Philco Model 16B Art-Deco Tombstone Radio (first version) (1934)
The seller of this radio confessed to me that he had plugged it in and left the room for a few moments, only to return and find it smoking. A
melted-down 80 rectifier, shown left, was the result. The moral of this story? Never plug in old radios until they have been carefully checked
over and serviced and never leave them unattended! The outcome here could have been so much worse, both for the radio and the seller!
I have since fully re-capped the set, including re-stuffing the original electrolytic cans, the filter condensor bank, the bakelite block
capacitors and the tone control assembly. Additionally, a number of out-of-spec resistors were replaced. The tuning mechanism required
replacement of the rubber o-rings, which I found at a local hardware store.
melted-down 80 rectifier, shown left, was the result. The moral of this story? Never plug in old radios until they have been carefully checked
over and serviced and never leave them unattended! The outcome here could have been so much worse, both for the radio and the seller!
I have since fully re-capped the set, including re-stuffing the original electrolytic cans, the filter condensor bank, the bakelite block
capacitors and the tone control assembly. Additionally, a number of out-of-spec resistors were replaced. The tuning mechanism required
replacement of the rubber o-rings, which I found at a local hardware store.
Later versions of the model 16 series added a type 78 RF stage and reduced the number of bands from 5 to 4, possibly out of the need to keep the switching
in the RF front end manageable. The overall frequency coverage of the 4-band sets however, was approximately the same as for the 5. These later models
still used a total of 11-tubes and the inter-station noise suppressor tube was eliminated to make way for the RF stage.
An interesting feature of the early 5-band sets is the inter-station noise suppression. By flicking a switch on the rear right side of the cabinet a circuit is
activated that mutes the audio if the signal strength is below a level set using a potentiometer on the rear of the chassis. When adjusted appropriately, one
can tune between stations without having to listen to static and mush. The circuit works very well, though on two model 16s I've restored the rear wirewound
potentiometer was open circuit . Most modern communication receivers employ this feature (nowadays referred to as squelch).
The small second window immediately above the dial is for the shadow meter, which serves as a visual tuning aid to help the listener tune in a station
precisely. It's a small electro-mechanical device comprising a vane that rotates in a magnetic field. Illuminated from behind by a filament lamp, the vane casts
a shadow of minimum width when a station is correctly tuned. Philco first used shadow meters for their sets in 1932. Other manufacturers had their own
versions of shadow meters or even used milliammeters on some high-end sets. Zenith, for example in 1937 used a bullseye or target tuning aid (such as
for the 10-S-153), though they would later abandon electro-mechanical aids in favor of magic eye tubes, introduced by RCA in 1935. Philco however, refused
to pay royalties to RCA for eye tubes and never used them in their radios (though you can find eye tubes with the Philco name on them!).
in the RF front end manageable. The overall frequency coverage of the 4-band sets however, was approximately the same as for the 5. These later models
still used a total of 11-tubes and the inter-station noise suppressor tube was eliminated to make way for the RF stage.
An interesting feature of the early 5-band sets is the inter-station noise suppression. By flicking a switch on the rear right side of the cabinet a circuit is
activated that mutes the audio if the signal strength is below a level set using a potentiometer on the rear of the chassis. When adjusted appropriately, one
can tune between stations without having to listen to static and mush. The circuit works very well, though on two model 16s I've restored the rear wirewound
potentiometer was open circuit . Most modern communication receivers employ this feature (nowadays referred to as squelch).
The small second window immediately above the dial is for the shadow meter, which serves as a visual tuning aid to help the listener tune in a station
precisely. It's a small electro-mechanical device comprising a vane that rotates in a magnetic field. Illuminated from behind by a filament lamp, the vane casts
a shadow of minimum width when a station is correctly tuned. Philco first used shadow meters for their sets in 1932. Other manufacturers had their own
versions of shadow meters or even used milliammeters on some high-end sets. Zenith, for example in 1937 used a bullseye or target tuning aid (such as
for the 10-S-153), though they would later abandon electro-mechanical aids in favor of magic eye tubes, introduced by RCA in 1935. Philco however, refused
to pay royalties to RCA for eye tubes and never used them in their radios (though you can find eye tubes with the Philco name on them!).
This Philco model 16 Baby Grand (16B) is the first of three
styles of model 16 tombstone radio, all of which are today
highly sought after and are legendary for their style and
performance. This Art Deco masterpiece was introduced in
June of 1934 as part of the company's comprehensive 1935
line-up, which encompassed some 49 "scintillating" models. It
was one of Philco's first tombstone style radios and continued
their impressive line of model 16s inaugurated a year earlier,
in June of 1933. The introductory sales price was $89.50.
The immediate successor to this tombstone radio uses a very
similar cabinet, distinguishable by a center groove in the cap
at the very top of the cabinet and by its use of a different
tuning knob. The final model in the line adopted a re-designed
cabinet with shoulders, a style that came into vogue for Philco
during the 1935 timeframe.
This is a big table radio with a large 10" speaker and 10W of
audio, making it practically a floor model radio in a table-top
cabinet!
I spied the seller carrying this into an indoor flea market early
one Sunday in the fall of 2001 and bought it on the spot.
Moments later, the usual crowd of radio buyers had gathered
around to take a look - had I hesitated on the purchase, for
even a moment, one of them would certainly have bought it! It
was my first model 16 and the start of a long love affair, for
these are definitely amongst my favorites of all vintage radios.
styles of model 16 tombstone radio, all of which are today
highly sought after and are legendary for their style and
performance. This Art Deco masterpiece was introduced in
June of 1934 as part of the company's comprehensive 1935
line-up, which encompassed some 49 "scintillating" models. It
was one of Philco's first tombstone style radios and continued
their impressive line of model 16s inaugurated a year earlier,
in June of 1933. The introductory sales price was $89.50.
The immediate successor to this tombstone radio uses a very
similar cabinet, distinguishable by a center groove in the cap
at the very top of the cabinet and by its use of a different
tuning knob. The final model in the line adopted a re-designed
cabinet with shoulders, a style that came into vogue for Philco
during the 1935 timeframe.
This is a big table radio with a large 10" speaker and 10W of
audio, making it practically a floor model radio in a table-top
cabinet!
I spied the seller carrying this into an indoor flea market early
one Sunday in the fall of 2001 and bought it on the spot.
Moments later, the usual crowd of radio buyers had gathered
around to take a look - had I hesitated on the purchase, for
even a moment, one of them would certainly have bought it! It
was my first model 16 and the start of a long love affair, for
these are definitely amongst my favorites of all vintage radios.
You'll find a new thrill when you listen to programs from London, Paris, Berlin..
scroll down for more...
| "Quiet elegance and attractive simplicity characterize the design of this powerful new Baby Grand. Dark, piano-toned woods, decorated with Butt Walnut and old ivory trim, make it a welcome addition to any room. Hand-rubbed satin finish. Employing the same chassis as the 16X, this distinguished Philco creation gives you marvelous radio performance. Here, in compact form, is a radio that enables its owner to enjoy the finest programs the world has to offer." |
Technical Details
This set has 5 bands covering 1) 520-1500kc, 2) 1.5-4.0mc, 3) 3.2-6.0
mc, 4) 5.8-12.0mc and 5) 11.0-23mc. Its 11 tube line-up is:- 2*42 (triode
connected push-pull output), 42 (driver), 77 (af amp), 78 (noise supp-
ression), 37 (second detector), 78 * 2 (1st & 2nd IF), 36 (oscillator), 77
(converter) and 80 (rectifier). Surprisingly, there is no RF amplification
stage. It uses a large 10" electro-dynamic speaker and "super class A"
output stage producing 10W. It has great room-filling sound.
This set has 5 bands covering 1) 520-1500kc, 2) 1.5-4.0mc, 3) 3.2-6.0
mc, 4) 5.8-12.0mc and 5) 11.0-23mc. Its 11 tube line-up is:- 2*42 (triode
connected push-pull output), 42 (driver), 77 (af amp), 78 (noise supp-
ression), 37 (second detector), 78 * 2 (1st & 2nd IF), 36 (oscillator), 77
(converter) and 80 (rectifier). Surprisingly, there is no RF amplification
stage. It uses a large 10" electro-dynamic speaker and "super class A"
output stage producing 10W. It has great room-filling sound.
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