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The Grebe Synchrophase 55 - The Final Phase
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Finally, the MU-1 appeared as the Model 55, using late MU-1 chassis in new cabinets, with modified tuning systems.
Shown here is the rare Model 55 Synchrophase - note the instruction sheet is made specially for this radio.
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The GREBE SYNCHROPHASE Story
The SYNCHROPHASE Type MU-1 was the most successful radio made by A. H. Grebe & Co., Inc. of Richmond Hill, Long Island, NY, USA and is synonymous with the name GREBE. At its peak of production the SYNCHROPHASE was being manufactured at the rate of 75,000 per year.
Alfred H. Grebe (pronounced Gree-bee) was born in Richmond Hill, New York City on the 4th of April, 1895. As a boy he was fascinated by what was then called “wireless.” By 1909 he was receiving and transmitting from the family tool shed. With the help of school friends, whom he instructed in the wonders of wireless, this operation developed into a business supplying loose couplers and crystal detectors to neighbourhood “radio hams.” By 1916, after spending some time as a ship's wireless operator and other land-based employment, he returned to his home in Richmond Hill and advertised his first commercial radio apparatus. This was a regenerative receiver designated the AGP-101, and was marketed through the Manhattan Electrical Supply Company. (The initials, AGP, stood for Edwin H. Armstrong the inventor of the regenerative circuit, Grebe the manufacturer and Louis G. Pacent the Retail Manager of the Manhattan Electrical Supply Company.) America's involvement in the First World War resulted in the US government requiring all ham stations to cease both receiving and transmitting. This led to Grebe going to work for Emil J. Simon’s Metropolitan Electric Company in Long Island City, installing radios on French anti-sub boats. By 1917 Grebe, under contract to Simon, was building receivers for the U.S Navy.
Grebe had planned a line of ham receivers as early as March 1919. William F. Diehl joined him as Chief Engineer. Douglas Rigney, whom Grebe had met while working at the Metropolitan Electric Company, became second in command when the new A.H. Grebe Company was incorporated on December 17, 1919. During early 1920 distributors were lined up, advertising material prepared and a large two-story wooden building completed to house the expanding business. Grebe was well placed to take full advantage of the broadcasting boom that started late in 1921. His sets were well designed for receiving broadcast transmissions. GREBE equipment rapidly acquired an excellent reputation. This led to the factory being hard pressed to keep up with demand.
By 1922 demand for GREBE radios had surged to the point that a new, modern three-story factory had to be built. Construction was started in May, 1922; the building was ready for occupancy in September, 1922. Three years later it was doubled in size to about 120,000 square-feet.
Litigation was rife throughout the early radio industry. GREBE fought and won its share of battles, particularly in suits brought against it by the Radio Corporation of America and Westinghouse.
Up to 1923 all GREBE models had used straightforward regenerative circuits, but June 1923 saw the appearance of the CR-12 which employed regenerative radio frequency amplification followed by a detector stage, both inductively tuned. This set was amazingly sensitive and selective, and would work with an indoor antenna as short as 20 feet. It was priced at $175 when first offered to radio fans.
Dr. Mu, a GREBE RADIO trademark, made his first appearance in an advertisement in the magazine RADIO NEWS, in September 1921. The Dr. Mu trademark was apparently inspired by teenager Grebe's voyage to India in 1913. Dr. Mu was used to great effect in all GREBE's subsequent advertising for the SYNCHROPHASE. The artist was Hugo A. Weiss as signed on some of the earlier advertisements. It has to be said that there was a fascination with all things Oriental at this time. Fu Man Chu was featured in many movie films. Stories of opium dens and white slavers were popular themes in the 1920s and 30s.
In the year prior to September 1924 a new broadcast receiver named the SYNCHROPHASE had been designed as an integrated project by the GREBE COMPANY. Mr Ralph Batcher, who was a research engineer with the company at that time, invented the SLF (Straight Line Frequency) condensers, and Mr Percival Lowell invented the Binocular Coils. According to an article in QST in April 1925 by Mr Batcher, Mr Lowell was an invaluable help in overcoming many design problems with the set. Mr Batcher was unfairly denied the patent for his SLF condensers, although he strenuously fought for this recognition. Innovation was being claimed by all the radio manufacturers of the time. Small enterprises put sets together from stock parts and “home brew” was still prevalent. Except for ornate cabinetry, GREBE made 100% of its sets (including the simple cabinets), in its own factory.
The SYNCHROPHASE was first advertised for sale in September 1924 at $155.00 - first production sets having been delivered to dealers in late August. The set was offered as the MU-1 for storage battery power using five type UV201A vacuum tubes and as the MU-2 for dry battery operation, initially using 6 type UV199 tubes. A matched battery box (BC-1) that fitted underneath the set was offered for $15.00.
GREBE showed that real advances had been made to performance and design. The outward appearance of the SYNCHROPHASE was stunning compared to the relatively ordinary boxes with knobs that made up the majority of sets on offer. GREBE's advertisements consistently pushed the three major circuit advances: Lowell’s ‘fieldless’ Binocular Coils, Batcher’s SLF condensers and a new volume control, as well as quality and beauty of construction. By the end of 1925 other improvements to the SYNCHROPHASE were being promoted as “the three outstanding radio advances of 1925.” The “Flexible Unit Control” where a bead chain linked the three variable condensers so that they could be tuned together at will had been first advertised in September. A GREBE vernier control wheel on each variable condenser provided for fine tuning. October advertising had heralded the “Low Wave Extension Circuit” which enabled the radio to extend its frequency coverage by tandem switching the radio frequency coils - allowing coverage down to 150 meters. This separated stations on the dials and brought in new and experimental transmissions. October/November advertisements had introduced the “COLORTONE” control as “one of the greatest of radio developments.” This was a form of tone control that could be used to incrementally reduce the treble sounds from any loudspeaker to satisfy the user’s preference, and resulted in a “rich bass sound” from the speaker. All three advances were incorporated on new MU-1 sets made after end of August 1925.
Throughout 1926 the SYNCHROPHASE sold extremely well. Although expensive at $155, the set found favor with “radio fans” as well as members of the general American society. Much more expensive set-ups were available during the year with the basic set mounted in richly ornate console cabinets. One advertising booklet of 1926 has five consoles featured ranging from the PURITAN at $195, through the ANDALUSIA at $340 to the magnificent RENAISSANCE at $1400. This was in contrast to an average working wage in the order of $25 - $50 per week, and the cost of a basic 1925 Model T Ford at $290.
More changes were made throughout 1926. New “power” tubes were appearing on the market, and GREBE recommended use of the type 112A in the final stage instead of the previous type 201A. The MU-2 developed to use four 199 tubes plus the new UX120 for audio output. By early 1927 the new type 171A audio output tube was being recommended for the MU-1, as it could provide about 700 milliwatts – “volume enough for the largest room.” This needed up to 180 volts of plate supply and it was suggested that one of the new “lighting circuit” AC or DC power units be used. Audio transformers were changed to improve frequency response and other less obvious changes were made to the internals. The MU-2 ceased to be advertised towards the end of 1926.
New tubes with AC run filaments or cathode heaters, and four or five elements were being used in new circuits. The public wanted “all electric” sets that worked directly from the home line supply without extra power units. Consequently, GREBE introduced his own battery eliminator at $50 in June 1927, and advertised the SYNCHROPHASE 7 (battery powered) at $135. This could be run from the new “Grebe Socket Power” B & C power supply or could be later converted to mains use for $55. The MU-1 (now known as the SYNCHROPHASE 5) was reduced to $95 in July 1927. There was a price increase in May 1928 when the SYNCHROPHASE 5 was advertised at $105. November 1928 saw the last advertisement for this model.
The distinctive appearance of the SYNCHROPHASE with its wonderful ‘Etruscan’ gold plated escutcheons and beautiful ‘mahoganite’ front panel remained essentially unchanged until its reign came to an end during the second half of 1927. The MU-1 SYNCHROPHASE of late 1926 is regarded by many experts as the best unshielded TRF (Tuned Radio Frequency) design ever made.
GREBE finally used the SYNCHROPHASE chassis with the two main side tuning controls reduced in size and blocked off with thin triangular wooden panels so the appearance was that of a single dial receiver in an updated cabinet with fluted corners. This model was named the SYNCHROPHASE 55. The controls were of a rich brown colour – mahogany figured like the front panel, and probably from the SYNCHROPHASE 7. Only a very few model 55s were produced and the asking price is not known at this time. A “battery-less” AC-6 ($227) was advertised in March 1928 and the AC-7 ($195) in July. The SUPER-SYNCHROPHASE SK-4 ($219) was introduced in June 1929 as “newer than screen grid” and was in the last SYNCHROPHASE group. None of the later models came anywhere close to the MU-1 for success, though their quality cannot be denied. The final advertisement for the MU-1 was in a Baltimore Radio Flyer of late 1931 – just the chassis was offered for $9.95; set of five tubes $1.68 extra.
The SYNCHROPHASE was followed by a few years of GREBE radios, but the depression overtook GREBE's high quality expensive sets. The GREBE broadcast station WAHG, operated by its Atlantic Broadcasting Company, was renamed in 1926 as WABC. WABC was later sold to William Paley who used it as his key station of what was to become the Columbia Broadcasting System. Eventually the call letters were changed from WABC to WCBS. (The current WABC has no relationship to WCBS.) Sales vanished in the early 1930s and the GREBE Company was made bankrupt. On November 21, 1932 the factory building, all machinery and equipment were sold at auction.
On September 20, 1932 Grebe formed the GREBE RADIO & TELEVISION CORPORATION with plans to secure financial backing to set up manufacturing. However, he fell ill and was incapacitated for about three years. His illness led to major surgery. Sadly, Alfred H. Grebe died on October 24, 1935 of complications following the surgery. He was just 40 years old.
This information has been collated from Grebe's many advertisements, fliers and leaflets, Grebe Service Sheets (that were issued to dealers and jobbers), and contemporary write-ups. Special thanks go to Al Grebe jnr. who checked the facts and provided invaluable information.
All Pictures and Text Copyright D P Whistler
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