for a few years, a lot of the recording studios edison included, used what was known as a stroh violinas designed in england. it used a phonograph diaphragm and a phonograph horn so it essentially made the violin into a horned instrument. (o'sullivan) like anything else, technology can be used very badly or it can be used very well. one of the negative things connected with technology has been in the homogenization of playing styles within ireland and for that matter, the rest of the world where irish music is played. prior to the radio and the phonograph learning music was done very, very locally. keep in mind that going back only 100 years ago or so that most people never got beyond their little village. and you could tell where somebody was from just by listening to them play. you wouldn't even have to hear them speak. starting in the 1920s, there were a number of players who were recorded in this country. michael coleman, probably the most influential irish musician of the 20th century. the old wax cylinders and 78s that he made here in new york-- they traveled back to ireland, and