Printed Parvus Part

The one missing part was the flange of the winding opening in the front of the case. This flange or escutcheon not only protects the hole but also lends support to the handle during winding. The original part perhaps buckled and broke from the repeated circling load stress. Probably was made of stamped thin sheet metal.

The outline of the original part could still be seen on the outer case, a slight imprint and a different color of the leathercloth where it was protected by the flange (at least for the first part of its life). Using this outline and taking some guesses on likely dimensions, a new part was modeled in 3D that would be suitable for printing. For this I used the free to use Sketchup Maker version. It takes some getting used to, as far as I can tell it is a quite powerful 3D engine with relatively limited and simple editing tools on top.

The maker version of Sketchup has only a few file format options, but the model can be exported as a Collada 3D file (.dae file). As advised by Shapeways, this Collada file can then be loaded in the (free) Meshlab tool. This tool is all about the mesh and it offers many functions for inspecting or fixing the mesh. Having taken some care to have a closed model in Sketchup, steered well clear of all that and just exported the part as an STL file suitable for the 3D print shop.

Not being all that sure of the dimensions and proper fit, ordering it right away in metal seemed a step too far. Settled for the regular black plastic version, much cheaper and easier to drill and file to size. Arrived in due time and looked very clean and of course 'sandy'. As they explain very clearly, the Nylon part is made on an SLS machine so consists of lots of small plastic spheres that are laser-fuzed together. This also means that sanding a surface will not yield a smooth finish - just more 'sand'.

When painting the part, the first layer (or two) get sucked into the part. This probably has as side-effect that the part gets quite a bit stronger, as the fuzed spheres are now held more rigidly under load. It actually took 3 layers of paint (and some sanding in between) to get a decent looking part.

Unfortunately I got the pitch diameter of the screws slightly too small, so carefully drilling the holes larger was needed to get a good fit. During fitting to the case, one of the holes in the case needed to be re-drilled. Otherwise it fits very snuggly in the slanted winding hole.

The central winding hole diameter could have been a bit smaller, to be a closer fit with the winding handle. Then it would flex a bit less when winding the spring, but it gives decent support as it is now.

All in all a reasonable replacement part. Now that I've made and fitted this one, I know how to modify the holes (make them slots) for a better fit. Also the flange could be designed a bit different to match the clasp a bit better. But for now I'll stick with this one. (Until it breaks, of course. Then we just print and paint another one... ;)

We'll see how it holds up, but 3D printing seems a viable route for replacement parts :-)

Recovering Parvus

Amazing the difference new turntable cloth covering makes.

Compared to the state it was in the case also looks a lot better now after some basic cleaning and a bit of polish. The metal fittings are cleaned (de-rusted) and painted and a new (old) handle picked up from the local shoe and leather repair shop is fitted. Some of the leathercloth (leatherette, rexine) had lifted from moisture in much the same way that typewriter cases suffer this. That is now mostly glued down and flat again, well it is flatter at least. Like the portable's cases, used diluted PVA glue with a drop of dishwashing liquid to make it flow easily, then press down by a plastic bag with sand or fine grit on top of it to let it dry overnight.

It's still missing a flange for the front winding opening, but that should arrive later this week from the printers.

The logo on the inside record-tray got slightly damaged where it is pushed up by the turntable spindle as you close the lid. The top swirl of the Carl Lindström £ took some damage, otherwise still very presentable and colorful.

Even though it proudly proclaims that it is warranted best German manufacture, the Parvus decal got put on a bit askew. Small detail, but still...

Overall it is recovering nicely :-)

Lucky Find, What A Night

In amongst a small stack of 12 records bought online. Hadn't asked for any titles or extra information from the seller, just judging from the designs of the sleeves visible in the image I'd decided to chance it and made an offer.

There were more '50-ies records in there than I had expected (good ones, though), but also this lucky gem.

A Brunswick record of Teddy Wilson and his Orchestra, catalogue number A 86043. With vocal chorus. Listening to the record; very good stuff. Vocal sounds recognizably familiar, but no name given on the label.

The A-side has "What A Night, What A Moon, What A Girl" and the B-side has "It's Too Hot For Words". With a slightly tattered but original sleeve.

Again the vast store of trivia that is the internet gave extra information. Turns out this is a recording from July 31st, 1935 of Billie Holiday accompanied by Teddy Wilson and his Orchestra. Seems also that this is a fairly sought after recording, judging from some listings on this same internet.

On this particular record there are an amazing amount of numbers, more than the usual matrix or recording number embossed in along the inner rim. One of these turns out to be the original US Brunswick catalogue number 7511. Given the extra notice in French, this label with number A 86043 was probably for the Canadian or another export (France) market. That looks like a small CA on the bottom edge of the label, so Canadian perhaps.

There of course is already a recording of this recording of What A Night, What A Moon, What A Boy on Youtube. (Some how the title is gender-flexible...) Also "It's Too Hot For Words" of course.

And somehow this record ended up in a small, mixed stack of records in a parcel via the mail, onto a turntable and ready to be played.

Good stuff :-)

Project Parvus

New purchase. A bit of a project, as can be seen.

And the inside of the case...

It is a Parlophone Parvus portable gramophone. Or the remains of one; well, it looks bad, but it's pretty much complete and the spring and diaphragm appear to be fine. Not a lot of information about this particular type online, but I'd guess it is from the early 30-ies. Underneath the turntable the outline of the original label with the quality sign-offs and dates can still be seen, the label is however long gone.

Needs work, i.e. project :)

Already underway, taken apart completely and started cleaning.

The National Collection

Horological excursion - Shirley

Ladies wristwatch. She spotted this one on the local online auction site and after putting in a modest offer this was accepted by the seller. It arrived well packed, working and needing but very little cleaning of the case. It came with a stretch or expansion strap that really was a bit too wide for this watch, to be replaced by a cord strap. It's really amazingly small, the lug-to-lug distance is about 21mm, the clock-face itself is 9mm wide.

The crystal is acrylic, where I nearly messed up the cleaning. To thoroughly clean and disinfect the case I used alcohol and got some also on the glass (never stopped to consider acrylic). Immediately it misted over white where the alcohol flowed onto the crystal. Luckily it was not too hard to polish it clear again (toothpaste and cloth), making only the inner hard-to-reach corners still showing some misting.

The make is easily spotted, being marked clearly and plain to see on the face and on the crown too.

It can also be dated. Just from the looks it could be anywhere from the late thirties to the early sixties, but it can be dated more exact using the code on the back of the case. Just marking a watch with the actual year of manufacture would be too obvious a method of course, so a secret code was used.

From 1950 or so onwards, Bulova used a letter to indicate the decade (L for the fifties, M the sixties and so on) and the digit the year. With a mark of L1, this watch can be dated as made in 1951. (There is a whole community online dedicated to only Bulova watches. I was amazed, I was also able to learn a lot there!)

The year of manufacture is confirmed by the same L1 code on the movement.

Finding out what model it is, was a bit harder. Bulova made an amazing array of different models over time, just scroll through a page with some of the range for the forties. The date of manufacture narrows it down a bit however and scanning some of the ads of the period it was possible to positively identify this small watch as Shirley.

Possibly introduced in 1946 in time for the gifting season, as in this 2-page advertisement. The model is also advertised later and available in white, yellow gold and rose gold. Also I think sometimes as 'Shirley A' with stainless steel back.

This particular model was still made in 1951 and was sold and used. At some time the original expansion bracelet wore out and it was fitted with the closest match available at that time. Then probably not used for a long time, until it was put up for sale online here. Now fitted with a new (old stock) strap and to be worn again.

Amazingly long-lasting analog technology :-)

The giant typewriter again

They did get a lot of mileage out of the giant typewriter, or perhaps secretly they did build several over time. This time it is shown in a 1937 clipping from Popular Mechanics. By then the huge typewriter surely was not news anymore and not yet World's Fair news?

Now the champion typist is not racing hop-scotch over the keys, but leisurely dictating to the girl stepping around the keyboard. Though the picture shows the typist in profile; the clipping being from 1937 a champion of around that era would be likely. My first guess is that this could then be Norman Saksvig who won in Chicago then.

As proudly announced by Messr Smith-Corona's local distributor in a small add in a September 11, 1936 newspaper

That would be odd then. The giant typewriter was an Underwood marketing asset. Saksvig won on an LC Smith & Corona (and did publicity for them, at least did so around '47).

Maybe LC Smith & Corona also wanted a giant machine of their own.

Ah well, maybe it is not Saksvig. More likely then that it is George Hossfeld who was linked to Underwood and featured in their marketing materials.

Just a distraction...