The Fine Things are Always Hand Made
1939 14 Tube Masterpiece
Replies to This Discussion
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Permalink Reply by Norman S Braithwaite on
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Collectors will generally pay about the same for an unmolested original Scott in a good original cabinet as they will for the same with a proper electronic restoration. Most of us like to do the restoration ourselves but some prefer electronically restored. Those of us who restore our own sets do it for education and pleasure and don't depreciate the value because a chassis is unrestored. Some of us will pay a premium for a totally original unrestored example. However, if the chassis has been formerly repaired or restored in a poor manner, collectors may have less interest than someone interested in restoring for resale.
Norman
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Permalink Reply by Dave on
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Norman S Braithwaite said:Collectors will generally pay about the same for an unmolested original Scott in a good original cabinet as they will for the same with a proper electronic restoration. Most of us like to do the restoration ourselves but some prefer electronically restored. Those of us who restore our own sets do it for education and pleasure and don't depreciate the value because a chassis is unrestored. Some of us will pay a premium for a totally original unrestored example. However, if the chassis has been formerly repaired or restored in a poor manner, collectors may have less interest than someone interested in restoring for resale.
Norman
Thank you Norm. I suspected such, it's always more satisfying to have a "hand" in ones personal collection.
Troubling to me are the values not always commensurate with rarity. With the 39 Masterpiece for an example, it's hard to find enough previous sales to arrive at a benchmark price. Looking around one would deduce there are very very few as compared to the Philharmonic series. Does tube count really trump relative rarity of most radios ? It would seem so. Anyone care to divulge the value of an "average" original condition Masterpiece ? Might I add by "average" I mean the radio is complete, unmolested, but in need of a cosmetic cleaning, electrical updating, and perhaps some cloth. Thanks forum.
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Rarity only affects value within a category of prestige. The Scott Philharmonic was a relatively prestigious receiver whereas the Masterpiece was an entry level receiver. Regardless of rarity with the possible exception of "prototype" or similar (there is one known Masterpiece receiver with the pre-war FM band), the Masterpiece will never equal the value of the Philharmonic. The rarity and prestige of the cabinet is also a factor. The value of a Scott Masterpiece or Scott Super XII is difficult to establish because of the sparse sales history and lack of prestige.
Norman
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Permalink Reply by David C. Poland on
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Yep, The 12 tube Super XII (aka Super Twelve) is an entry level Scott. The Scott Masterpiece is essentially a Super XII with somewhat improved audio with the addition of push-pull 6J5 audio drivers. Both use the black dial with white lettering and have a round dial bezel with glass. Some have the optional 5th "red band" for early TV audio reception.
The Masterpiece is usually distinguished by the 2 additional front controls, but I have a late production "improved" 12 tube Super II with those 2 additional controls. The Scott Masterpiece is best identified by both the round black dial AND the THREE tube power supply/amp.
Having said all this, a 12 tube Zenith is considered an upscale and very desirable Zenith, especially the mid/late 1930's models. In comparison, the "entry level" 12 and 14 tube Scotts have a superior front end and IF engineering and features, and better audio owed in part to the cabinet designs. Keep in mind, the mid-level Phantom series and the entry level Sixteen, Super XII & Masterpiece series use many of same basic components as the contemporary Philharmonics, but without all the features of the Philharmonic.
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Permalink Reply by Y2K Bruce on
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I once had 2 14 tube Masterpieces and and sold one in a Braemer cabinet for $1000 as I recall.
I still have a nice playing one in a Warrington cabinet also very nice. i would value that set in the 1500-2000 range.
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Permalink Reply by Scott Seickel on
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I value the set at $1k or less. I purchased an excellent example on the open market for $600. It is a small set and even though it is rare, it is not a Philharmonic.
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Scott Seickel said:I value the set at $1k or less. I purchased an excellent example on the open market for $600. It is a small set and even though it is rare, it is not a Philharmonic.
Thanks for all feedback fellas.... For $600 I'll look for a Meissner or Scott FM tuner and keep my Masterpiece ! Anyone have a Scott FM box ?
As for audio, and though again, not highly valued, the 800b, rebuilt properly and fed thru a full range back loaded 98 dB efficient Fostex horn speaker, is mono audio bliss. When it comes to jazz piano, and female voice, the harmonics are hard to beat. With 6L6 outputs, it deserves better than coax and has the power to do it. This is my daily player.
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As usual, depends on 1) condition of the chrome, 2) is it complete with receiver, correct amp and correct speaker, knobs, escutcheons and 3) which cabinet, if any, and cabinet condition.
Often seen in the Oxford phono combo horizontal cabinet. Or in the small, entry level BRAEMER. The ACCOUSTICRAFT is a more desirable cabinet, as are the larger cabinets sized for the Philharmonic.
I would value a nice looking Super XII or Masterpiece chassis, complete with very good chrome, at $400-$600.
Cabinets are a separate value component, and condition matters. To rank them in ascending value: the OXFORD less than the BRAEMER, unless it has the original 78 changer (Garrard good condition). Then the more common full-sized cabinets and small set cabinets, followed by the Accousticraft and then the more rare, upscale cabinets.
The 14 tube Masterpiece in a Braemer cabinet would have to be VERY nice to fetch upwards of $1000 in my opinion today. Considerable less in the Oxford unless the phono was choice.
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