Editing Edison Records (section)

== Mass-produced cylinders ==
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| filename=Audio for Ada Jones- Whistle and I'll Wait for You - 1909.ogg
| title=Whistle and I'll Wait for You
| description=Performed by [[Ada Jones]] for Edison Records in 1909.}}
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A significant technological development at the Edison Laboratories was devising a method to mass-produce pre-recorded phonograph cylinders in molds. This was done by using very slightly tapered cylinders and molding in a material that contracted as it set. To Edison's disappointment, the commercial potential of this process was not realized for some years. Most of the regional Edison distributors were able to fill the small early market for recordings by mechanical duplication of a few dozen cylinders at a time. Molded cylinders did not become a significant force in the marketplace until the end of the 1890s, which was when molding was slow and was used only to create pantograph masters.

Before using metal cylinders though Edison used paraffin paper. Mass-producing cylinders at the Edison [[recording studio]] in [[New Jersey]] largely ended the local Edison retailers early practice of producing recordings in small numbers for regional markets, and helped concentrate the USA recording industry in the New York City – New Jersey area, already the headquarters of the nation's [[Tin Pan Alley]] printed music industry.

In 1902, Edison's [[National Phonograph Company]] introduced '''Edison Gold Moulded Records''', cylinder records of improved hard black wax, capable of being played hundreds of times before wearing out. These new records were under the working title of "Edison Hi-Speed Extra Loud Moulded Records", running at the speed of 160 RPM instead of the usual (ca. 1898–1902) speed of 144 RPM or (ca. 1889–1897) 120 RPM. Until ca. 1898, Edison's speed was 125 RPM.

In 1908, Edison introduced a new line of cylinders (called '''Amberol''') playing 4 rather than 2 minutes of music on the same sized record, achieved by shrinking the grooves and spacing them twice as close together. New machines were sold to play these records, as were attachments for modifying existing Edison phonographs.

In November 1912, the new '''[[Blue Amberol Records]]''', made out of a type of smooth, hard plastic similar to [[celluloid]] invented by Edison labs, were introduced for public sale. The first release was number 1501, a performance of the [[Gioacchino Rossini|Rossini]]'s overture to his opera ''[[Semiramide]]'', performed by the American Standard Orchestra. The plastic  Blue Amberol records were much more durable than wax cylinders. The Edison lab claimed a 3000+ playback quota for the Blue Amberol. In that same year, the [[Edison Disc Record]] came out.

In 1910, artists' names began to be added to the records; previously, Edison's policy was to promote his cylinders (and up until 1915, discs) based on the recognition of composers and the works recorded thereon in lieu of the performers themselves.

[[Thomas A. Edison, Inc.]], successor to the National Phonograph Company, continued selling cylinders until they went out of the record business in November 1929. However, from January 1915 onwards these were simply dubs of their commercial disc records intended for customers who still used cylinder phonographs purchased years before. The book, "Edison Cylinder Records, 1889-1912," by Allen Koenigsberg, APM Press, lists and dates all American Edison wax cylinders (2-4 min.); {{ISBN|0-937-612-07-3}}.

[[File:EdisonRecordSleeveLivingArtist.jpg|thumb|250px|Edison Records logo from 1910s sleeve]]