speaker and amplifier-power supply.

McMurdo Silver

"15-17"

McMurdo Silver had a long-running feud with E.H.Scott. The conflict began when Silver bought an AW-23, disassembled it and then published what he thought was wrong with Scott's receiver. Scott did the same thing to a Masterpiece and the feud began. At one point Scott sued McMurdo Silver for $100,000 in damages. Each used their respective newsletters to "bash" each other. Shown is the Model "15-17", custom-built for Daggett Radio in 1938, featuring 15 tubes, 4 bands, chrome chassis and P-P 6L6 output. The cabinet is the Oxford with 15" speaker. Performance and sound quality are excellent. Ironically, in 1938, E.H. Scott (Scott Radio Laboratories) bought the bankrupt McMurdo Silver Co. rather than allow it to be acquired by another company that would ruin Silver's reputation for quality.

Philco

Model 39-116

This was "top-of-the-line" for Philco's 1939 production year. Featuring a true, wireless remote control dubbed "Mystery Control", the 39-116 used 14 tubes - eight tubes were used in the radio receiver, five tubes in the remote receiver (part of the radio receiver chassis) and one tube in the remote transmitter (which was battery operated.) Remote station selection actuated a stepper unit switching between eight pre-set tuners. The Volume Control was motor driven and could be operated from the remote and also allowed the radio to be turned on or off remotely. A large loop antenna was mounted in the base of the cabinet for the remote receiver, allowing it to pick up the RF Pulses from the Mystery Control which could be set to any frequency in the range of 250kc to 395kc. The 39-116 had modern styling, great sound and featured enough techno-gadgets to impress your neighbors. The 39-116 was about the last of Philco's innovative creations. By 1940, Philco was offering air conditioners, refrigerators and other appliances besides their radio line. It soon became apparent to purchasers that Philco radios had become just another appliance.

Scott Radio Laboratories

AM-FM Philharmonic

This was the ultimate home radio available in 1940. With the 33 tube AM-FM Philharmonic chrome-plated chassis, 60 watts of audio power from Push-Pull-Parallel 6L6s, a Scott Record-o-matic (record cutter) with PA microphone pre-amplifier (another tube and small chrome chassis), three speakers, "beam of light" tuning  plus the capability of receiving the new Armstrong FM broadcasts, this Scott receiver did provide absolutely incredible performance at a thunderous volume. The cabinet is The Georgian and this particular Scott receiver was originally owned by Ada Leneke of the Reno Business College and Leneke Electric, Reno, Nevada.