Symphony Gramophone and Radio Co., Ltd.
Factories: Gilwern & Wolverhampton (1928 - 1930)
23/24 Warwick Street, London W1. (1928 - 1930)

Rising from AJS's radio production closure in 1928, Symphony Gramophone dazzled with battery-powered radiograms & innovative circuit boards. Yet, their success was short-lived. The seemingly advanced circuit boards, mounted on flimsy bakelite, warped under component weight, compromising connections and dooming the company by 1930.

The Rise and Fall of Symphony Gramophone and Radio: A Story of Innovation and Misstep

In the wake of AJS (Stevens AJ & Co. (1914) Ltd.) ceasing radio production in 1928, a new player emerged on the scene. The Symphony Gramophone and Radio Company Limited, incorporated on October 5th, 1928, took over the reins of the Stewart Street factory in Wolverhampton. Backed by a successful share offering of £200,000, Symphony embarked on an ambitious venture. [1]

They acquired not only the factory itself but also its contents, including machinery and radio components. This move ensured continuity and provided employment for roughly 100 individuals, likely former AJS employees.

Symphony's product line was a compelling blend of innovation and practicality. Battery-powered radiograms with wind-up turntables, portable receivers, and high-fidelity loudspeakers in elegant cabinets offered something for every customer. The company even boasted its own in-house cabinet and loudspeaker production.

One of Symphony's hallmarks was its embrace of advanced techniques. They utilized Plessey circuit boards, a precursor to modern printed circuit boards, for streamlined component connection. Additionally, their use of a special photographic process to achieve a realistic walnut finish on cabinets stands as a testament to their ingenuity. This technique, possibly inherited from AJS, added a touch of luxury without the expense of real wood veneer.

Leadership for the company came from Mel Price, while radiogram and radio design fell under the purview of a gentleman residing in Cannock. The standard circuit boards, sourced from Plessey, ensured a degree of uniformity in their electronic offerings.

The production floor bustled with activity. Young women meticulously assembled reed-type and moving coil loudspeaker units in a building nicknamed "the boat house" due to its unique ramp entrance. These loudspeakers not only found their way into Symphony's radiograms and radios but were also sold as standalone units. Meanwhile, on the ground floor, a dedicated team of three crafted the popular Symphony portable receivers.

Symphony proudly showcased its wares at the 1929 Radio Show at Olympia. The "Oval" loudspeaker, mounted in a novel, woven cane-grilled cabinet, and the battery-powered and "De Luxe" radiogram models attracted considerable attention.

However, despite its promising start, Symphony's fate took a turn for the worse. The seemingly successful battery-powered radiogram was plagued by a critical design flaw. The thin bakelite sheet used to mount components proved inadequate, warping under the weight and causing connections to fail. This resulted in a significant number of returns, ultimately crippling the company financially.

One of Symphony's hallmarks was its embrace of advanced techniques. They utilized Plessey circuit boards, a precursor to modern printed circuit boards, for streamlined component connection. However, it was these very circuit boards that played a pivotal role in the company's downfall.

The Flawed Foundation: Plessey Circuit Boards and Bakelite Blues

While the Plessey circuit boards offered a more advanced approach compared to traditional point-to-point wiring, their implementation in Symphony's radios proved disastrous. Here's why:

Thin Bakelite Base: The circuit boards were constructed using a thin sheet of bakelite, a type of early plastic. Unfortunately, this material lacked the necessary rigidity to handle the weight of the electronic components mounted on it.

• Warped Connections: Over time, the weight of the components caused the bakelite sheet to warp and bend. This warping put stress on the connections between the components and the circuit board itself.
• Broken and Stretched Rivets: The connections on the Plessey boards relied on brass pressings riveted onto the bakelite sheet. The warping of the bakelite placed undue stress on these rivets, causing them to break or stretch.
• Connection Failure: Broken or stretched rivets compromised the electrical connections between components. This resulted in malfunctions, distorted sound, or complete failure of the radio.

The irony lies in the fact that Symphony adopted a seemingly advanced technology. However, the lack of a robust base material to support the circuit board rendered this innovation a liability.

Symphony Gramophone and Radio Company Limited entered liquidation on March 17th, 1930. [2] The company's struggles were no secret; a petition filed by Plessey, their main creditor, alongside several others, exposed their financial difficulties. The court ultimately ordered the company's winding up.

Symphony's story serves as a fascinating glimpse into the early days of radio technology. While their innovative spirit and commitment to quality are commendable, a crucial design oversight ultimately led to their demise. Their brief foray into the radio market nonetheless offers valuable insights into the technical advancements and challenges that defined this era.

[1] Electrical Review Oct 12, 1928, Page 615.
[2] London Gazette Jan 7, 1930, Page 155.