This lecture-recital presents how obsolete recording technologies are used in performance- practice artistic research. As demonstrated by Stanović, the usage of Edison phonographs and other various mechanical recording machines to produce wax cylinders and 10-inch discs highlighted a huge gap in contemporary understanding of the mechanical recording process, and early recordings. Since then, the experiments with mechanical recording techniques have included various settings: from research-oriented workshops with students and professionals, to historically informed (re)constructions of analogue sound carriers. In this lecture-recital, we present a practice-based research case-study, in which the authors (re)constructed a disc made by Charles Heylbroeck (1872-1945), a famous horn player from Ghent, accompanied by an unknown pianist. The (re)construction involved the same kinds of mechanical recording technologies and recording techniques originally used in 1914, resulting in the production of a brand-new disc, featuring a performance of the same work for horn and piano. Findings shed light on early recording practices, along with insights into romantic playing practices, styles and recording techniques of the early twentieth century. More broadly, this lecture-recital points out a long-standing gap in our contemporary understanding of mechanical recording sessions, and the extent to which performing musicians adapted their practice when recording with mechanical technologies.