the amica bulletin - stackssq291fn2326/july_aug-03.pdf · containing the step-down letter written...

The AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION

JULY/AUGUST 2003 VOLUME 40, NUMBER 4

Entire contents © 2003 AMICA International 165

VOLUME 40, Number 4 July/August 2003

FEATURESObit - Harold C. Schonberg — 170Fidelity & The Ampico — 171A Visit to Precision Music Rolls — 182Home of the Player Piano — 186Templates Preserve Collection — 187Roll Reviews/News Release — 188Dished Up at the Keyboard — 189Henri Kowalski — 193Individual Mechanisms Described — 203

DEPARTMENTSAMICA International — 166

President’s Message — 167From the Publisher’s Desk — 167Calendar of Events — 168Letters —168Tech Tips —201He Shall Be Remembered —218Chapter News — 218Classified Ads — 227

Front Cover: The Piano and Organ Purchaser’s Guide for 1904

Inside Front: Sheet Music Cover from 1922

Back Cover: Back Cover Ad on Sheet Music from 1924

Inside Back Cover: Sheet Music Cover from 1918

THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963.

ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] the AMICA Web page at: http://www.amica.org

Associate Editor: Mr. Larry Givens

AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News

UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:

January JulyMarch SeptemberMay November

Bulletins will be mailed on the 1st weekof the even months.

Michael Kukral216 Madison Blvd.Terre Haute, Indiana 47803Phone: 812-238-9656e-mail: [email protected]

MEMBERSHIP SERVICES

New Memberships . . . . . . . . . . $42.00

Renewals . . . . . . . . . . . . . . . . . $42.00Additional $5.00 due if renewed

past the Jan. 31 deadline

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

Single copies of back issues($10.00 per issue - basedupon availability)

William Chapman (Bill)53685 Avenida BermudasLa Quinta, CA 92253-3586(760) 564-2951e-mail: [email protected]

To ensure timely delivery of yourBULLETIN, please allow 6-weeksadvance notice of address changes.

AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.

166

AMICA INTERNATIONAL

INTERNATIONAL OFFICERSPRESIDENT Dan C. Brown

N. 4828 Monroe StreetSpokane, WA 99205-5354

509-325-2626e-mail: [email protected]

PAST PRESIDENT Linda Bird3300 Robinson Pike

Grandview, MO 64030-2275Phone/Fax 816-767-8246

e-mail: OGM [email protected] PRESIDENT Mike Walter

65 Running Brook Dr.,Lancaster, NY 14086-3314


SECRETARY Christy Counterman544 Sunset View Drive, Akron, Ohio 44320


TREASURER Wesley Neff128 Church Hill Drive, Findlay, Ohio 45840

Registered agent for legal matters 419-423-4827e-mail: [email protected]

PUBLISHER Robin Pratt630 E. Monroe Street, Sandusky, Ohio 44870-3708


MEMBERSHIP SECRETARY William Chapman (Bill)53685 Avenida Bermudas, La Quinta, CA 92253-3586

760-564-2951 – Fax 775-923-7117e-mail: [email protected]

— COMMITTEES —AMICA ARCHIVES Stuart Grigg

20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636

AMICA MEMORIAL FUND John Motto-RosP.O. Box 908, Sutter Creek, CA 95685-0908 209-267-9252

AUDIO-VISUAL & TECHNICAL Harold Malakinian2345 Forest Trail Dr., Troy, MI 48098

CONVENTION COORDINATOR Frank Nix6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849

HONORARY MEMBERS Jay Albert904-A West Victoria Street, Santa Barbara, CA 93101-4745

(805) 966-9602 - e-mail: [email protected]

PUBLICATIONS Robin Pratt630 E. Monroe St., Sandusky, OH 44870-3708

WEB MASTER Meta Brown400 East Randolph Street, Apt. 3117, Chicago, IL 60601

312-946-8417 — Fax 312-946-8419

BOSTON AREAPres. Bill Koenigsburg -(978) 369-8523Vice Pres: Bob TempestSec: Ginger ChristiansenTreas: Karl EllisonReporter: Don BrownBoard Rep: Karl Ellison

CHICAGO AREAPres: Curt Clifford - (630) 279-0872Vice Pres: John MuellerSec: Thad KochannyTreas: Joe PekarekReporter: Kathy StoneBoard Rep: George Wilder

FOUNDING CHAPTERPres: Bing Gibbs - (408) 253-1866Vice Pres: Karen Ann SimonsSec: Lyle Merithew & Sandy SwirskyTreas: Richard ReutlingerReporter: Tom McWayBoard Rep: Richard Reutlinger

GATEWAY CHAPTERPres: Tom Novak - Vice Pres: Bob CrowleySec,/Treas: Jane NovakReporter: Mary WilsonBoard Rep: Gary Craig

HEART OF AMERICAPres: Tom McAuleyVice Pres: Robbie TubbsSec/Treas: Kay BodeReporter:Board Rep: Ron Connor

LADY LIBERTYPres: Vincent Morgan (718) 479-2562Vice Pres: Keith BiggerSec: Richard KarlssonTreas: Ira MalekReporter:Marty RosaBoard Reps: Marvin & Dianne Polan

MIDWEST (OH, MI, IN, KY)Pres: Stuart Grigg - (248) 356-5005Vice Pres: Liz BarnhartSec: Sharon NeffTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Phil BairdVice Pres: Sec: Jason E. Beyer - (507) 454-3124Treas: Howie O’NeillReporter: Dorothy OldsBoard Rep: Dorothy Olds

PACIFIC CAN-AMPres: Carl Kehret - (360) 892-3161Vice Pres: Peg KehretSec: Halie DodrillTreas: Bev SporeReporter: Mark Smithberg Board Rep: Carl Dodrill

SIERRA NEVADAPres: John Motto-Ros - (209) 267-9252Vice Pres: Sonja LemonSec/Treas: Doug & Vicki MahrReporter: Nadine Motto-RosBoard Rep: John Motto-Ros

SOWNY (Southern Ontario,Western New York)

Pres: Mike Walter - (716) 656-9583Vice Pres: Stan AldridgeSec/Mem. Sec: Gary & Anne LemonTreas: Holly WalterReporter: Frank WarbisBoard Rep:

SOUTHERN CALIFORNIAPres: Frank Nix - (818) 884-6849Vice Pres: Richard IngramSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - (214) 328-9369Vice Pres: Tony Palmer (817) 261-1334Sec./Treas: Janet TonnesenBoard Rep: Dick MerchantBulletin Reporter: Bryan CatherNewsletter Editor: Bryan Cather

CHAPTER OFFICERS

AFFILIATED SOCIETIES AND ORGANIZATIONSATOSPresident - Nelson PageThe Galaxy Theatre7000 Blvd East, Guttenberg, NJ 07093Phone: (201) 854-7847 Fax: (201) 854-1477E-Mail: [email protected] - Vernon P. Bickel786 Palomino CourtSan Marcos, CA 92069-2102Phone: (760) 471-6194 Fax: (760) 471-9194E-Mail: [email protected]

AUSTRALIAN COLLECTORS OFMECHANICAL MUSICAL INSTRUMENTS19 Waipori StreetSt. Ives NSW 2075, Australia

DUTCH PIANOLA ASSOC.Nederlandse Pianola VerenigingEikendreef 245342 HR Oss, Netherlands

FRIENDS OF SCOTT JOPLIN1217 St. Croix Ct.Kirkwood, MO 63122-2326

website: http//stlouis.missouri.org/[email protected]

INTERNATIONAL PIANOARCHIVES AT MARYLANDPerforming Arts Library,University of Maryland2511 Clarice Smith Performing Arts CenterCollege Park, MD 20742Phone: (301) 405-9224Fax: (301) 314-7170E-Mail: [email protected]

INT. VINTAGE PHONO & MECH.MUSIC SOCIETYC.G. Nijsen, Secretaire General19 Mackaylaan5631 NM Eindhoven, Netherlands

MUSICAL BOX SOCIETY OF GREATBRITAINAlan Pratt, EditorP. O. Box 299Waterbeach, Cambridge CB4 4PJEngland

MUSICAL BOX SOCIETYINTERNATIONALRosanna Harris, Editor5815 West 52nd AvenueDenver, CO 80212Phone: (303) 431-9033 Fax: (303) 431-6978E-Mail: [email protected]

NETHERLANDS MECHANICALORGAN SOCIETY - KDVA. T. MeijerWilgenstraat 24NL-4462 VS Goes, Netherlands

NORTHWEST PLAYER PIANOASSOCIATIONEverson Whittle, Secretary11 Smiths Road, Darcy Lever,Bolton BL3 2PP, Gt. Manchester, EnglandHome Phone: 01204 529939Business Phone: 01772 208003

PIANOLA INSTITUTEClair Cavanagh, Secretary

43 Great Percy St., London WC1X 9RAEngland

PLAYER PIANO GROUPJulian Dyer, Bulletin Editor5 Richmond Rise, Workingham,Berkshire RG41 3XH, United KingdomPhone: 0118 977 1057Email: [email protected]

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

SOCIETY FOR SELF-PLAYINGMUSICAL INSTRUMENTSGesellschaft für Selbstspielende Musikinstrumente (GSM) E.V.Ralf SmolneEmmastr. 56D-45130 Essen, GermanyPhone:**49-201-784927Fax:**49-201-7266240Email: [email protected]

Dear AMICA,

While reviewing some past Bulletins, I found the 1989 issuecontaining the step-down letter written by former AMICAPublisher (1986-1989), Ed Ward. In his letter he made severalpoints that still hold true and I imagine were said by other pastdeparting Publishers. Ed said,

“I want to express my gratitude to the membership forthe excellent way in which you have provided me withmaterial and articles for The Bulletin during my termas Publisher. Remember, Robin will be dependentupon you for this same kind of assistance. We haveproven that, together, we can provide a Bulletin withgreater content. Let’s continue on this positive notewith our new Publisher. Remember, The Bulletin isreally the province of each and every member, and thePublisher can only print what is provided to him. Ifyou come across material that is interesting to you,chances are it will be interesting to other AMICAns.Why not share it by sending it to your Publisher.”

You all can insert new Publisher, Mike Kukral’s namewhere mine is above.

Personally, with my stepping down and this issue of theBulletin completed, I feel very much like the British musicalcomedy actress Jose Collins who played the heroine in theHarold Fraser-Simson musical, “The Maid of the Mountains” inthe 1910’s (W.W.I.)

After 1,352 performances of “The Maid of the Mountains”,it only ended when Jose cried “ENOUGH!”.

It has been a fun road and many times rough. Thanks for all

of the good times. I am only sorry I didn’t hold the position longenough to fulfill my one desire to be able to write a few more ofmy favorite quotes for you. A personal favorite I felt pointedlyappropriate for future use was by Redd Foxx. While discussingthe passing of a nemesis acquaintance, the following exchangetook place: (Redd was playing Fred Sanford.) Aunt Esther toFred, “Fred, you should only speak good of the dead.” Fredreplies, “OK. He’s dead. GOOD!”.

Sorry I didn’t get my chance to use that one in a more timely fashion.

What am I going to do now? Well, I ultimately hope to beable to finish some of my own instruments and enjoy my collection. I hope that all of you can do the same!

Sincerely,Robin

P.S. Jose Collins, Ed Ward and Redd Foxx couldn’t havesaid it better!!! “THANKS!!!” to our Founding Members whomade it ALL happen!

And Hugs and Kisses to you all!!!

President’s Message This is again a transitional time for AMICA. Memorial Fund Chair

Peg Kehret is a well-recognized author of children's books and has found that consuming too much of her time to also handle theMemorial Fund. In true AMICA spirit, John Motto-Ros has agreed totake on these duties. I believe that his long history with the associationmakes him an excellent choice for the job.

It's also time to bid good-bye to Robin Pratt as AMICA Publisherand welcome Michael Kukral to the position. Robin has put in endlesshours as Publisher and we owe him many thanks for a job well done.The previous issue was an excellent example, with a comprehensivereproducing piano article by Jeffrey Morgan, an article on a self-tuningpiano by Karl Ellison, and a reprint of a vintage article on the Autophone. As Robin and Mark Reinhart mentioned in this issue,those who criticize the content and emphasis of articles in The Bulletin should remember that if the articles aren't written, they can'tbe published. I have reviewed this situation with Robin and in looking over past Bulletins, we find that we have seldom missed theopportunity to nag members to write articles on their topic of interest. The publisher will help authors refine and construct articles ifneeded. There are many interesting instruments, restorers, stores, performers, etc. out there. Take a few minutes and document whatyou know. If you're interested, many more are likely to be as well.

Dan BrownAMICA President

167

FAREWELL. . . From the Publisher’s Desk

Chet CarrBob & Roberta Cherney

Tom GratteloDoug Hickling

Bill KnorpDean LaPoint

Dale & Sally LawrenceEd Linotti

Mel LuchettiLarry Mangus

Richard Reutlinger

CALENDAR OF EVENTSCHAPTER MEETINGS

August 20-24, 2003 AMICA Convention, Portland, Oregon

Contact: Carl Dodrill4488 W. Mercer Way • Mercer Island, WA 98040Phone (206) 236-0067 • E-mail: [email protected]

~

Heart of America Chapter

September, 2003 - Meeting in Branson, MO - hosted by Billie & Bill Pohl.

168

Pacific Can-Am Chapter

Octobor 12, 2003 - Meeting hosted by Ted and Aileen Miholovich, Seattle

December 13, 2003 - Meeting hosted by Carl and Halie Dodril, Mercer Island, WA

LettersLETTERS

Dear Robin:Thought perhaps this may be of some interest. I spent most of my life in Washington, (Warren County) New Jersey. Washington

had been home to several piano factories in the late 1800’s and early 1900’s. The Cornish factory burned in the 1930’s. The only factory standing is the Flory Bros. (Manuf. of grands exclusively), having made their last pianos in the 1930’s.

The “Beatty” was the largest company, but had over-extended themselves and had been taken over by Sohmer, and later by Needham.

I had seen several “Cornish” player advertisements, but had never experienced a “live” one before! I’ve seen throughout thecountry several honky-tonk players, using Cornish pianos, but not a player-piano! The enclosed photos are from one recently acquiredby the Warren County Historical Society, in Belvidere, New Jersey. (Yes, there is an “i” in Belvidere!)

It now plays and sounds GREAT! The W.C.H.S. also has acquired a Cornish parlor reed organ, which is soon slated for a rebuild.They also have a restored Cornish phonograph.

Incidentally, the player piano, and roll cabinet have beautiful, original finishes! The case is thin, and tall. There are no cut-outs forthe foot pedals. They just slide under the front, on the floor. The roll cabinet is claimed to have been made from the original packingcrate! As you can see, it appears the spool box is above the hammer rail line—? I wonder if Gulbransen supplied these units for othercompanies also? How many AMICAns have seen one? The book on the piano music ledge is a “Cornish” self-instruction on learningto play the piano.

Bill Dean

Dear AMICA,

In the latest edition of the AMICA Bulletin there is an article by me, mentioning the demise of Nimbus Records. They have infact come back to life, I am happy to say, and I hope you will be able to set the record straight, so to speak. Here is the Internetannouncement on this subject:

Announcement of new organization and UK distribution

Wyastone Estate Limited is pleased to announce that as of June 1st the Nimbus Records, World Music and Prima Voce catalogues will be available for UK retail and export markets. The entire archive is once again under the control of the originalfounders – Michael and Gerald Reynolds, Adrian Farmer and Jonathan Halliday – and will continue to trade as “Nimbus Records.”The Company remains at Wyastone Leys in Monmouth which has been its home for 25 years and where the recording studios andconcert hall are also sited.

From the beginning of June we are introducing Tim Grocutt as our UK representative. Tim is well known to many retailers having been formerly the representative for Gamut and Discovery Records, and also through his work at Gramophone where he established the Recommended Retailers Scheme. It is Tim’s intention to work his way round the UK over the next 6-8 weeks.

We will reintroduce 100% of the Nimbus catalogue over the next 12 months. We have sufficient stock on hand today to supply alarge percentage of titles but there are gaps particularly among the most popular releases. We are giving ourselves three months toremanufacture these titles and to be fully ready with all products for the winter season.

There is now direct phone, fax and e-mail at the following addresses, and inquiries and orders can be processed 9-5, Monday-Friday. Tele: 01600 890007; Fax: 01600 891052 E-mail: [email protected]

Wyastone Estate is also very pleased to announce the appointment of Antony Smith as our Business Director. Antony has beenwith Nimbus for 16 years: he established both our UK and USA distribution networks some ten years ago and has for the last fouryears been managing the Nimbus Technology office in Singapore. Now he is back in the UK, based in Monmouth with his wife Kate,who is our Office Manager, and he will be delighted to discuss with you our sales and new release strategy.

We look forward to re-establishing our relationship with you. Thank you for your support.

Within the site there is a list of our successful range of box sets, a complete list of audio from each section of the catalogue,descriptions of our transfer techniques for both the Prima Voce series of 78 rpm recordings and for the Grand Piano series of pianoroll recordings, an explanation of Nimbus’ position on copyright on the Internet and elsewhere and a more extended list of contactsshould you wish to bring something to our attention.

If you cannot find an appropriate person to whom to address any comments, suggestions or questions, please send them to meand I will pass them on. I hope you enjoy our site.

Gerald Stonehill – [email protected]

SEND NEW ARTICLES AND ADVERTISING TO:

Michael Kukral216 Madison Blvd.

Terre Haute, Indiana 47803

Phone: 812-238-9656e-mail: [email protected]

169

170

Pulitzer WinnerOBIT - HAROLD C. SCHONBERGSent in By Larry Givens By Allan Kozinn

Harold C. Schonberg, the ubiquitous and authoritative chiefmusic critic of The New York Times from 1960 to 1980, whosereviews and essays influenced and chronicled vast changes inthe world of opera and classical music, died Saturday at a NewYork City hospital. He was 87 and lived in Manhattan.

Writing daily reviews and more contemplative Sundaypieces, Mr. Schonberg set the standard for critical evaluationand journalistic thoroughness. He wrote his reviews in a crisp,often staccato style that gave his evaluations unequivocal clarity and directness, attributes that earned him a Pulitzer Prizefor criticism in 1971, the first for a music critic.

However significant his opinions and endorsements, heviewed his role simply and directly. “I write for myself – notnecessarily for readers, not for musicians,” he said in a 1967interview with Editor and Publisher. “I’d be dead if I tried to please a particular audience. Criticism is only informed opinion. I write a piece that is a personal reaction based, hopefully, on a lot of years of study, background, scholarshipand whatever intuition I have. It’s not a critic’s job to be right orwrong; it’s his job to express an opinion in readable English.”

He couched his reviews in a taut style that contrastedsharply with the more leisurely Sunday columns in which hediscussed broader musical topics, often provocatively. In one1979 column, for example, he included the results of a privatetest in which he hoped to determine if it was possible to distinguish between male and female pianists.

Mr. Schonberg had prepared a tape with two performanceseach (one by a man, one by a woman) of several works and hadasked acquaintances to guess the sex of the player. The results,he wrote, were inconclusive, but the column, and a 1980 follow-up, drew an enormous number of letters and it inspiredclassical radio disc jockeys across the country to present tests oftheir own.

He also regularly addressed issues raised by readers, usually beginning such columns with a quotation from a reader’s letter about anything from changes in concert programming, to whether halls should turn their light down during Lieder recitals, to whether critics should follow scoresduring performances. In his responses, he would mix historicalperspective and clear reasoning with undisguised personal opinion.

But music was not the only subject on which Mr. Schonberg wrote with authority. A devoted and skilled chess player, he covered the Boris Spassky-Bobby Fischer championship match in Reykjavik, Iceland, in the summer of

1972. After Fischer defeated Spassky, Lothar Schmidt, a German grandmaster and a referee at the match, said that Mr.Schonberg’s coverage was the most thorough of any journalistpresent.

He also covered the championship match between GarryKasparov and Anatoly Karpov in 1984, and he reviewed mysteries and thrillers for The New York Times Book Reviewfrom 1972 to 1995 under the pseudonym Newgate Callendar.

Mr. Schonberg’s concert reviews were cogently argued andinformed by both practical musicianship – he was a capablepianist – and a passion for the intensely emotional music andinterpretive style of the Romantic era and its extension into the20th century.

Mr. Schonberg chronicled a time of great change in themusic world. When he began, the musical season lasted aboutseven months, with little but Tanglewood and a handful ofEuropean festivals to cover during the summer. By the time heretired as senior critic, the season was year-round, and serieslike the Mostly Mozart Festival in New York and the SpoletoFestival U.S.A. in Charleston, S.C., and symphony and operaprograms across the country, virtually ended the distinctionbetween the season and the summer.

At the same time, Mr. Schonberg covered the record worldas it made the transition from 78 rmp discs to LPs, and after hisretirement, in his position as cultural correspondent for TheTimes, he reviewed compact discs as well.

Harold Charles Schonberg was born in New York on Nov.29, 1915, and began studying the piano when he was 4 yearsold.

Mr. Schonberg discovered early that he had a superb musical memory that allowed him to remember pieces in greatdetail after a single hearing.

After serving in World War II, Mr. Schonberg became amusic critic for The New York Sun. He joined the staff of TheNew York Times in 1950 and became record editor in 1955.Five years later, when Howard Taubman succeeded BrooksAtkinson as The Times’ senior theater critic, Mr. Schonbergbecame senior music critic.

Some of his favorite columns were collected in a book,“Facing the Music,” in 1981. Also among Mr. Schonberg’s 13books are several that remain standard reference volumes.These include: “The Great Pianists” (1963); “The Great Conductors” (1967); “The Lives of the Great Composers”(1970, revised 1997); “The Glorious Ones,” a study of virtuososoloists (1985); and “Horowitz: His Life and Music” (1992).

THE NEW YORK TIMES

FROM PITTSBURGH POST-GAZETTE, JULY 28, 2003

Pulitzer winner for music criticism for N.Y. Times set writing standard

171

Fidelity and the Ampico*FIDELITY AND THE AMPICO*Newly Revised and Updated By Nelson Barden, Jeffrey Morgan, and Richard Howe

*1993 Publisher’s Note: This excellent article on the Ampico wasoriginally written by Nelson Barden approximately 24 years ago. Ithas appeared twice in the AMICA Bulletin, once in the November,1969 issue and again in the March, 1976 issue. This version (May-June 1993) has been extensively edited and updated by Jeffrey Morganand Richard Howe, with permission from Barden, to reflect new information which has become available during the past 20 years.Barden is currently president of Nelson Barden Associates, restorersin residence at Boston University.

The musical validity of the reproducing piano has been asubject of controversy since the preliminary efforts of

Welte at the turn of the century. It has always been difficult forpianists, critics or the public to accept the idea that a machinecould “make music.” Despite extensive advertising campaignsand rapid improvements in the fidelity of performance, thesepianos have been considered sophisticated toys, divorced fromArt by virtue of their mechanical nature.

Inasmuch as Art is a function of human elements and direction, a machine of itself cannot create Art. Mechanicalmeans are nonetheless involved in the realization of most artforms, and in piano playing the performer’s body is literally amachine operating another machine. It is at least theoreticallypossible to substitute a completely mechanical device for theperformer machine so that his key and pedal movements areprecisely duplicated. Although the artist will not be present atthe keyboard, the sounds of his performance will be re-created.

In the case of the reproducing piano, such as the Ampico,Duo-Art and Welte-Mignon, we must establish not only themachine’s potential for fidelity, but also the extent to which that potential was realized. It is toward both these ends that the writers, dissatisfied with a patchwork of rumor, started gathering firsthand information (in 1969). Much of the preliminary information was gleaned from personal interviewsby Nelson Barden with Adam Carroll, Dr. Clarence Hickman,Julius Chaloff, Emse Dawson and Angelico Valerio. (Note: Allbut the Chaloff interviews are contained in “The AmpicoReproducing Piano”, edited by Richard Howe.)

Theory of operationReproducing pianos are operated by means of a partial

vacuum, usually created by an electrical pump. The roll passesover a tracker bar having a hole for each note and expressiontrack on the roll. Suction is sustained in the holes until a perforation in the paper roll admits atmospheric pressure whichcauses valves to admit suction to a pneumatic. The pneumatic isshaped like a partially open book with the space between thecovers wrapped in a flexible, airtight cloth. When suction is applied the covers snap together and the movement is transmitted to the key of the piano. The set of pneumatics, onefor each key to be played (83 in the case of Ampico), make upthe stack, which in a reproducing piano is divided in two (bass

and treble) near the center so that varying suction may be fed toeach side without affecting the other. A higher degree of suctionwill close the pneumatics with greater power, and result inlouder playing.

Expression tracks (coding) on the margins of the roll control not only the suction level on either side of the stack by means of various expression mechanisms, but alsooperate the dampers and the hammer-rail or key-shift of thepiano action. A recorder was necessary to create the rolls, asmechanically arranged rolls are generally unrealistic. A noterecorder made pencil marks on a moving roll while the pianistplayed, and expression tracks were usually added later to create the dynamics (loudness of each note) until the playingseemed realistic. On Ampico rolls the dynamics were referredto as intensities.

The method of dynamic control employed by Ampicothroughout its history entailed a unique combination of fixedsteps (intensity stages) and smooth progression (crescendos) of volume; a sort of combined digital and analog system, tostate it in contemporary technical terms. The stages could belocked on or canceled at will, and the crescendos could beraised or lowered at either of two available speeds. Generally,the intensity stages were used for accents and rapid changes involume; the crescendos employed for overall and gradualadjustments of volume. This unique combination of dynamiccontrol was deemed so important by American Piano Companythat a U.S. patent application was filed on April 27, 1920.Indeed, U.S. Patent No. 1,409,481 was finally issued to CharlesF. Stoddard on March 14, 1922 and specifically covers the concept of such a combined system of dynamic control.

Initial development of the Ampico was done by Stoddardduring the latter part of the first and very early part of the second decades of the twentieth century. The early pianos androlls were known as Stoddard-Ampicos. This term has become generic and, hence, ambiguous! It has been used bycontemporary collectors and historians to incorrectly denoteany pre-model A Ampico. Actually, a true Stoddard Ampico is apre-type 2A Ampico! (See The Evolution of the Ampico byHowe and Morgan, The AMICA News Bulletin, March-April2003.) This would include Ampicos produced from 1912through 1914. The transition, which occurred sometime during2A production, entailed the addition of an amplification system.Ampicos produced circa 1915 through 1919 would more accurately be labeled Early Ampicos. By 1920 Stoddard’s workled to the development of the mechanism now referred to bycollectors as the Model A Ampico. Dr. Clarence N. Hickman, aphysicist, who joined the AMerican PIano COmpany in 1924,redesigned the Model A with Stoddard. The result was theModel B, introduced in early 1929. (Note: The 1929 AmpicoService Manual is dated May 1, 1929.) Dr. Hickman also

172

constructed the first and only recorder for the dynamics. Thisrecorder came into use in 1926.

Ampico Popular RollsNormally, Ampico popular and classical rolls were not

made by the same process. For most popular rolls, the dynamicswere not recorded, even after the advent of the Hickmandynamic recorder in 1926. A basic music arrangement washand-played into the note recorder which generated a veryaccurate pencil line recording. On this roll, wrong notes were erased and additional notes and figurations penciled in asnecessary, a process known as “correcting.” Further correctionsand additions might be later hand-cut into trial copies of the perforated rolls.

Until at least 1931 all rolls were hand-played, though frequently under pseudonyms, or “noms de piano.” This practice, universal among piano roll companies, was designedto fatten the artist roster. Particular pseudonyms were assigneda definite style of playing in order to preserve their tenuousidentity and to save the real artist’s reputation for a higher classof music.

Selections of Ampico titles and artists (or pseudonyms)was a function of J. Milton Delcamp. Delcamp joined Americanlate in 1921 as General Manager of the Recording Departmentat Ampico, a position he held until 1928. Delcamp previouslyhad a similar position with Republic Player Roll Corporation, asubsidiary of the Auto Pneumatic Action Company which waspart of Kohler Industries. Republic stopped producing 88-noterolls at about the same time as Delcamp moved to American.

Adam Carroll, who was responsible for a large percentageof the popular Ampico rolls, also worked at Republic. He followed Delcamp to American in 1922, about nine monthslater. At Ampico, Carroll also recorded under the pseudonymsVictor Lane, Harry Shipman and Corrine de Bert, though the latter was usually Edgar Fairchild. Mr. Fairchild, Editor-in-Chief of the Recording Department until 1926, also used his original name, Milton Suskind, and others.

Recordings by the real artist and one of his pseudonyms(such as Carroll & Lane) were in this case played by Adam Carroll and Edgar Fairchild, though occasionally Delcamp orVictor Arden took the second part. Recordings by two pseudonyms (such as Shipman & Lane) were accomplished in the same fashion. Four-hand arrangements requiring onlyoccasional figuration in one part might be recorded by only one artist and the rest penciled onto the note roll or cut into thetrial roll.

Edgar Fairchild did much of the dynamic coding (“editing”) for Adam Carroll’s recordings, and all of it forFairchild & Carroll rolls. He was also responsible for the editing of much of the better classical work of the period,including all the Chaloff and pre-1926 Rachmaninoff recordings. According to Adam Carroll, other editors were:Emse Dawson, Marguerite Volavy, Mortimer Browning, ArnoldLackman, Egon Putz and Angelico Valerio.

After the pencil roll had been corrected it was hand-perforated at the start and end of every note and dynamicmarking. This roll was then read by vacuum in the ordinary

manner on the automatic stencil machine, which was designedby Charles F. Stoddard. It was an enormously complicateddevice, with about 700 valves for the tracker bar reading alone.(Note: Clarence Hickman later redesigned the device, usingonly about 500 valves.) This machine generated the typical slot-and-dot note perforation from the hand punched roll. It notonly created several trial rolls for playing and editing, but themaster stencils and duplicate master stencils as well. Thesewere cut at triple spacing so that while the trial roll showed aslot, the Master had spaced, single perforations. The masterstencils were also read by vacuum on the production perforatorsfirst located at Rythmodik Music Corporation in Bellville, New Jersey; later (circa 1922-1930) at Amphion Piano PlayerCompany (Ampico’s pneumatic component manufacturing division) in Syracuse, New York; and, finally, at the mainAmerican Piano Company plant in East Rochester, New York,where they remained until the early 1950’s. These high speedproduction perforators produced the familiar Ampico rolls soldto the public.

Within limits, the playing rhythm was relatively unimportant on the original note roll. By an extremely ingenious combination of capabilities, the Stencil Machinefacilitated the correction of faulty rhythm so the rolls could beused for dancing. This combination included: A floating trackerbar; Stoddard’s patented air sprocket (often confused with thefloating tracker bar), which made possible highly synchronizedpunch-for-punch duplication from one, or the other, or bothsimultaneously of two sources; a precise instant-stop; the abilityto couple/decouple (during instant-stop) either of the twosources with/from the cutting field . . . or each other, withoutloss of synchronization; 100 pneumatic three-way switcheswhich controlled the input for the entire cutting field. The three-way switches could signal each individual interposerpneumatic (which determined whether each individual punch inthe cutting field would punch, or, not punch in a given cycle ofthe Stencil Machine’s perforator ram) to: punch continuously;punch from either (or both) source(s), i.e., tracker bars; notpunch at all.

With such powerful editing tools, the Stencil Machineoperator could adjust rhythm and phrasing to accommodate theeditors’ corrective instructions both marked and punched on thetrial roll. Such rigid rhythm correction was not used for balladrolls, which had to be perforated as played in order to have“soul.” It was also not used for the classical rolls.

Starting in 1931 many Ampico popular rolls were producedby the Duo-Art artist Frank Milne (mispronounced Mill-Kneeby so many that he finally gave up and accepted this pronunciation himself) who was a highly skilled pianist andarranger. He was the chief editor after 1932, and after 1935 or1936, recorded and/or edited virtually the entire Ampico outputuntil production ceased in June of 1941. He used his own name as well as a wide variety of pseudonyms singly and incombination: Robert Farquhar (Farquhar was the first name ofMrs. Milne’s father), Bob Edgeworth (Edgeworth was Mrs.Milne’s uncle), Noel Sherry, the Sherry Brothers, JeremyLawrence, Ralph Addison (the name of a friend from Newark,NJ), and Ernest Leith (the name of another friend). Many latter-day collectors believe that Milne’s rolls constitute some

173

of the most sophisticated arrangements and nimble dynamiccoding of the Ampico popular library.

Profits for both the American Piano Company and the Aeolian Company, (producer of the Duo-Art and longtime competitor), were falling long before the Stock Market Crash of 1929. To avoid a disastrous bankruptcy, Ampico was reorganized in May of 1930 to become the American PianoCorporation, and merger negotiations were instituted with Aeolian, eventually resulting in the Aeolian American Corporation in 1932.

The Ampico Classical RollsBefore 1926 the classical rolls were also recorded only on

the note recorder without dynamics. The process of editing wasnot only to improve the playing as much as possible, but toslowly build up realistic intensities from notations made on themusic during the recording session. Aside from removingwrong notes and making minor corrections on the pencil roll,all editing was done on a trial roll cut by the stencil machine,and played on an Ampico.

Dynamic coding was hand punched onto the blank trialroll, first the intensity stages then the crescendo coding, untilthe playing became musical and realistic. Note perforationswere lengthened by hand punching or shortened by taping over as necessary, and from this roll the stencil machine madecorrected trial rolls for further editing. Eventually a completedroll was played for the artist who, though encouraged leave rough sections as examples of his individuality, mightmake further corrections. Eventually, a master stencil was created to match the artist-approved trial roll and used to operate the production perforators.

The Note ExtensionsA unique and controversial feature of Ampico rolls was

added during the editing. These were the note extensions, whichwere covered by patents granted to Stoddard in 1911-12. Thetechnique was originally designed to improve the playing ofmechanically arranged rolls, and consisted of over cutting(lengthening) the melodic notes, causing them to sustainthrough succeeding harmonies. A “singing” melodic line wascreated, and the technique was so successful that it was immediately extended to chords as well. On the Ampico rollsthis meant that perforations were arbitrarily lengthened past theend of the note(s) as played by the artist. Chords and arpeggioswere usually extended coincidental with damper pedaling.

For a company to purport they reproduced the artist’s playing and yet to deliberately change the recording, wasindeed peculiar. As late as his 1927 Tuners’ Convention talk,Stoddard argued the practice at some length. He used the standard Ampico thesis that the extensions only duplicate theartist’s half-pedaling-the quick and usually incomplete damping of the piano strings to control the amount of blurringbetween chords.

This effect is not easily obtainable by the damping of theAmpico mechanism, which is either on or off. Another way toapproximate this effect is through the use of selected noteextensions. These are also referred to in the article title“Recording the Soul of Piano Playing”, which appeared in the

November, 1927 issue of Scientific American, as “tone coloring extensions.”

Though an important pianistic technique, half-pedaledeffects are not easy for the performer to control. And, while thetechnique of half-pedaling has long been recognized as usefulfor sustaining a melodic line, few realize that it has also beenemployed to sustain harmonic continuity. It seems unlikely thateven a very accomplished pianist would half-pedal as much of a melodic line as indicated by note extensions on the rolls.Considering the constant extensions of single notes as well as chords, Stoddard’s argument may have constituted an inadequate and unsophisticated justification. But, his argumentmight also have been founded in historic practice.

Based upon interviews with and recollections of great keyboard artists of the period, it would appear that the use of half-pedaling as a means of sustaining harmonic continuity without blurring melodic structure was much moreaccepted during the early part of this century than it is today.We must be careful not to fall into the trap of basing aestheticjudgments of historic practices solely upon the fashionableopinions of latter-day musicologists and performers.

Since a preponderance of the chord extensions duplicatethe damper pedal action, an 88-note piano would be certain tosustain these notes whether the damper pneumatic worked fromthe roll or not. Ampico rolls cut without expression do occur as88-note rolls, and on these pianos the extensions do produce asmoother sound. Dr. Hickman, Mr. Stoddard’s assistant, wasanxious at the time to get rid of the technique, but was overruled by Stoddard for this reason only.

From a mechanical point of view the extensions wereundesirable. The note sheet was weakened, and it was a wasteof suction to bleed so many pouches at the same time. Worseyet, a reproducing piano holding down 10 or 15 notes at thesame time obviously exceeded the capabilities of a singlepianist, and made questionable the fidelity of the performance.

Actually there were two reasons for the Ampico roll extensions. The first was that the artists themselves felt thesound was somehow preferable if the sustaining was done byholding the keys down instead of only using the damper pedal.According to Julius Chaloff, Dr. Hickman thought differently,and won numerous bets using a roll he had perforated withselections played both ways.

More important was that at least the melodic extensions domake the playing smoother and allow more latitude in editing.Almost all Ampicos were installed in pianos, 6’11” or less inlength which, because of the size, could be rather short-toned.By means of arbitrary melodic extensions a small piano couldbe made to “sing” with some of the elegance of the 9’ concertgrand normally used by the artist. Considering the disadvantages of the chord extensions, it is not surprising theywere largely discontinued in the late 1920’s and that A to B rollconversions show a great reduction. But melodic extensionswere always used, even in the Jumbo rolls and by Frank Milneuntil he left the company in June of 1941.

The musical justification (if any) was that the editors couldcapture on a small piano the half-pedaling as well as the superb

174

legato effects of such artists as Josef Lhevinne. Comparison of Lhevinne’s seemingly choppy early Welte Vorsetzer rolls to his graceful 78 rpm disc records and Ampico recordingswould seem to bear this out. For the playing of a “dry” pianistsuch as Rachmaninoff, this kind of editing was perhaps not as necessary. His accuracy of attack and control of the piano was phenomenal. Julius Chaloff told Nelson Barden that Rachmaninoff was the only Ampico artist consistently able to trigger large chords so that each note would record with the same dynamic level and at precisely the same time.When Rachmaninoff’s pencil-line record came off the recorder,the notes of large chords lined up so perfectly that “you could lay a ruler across them.” Chaloff went on to say that on “rainy Thursday afternoons” the editors themselves often attempted this feat, but “not one of us was ever able to do it.”

The moot point of the extensions was that of fidelity. The editors could and did use the extensions to “warm up” theplaying of lesser artists. However, a comparison of such rolls as the Julia Glass and Josef Lhevinne versions of “On Wings of Song” indicates that the practice was perhaps not as prevalent or even as effective as might be thought.

Chaloff explained another editing process that was called“setting back.” One of the editing operations was to locate softnotes surrounding loud notes, and to move the loud notes backon the roll by one, two, or three squares. When the Hickmandynamic recorder came into use, the setting back scale wasexpanded to seven squares. Chaloff did not know why this wasdone, except that it made the playing sound more natural. (Inhis interview, which has now been published in “The AmpicoReproducing Piano”, Angelico Valerio explained this process.)The actual reason involved the speed of closing of the Ampico pneumatics on varying suction. Playing a loud note onhigh suction caused the pneumatic to close quickly. When playing soft notes on low suction, the pneumatic closed moreslowly, and the notes played later. The difference was slight butperceptible: loud notes seemed to “jump the gun” on the softchords. In the art of musical accenting, it is well known that“early is weak, late is strong,” and the setting back processcompensated for the incorrect accenting. Setting back alteredthe impact of the hammer on the string only by a fraction of asecond, but it made the playing smoother and considerablymore realistic.

Dr. Hickman’s dynamic recorder was first used in 1926.Rolls made on it were intended for eventual use on the Model Bpiano, and most were coded accordingly. However the 1926-27rolls hardly utilize the capabilities of the Model B. Possibly thecoding was still thought of in terms of the Model A, and for a while Model A pianos were still used by the editors. The only Model B initially available to them was the ResearchLaboratory prototype, which was used predominately for theclassical editing by Emse Dawson and Marguerite Volavy.

Many rolls later issued as Jumbos or with Model B labelswere recorded between 1926 and 1928. Old Model A rolls couldalso be re-coded for the new machine with comparative ease by utilizing the old coding and the inherent musicianship of the editor. Since the recording piano did not have an Ampico

mechanism, it was not possible to re-record or over dub, norwas it necessary to do so.

The recording piano itself was a medium sized grand, andcertainly an American Piano Company product. But the actualmake had been open to question, as every identifying mark wasremoved. Major artists usually contracted to endorse and playonly one brand of instrument, thus potential legal difficultieswere avoided. The fallboard carried only the word “Ampico.”However, recent research by Jeffrey Morgan has revealed that itwas a Model 59 (5’9”) Chickering.

Rolls made for the Model B piano were coded in such away as to also operate the Model A piano; in fact, both kinds of rolls do reproduce on the other model, though somewhatunrealistically. Both utilize similar intensity coding configurations, yet there are major differences in their expression systems.

Model A Expression System

On the Model A, for instance, slow crescendo is elevenseconds and fast crescendo is two seconds. (Model A crescendotiming indicates how long the dual crescendo mechanismsrequire to increase the suction available to their respective bassand treble sides of the stack from minimum to two-thirds maximum suction or vice versa.) The Model A crescendo timing specification is determined with the “amplifier”, whichis described next, inactive (disabled).

Additionally, the Model A is equipped with a variablepump spill controlled by suction levels in either side of thestack. This “amplifier” is engaged automatically as stack suction levels exceed a predetermined threshold. As stack suction increases beyond this threshold, the pump spill isincreasingly closed resulting in a “bootstrap effect” on pumpsuction available to the expression systems. This Model Aamplifier affects pump suction from two-thirds maximum tofull suction. Crescendo timing becomes compressed to a certainextent as this amplifier is engaged (resulting in a net crescendotiming of approximately 1 second fast, 7 seconds slow). Withthe amplifier active, the Model A crescendos have the ability to affect their respective stack suction levels from minimum tofull suction. Under the same condition, the intensity stages ofthe Model A (two-four-six bass and treble tracker bar holes) canalso affect their respective bass and treble stack suction levelsfrom minimum to maximum.

Stated another way, the crescendos and intensity stages onthe Model A are controlled by roll perforations; in terms of supplying stack suction, each has the capability to totally override the other. The Model A amplifier, moreover, is automatically engaged by suction levels in either side of the stack.

Model B Expression System

On the Model B, slow crescendo is much faster, being fourseconds, and fast crescendo is reduced to 1/2 second. (Model Bcrescendo timing indicates how long the single crescendomechanism requires to increase pump suction available to bothbass and treble intensity stages from one-half maximum to full suction or vice versa.) The Model B crescendo timing

175

specification is also determined with no amplifier activity but should, in theory, be best compared with the net crescendo timing of the Model A as opposed to the actualModel A crescendo timing specification (see previous section).This still results in a crescendo speed increase of almost two-to-one in the Model B over that of the Model A.

Full suction to both intensity stages can also be supplied bya three stage lock on the pump spill (amplifier) which is operated by an additional perforation on the bass margin of theroll. The bass and treble intensity stages of the Model B (operated by the 2-4-6 bass and treble tracker bar holes in amanner identical to that utilized by the Model A) can affecttheir respective stack suctions from minimum to one-half maximum unless expanded by a crescendo or the amplifier.Therefore, the intensity stages are, to a certain degree, dependent upon the crescendo and amplifier. However, bymerely acting upon the suction supply to the intensity stages,the crescendo and amplifier completely depend on the intensitystages for transference of their effects. Hence, intensity codingmust be utilized to convey, to appropriate sides of the stack,effects generated by the crescendo and/or amplifier.

Moreover, the Model B crescendo and amplifier aremechanically combined, but independently operated by separate roll perforations. These separate perforations must bemultiplexed in order to increase a locked amplification stage.Yet, no perforation multiplexing is required to decrease anamplification stage previously locked upward. Because of thismechanical integration, a Model B amplifier locked at midstagewill raise the bottom end of the crescendo travel, hence, cuttingits effective range in half. A Model B amplifier locked at itshighest stage (full pump suction) will render the crescendototally inoperative!

Additionally, the Model B stack is equipped with two spillvalves (bass and treble) automatically operated in conjunctionwith their respective number six intensity stages. Unless theirrespective bass and treble number six intensity stages areengaged, these spills remain open and induce a predeterminedamount of atmospheric leakage into their respective sides of the stack. The main (but not exclusive) purpose of such a spill valve is to allow almost instantaneous return to minimumstack suction levels upon cancellation of any previously lockedintensity stages. It also has the ability to facilitate rapid changesbetween transient stack suction levels!

Stated another way, the crescendo, intensity stages, andamplifier in the Model B are all controlled by roll perforations;in terms of supplying stack suction, the intensity stages can partially function without any crescendo or amplifier activity,but the crescendo and amplifier cannot function effectivelywithout some intensity stage activity. Additionally, a “sub”stage can lower suction in either side of the stack below minimum for very soft passages.

Incompatibility

To compare the two, Model A crescendo activity immediately and directly affects stack suction. Model Bcrescendo activity, however, must have some intensity stagecoding in order to effectively transfer its effects to stack

suction. Moreover, the Model A stages are relatively large stepsand the crescendo will have less effect for a given length of perforation. The Model B stages are smaller and the crescendowill have much greater effect. Though the stages and crescendotend to balance out, it is immediately apparent that A and Brolls are not compatible on the other system if the full potentialof the roll is to be realized.

Early Ampico Pianos

A possibility also exists for incompatibility between laterrolls (Models A and B) and Early Ampico pianos and viceversa. Early Ampicos have the same crescendo and intensitycoding configurations as the Model A. Crescendo timing is alsoidentical in both systems (contrary to popular notions derivedfrom observations of Model A net crescendo speeds). However,while sharing a similar, automatically operated “bootstrapeffect” amplifier affecting pump suction at nearly identical levels to the Model A, the Early Ampico amplifier is engagedexclusively by suction levels in the treble side of the stack. Suction levels in the bass side are totally ignored by EarlyAmpico amplifiers. Early Ampico rolls are, of course, codedwith this idiosyncrasy in mind.

Furthermore, because all Early Ampico and Model Acrescendos directly affect their respective stack suction levelswithout benefit of any step intensity coding, the theory of “platforming” (championed by some as a viable coding technique) would be difficult if not impossible to implement on such instruments.

Finally, while the effect of Early, Model A and Model Bamplifiers is similar, the method of their activation is radicallydifferent when one compares the three systems. And, when oneconsiders crescendos, Early and Model A systems contain truecrescendos acting directly upon stack suction. The Model Bcrescendo, on the other hand, is merely a pump amplifier capable of being operated by roll perforations in two separateways (i.e., steps and smooth progression). The B crescendodoes not have the ability to raise stack suction levels to maximum without assistance from the intensity stages. In this manner the Model B departs conceptually from its predecessors!

A Rolls on a B Piano

A rolls on a B piano will almost always exhibit certaindetrimental characteristics. Staccato notes played at very lowintensities or fast tempos occasionally skip because at very lowsuction the single valve system of the Model B is slightly lessresponsive to the single perforations so common to A rolls. It will be noted that many A to B roll conversions often havesingle perforations lengthened to oblong slots.

A rolls have independent coding for the Model A dual (bassand treble) crescendo systems. The single crescendo system ofthe Model B will only respond to the treble crescendo and diminuendo perforations on A rolls. Hence, all A roll non-coinciding (independent) bass crescendo and diminuendoperforations will not be recognized by the Model B and, therefore, their effects will be lost. This is a serious flaw as anyA roll note activity relying upon the bass crescendo for

176

sustenance or effect will fall flat (unless, by mere chance, adequate coincidental crescendo activity occurs in the treblemargin of the roll.)

In addition, the A roll treble crescendo and diminuendoperforations will over stimulate the B mechanism, resulting in aconstant and annoying seesawing between soft and loud playing(this phenomenon is often mistaken for intentional dramaticeffect by the inexperienced listener). Moreover, this phenomenon will be further aggravated by the effect of A rollintensity stage coding (intended for use with stacks having nospill valves) upon the Model B stack spill valves.

Because the three-stage lock on the pump spill (amplifier)will not be signaled and, hence, not latch up to its higher settings, intensity stages 2-4-6 together (bass and/or treble),which on an A piano would yield the loudest playing, will produce only mezzo-forte. In part this will be compensated forby the overacting crescendo, but passages which depend on the stages to sustain high suction, such as the conclusion ofmany rolls, will be too soft. Furthermore, because they will notbe signaled, the “sub” stage capabilities of the Model B will notbe utilized. The overall impression is what might be calledlumpy expression.

B Rolls on an A Piano

B rolls on an A piano will tend to sound better than viceversa. All the notes will play. Because, for the sake of compatibility, editors duplicated the B roll crescendo anddiminuendo perforations (read only from the treble margin ofthe roll by the single crescendo system of the Model B) in thebass margin as well, the Model A dual crescendo systems will both respond simultaneously to B roll crescendo anddiminuendo perforations. However, these crescendo and diminuendo perforations will be of insufficient length for proper expression but the effect is not objectionable.

Because the Model A is equipped with an amplifier automatically engaged by stack suction, the B roll 2-4-6 intensity coding will often result in over-expression; and, particularly, the melody lines will be too sharply defined and, usually, too loud. (This phenomenon is often cited as proof of compatibility when, in fact, it is an indicator of incompatibility.) For the same reason, the Model A will tend tohandle B roll fortissimo passages (coded for amplificationsteps) unrealistically. And, without the “sub” stage, some of thesoftest effects will be lost.

Early Rolls on A and B Pianos

Early rolls will tend to perform more realistically on theModel A than on the Model B. When played on Model Apianos, some Early Ampico rolls could contain levels of bassexpression coding (intensity and/or crescendo) high enough toengage amplification (if coinciding with insufficient levels of treble coding, such bass coding would not have engagedamplification in Early Ampico pianos). In Model A pianos thissituation of incompatibility would result in significantly higherlevels of suction in the bass and slightly elevated levels in thetreble than called for by the Early Ampico roll. The effect on treble suction levels would be limited by the lower levels oftreble expression coding necessary for this phenomenon

to occur. However, this phenomenon is rare because the above mentioned high bass coding situations are, usually,accompanied by sufficient treble coding to have engaged amplification on Early Ampico pianos anyway. Naturally, anycoding used on early rolls to achieve amplification in EarlyAmpicos will similarly achieve amplification in the Model A.When played upon a Model B piano, early rolls will exhibit thesame problems as previously described under the heading “A Rolls on B Piano.

A Rolls on Early Ampicos

It is probable that some A rolls exist coded so as to engagethe Model A amplifier solely by means of suction levels in the bass portion of the stack. Such rolls will not engage theamplifier when played upon Early Ampico pianos (unless bymere coincidence, sufficient suction was also present in the treble portion at the time of needed amplification). The abovestated situation would severely limit the dynamic potential of A rolls played on Early Ampicos!

B Rolls on Early Ampicos

The most extreme problems of compatibility will beencountered when playing B rolls on Early Ampicos. In addition to the crescendo and diminuendo perforations being of insufficient length, the situation could occur where somelevel of amplification is required for bass expression needs andsubsequently not delivered by an Early Ampico piano. The B roll might signal some level of amplifier stage lock to accompany whatever bass intensity coding is employed. Forexample, let’s say the amplifier is coded to lock in secondamplification (full); and the bass intensity coded with trackerbar holes two, four and six, resulting in a number seven bassintensity. The Early Ampico piano will not respond to amplifierlock coding on the B roll. And, if treble expression coding is insufficient to raise treble stack suction levels above the predetermined threshold on the early Ampico piano, no amplification will result. Pump suction will, therefore, remainat normal; bass stack levels will merely be a result of the intensity coding. This situation will result in the Early Ampicohaving a bass stack suction level nearly half of that indicated bythe coding on the B roll.

Additionally, even when no amplification is signaled by theB roll, its treble expression coding will often engage the EarlyAmpico amplifier and result in over-expression somewhat similar to that described previously under the heading “B Rollson an A Piano”.

Roll Characteristics

Another point of consideration is the difference in codingstyles between the early and late rolls. The change is gradualbut sure: early editing emphasized crescendos; late editingemphasized stages. Extremes of crescendo usage are seen insome pre-1920 Early Ampico rolls which exhibit only rudimentary use of the stages, with a heavy reliance on crescendos.

It has been observed on several Early Ampico rolls thatwere subsequently re-coded to B configuration that some effort was made to retain coding utilized exclusively by earliersystems but not necessary for B operation. However, it appears

177

this re-coding practice was limited to selections deemed volumesellers. More importantly, rolls issued exclusively as B, as well as some late A to B conversions, have been observed thatcontain passages of sustained high suction utilizing B pumpamplification coding; yet these rolls lack the necessary treblecoding required to fully engage the amplifier on Early Ampicopianos! From this observation we can conclude that while some effort was exerted on these late B rolls to make themcompatible with the Model A, no such effort was made regarding compatibility with Early Ampicos. In more than afew cases such efforts as were made for roll compatibility merely amounted to expedient compromises.

Since the familiar Art-Deco Model B label was not introduced until late 1929, rolls made before this time bear thetypical Model A labels but are actually Model B rolls if cut afterOctober, 1927. Fortunately, both popular and classical rolls ofthis period can be identified by the use of the word “London”on the lower right hand corner of the box label. Additionally,many have red or black stars in the lower corners of the boxlabel and sometimes on the roll leaders. Since some of thelabels do not contain stars, rolls having stars on their leadersmay more reliably be distinguished from earlier “A” rolls. Yet,the absence of stars on the leader does not necessarily precludea B coded roll. However, the earliest Model B rolls containintensity coding very similar to that previously used for theModel A, and some collectors consider the later efforts (in thehigh 68000 classical series upward for instance) as the onlyrolls issued under “A” labels that are true Model B rolls.

Model B expression coding may be easily recognized byeither the pump amplifier coding in the extreme left margin,“sub” intensity coding in the extreme right margin, and (thoughnot infallibly) by duplication of the fast and slow crescendoperforations on both treble and bass sides. Another typical pattern is a slow treble crescendo with occasional single perforations in the fast crescendo position. While many EarlyAmpico rolls also used this coding technique, its use was greatly reduced during production of rolls during the Model Aera (1920-1928). After 1928, it was again used extensively.Though a few “A” rolls did use this pattern, it is seen largelyprior to 1920 and after 1928.

Though Model B development was well under way by1927, the changes in the coding were gradual. Initially the editors were working with Model A pianos, though these weresoon replaced. More importantly, the editors at first thoughtonly in terms of the Model A, and were slow to take advantageof the opportunities offered by the Model B system. Many collectors feel the Model B intensity coding culminated only in Frank Milne’s latest rolls, cut between 1935 and 1941.

Milne “Kitchen Table” Arrangements

One intriguing puzzle concerns the near-total absence ofsurviving 3-to-1 Ampico paper master stencils from the so-called Milne “graph-paper era”. It is obvious to the interested coding watcher that Frank Milne’s rolls are moreheavily coded than almost any others. His daughter says shewatched him draw out masters on their kitchen table, the notesin red pencil and the expression in blue. With a chart of theAmpico intensities probably the same thing could be done

today. The first Milne Ampico roll known to the authors is number 213141, What’s the Use? released in January, 1931.How the production rolls were made form the “graph paper”masters is not known but they seem to date from 1932 on.

A plausible explanation for this is that Milne did all of his “kitchen table” arranging on 3-to-1 cardboard masterswhich were read mechanically by a key frame on the Duo-Artperforators. These masters could have been easily duplicatedand re-coded, expressionwise, to produce Ampico rolls using asecond key frame perforator re-fitted with dies containing nothemodist punches (snakebites). Such a melding of technologywould have been possible after the 1932 merger between TheAmpico Corporation and Aeolian (producer of the Duo-Art).

It is known that in the 1970’s Mrs. Frank Milne gave a collector who has since disappeared at least one of these Duo-Art 3-to-1 cardboard masters which had been marked inred and blue pencil by her husband. She also gave the collectorsome of the pencils!

The fact that many, but not all, Ampico popular rolls produced in the 213000 series and beyond appear to bear the signature of the Duo-Art perforators supports the abovehypothesis. (They are also 0.069 inches in diameter, the same as Duo-Art.) The appearance of the Ampico, Duo-Art, andWelte-Mignon “twins” and “triplets” during this same timeperiod also supports this hypothesis. This would have also beena good way to drastically reduce the costs of producing threetypes of rolls.

It is important to note, however, that quite a few Ampicopopular recordings issued from 1931 to 1935 (213000, 214000and 215000 series), continued to be cut on the Ampico perforators in the normal way, using Ampico 3-to-1 paper master stencils. The few Ampico paper masters which do survive from this period do not contain selections which appearas “twins” or “triplets”. This, of course also supports the abovehypothesis.

Surviving Ampico Masters

It is a curious fact that while many of the Ampico classicalmaster stencils still exist (almost all of the surviving mastersand the original production perforators are now owned by theKeystone Music Roll Company of Bethlehem, Pennsylvania),there are much fewer surviving popular master stencils. Oneexplanation for this is: all roll companies had known for yearsthat, for the most part, popular music was a highly perishablecommodity. Very few of the popular issues became “standards”.Although 3-to-1 Ampico master stencils made from roll paperwere used to produce all Ampico rolls into the 1930’s, itappears that almost all the popular masters were burned forboiler fuel, sent to the dump or dumped into the legendary“Ampico Lake” or “Ampico Swamp”.

American, and perhaps Aeolian American after them,seemed to have the attitude that “some day we might find a usefor the classical masters as they have historical value, but these popular masters have got to go; we need the space!” Interestingly enough, most ballad-series masters did survive,probably because they were considered the “standards” of thatday. The few popular Ampico masters that do survive at

178

Keystone are in chronologically random clumps. This leads oneto surmise that the popular survivors were somehow buriedamongst the classical masters when they were cleaning house,and hence, eluded detection.

If Harold Powell had not negotiated a deal for the survivingAmpico masters with Aeolian American in the early 1970’s,they would probably have either been discarded or made thelong trip across the Pacific by now.

The Soul of the Artist

Those of us who have at one time or another tried to addexpression coding to an 88-note roll know how tedious andunrewarding the effort can be. One of the authors (Barden) canonly admit to results which, despite high hopes and great care,sound more like a typist than a pianist, whether the expressionmechanism of the piano is on or off.

Yet if we turn off the expression on a reproducing pianoand play a reproducing roll, there still seems to be some dynamic variation remaining. While the propaganda of thereproducing piano companies would have us believe the artistsomehow has fingers, or soul, enmeshed in our pianos, the actual situation is somewhat more involved and much more fascinating.

In music, a series of beats advance at a relatively even rate.We feel each beat not as an isolated pulse, but related to the onewhich preceded it. We also predict, if only unconsciously, thetiming of the pulse to follow on the basis of the pattern wealready perceived. In mechanically arranged 88-note rolls ordance music rolls, our unconscious predictions will be perfectlycorrect because the beats are absolutely even.

However in hand-played music the beat patterns are noteven; there are tiny variations in the placement of the pulses.Though we do not necessarily perceive the unevenness of therhythm on a conscious level, we do find it more interesting thana mechanical beat. And in some cases of artifice or accident,uneven rhythm produces a very interesting auditory illusion.Our perception is not necessarily that the pulses of the musicfall ahead or behind the true beat, but that they are louder orsofter, that is, more or less intense. Ampico Model B ownersmay encounter an annoying example of this phenomenon in theprocess of Note Compensation, i.e., setting the minimum play-ing intensity of each note using a test roll made for the purpose.The success of the adjustment depends on making all the notessound with precisely the same intensity at the lowest suction.Therefore, it is of utmost importance to use either an originalNote Compensation test roll or one made from a 3-to-1 masterstencil. Conventional recuts are not accurate enough to use for this purpose. Fortunately, Keystone has such an original 3-to-1 master.

Devices of rhythmic variation have always been used as ameans of musical expression, the ritard being a conspicuousexample. Agogic accents and rubato are terms for two of themore subtle devices. An agogic accent consists of playing a note or chord a little off the beat to achieve a heightenedmusical effect. Rubato is the same technique applied to a seriesof beats in a melodic line or phrase, to give them shape or definition. Agogic accents and rubato are of enormous

importance in expressive pianism. The sweep and elegance of a great keyboard technique is as dependent on these subtlerhythmic alterations as it is on dynamic variation.

Pianists use both agogics and rubato almost constantly. It isstylistically correct for all music of the Romantic Period to beexpressive in this way, and to a lesser extent, all music. Forexample, A Viennese Waltz would sound like any other waltzunless played with an early second beat in each measure (anagogic accent) to give lilt and drive to the music. Chopin’smelodic lines “sing” because of the acceleration or relaxing of the rhythmic pulse (rubato). Patterns of subtle beat misplacement make music personal and interesting. To delay or hurry the pace by a minute amount, to shape a phrase withtiny rhythmic variation, to pause only just perceptibly before adecisive note or modulation, and to do all these things boldly and definitively, is a necessity of any artistic keyboardtechnique.

Thus, if a reproducing piano handles note placement withaccuracy, it goes far toward reproducing the artist’s playing.The “soul” of piano music so highly touted in the advertising ofthe period was almost as dependent on rhythmic effects as ondynamic variation. In a quiet selection not requiring widedynamic range, most of the “expression” was captured on the note role alone because the artist used a wide variety ofnon-dynamic techniques to enhance his playing.

The Note Recorder

The note recorder must be quite accurate to record thesesubtleties, and the Ampico recorder designed by Charles Stoddard was just that. Key contacts in the recording pianowere connected to the solenoids of the recording machine.These operated a series of styli resting on the note sheet, whichran over a drum coated with carbon paper. To indicate a note,the stylus had only to move a few thousandths of an inch for amark to appear on the under side of the sheet. This process wascovered by patents granted to Stoddard from 1914 to 1921.Great accuracy was possible not only through the speed of thetiny movement, but also because the key contacts were set high.It was hardly necessary to more than brush a key for the note torecord.

Madeline Gaylor, the girl shown in the November, 1927Scientific American article over the captions “TransferringMeasurements” and “Wrong Notes are Eliminated” states thatat the time she could not understand why such great pianistsmade so many mistakes. She was a budding pianist herself, butdid not realize the recorder was somewhat overly sensitive.Wrong note “blips” were of course erased.

Editing and Expression Coding

In addition to accuracy of note placement, reproducingpiano fidelity depends on the efficacy of the editing and codingtechniques, which can result in either fantastically lifelike performances or meaningless sequences of notes completelydevoid of feeling. When we look at the finished product, the coding and editing of a classical roll may seem nearlyimpossible to duplicate. Certainly it is a time-consuming operation, and one must have unbounded admiration for those

179

who have recently produced new reproducing rolls with credible expression.

Much of the better editing before 1926 was the work ofEdgar Fairchild. Compared to later efforts, when the HickmanRecorder gave an incredibly accurate dynamic record of virtually every note, rolls edited by Mr. Fairchild sometimeslack vitality. But considering the method of expressing them,largely from memory and his notations on the music as theartist played, many rolls are great monuments to his good tasteand musical ability. Given a talented editor like Fairchild, whowas aware of the potential of the machine, there is little reasonto doubt the rolls were as faithful as it was practical to make them. The same can be said of the excellent editing work doneby Theodore Henrion on some of the early Ampico rolls. Tragically, Henrion’s career was cut short by his death in the fluepidemic of 1918. As we shall see later, the overwhelmingnumber of coding perforations necessary to achieve “perfect”reproduction would have slowed the roll making to a standstill.

It is known that the artists were not always pleased with therolls, and despite an immense amount of painstaking editing,could refuse to approve them. Though the faults were not infrequently those of the artist, whose subjective response whileplaying was inferior to the objectivity of the recorder, itnonetheless became the editor’s job to please the artist at almostany musical cost so the selection could be released. The editormight employ a gentle program of persuasion and capitulation.

Julius Chaloff has stated: “Some of these things (editingeffects) were done artificially. They had to be. George Proctorwould say the playing sounded dry, so I would tell the girl toextend the notes here and here. ‘That’s better’ he would say. ButI would reply, ‘You didn’t play it that way! Electricity travels186,000 miles per second. You put the pedal there, or it wouldn’t be there, because electricity is faster than you are.’That was my argument all the time.” (Note: Actually, lighttravels at 186,000 miles per second, electricity considerablyslower, but still much faster than the artist.)

The editing and re-editing as seen on trial rolls is extensiveand fascinating. Much of it is concerned with correction of the crescendos and with separating the melody note and its coding from the rest of a chord in the same register. Because the Ampico stack was divided in two, varying suction could besupplied to notes playing at the same time if they occurred oneither side of middle E on the keyboard. But notes on the sameside requiring separate intensities had to be separated on the rollenough to give the expression mechanism time to change thesuction level.

Although the recording pianist might have made some separation unconsciously in the playing of the melody noteagainst the chord, it was a special headache for the editor tomanage the effect without creating the impression of sloppyplaying or a broken chord. In most cases the melody note is left in position and the remainder of the chord is taped oneincrement (termed a “square”) back on the roll. This spacing isquite obvious to the attentive listener, and occasionally quiteobjectionable, though at tempo 85 there is only 1/13 secondbetween the playing of the two notes, if the difference in

playing the note is 1/8” of paper. Frequently the spacing ismuch smaller and therefore much less conspicuous.

A constantly recurring problem in fast playing was to beable to leave enough space between repeated notes for thevalves to reseat and the pneumatics to work. Usually the firstnote was shortened to give the action time to get back into position, but if the spacing was still too close the music wasrearranged. Julius Chaloff says that passages in his Chopin Fminor Ballade recording are rearranged for this reason. It isinteresting to note the great subtlety with which this wasaccomplished, particularly in this instance.

If the intensity coding was going to be crowded, it was necessary to use faster roll speeds to give better resolution. Thiswas impossible on very long rolls which approached the limitof the take-up spool flanges, which in turn caused various typesof roll transport problems.

The Hickman Dynamic Recorder

The dynamic recorder was put into operation in 1926, andgave such an accurate rendering of the intensity of nearly all the notes that the editing was not only simpler but much quicker. The dynamic sheet did not give the intensity of everynote played, as three adjacent notes and several octaves weretied together and recorded on the same segment of the machine. (See AMPICO’S REORDING PROCESS: by ThomasE. Kimble, AMICA Bulletin, May/June 1996, p. 133, for additional detail – RP) But interpolation was easy in the caseof overlapping, and for the first time it was possible to record inpermanent form enough information to make a substantialimprovement in the quality of the Ampico playing.

The operation of the recorder is fully covered by an articlewritten by Dr. Hickman entitled, “Spark Chronograph Developed for Measuring Intensity of Percussion InstrumentTones” and published in the October 1929, issue of TheAcoustical Society Journal and in a Barden interview withhim which appears in “The Ampico Reproducing Piano”.

Additional contacts to operate the dynamic recorder wereadded to the recording piano. The dynamic roll, nearly a yardwide, showed remarkably accurate measurements of the speedof the piano hammer travel for each note as it was played. Sincethe loudness of the piano string vibration depends almost solely on the speed of the hammer as it hits the string, preciseindication of the loudness of each note was recorded.

It is easy to imagine that with an accurate note recorder anda super-accurate dynamic recorder, all the problems of fidelitywould be solved. If the notes and dynamics were recreated justas the artist had recorded them, the Ampico dream of perfectfidelity would finally be achieved.

But it was not so! Dr. Hickman himself encountered thefirst problem on an early Model B roll recorded by E. RobertSchmitz:

“It would drive you out of the room, it was so loud! Wewent back and checked the dynamics over, but they were right.We finally came to the conclusion that when Schmitz was therein person, the force of his personality permitted him to use avery loud fortissimo. But if you took Schmitz away from the

180

piano, it was too much. We had to tame the record downbecause you simply couldn’t have sold it the way he actuallyplayed it.”

Also, Julius Chaloff has stated that the playing of theAmpico was not always successful because the artist was notpresent...that without a human pianist making appropriate gestures at the keyboard, the playing seemed flat and uninteresting, or even completely unrealistic. This phenomenoncan be observed in today’s feeble attempts to record contemporary music for roll or disc-actuated pianos without thenecessary editing to make it listenable. For this reason, Mr. Chaloff says that he always tried (as did the other greatartists) to slightly overemphasize the agogics, crescendos, and rhythmic expressive devices during the recording session, if itcould be done without distorting the music.

The result was that, although the dynamic recorder gavethe intensities and made the editing quicker and more accurate,the subjective human element was still necessary to produce amusical performance. Musicality proved once more to be too complex and elusive to reduce to cut-and-dried rules, andthe Model B system only demonstrated again the old principle:The mechanism of artistry does not readily lend itself to analysis by machine.

Conclusions

Probably the playing of the Ampico was never significantlybetter than that of the artist. The editing process was too timeconsuming and never easy. The difficulty of working with a punched roll precluded any except the most mechanical ofcorrections. Consider only one roll of the thousands issued: theSchulz-Evler arrangement of the Blue Danube Waltz played byLhevinne. Mr. Stoddard, in his Tuner’s Convention talk of1927, which was published in the August 1927 issue of TheTuners Journal, stated that this single selection contained7,915 notes. (There is no reason to doubt this figure; but byactual count this arrangement has 1,217 notes in the treble figurations preceding the first entrance of the waltz melody.)Stoddard went on to say that 71,235 operations were necessarybefore the roll was first heard, and over 100,000 operationswere required to bring it to completion. Editing of this roll andmany of the other late classical records was the work of EmseDawson, a fine pianist and musician.

Naturally the editor would correct slight rhythmic faults,blurred pedaling and wrong notes before the artist ever heard the roll. But these changes were insignificant ones and would add little to the actual effect of the music. Changesand corrections on a larger scale could lead to worse, not better results.

Julius Chaloff said, “If the artist wanted to try to changethe interpretation, I would help, and skillfully you could sometimes make rough places a little better. But more oftenthan not, you couldn’t do it. Listen to the Godowsky records –the top notes of those cadenzas and passages aren’t even; thenote placement is very bad. But if you changed one (chord) youthrew the next one off, and if you changed that you were introuble with the next. You got in more and more of a pickle. Itwas like a photographer retouching a picture of a man with a

big nose and a wart on the end. Naturally he could make thewart disappear. But what could you do with the nose? It wasbetter to leave it alone. We used to say to the artists ‘a littleimperfection makes it sound more human.’ Listen to the records– you’ll hear the imperfections, there’s no question of that!”

Early, Model A and Model B Ampicos are capable of reproducing the nuances of a human pianist. The mechanismsare accurate, well designed, and the intensity systems operatewith incredible rapidity. Only a few pianistic effects cannot beliterally reproduced, and these too may be simulated.

Modern critics do not object to machine reproduction perse; they are now accustomed to hearing reproduced music ofexcellent fidelity via LP’s, cassettes and CD’s. Unfortunately,many adverse conclusions about the quality of reproducingpiano rolls have been based on erratic performances by reproducing pianos which were poorly restored, voiced andtuned. Too often such instruments are paraded in front of modern day musicologists who then become justifiably skeptical! There is certainly no shortage of poorly played andcoded rolls, but neither is there a shortage of poorly restoredand regulated reproducing pianos.

Another point of recent curiosity, (or animosity in the caseof a few) has been the editing, because it has been incorrectlyassumed that editing could easily produce a great piano technique. This was not true. Neither dubious editing nor anyother spurious means could have produced such stunningpianism as can be heard from The Ampico. The Lhevinne BlueDanube Waltz, the Rachmaninoff performance of the Chopin BMinor Scherzo, Chaloff’s reading of Islamey, or Levitski’sSymphonic Etudes are only four of the enormous number of artistic performances available to us on piano rolls. Theseperformances were created by the artist on the original recording just as easily as he created them in his day-to-dayconcert career. It is also important to remember, however, that poor editing, particularly as related to the dynamics, couldconvert a great performance into a mediocre one.

The piano roll editing techniques correspond to little morethan modern day editing of magnetic tape masters. Artur Rubinstein admitted in an interview in the September, 1969issue of Clavier Magazine, that he is generous with wrongnotes, but that they were removed on his RCA releases by hisrecording supervisor, Max Wilcox. We have only to listen to“undoctored” discs such as the Horowitz Carnegie Hall series torealize how prevalent modern editing has become.

It was as true of RCA and Columbia in the 1960’s as it wasof the Ampico in 1925, as it is of the CD’s today. A recordingcompany must do the best it can with the available resources.Thus for the reproducing piano, musical veracity can be convincingly demonstrated by playing the bad rolls! There aremany unrhythmical, unmusical and completely uninterestingrolls played by a host of fortunately forgotten pianists. If it hadbeen either a general practice or even a remote possibility tocreate great artists out of every pianist by “silk purse” editing,these “sow’s ear” rolls would not exist. Instead, all would playwith the fire and style of the headliners.

182

So often we read in our AMICA Bulletin about roll

manufacturers of the past. Recently, I had the good fortune to

visit one of the makers of new music rolls. Located near San

Diego is the home of Precision Music Rolls, owned and

operated by AMICA member David Saul. We drove to Dave’s

suburban home and were greeted by his lovely, gracious wife,

Anne. Dave directed us to the heart of his operations in his

converted garage. Here, among spools of paper, machinery and

finished rolls, sat a small machine that looked hardly big

enough to cut anything. After seeing the perforators at both

Keystone and QRS, my expectation was a large behemoth

of a machine. I was very surprised to see that such a reliable

operation could utilize so little space.

Many of us can remember times when computers occupied

whole buildings and consumed electrical power on a scale

comparable to large industrial plants. We all know what has

happened over the past few decades.

Modern Technology has allowed perforating equipment to

grow smaller in size as well, and part of this is due to the use of

solid-state electronics in areas that formerly required large

bulky paper or cardboard masters and equipment to read them.

A similar principle also applies to pneumatic actuators that were

used for setting punches in olden times. Some of these were

bulky monsters that required big mechanical pumps to keep

valves, actuators and air motors supplied with vacuum. Today’s

solenoids and stepper motors can provide very efficient and

accurate mechanical motion. These can be controlled directly

from a computer. The space occupied is far less than the old

fashioned systems. The Precision Music Rolls perforator

turns out rolls in production quantities and doesn’t need a

warehouse-sized facility.

Speaking at length to Dave about his interest in making

music rolls, as well as witnessing the actual process, was both

enlightening and interesting. Dave asked if I wished to see the

perforator cut a roll; I enthusiastically said yes. Sitting

at a computer terminal, Dave entered a few simple commands.

Suddenly a motor started driving the perforator and, within

seconds, a music roll emerged as the paper was delivered forth.

Dave waited until the paper was sufficiently long then attached

each layer to a take up spool, which spooled each individual

roll. The operation was simple but ingenious in its design.

Dave explained how he became involved. Dave’s interest

in making piano rolls dates back nearly forty years to the

beginning of his enthusiasm for the hobby. Many years ago he

began a notebook of ideas for both reading the roll patterns and

cutting the paper. After retiring in 1994, he found the time and

resources to bring it to reality. Dave obtained the roll equipment

built by Jim Winslow. Jim, a tool and die maker, and inventor

incorporated many innovative features into the machinery

but it still needed refinement. Dave decided that the aging

electro-pneumatic reading equipment was not up to

acceptable standards.

Seeking a better solution, Dave explored Wayne Stahnke’s

advanced scanning technology. The Stahnke scanning technique

produces a computer file that contains an electronic image

of all the individual perforations that make up the original roll.

The files used by Dave are synchronous, meaning that every

perforation is in lock step with the perforating machine exactly

as if the perforator were being driven by the paper masters of

old. This system allows every perforation to be put exactly

where it belongs. Even the paper advance is automatically set

by software to match the step size of the original source roll.

Dave’s perforator can accommodate a wide variety of step sizes

and his sophisticated system uses a special driver for parallel

date transfer.

In a recent e-mail message, Dave tells me that he is

expanding the operation of Precision Music Rolls by

incorporating more working space. He has also begun building

a new perforating machine, which will be equipped with

Duo-Art sized theme punches as well as a set of larger punches

to expand the production capacity. Dave primarily produces

rolls for use on Ampico type player pianos but has also cut

88-note rolls, “O” type coin rolls, and Welte-Mignon Licensee

rolls. Dave produces a couple of catalogs each year for

Ampico “replica music rolls,” as he likes to refer to them.

The Ampico replica rolls are the main line of business for

Precision Music Rolls.

Thanks again, Dave, for generously sharing your time and

vast knowledge. It was a pleasure to meet both you and your

wife. Precision Music Rolls is quite an operation.

Write for a Catalogue – Precision Music Rolls

1043 Eastside Road, El Cajon, CA 92020-1414

[email protected]

Precision Music RollsA VISIT TO PRECISION MUSIC ROLLSBy Mark Reinhart

183

The happy roll maker with his equipment. Close up of the machinery, simplicity at its best.

Dave starting the perforator via computer control. Solenoids trigger punches.

Dave with takeup spools.Like magic, a roll.

184

May, 1922

185

June 16, 1917

186

It’s rarely called the Aeolian Building any more, but that’swhat the Landmarks Preservation Commission designated last December, the exuberant neo-Classic-style structure at the northeast corner of 54th Street and Fifth Avenue. Its sumptuously detailed façade of limestone, marble and bronzewas put up in 1927 by a player-piano company, but after theadvent of newer methods of music distribution the companylost the building barely a decade later.

According to the landmarks designation report by JayShockley, the Aeolian Organ and Music Company was foundedin 1887 by William B. Tremaine to manufacture organs that could play music on their own. In the 1890’s Aeolian introduced automatic pianos, which proved extremely successful, and in 1912 the company had the architects Warren& Wetmore design the large Aeolian Hall, at 33 West 42ndStreet, with an auditorium, a sales floor and other rooms. (The building, for years the site of the City University Graduate Center, is now home to the State University Collegeof Optometry.)

Only 13 years later Aeolian asked the same firm, the co-architects of Grand Central Terminal, to design a new, moreelegant headquarters opposite the majestic University Club onFifth Avenue. One early design was for a 10-story building withurns running along the parapet and a simple setback penthouse.But within a year the architects made new plans for a more complex structure, a nine-story limestone base that supported a six-story, gradually receding tower with double-height windows, culminating in a huge cupola.

For a commercial structure of such size, it was an opulentdesign, accenting flat marble panels and carved limestone withextensive bronze trim, like the swags over the second-floorwindows and the storefront details. In 1926, midway throughconstruction, a fire broke out in the wooden construction shed on the ground floor, blackening and spalling the limestoneon the lower three floors. Most of that limestone was replaced.A photograph (above left) taken shortly after the shed wasrebuilt shows that stone carvers were midway through their job.Looking at the building from left to right, the first urnlike relief on the third floor is shown almost completely carved; thesecond is just beginning to emerge from the raw stone; and therest are simple panels, straight from the quarry.

The columnist George S. Chappell, writing at the time as T-Square in the Skyline column in The New Yorker, noted that“the recent fire woke up members of the University Club, whohad not been roused in years.” He also admired the “spirited,fanciful manner” in which Warren & Wetmore had handled thelimestone and bronze.

Opened in 1927, the new Aeolian Building had five floorsof showrooms, with a rotunda centered on a fountain on thesecond floor leading to a recital hall seating 150. Keyboardinstruments were then much more works of architecturaldesign, and the rooms were done in various styles, includingSpanish, French and early American.

According to Henry Z. Steinway, retired chief executiveand still a consultant at Steinway & Sons, Aeolian was “then inthe high tide of their success,” especially with the Steinway

The Neo-Classic 1927HOME OF THE PLAYER PIANO

STREETSCAPES / THE AEOLIAN BUILDING, FIFTH AVENUE AND 54TH STREET

FROM THE NEW YORK TIMES, SUNDAY, MARCH 23, 2003

Sent in By Robert M. Taylor By Christopher Gray

THE STRUCTURE WAS DESIGNATED A LANDMARK LAST DECEMBER.

Lower floors of Aeolian building (above left) during construction in 1926, after it was damaged by a fire; the building today. Except for storefronts, little has changed since its completion.

187

Duo-Art, a piano manufactured by Steinway but automated byAeolian to accept rolls of paper perforated to play tunes in thestyles of master pianists like Ignace Paderewski.

“All the principal artists made player rolls,” he said. “Itwas very rewarding, just like a recording contract. Everybodymade out like thieves. We made good pianos, and they stuck intheir machinery.”

Chappell, in a 1930 column, attributed the design of theAeolian Building to Whitney Warren and called it “one of hismost successful achievements.” Chappell also noted that “anexceptionally smart little shopfront” had recently been insertedon the northern half of the Fifth Avenue side for the cosmeticsfirm Elizabeth Arden, with a bright red door and black and white marble, designed by the architect Mott Schmidt.(Elizabeth Arden still has a store there.)

But Chappell said that one thing disturbed him – the shop’scolors were out of character with the larger structure. “Theycompletely disrupt the continuity and harmony of the mainfloor of this charming structure, which seems something of apity” he wrote, adding that Schmidt’s work was “a distinctlyforeign note.”

By this time the stock-market crash of 1929 had dampenedplayer-piano sales and Americans had found another way to gettheir music. “In 1927 network radio came in, and that was the

end,” Mr. Steinway said. Although the Steinway Company’ssales of conventional pianos remained strong, Aeolian wasmore vulnerable, and it merged with the American Piano Corporation in 1932. The firm left the building in 1938.

In that year the shoemaker I. Miller leased the corner storeand turned the old corner entrance into a show window, with ahuge piece of curved glass perhaps nine feet wide and 10 feethigh designed by the architect Robert Carson. Writing in themagazine Pencil Points in 1939, the critic Talbot Hamlinadmired the I. Miller store but said the building had a “frivolousrococo character.”

The building was later known for a different ground-floorcorner tenant, Gucci. (The current retail tenant in the formerGucci space is Faconnable.)

The building is now known simply by its address, andsince 1999 it has been owned by 689 Fifth Avenue L.L.C., a subsidiary of Vornado Realty Trust. The landmarks commission held a hearing on the building last October and,with Vornado’s endorsement, designated it in December.

Steven Rubenstein, a spokesman for Vornado, said that the company had no comment on the designation of the building, which except for the storefront changes has remainedin near original condition.

After starting to accumulate a few piano rolls, I decided I

needed to come up with a way to make replacement labels for

those rolls where the label was missing or very worn, or the box

needed to be replaced. I ended up writing a computer program

to help me with this. I created “templates” for each label by

scanning the label and spending one to two hours cleaning up

the scan, removing the Title, Composer, etc., from the label.

The program allows the user to select a template matching

the one needing to be replaced, then enter in the Catalog

Number, Title, Composer, Performer, etc. Text can be resized

and moved around the template, the front and cover can also

be changed. To allow for variations in printers and tastes, the

background color can be altered – new labels can be made that

actually look “old.”

Labels can also be resized, so for instance, a “tall” Ampico

label can be made to fit on a “small” replacement box.

Over the last few years I accumulated nearly 6000 piano

rolls. This has allowed me to come up with some interesting

statistics:

• 1015 different labels have been scanned and converted

to templates.

• 400 “unique” labels (Many labels may be almost the

same or identical, but come, for instance, in several

different colors and/or sizes)

• 325 different “Brand Names” made by 100 different

manufacturers (world-wide – mostly USA with a few

Canadian, English, Spanish, Australian, Mexican,

and Peruvian)

• 15 “Private Label” store brands

• 35 Label brands that are “Modern Recuts”

• 130 variations of Ampico brand labels!

My label maker program (as well as other piano roll

related items) can be found at www.pianorollstuff.com

(See Ad - Page 230 of this Issue.)

Preserve CollectionTEMPLATES PRESERVE COLLECTIONBy John Miller

FROM THE OLD PIANO ROLL NEWS

A PUBLICATION OF THE BARTON PLAYER PIANO COMPANY,

MINNEAPOLIS, MN - WINTER 2002

188

XP-509-C THE PRODUCERS (Mel Brooks) played byChristopher Sierzchula, reviewed by Don Barton

I have not seen this new Broadway show, but if the musicis any indication, there is good reason why the show walkedaway with so many Tonys. Christopher is a relatively new addition to the QRS arranging and performing staff and does agreat job on the three selections on this roll.

I Wanna Be A Producer can be sized up in two words:fun and snappy. The lyrics are simple and easy to singalong with. There’s even a two-part vocal towards the end.

Springtime For Hitler – If one can get by the absurdity ofa stage production containing anything about Hitler, this is quite a tune (might be compared to the Marx Brothersproduction of To War in the movie Duck Soup). It is ripefor a Busby Berkeley production.

The King Of Broadway – This tune has an appealingKlezmer quality to it. I detected hints of Fiddler On TheRoof in this arrangement, which in my book makes it a keeper. This roll will become a standard for piano rollcollections.

XP-504 CAT LOVERS ROLL reviewed by Don Barton

Even if you do not own a cat, I think you’ll find this a greatselection of cat-themed tunes. The frolicking melody of ZezConfrey’s Kitten On The Keys is sure to get your toe tapping. Iwas unfamiliar with Everyone Wants To Be A Cat, but RudyMartin has me hooked with the Jazz-like arrangement of thissong. In addition, the lyrics are quite fun. I’m not a Tom Jonesfan, therefore I will not comment on What’s New Pussycat.

10-142 THOROUGHLY MODERN MILLIE reviewed by Ed Copeland

This classic Broadway hit is wonderful. This is a nice roll,the arrangement is clean and well done, with nice piccolo stylefrills all through the roll. The music is easily recognizable.(Three stars.)

6140 LOUISIANA FAIRY TALE reviewed by Ed Copeland

Get a hammer Norm. This great arrangement of the songmany will instantly recognize as the theme from This Old House (the famous home fix-up show from PBS). Thisarrangement is done in the older style and is clean and handles the melody beautifully. This roll should be in every-one’s collection. (Four 1/2 stars.)

OOOOTTTTHHHHEEEERRRR NNNNEEEEWWWW RRRREEEELLLLEEEEAAAASSSSEEEESSSSXP502-C Sgt. Pepper’s Lonely Hearts Club Band Vol. I(Sgt. Pepper’s Lonely Hearts Club Band, With a Little Helpfrom My Friends, Lucy in the Sky with Diamonds)XP503-C Sgt. Pepper’s Lonely Hearts Club Band Vol. II(She’s Leaving Home, When I’m Sixty Four, A Day in the Life)XP512-C Country Rock Hits (Ramblin’ Man, Amie)XP513-C Cowboy Saloon Roll (Buffalo Gals, O Susanna,Camptown Races)XP507-C Forties Masterpieces No. 3 (Laura, Stella ByStarlight, More Than You Know)XP510-C O Brother, Where Art Thou, Vol. 1 (You Are MySunshine, In The Big Rock Candy Mountain, I’ll Fly Away)XP511-C O Brother, Where Art Thou, Vol. II (I Am A ManOf Constant Sorrow, Keep On The Sunny Side)XP505-C World War I Marches, No. 2 (Oh How I Hate ToGet Up In The Morning, Hinky Dinky Parlay Voo, Iron Divi-sion March)XP505-C Henry Mancini Hits No. 2 (Pink Panther Theme,Baby Elephant Walk)XP508-C Nat King Cole Medley, No. 2 (Smile Straighten UpAnd Fly Right, Sweet Lorraine)

NNNNEEEEWWWW PPPPOOOOPPPP SSSSIIIINNNNGGGGLLLLEEEESSSS!!!! RRRREEEECCCCEEEENNNNTTTT HHHHIIIITTTTSSSS &&&& OOOOLLLLDDDDIIIIEEEESSSS11052 The Way It Is (A Bruce Hornsby Hit, by request)

11053 Only Time (The First Enya tune on QRS)

11054 Something (George Harrison’s Greatest)

11051 Ghostbusters (theme)

11046 You’ve Got A Friend In Me (from Toy Story)

11046 Come Sail Away (the immortal Styx hit)

11048 Abracadabra (Magic from the Steve Miller Band)

11050 I Want It That Way (The biggest hit by the Backstreet Boys)

11043 Imagine (John Lennon)

11037 From This Moment On (A touching hit from Shania Twain)

11040 Brown-Eyed Girl11038 Venus (Frankie Avalon)

11039 See You In September11041 Summertime, Summertime (Sum-sum-summertime)

11-049 Over The Rainbow (As Played by Liberace)

RRRROOOOLLLLLLLLSSSS WWWWAAAANNNNTTTTEEEEDDDDEveryday Is Sunday When the Town Goes DryChristmas Collectors Rolls 1986 and 1991

Rolls ReviewsROLLS REVIEWS/NEW RELEASEBy John Miller

FROM THE OLD PIANO ROLL NEWS

A PUBLICATION OF THE BARTON PLAYER PIANO COMPANY,

MINNEAPOLIS, MN - WINTER 2002

189

From the Australian Collectors of Mechanical Musical Instruments, Inc.Bulletin No. 111 April 9, 2002

192

Unknown factory photo – Early 65-Note Player

Wonderful piano stool factory photo!

193

From the Australian Collectors of Mechanical Musical Instruments, Inc.Bulletin No. 111 April 9, 2002

201

Here is a strip of 4 piano roll end tabs I made by tracing an originalSupertone (Sears Roebuck Co) end tab.The brass eyelets and the tool to install them are available from GarrettWade Co. in New York, address and info enclosed from May 2003 cata-log.Self-adhesive paper available from office supply companies. It is muchless expensive to make your own, when repairs are needed than to orderthem ready-made from supply houses. This solution may be of interest to other AMICA members.

Anthony (Tony) Engels

Sent in by Anthony Engels

Roll Tabs

A strip of 4 piano roll end tabs. (Not actual size)

Original Supertone (Sears Roebuck Co) end tab.(Actual Size)

203

The foregoing pages have dealt with the fundamental principles of pneumatic piano playing mechanism and haveexplained the physical laws involved, together with their application to the subject under discussion.

I now proceed to a description of some leading mechanisms now on the market and in use.

It has of course been impossible within the limits of myspace to make separate description of every extant player mechanism, and what follow is intended only to emphasize theindividualities of the leading examples.

This part of the work is especially intended for the use of tuners and repairmen, as a guide to them in the work of regulating and repairing, and above all, as a sort of map whereby they may acquaint themselves with the ground theyare traversing when they undertake to explore unfamiliar players.

It is impossible in a book like this to emphasize all the various claims put forth by manufacturers, and my intention inthis part has been merely to afford the practical information,gained through personal contact with the mechanismsdescribed, which may be desirable for the purposes indicatedabove.

The Æolian CompanyT H E P I A N O L A

The mechanisms manufactured by this company andknown as “Pianolas,” are for the exclusive use of the Æolianline of grand and upright pianos. In addition to these, theÆolian Company continues to manufacture a certain number ofexterior playing mechanisms of the cabinet type, which areused considerably in foreign countries.

The mechanism produced by this company is made in their own factories and contains many original features whichhave given the Pianola fame. The name Pianola has become an almost generic term for player-piano, although it is theexclusive property of the Æolian Company. The Pianola isnoted for its originality, its high class of workmanship and forits distinctly artistic character.

The interior Pianola mechanisms are of wide variety inconstructional detail, although following the same generaldesign. The entire Æolian line of grand and upright pianos isfitted with one or another style of these Pianola mechanisms,each especially adapted to its particular purpose. Descriptionmust therefore be somewhat general.

Bellows-System. The general Pianola design is of the indirect variation type with single equalizing unit, the expression and motor governors being usually carried on theupper action. Special folding pedals are used, and in the grand

Pianola mechanism these fold up inside the lyre box, which alsocarries the exhaust units.

Pneumatic Action. Both the double and single valve systems have been largely used in Pianola practice. Older models were built with pneumatics and valves below the key-bed, but this method has been superseded for several yearsby the modern plan of placing the playing system in front of thepiano action. In the grand mechanisms the pneumatic and valvesystem is housed beneath the key-bed.

Tracker-Box. In upright mechanisms this is placed abovethe pneumatic action. Carries tracking device, uses rubbertubes, and has metal bar fitted with marginal perforations forautomatic sustaining pedal, and Themodist (automatic accent).Metrostyle (tempo guide) pointer is carried on tempo indicator.Switches for Themodist and automatic sustaining pedal alsocarried on tracker box. In grand mechanisms, the tracker-box iscarried behind the fall board. Some models have combination65 and 88 note scales.

Motor. The typical Pianola motor is of the Pneumatic 6-point type, having three double units. This arrangement wasoriginated in Pianola practice and has been very successful.Older models will be found with three point motors. The gearshift and action cut off on these have always been of the directmechanical type, lever manipulated. In recent practice a three-way control of the rewind lever has been adopted.

Governing Devices and Control. The expression control ofthe Pianola mechanism has ever been elaborate and ingenious.The most important feature is undoubtedly the Themodist. This consists of a by-pass arrangement in the double dividedexpression governor. The latter consists of two expression governors, one for the treble and one for the bass of the action.The Themodist arrangement cuts off the governor so that suction is through the action direct, thereby assuring high pressure operation of the pneumatics. When the Themodistswitch is on, the perforations in the margin of the roll co-actwith the Themodist tracker perforation and the in-rushing airoperates a small pouch which works the Themodist valve. Thesuction passes through the governor when no perforations areco-acting, as it is switched that way as soon as the Themodistlever is thrown on. The action of the Themodist is to break thisgovernment of the suction temporarily, by cutting off the governor and instantly putting it in action again. Hence the perforations are on either margin of the tracker and roll, as onegovernor cut-off is needed for each governor. The position of the governors differs in various models. The expression governors can also be operated by direct finger levers, and arecent development also gives control over them through a side-ways movement of a special type of tempo lever.

Part III - Chapter IINDIVIDUAL MECHANISMS DESCRIBEDSent in By Robin Pratt By William Braid White

THE PLAYER PIANO UP-TO-DATE

PUBLISHED BY EDWARD LYMAN BILL 1914

204

The motor governor is of bellows type, and the motor valveis operated by means of a tempo lever on the key-slip. Actioncut-off and gearshift are worked by a re-wind lever, which alsohas a third position, whereby the action cut-off is operated butthe gear not shifted, so that the motor drives ahead without theaction playing.

There is a pneumatic for sustaining pedal operation througha marginal perforation, and also a direct finger lever connectionfor personal control.

Various other expression devices have been used at onetime or another on the different styles of Pianola mechanism,but the above description embraces the typical and most important. The Æolian Co. is constantly experimenting towardsthe production of a standard and perfectly efficient type of control and thus its methods are in a state of constant flux, everapproaching nearer to perfection.

The Amphion Co.T H E A M P H I O N

The Amphion Piano Player Company, Syracuse, New York,manufacture several models of pneumatic piano playing mechanisms incorporating the well known features of the regular Amphion mechanism, as well as special features anddevices made exclusively for such manufacturers.

Amphion mechanisms are sold only to manufacturers of pianos, and are installed by many different piano manufacturers. A special feature of this action is the unit construction whereby each part is made, tested and installed asan independent and interchangeable unit, as, for instance, the bellows, the pneumatic action, the motor, the governor, thecut-off box, and the expression devices.

Should any unit be damaged, or should considerableadvance be made on any part in the development of the pneumatic art, the unit so damaged or improved can be instantlyreplaced with a new unit without taking down the mechanismand without any relation to any other part thereof.

Bellows System. Direct variation type. Two exhaust unitsand one equalizer. Folding pedals that automatically move intoposition by opening the door in the lower front panel of piano.

Tracker Box. Carries an automatic tracker device, operatedby double pneumatics under balanced air pressure. Trackerequipped to operate sustaining pedal automatically, when musicroll carries perforations for that purpose. Reroll lever in trackerbox or key-slip, as desired. Tubing either rubber or brass.

Pneumatic Action. Single valve system – three deck type.Air throughout this action is conveyed through independent tubing and not through holes in the wood. No packed joints, except one that is held together by a bolt with compensating washer. Valves, vertical gravity type. Vents, carried in separate unit.

Motor. Six point pneumatic. Motor-valves, operating ondouble ported base made of non-corrosive “silver metal.”Mechanical gear shift, operated from tracker box to key-slip.Cut-off operated pneumatically. The port for operating the samecarried by the same frame-work as the reroll shift. Motor Governor, equipped with automatic spring tensioning device,with the result that its spring is variable in tension according tothe load put on the governor.

Expression Devices and Control. Double divided hammerrail lifters, controlled by buttons or levers in the key-slip. Somemodels have three divisions of hammer rail, controlled by threebuttons in the key-slip. Some models have three divisions of hammer rail, controlled by three buttons in the key-slip.Pneumatic sustaining pedal device, controlled by button orlever in the key-slip, or automatically from the tracker box.Some models have finger levers controlling the whole of thehammer rail.

Removal and Replacement. Each unit of the player actioncan be removed by removing not more than four (4) screws anddetaching the tubing, independently of any other connections.

The American Piano Co.T H E S T O D D A R D - A M P I C O

This mechanism is manufactured by the American PianoCo., which company controls a number of leading pianos, andis applied only to instruments made by them.

The general design of the Stoddard-Ampico is that of aplayer-piano fitted with motor driven bellows-system, insteadof the usual foot-driven power-plant. Its expressive capacitiesare controlled through expression governors of special type,which are adapted to be actuated either automatically throughmarginal perforations in the tracker-bar in combination with special rolls, or manually by the performer through fingerbuttons.

The special rolls are records of actual piano playing byartists. They, therefore, contain the pianist’s phrasing in the cutting of the notes, while marginal perforations are added fromrecords also made of the artist’s dynamic interpretations, pedaling and so on. Thus a complete reproduction of an artist’sperformance may be had by means of the Stoddard-Ampico.

As noted above, however, the Stoddard-Ampico is notmerely a reproducing piano, but may also be used as readily forthe direct expression of the individual performer’s ideas.

Pneumatic Action. This is of the Auto-pneumatic type, asdescribed elsewhere in this work, to which refer.

Bellows-System. Driven by electric motor (using eitherdirect or alternating current) from ordinary light circuits. Alternating current motors are placed directly in piano. Wholebellows-system is hung inside piano behind bottom frame andmay be swung outwards on floor complete.

Governing Devices and Control. Expression (dynamics)governed through roll by means of two expression governors,one for bass and one for treble divisions of action. These governors can regulate tension progressively as controlled bypneumatic switches operated by marginal perforations in roll.There is also an arrangement whereby the expression governorsmay be controlled manually, when ordinary rolls are used, bythe depression of finger buttons on keyslip. These buttons,when covered by the fingers, shut off the air passage to theexpression governors and reduce the tension to low. Whendepressed they gradually raise the tension, till same is at itshighest when buttons are entirely depressed.

Sustaining pedal of piano may be used when pneumaticallyplaying with ordinary music rolls, on account of absence ofpumping pedals. Pneumatic sustaining pedal device is operatedthrough marginal perforations in special rolls.

205

When piece is finished the roll is automatically rewound,and when this operation is complete the electric motor is automatically shut off.

The driving of the roll and rewinding of same are operatedby the customary pneumatic motor.

American Player Action Co.This mechanism is manufactured by the American Player

Action Co., of New York, and is supplied by them to variouspiano manufacturers for installation. It contains many originalfeatures of design and construction.

Bellows-System. Direct variation type. Two exhausters.Two equalizers; high and low tension. Bellows-system carriesmotor governor and action-cut-off boxes at top to right and leftrespectively. Bellows-system mounted on trunk channel boardand is detachable as an unit. Special pedal leverage system.Flap valves on front or fixed wall of exhausters.

Pneumatic Action. Single valve system. Vertical valves ofentirely new design, in three banks, controlling vertical pneumatics similarly disposed. Thus there are three distinctreduced pressure chambers, each with separate detachable covering board. Vents are immediately in front of valves andcan be reached at once when boards are removed. Pneumaticshave regulating screw for throw of pneumatic and similar regulation for taking up lost motion, which are accessible fromthe front. Pneumatics operate through adjustable bell-crank onlugs fastened to abstracts of piano action.

Tracker-Box. Carries automatic balancing tracking device.Tracker-duct tubes are of rubber or metal as preferred.

Motor. Four point pneumatic. Special valve system, involving valve motion in ellipse by freely balanced valvesworking on seats set at right angles from motor frame. Transmission gears mechanical, with permanent meshing oflarge gear wheel and pinion.

Governing Devices and Control. Motor control is providedby motor governor on back of motor valve box. Governor carries special suspended conical non-corrosive valve tongue.Also carries screw for regulating closing of governor, thusenabling alteration of speed ratios. Motor valve box has specialmotor speed regulation in form of conical valve working in circular port. Motor valve box is built in one piece withoutjoints of any kind. It contains also the motor re-wind drivevalve. Motor valve is controlled by tempo lever on key-slip.Re-wind lever on key-slip controls motor re-wind drive valve inmotor valve box, and by same motion action cut-off valve inaction cut-off box at left of bellows-system.

Removal and Replacement. Pneumatic Action, tracker-boxand motor come out from piano in one piece by removing sidescrews and disconnecting suction tubes at either end. Bellows-system comes out after similar fashion also in onepiece, leaving entire piano free and clear.

Auto Pneumatic Action Co.The Auto-Pneumatic mechanism is manufactured by the

Auto Pneumatic Action Co., New York, one of the best knownin the industry. This mechanism is installed as regular equipment in a very extensive line of pianos.

Bellows-System. The complete bellows-system is built in

two sections and contains the governing devices as well. Indirect variation type. Two exhausters. Two equalizers, onehigh and the other low pressure. Removable from the piano intwo sections. Special pedal leverage connections wherebypower is transmitted from the feet to the middle of theexhauster unit. Special folding pedals. Auxiliary valve insideequalizer to facilitate high tension exhaust when accenting isrequired.

Pneumatic Action. Double-valve type. Primaries verticallyhoused in chest immediately below tracker-box. Secondarieshorizontally housed in secondary chest immediately above key-board. Vents accessible from front of primary chest. Specialseating devices for secondary valves. Pneumatics operate onwippen of piano action through flexible connecting finger.Exhaust trunk to bellows is in form of heavy wooden block fastened to key-bed and running through same. Action can beremoved by taking out end screws and lifting forward.

Tracker-Box. Straight 88-note or combination 65-88 noterange. Has marginal perforations for automatic tracking deviceto help the music sheet. Tracker-duct tubes are metal. Automatic tracking device at left of track has two pneumaticsand double valves operate through marginal perforations onmusic roll chucks.

Motor. 5-point pneumatic. Mechanical transmission andrewind gear.

Governing Devices and Control. Motor governor of jack-knife type on bellows at right side, together with motorvalve-box containing tempo valve and motor rewind lever tocontrol rewind valve and action cut-off, which latter is on bellows at left side. Auxiliary tempo-lever for rapid changesoperating auxiliary tempo-lever for rapid changes operatingauxiliary motor-valve box. Special auxiliary accent by-passvalve in equalizer responds to foot pressure on pedals. Double-divided hammer-rail operated by lifter pneumatics oneach side below key bed. Sustaining pedal pneumatic either forbutton control or for automatic through marginal perforation ontracker. Direct lever control also used.

Removal and Replacement. Pneumatic action and entiresuperstructure come out in one piece as above described. Eachof the two sections of the bellows comes out separately by disconnecting hose and two thumb-screws at the top. Tunerneed not remove top action for tuning, as there is room forinsertion and removal of tuning wedges.

The Autopiano Co.T H E A U T O P I A N O

This mechanism is manufactured by the Autopiano Co., ofNew York, and is used in the player-piano produced by them.

Bellows-System. Indirect variation. Two exhausters and one equalizer. Bellows-system carries expression and motorgovernors. Special folding pedal system.

Pneumatic Action. Double valve system. Primaries are vertical and secondaries horizontal. Upper part of action can bedetached, leaving valve chests and pneumatic stack in piano.Secondary pouch board is in front of action and can be takenout without harming valves.

Tracker Box. Has automatic tracking device controlled bymarginal perforations in trackerbar which actuate double pneu-

206

matic and double valve system to left of box for shifting posi-tion of music roll chucks automatically to preserve tracking.Tracker tubes are metal.

Motor. 5-point pneumatic. Mechanical transmission. Governing Devices and Control. Sustaining lever for left

little finger operating directly on damper lifter rod. Doubledivided hammer rail lifting pneumatics operated by buttons onkeyslip controlling pneumatics above action at either end.Accent lever controlling operation of expression bellows-typegovernor on bellows-system. Tempo lever controls tempo valvein motor governor box. Re-wind lever controls rewind motordrive valve in motor valve box and action cut-off in action cut-off box to left under key-bed. Sustaining pedal pneumaticoperated by button and automatically through marginal perfora-tion in tracker with same in special music rolls, also fitted.

Removal and Replacement. Tracker-box and motor neednot be disturbed for tuning, but can be removed separate frompneumatic action by loosening end screws. Pneumatic actionalso detachable by loosening long screws in front at left side of secondary pouch board and long screw at extreme right. Bellows-system can be taken out in one piece with pedals bydisconnecting tubes and rods and removing end screws.

The Baldwin Co.T H E M A N U A L O

The player mechanism known by this name is the productof The Baldwin Company of Cincinnati, and is exclusivelyapplied to the line of pianos manufactured or controlled bythem. It possesses many features of original design and construction.

Bellows-System. Direct control of accentuation by footpower instead of control by handles or chokers. Circular metalescape valves on the two exhausters. Both outer and innervalves accessible from the front for regulating or cleaning. Special folding pedal leverage whereby exhausters are drawndownwards towards the foot when operated. Equalizer is parallel acting instead of with hinged leaves, with accent blockto change the bellows quickly from low to high tension.

Pneumatic Action. Single valve system. Lateral actingvalve in chest under pneumatics. Combination valve, pouch andstud. Valve chamber walls sealed with rubber cloth. Pneumaticsare graded in size from bass to treble and are directly connectedwith the abstracts of the piano action by a lever attached to andextending from their moving wall. Valves are visible while inmotion and accessible from front of player action for regulation.

Tracker-Box. Above pneumatic action containing trackerbar, tempo indicator, re-wind handle and thumbscrew adjustment for music roll chucks to assist correct tracking.Tracker-ducts are rubber and continuous from action to trackerwithout joints.

Motor. 4-point pneumatic. Mahogany valves and seats.Mechanical transmission gear.

Governing Devices and Control. Motor governor on frontof bellows-system with tempo valve box controlled by tempolever and also by two buttons for retard and acceleration whichact on subsidiary valve in valve box, thus affording independenttempo control.

Two hammer-rail lifters and one sustaining pedal pneumatic are operated by buttons. A special folding tempohandle and all buttons controlling expression devices aremounted in a solid key-slip in an accessible and convenientposition.

The Behning Piano Co.T H E B E H N I N G

This player mechanism is manufactured by the BehningPiano Co., is of their own design, and is used exclusively in the Behning pianos. It is distinguished for a high class of workmanship, for ingenuity of design and above all for itsmarkedly artistic character.

Bellows System. Indirect variation type. Exhaust and equalizing units with special form of escape valves. Specialfolding pedals.

Pneumatic Action. Double valve system. Secondary valveshoused immediately above ports of pneumatics, avoiding longair passages. Primaries immediately in front of secondaries.Action in two banks. Regulating screws for pneumatic touchdepth and for lost motion. Pneumatics engage directly with piano action abstracts. Vents massed in one chamberimmediately above secondaries where tubing comes in from tracker.

Tracker-box. Housed level with tuning pins. Carries pneumatic tracking device operated by contact flange bearingagainst paper. Rubber tubing.

Motor. 6-point pneumatic. Special form of slide valves.Mechanical transmission gear.

Governing Devices and Control. Pneumatic sustainingpedal lifting device, operated by button on key-slip. Doubledivided hammer-rail lifters controlled by buttons on key-slip.Expression governor and box controlled by thumb lever on key-slip. Tempo-lever on key-slip controlling tempo valve intempo valve box. Motor governor in connection. Re-wind leveron key-slip controlling motor re-wind drive valve and action cut-off in motor and expression boxes respectively.

Removal and Replacement. Tracker box and pneumaticaction may be removed together by releasing braces, tempolever connections and thumb-screws at either end of action.Bellows-system is detached in similar fashion.

Behr Brothers & CompanyThe player mechanism in the Behr Piano is used

exclusively by Behr Bros. & Co.Bellows-System. Two exhaust units with high and low

pressure equalizers. Special folding pedals. Bellows structurecarries expression governors (2). Motor governor is carried atright hand side of bellows, separate from main structure.

Tracker-box. Standard type. Change gears of motor locatedoutside entirely, at left of tracker-box.

Pneumatic Action. Double valve system. Primaries are carried in pairs, each pair in a separate detachable box, containing also special form of vent in shape of hole bored insmall brass tube, which may be removed at once for cleaning.Primary pairs can be unscrewed readily, as all are assembled in a line at top of action immediately under tracker-box. Secondaries are contained each in unit form with pneumatics.

207

Each pneumatic is separately detachable by removing front board of action, loosening action and drawing forward,disconnecting piano action connection of pneumatic involvedand loosening pneumatic set-screw. Pneumatic then can bewithdrawn with secondary in one piece.

Motor. Six point unit type with special form of valve.Governing Devices and Control. Hammer-rail is divided,

with pneumatic lifters controlled by two buttons on key-slip. Inaddition to the pedal accenting, which is promoted by means of the special accent valve in the equalizers, there are two governors, dividing the action pneumatically, and placed behindthe equalizers. These normally carry the flow of displaced air,so that normally the action plays softly. When it is desired toaccent on either side, the corresponding button is depressed,switching displaced air direct to bellows. Thus accentuationmay be rapidly accomplished. If the performer so desires, thetwo buttons controlling this device maybe locked by means of a lever underneath the key-bed, thereby converting the mechanism into that type of player wherein the expression andaccenting of individual notes and chords is obtained by directpedal action. The motor government is accomplished by meansof a governor placed at the right side of the bellows-structure.

Removal and Replacement. The entire top action can beremoved by detaching braces at top, disconnecting suctiontubes and loosening screws at sides. Bellows removed similarly.For tuning purposes it is only necessary to remove brace at toprunning to piano plate at treble side.

Berry-Wood Piano Player co.This name is given to a line of automatic coin-controlled

player-pianos manufactured by the Berry-Wood Piano PlayerCo., of Kansas City, Mo., and New York. The general type issimilar to that which is described elsewhere in this work, butthe following points may be observed.

Bellows-System. Special Berry-Wood motor driven type.Especially powerful type used for Orchestrions. D.C. or A.C.motor as required.

Pneumatic Action. Single valve type. Specially simple forhard and continued work.

Special Devices. In addition to the general line of coinoperated pianos, which include endless roll and re-wind types,this company puts on the market larger styles in which organpipes and pneumatically operated traps are included. The organpipes are voiced for flute and strings. In addition there arepneumatics for operating bells, drums, cymbals, etc. All theseare housed within the case. The “auto-orchestra” manufacturedby this company vary in size and completeness, the largestbeing virtually equivalent to a 10-piece orchestra.

Otherwise, the general description of coin-operated instruments given elsewhere in this work will be found to applyto the present case.

The Cable CompanyC A R O L A I N N E R - P L AY E R

This mechanism is the exclusive property of the CableCompany, Chicago. It possesses many features of original andindividual interest.

Bellows-System. Indirect variation type. Built in two

separable sections, each containing one exhauster and oneequalizer. The equalizers are spring-expanded for high and lowtension respectively. These four units are housed horizontally,equalizers below exhausters. Movable walls face forward, sothat flap-valves, expansion and compression springs and bearings of pedal rods, are immediately accessible. Specialpedal leverage arrangement with rolling anti-friction contact.Special triplex pedal-release system, whereby pedals, bottompanel and lever-covering wrist-rest-rail are automaticallythrown into playing position by the movement of a single leverunder key-bed, and automatically returned to normal closedposition by pushing wrist-rest-rail back into place.

Pneumatic Action. Single-valve system. Valves housed,each beneath its corresponding pneumatic, in two banks.Reduced pressure chambers are therefore two in number. Pneumatics operate from front and engage with front end ofminiature key-levers, pulling down front of same. Other end of each lever engages with piano action abstracts. Miniaturekey-levers are balanced similarly to manual keys, giving samerations. Contact of pneumatics through miniature keys withpiano action can be regulated by means of regulating buttonssituated at front of the key-levers and immediately accessible.

Tracker-box. This, together with motor and transmission, is mounted on a superstructure board immediately above piano hammers. Music sheet is movable for alignment or transposition to any higher or lower key by means of knurledwheel on base of box. Music-roll take-up spool and chucks are moved laterally when tracking and transposing device is operated. Tracker-bar remains fixed. Tracker-duct tubes are rubber.

Motor. 6-point pneumatic, having three double units andthree slide valves. Mounted on superstructure. Transmission ofnovel type, having straight line drive to take-up spool withpneumatic clutch control which meshes gears positively withoutstripping. Sprocket and chain used only on re-wind. Bearingsare conical, with Babbitt metal bushings. Shifting forks arefibre. High grade steel used for moving metal parts.

Governing Devices and Control. Direct lever damper-liftfor sustaining pedal. Tilting tablet operating divided hammer-rail-lifter pneumatics. Expression governor on left ofbellows-system, with accent valve in same box with action cut-off valve. Expression control through thumb lever workingon accent valve. Motor governor and motor valve box on righthand side of bellows-system, motor valve being controlled from tempo lever on key-slip. Re-wind lever controlling motor-rewind-drive valve and action cut-off.

Removal and Replacement . For tuning, entire superstructure, carrying tracker-box, motor and transmission,slides forward and downward far enough to leave room forinsertion of tuning wedges, etc. No disconnections necessaryfor this purpose. To remove superstructure, same is drawn forward after disconnecting tracker-duct tubes at metal nippleson action, tempo rod, and rubber suction tubes at motor, andwhen it stops, latch springs under it are pressed downward,when superstructure may be drawn off. To remove pneumaticaction, tracker duct tubes are detached from their metal nippleson action, large rubber tube at right end from motor is also disconnected and end screws are loosened. Pneumatic action

208

and superstructure can be removed together without disconnecting tracker duct tubes but can be taken out separately, either one, as above. To remove bellows-system, disconnect center rubber tubes, take out large thumb-screws oneach separable unit, disconnect valve wires and motor suctiontube, also action suction tube. Remove bearing plates of pedallevers and disconnect triplex pedal-release rods. Bellows-system then will come out in two sections. When removingright hand section only, pedal release system need not betouched.

The A.B. Chase Co.T H E A RT I S TA N O

Manufactured by the A.B. Chase Co. of Norwalk, Ohio.The Artistano mechanism is adapted both to grand and to upright pianos. It is distinguished for being entirely self-contained, and is detachable in one piece from the piano.All parts of it are below the key-bed. The complete mechanismmay be operated after being detached.

Bellows-System. Indirect variation. Two exhausters. Oneequalizer. Governors for motor and expression are carried onfront of bellows trunk.

Pneumatic Action. Double valve system carried on twoboards, with primary pouches and secondary disks on outsideand secondary pouches and primary disks on inside. Pneumaticsact directly upward on regulating screws which pass throughthe abstracts; pneumatics being below key-bed.

Tracker-Box. Immediately above pneumatics and belowkey-bed. Can be folded away when not in use, this action alsofolding up the player pedals and door. When used in playingrests in front of key-slip. Tracker tubes are metal. Containstracker-regulating screw on right hand music-roll chuck.

Motor. 4-point pneumatic. Glass slides. Attaches at right oftracker above pneumatics.

Governing Devices and Control. Thumb lever damper-lift.Finger-levers operating valves in expression governors on frontof bellows. One governor for bass side of action, one for treble.

Combination re-wind and tempo lever, operating valves intempo box. All levers assembled on tracker box. Automatichammer-rail lift.

Removal and Replacement. Complete mechanism swingson hinges below key-bed. To remove, mechanism is swung outwards to angle of 45 degrees with piano. Lower hinge pin isremoved and mechanism can then be lifted off upper pin. Twopersons are required to do this conveniently.

Grand mechanism is fastened by four screws to key-bed.When these are removed, mechanism sinks to ground supportedon lyre and folding legs and can be removed.

Christman Piano Co.C H R I S T M A N AT TA C H A B L E

This mechanism is manufactured by the Christman PianoCo. of New York and is of special type, designed for attachmentto any upright or grand piano.

Bellows-System. Direct variation type. Two exhaust unitsand one equalizer. In upright mechanism, this fits below thekey-bed in usual position. In the grand type the bellows-systemis housed in special box that takes the place of the usual

lyre-frame. The motor governor and valve box, with action cut-off box, are housed on the bellows-system structure. Specialautomatic folding pedals.

Tracker-Box. In both types is arranged to fold away underkey-bed, being pulled outwards till it rests in front of keys whenin playing position. The two ends of the roll-holding units carrythe tempo and expressive control devices respectively. Whentracker-box is pulled forward or thrown back, doors of lyre-frame in grand or of bottom frame in upright open andclose. Tubing is rubber. Tracker has automatic tracking device.

Pneumatic Action. Single valve type. Pneumatic units carryvalve in same structure. They are laid in one row directly underpiano keys, being supported on special form of frame whichcarries suction trunk. Each pneumatic is connected with keyabove it by a cord, which is carried through a hole drilled in keyto top of same where it is adjustably secured.

Governing Devices and Control. Tempo and rewind combination lever at right side on right hand roll holding unit.Double divided hammer rails lifts controlled by buttons on left hand unit. Pneumatic sustaining-pedal device controlled bybutton on left hand unit. Pneumatics for all three are abovehammers on upright. Motor governor and valve box, withaction cut-off box on bellows system.

Melville Clark Piano Co.T H E A P O L L O

The general name Apollo is given to the piano playermechanisms manufactured by the Melville Clark Piano Co., ofChicago. Under this title is embraced a number of varieties,including the without electric drive, and the special Solo-ApolloApollo Grand, the Solo-Apollo Grand, with and without electricdrive, and the special Solo-Apollo Grand with separated controlcabinet. The Apollo mechanism is simple and highly ingenious.The general make-up of the standard Apollo action is as follows:

Bellows-System. Direct variation type. Exhaust and equalizing units sometimes horizontally placed (in older models). Pedals either folding or (in older models) detachablefrom bellows units.

Tracker-box. Tracker carries special transposing device giv-ing various key changes, operated by thumbnut.

Pneumatic Action. Single valve system, using bellows-valve. Pneumatics engage directly on upper surface ofkeys, behind fall-board, pressing downwards.

Motor. Either mechanical spring-operated or pneumatic.Governing Devices and Control. Pneumatic sustaining

pedal operated by lifting pneumatic, controlled either throughbutton or marginal perforation in tracker. Hammer rail liftingpneumatic, controlled by buttons and perforations. All buttonsin key-slip. Tempo lever combined with re-roll springing frombeneath key-bed.

Solo and Special Devices. The Solo-Apollo is a specialtype of Apollo mechanism and consists essentially of the combination of the ordinary mechanism with a special Soloaction. This latter operates as a complete unit, controlled by its own special perforations in the tracker-bar, which is enlarged for the purpose. The Solo action operates at a highertension than the ordinary action when the two are played in

209

combination; this being controlled by the usual type of expression governors. Special rolls are used in which the notesof a melody are assigned to the Solo action while the ordinaryaction plays the accompaniment notes. In this way it is possiblenot only to obtain excellent accentuation and emphasis ofmelodies, but also, if necessary, to cut off entirely either thesolo or the accompaniment action, so that either may be silentwhile the other plays.

In addition to this special mechanism, the Solo-Apollo isoften provided with a tempo control of pneumatic type, inwhich the tempo controlling lever is shifted automatically inposition through the agency of special perforations in the margin of the music roll and tracker-bar whereby pneumaticsare operated through special valves. Later developments haveextended this idea to the expression devices, and through similar perforations it is now possible to control the expressiontension automatically. An extension of the idea is provided inthe electrically driven Solo-Apollo recently put on the marketwhich can be used with both grand and upright pianos. In thisthe bellows system and electric motor, together with the controlling levers (for use when the automatic controls are notemployed) are installed in the upright piano and in the grand areplaced in an exterior cabinet, and connected with the pneumaticaction under the key-bed by means of tubes. The cabinet can bepushed under the grand piano when not in use.

Jacob Doll & Sons – Inc.The player mechanism manufactured by this company is

used exclusively in their line of pianos.Bellows-System. Indirect variation type, with two exhaust

units and one equalizer. Bellows-system carries large governorsfor motor and expression, to right and left respectively, in frontof exhaust units. Expression valve box and motor valve box arecarried above and separate from bellows-system.

Tracker-Box. Carries finger lever for tracker adjustmentand transposition. Tubing to valves is rubber.

Pneumatic Action. Double valve type. Pneumatics face forward, and engage with piano action through rocking levers.

Motor. 5-point pneumatic. Mechanical gear shift and re-wind.

Governing Devices and Control. Expression governor situated at left side of bellows system in front of left handexhaust unit. Valve box for expression is situated directly abovegovernor with tube connection. Expression control is throughlever worked by left thumb. Motor governor is at right of bellows-system, in front of right hand exhaust unit, with motorvalve box containing motor tempo valve and motor re-windvalve immediately above it, controlled by tempo lever andrewind lever. Action cut-off is in expression valve box. Fingerlever on key-slip for sustaining pedal device and double dividedhammer-rail lift controlled by buttons operating hammer-liftingpneumatics on right and left ends of piano above hammers.

Note. A modified style of the above mechanism is alsomanufactured, in which an electric motor is used to operate anadditional set of exhaust units. The expression devices are thesame but may be operated automatically by means of marginalperforations in special music rolls, which actuate pneumaticvalves in the expression and motor boxes, and in the

hammer-rail lift pneumatics. There are also a button for controlling the general level of tension, which acts on theexpression governor, an electric switch connected with thesource of current for starting and stopping the motor, and a further button for throwing in or out the automatic expression.

ElectrelleThis mechanism is manufactured by the American Piano

Co. and forms part of their line of player mechanisms. It can beinstalled in any upright or grand piano.

The design and construction of the Electrelle are so far different from those of pneumatic mechanisms that a specialmethod of description is here adopted.

Principle of Operation. A small electric motor rotates apolished steel rod fastened above and parallel with the hammersof a piano. A series of small electro-magnets is arranged in arow adjacent to the rod with the armatures connected with cork-lined shoes. The latter, when the magnets are energized,move forward, and the shoes catch on the revolving rod, whichholds them up until the de-energizing of the magnet, when theyreturn to the original position. The shoes being connected bymeans of tapes with the wippens of the piano action, the latter isoperated accordingly.

Selection and Control. An ordinary music roll is used,which is carried over a tracker bar on which, instead of holes,are pairs of very light wires. Above the paper roll is arranged aconducting bar carrying current from a battery or light circuit,which also furnishes current for the motor. When perforationsoccur in the paper, the pair of wires which register with the perforation spring upwards and connect with the conductingbar, thus completing a circuit and energizing the correspondingmagnet. When the wires are covered by the paper, they are insulated from the conducting bar and no circuit can be made.

Motor and Motive Power. The current from a battery orlight circuit runs a small electric motor which revolves the rodand also the take-up spool of the tracker-box. No transformer isneeded. Motor is controlled as to speed by a delicate rheostatgoverned by a finger lever. Magnets are energized by samepower.

Position of Elements. Tracker-box carrying take-up spool,conducting-bar and tracker-bar with its pairs of wires, foldsaway under key-bed when not in use, and when in use is pulledforward till it comes to rest in front of the piano keys. Magnetsand revolving rod with connections and motor are above pianohammers. Motor can also be placed in bottom of piano.

Expression Control. Sustaining and soft pedals of pianomay be operated as usual by feet of performer. Motor control isas described above. Touch or dynamic control is obtained asfollows: A jointed rod is placed behind the line of hammers andso arranged that when the tracker-box is pulled forward forelectric playing, the hammers are raised automatically and heldvery close to the strings. Each section of the jointed rod is controlled by a finger key which pulls out from below the key-bed. There are three sections of the rod and three keys. Bydepressing a key, the performer pulls back the correspondingsection of hammers, thus bringing that section to full distanceof hammer stroke or to any intermediate distance. In this waycomplete touch control can be had, virtually on each and everyindividual tone of the piano.

210

EuphonaThis mechanism is manufactured exclusively by The Cable

Co. of Chicago, and is standard equipment for certain player-pianos manufactured by them.

Bellows-System. Direct variation type. Two exhausters, oneequalizer. Controlling devices carried on top of bellows. Pedalsfold against fixed wall of bellows when not in use.

Pneumatic action. Single-valve type. Pneumatics engagewith piano action abstracts direct.

Tracker-box. Tracker bar carries perforation for automaticsustaining pedal pneumatic. Thumb-nut for mechanical trackingdevice. Tracker-duct tubes are rubber.

Motor. 6-point pneumatic with 3 double units, and slidevalves.

Governing Devices and Control. Motor governor in connection with motor valve box above bellows-system andattached to it. Motor valve box controlled by combinationtempo and rewind lever, which also acts on action-cut-off valve box at other end of bellows-system. Double divided hammer-rail pneumatic lifters controlled by buttons on key-slip.Sustaining pedal button on key-slip controlling sustaining pedal(damper-lifting) pneumatic at left side of bellows under key-bed. Extra perforation in tracker bar for controlling sustaining device automatically through special perforations on rolls.

Removal and Replacement. Pneumatic action, tracker-boxand motor can be withdrawn together by detaching motor suction tube, motor rod connections and large screws at eitherend of pneumatic action. Bellows-system is removed by detaching suction tubes, disconnecting valve rods and takingout large screws at either end of bellows frame.

The Farrand Co.T H E C E C I L I A N

This mechanism is manufactured by the Farrand Co., ofDetroit, Mich. It is applied to a line of pianos manufactured bythe Farrand Co.

Bellows-System. Indirect variation type. Equalizing andexhausting units. Folding pedals.

Pneumatic action. Metal Type. Double valve system. Primary and secondary valves, with pneumatics, are built eachset as an unit, detachable individually from the action. Thuseach unit consists of the pneumatic (wooden) a secondary box(metal) containing secondary valve and suction passage to mainair trunk, with metal primary valve box in front containing primary of standard type.

Tracker Box. Carries mechanical tracking system wherebychucks and take-up spool may be moved together for trackingthrough finger lever on key-slip. Also has transposing devicefor shifting up or down five notes.

Motor. 5-point pneumatic. Mechanical transmission gear.Governing Devices and Control. Direct thumb lever

sustaining pedal device. Double divided expression boxes withexpression governors on bellows-system controlled by buttonson key-slip. Tempo lever controlling motor re-wind drive valvein tempo box and action cut-off valve in expression box.

Removal and Replacement. Pneumatic action detachable in

one piece by disconnecting rods and removing screws at ends.Bellows system detachable in similar manner.

Gulbransen-Dickinson Co.G U L B R A N S E N P I A N O P L AY E R

This mechanism, manufactured by the Gulbransen-Dickinson Co., of Chicago, is installed in many well knownpianos. Its general construction and design are quite novel,involving much original practice. The Gulbransen mechanismhas in consequence earned an individual place of itself.

Bellows-System. Direct variation. Two exhausters and twoequalizers. Special pedal leverage, whereby exhausters arepulled forward on the down stroke of pedals. Pedals can beremoved from bellows-system without extracting screws orbolts. Response of bellows to pedal accent is instantaneous.

Pneumatic Action. Single valve system. Each pneumaticand its valve together form an unit, each unit being separatelyfastened to vacuum chest. Vents are collected in one line at topof chest and can be reached by removing one row of screws.

Tracker Box. Above vacuum chest. Contains tempo indicator. Has sliding tracker-bar for lateral adjustment to musicroll. Tracker duct tubes are rubber.

Motor. 6-point pneumatic. 3 cylinders with pistons andconnecting rods, controlled by reciprocating valves. Each cylinder double acting. Another model has all valves concentrated into one rotary unit at trable end of motor. Motorcontrolling valve is contained in motor frame.

Governing Devices and Control. Motor governor is of bellows type and is located on bellows system. Action cut-offbox and re-wind valve box are on either end at top of bellowswith mechanical connection from same to combination tempoand re-wind lever under key-slip. Two hammer rail lifters controlled by buttons through pneumatics, and one sustainingpedal pneumatic controlled by button; all buttons on key-slip.

Removal and Replacement. For tuning, tracker and motorcan be swung forward out of tuner’s way. Pneumatic action canbe removed by disconnecting braces at top and bottom andremoving the screws at each end and disconnecting the rubbertubing.

Bellows-system comes out in one piece by removing boltsat top of bellows-system, disconnecting rubber tubes at ends,but pedals should be pushed in when this is being done.

Pedals detach separately.

Hardman, Peck & Co.A U T O T O N E

This mechanism is manufactured by Hardman, Peck & Co.,of New York, and used exclusively in the pianos made by themor under their supervision.

Bellows-System. Indirect variation system. Two exhaustunits and one equalizer. Special patented folding pedals.Expression governors and expression boxes (2 in number) arecarried on either side of exhaust units.

Tracker-Box. Tracker bar of metal, fitted with transposingdevice so that music can be played in several different keys ifdesired. Also carries automatic tracking device with singlepneumatic and metal strip in contact with edge of paper. Tubingfrom tracker to primaries is rubber. Perforation for automaticsustaining pedal.

211

Pneumatic Action. Double Valve type, arranged in threebanks. Primaries and secondaries on same frame. Secondariesvertical. Motor governor carried on upper surface at left oftracker-box.

Motor. Special 6-point type. 3 double units. Mechanicalgear shift and transmission.

Governing Devices and Control. Bass and treble expressiongovernors with corresponding expression boxes containing diskvalves for switching from high to low tension and the reverse.These are situated on either side of exhaust units, as notedabove, each box with its corresponding governor of bellowstype above it. Action cut-off pneumatically operated throughvalves in expression boxes and controlled by rewind lever onkey-slip. Valves in expression boxes are actuated by buttons onkey-slip pneumatically.

Soft pedal device operating hammer-rail lift through directthumb lever on key-slip, giving graduating soft effect.

Sustaining pedal pneumatically operated through largepneumatic situated at bottom of piano to left of bellows. Automatic operation of same through marginal perforation intracker. Manual operation through button on key-slip.

Motor governor situated on top action to left of tracker-box. Valve below governor in unit with it, containingtempo valve and re-wind motor valve operated by tempo andrewind levers respectively.

Silent forward drive operating action cut-off through button on key-slip.

Removal and Replacement. Pneumatic action with tracker-box and motor removable by loosening braces to pianoaction, disconnecting tempo rods and taking out screws at sides.Bellows-system removable in same way.

The PlayotoneThis mechanism is a single valve action simplified from

the Autotone, though preserving the same general ideas. Themotor is identical, but the motor governor is carried below thekey-bed at right of bellows. There are no expression governorsor boxes, but instead hammer-rail lifting pneumatics abovehammers at either side, operated by buttons on key-slip. Sustaining pedal device operated by direct thumb lever. Tubingis metal.

W.W. Kimball Co.The mechanism is manufactured by the W.W. Kimball Co.,

of Chicago, and is used exclusively in their pianos.Bellows-System. Direct variation types. Exhausters

arranged horizontally and pulled downwards by pedals of special type.

Tracker-Box. Located above hammers. Tubing to valves ismetal.

Pneumatic Action. Single valve type.Motor. 4-point pneumatic. Mechanical gear shift and

re-wind.Governing Devices and Control. Double divided soft-pedal

device, with pneumatic hammer-rail lifters controlled by buttons on key-bed. Pneumatic for operating damper lifter controlled by button on key-bed. Mechanical re-wind leveroperation action cut-off and re-wind valve in motor valve box.

Tempo lever controlling motor valve. All levers and buttonsassembled in key-bed with special cover.

Kranich & BachThis mechanism is the product of Kranich & Bach of New

York, and is constructed exclusively for the Kranich & Bachpiano. It possesses features of marked originality.

Bellows-System. Indirect variation type. Two exhausters.One equalizer. Does not carry controlling devices on frame.These are separate.

Pneumatic action. Single valve type. Valves of specialdesign. Each valve consists of diaphragm perforated in middle,actuated by regular style pouch and free stem unattached toeither diaphragm or valve. Normally the perforated diaphragmis kept down, in usual style, with perforation closed by restingon suitable seat. When pouch moves forward under influence of air through tracker duct, valve moves forward also and itsperforation registers with port in pneumatic, thus making directpassage from reduced pressure chamber to pneumatic. Reducedpressure chambers are two in number, standing vertically, onebehind the other, with pneumatics vertically fastened to them.Pneumatics make contact through bell-crank with piano action.Vents are massed on one rail above reduced pressure chambers.

Tracker-Box. Contains re-wind lever to mechanical gearshift. Tracker duct tubes are rubber. Mechanical trackingdevice.

Motor. 5-point pneumatic, standard type.Governing Devices and Control. Triple division of

hammer-rail actuated by pneumatics through buttons on key-slip. Sustaining pedal operated pneumatically through perforated stud in key-slip. Motor valve in motor valve boxunder key-bed controlled through tempo lever. Pneumaticaction cut-off separate from re-wind, for cutting off actionwhile motor drives ahead, controlled by button on key-slip.Pianissimo and accent device pneumatically throttles tensionthrough valve and pouch in expression box under key-bed atleft side, controlled through perforated stud in key-slip.Mechanical tracker-adjuster on key-slip.

Removal and Replacement. Piano may be tuned withoutremoving any part of action. Bellows-system arranged so as topermit access to all parts of piano below key-bed withoutremoval. Pneumatic action together with tracker-box and motor,is detachable as an unit. Bellows-system also removable with pedals as an unit, leaving control boxes, etc., fastened tounderside of key-bed.

The Lauter Co.T H E L A U T E R - H U M A N A

This mechanism is the product of the Lauter Company, ofNewark, N.J., and is used exclusively in their pianos.

Bellows-System. Indirect variation type. Two exhaustersand one equalizer. Expression and motor governors carried onbellows-system. Special type of folding pedals.

Pneumatic Action. Double valve system. Secondaries arehorizontal and secondary pouch board is in front of vacuumchest, being detachable without disturbing secondary valves.

Tracker-Box. Carries automatic tracking device operatingthrough marginal perforations in tracker bar. Automatic tracker

212

is at left of box. Also has marginal perforation controlling sustaining pedal pneumatic. Tracker tubes are metal. Trackerbox detachable with motor and automatic tracking device, fortuning purposes.

Governing Devices and Control. Sustaining lever operatedby little finger of left hand works directly on damper lifter rod.Double division of hammer rail with pneumatics above actionat either end of piano, controlled by buttons on key-slip underfingers of left hand. Accent lever controlling closing of expression bellows-type governor on bellows-system. Tempo-lever operates tempo valve and slot in motor valve boxand governor on bellows-system. Re-wind lever operatesaction-cut-off valve in action-cut-off box at left of piano underkey-bed, and also controls re-wind motor valve in governorbox.

Removal and Replacement. Upper action can be detachedby removing end screws as above. Pneumatic action also isdetachable by removing long screws in secondary pouch boardat left end and long vertical screw at right end.

The Marquette Piano Co.Manufactured exclusively by the Marquette Piano Co.,

of Chicago, who also manufacture a line of coin-operatedinstruments.

Bellows-Systems. Direct variation. Two exhausters. Oneequalizer. Special spring arrangements. Pedal leverage designedto afford responsiveness to pressure of feet without necessity for toe action. Motor governor and pneumatic re-windbox carried on bellows.

Pneumatic Action. Single valve system. Vertical gravityvalves. Adjustable vents.

Tracker Box. Tracker-bar of solid brass or German silver.Rubber tracker-duct tubes. Thumb-nut tracker adjustment.

Motor. 6-point pneumatic type, with three double valves.Transmission gear carried on motor frame. Motor valve box onmotor frame.

Governing Devices and Control. Motor governor on bellows controlled by double spring. Combination rewind andtempo lever on key-slip operating pneumatic action-cut-off onbellows and motor valve on motor frame. Direct mechanicalhammer-lift through finger buttons on key-slip or pneumatic liftsimilarly controlled. Thumb lever for sustaining pedal effect,operating damper-lift mechanically.

Removal and Replacement. Bellows-system including pedals is detached in one piece by removing screws and detaching tubes. Pneumatic action and tracker-box with motorcomplete are also removable in similar manner.

Henry F. Miller & Sons Co.This mechanism is designed and manufactured by the

Henry F. Miller & Sons Piano Co. of Boston, and is used exclusively in their line of pianos.

Bellows-System. Indirect variation type. Two exhausters,two equalizers. Does not carry the governing devices, but is acomplete unit with its pedals, which are attached to center lineof exhausters.

Pneumatic Action. Double valve type. Each primary andsecondary with vent is contained in a separate unit box which

can at once be removed for examination or regulation. Pneumatics are of the diaphragm type, resting horizontally infour banks behind valve box units and operating piano actionthrough rocking levers.

Tracker Box. Metal construction in one piece with framewhich holds motor. Motor is above tracker-box. Tracker ducttubes are rubber. Automatic sustaining pedal control also ontracker at left side. Tracking device fastened to tracker box.Mechanically operated re-wind.

Motor. 5-point pneumatic of pouch type, avoiding leaves.Mounted above tracker-box.

Governing Devices and Control. Centralized system. Twoboxes fastened to under side of key-bed perform followingfunctions: Right box has motor governor and motor valve box,also pneumatic governor for treble side of divided pneumaticaction, controlled by button on key-slip. Also contains control for re-wind in connection with left box. Re-wind ismechanically controlled by lever operated manually on key-slip. Left box controls right side of divided action withexpression governor, and shares other controls (except motorspeed) with right box.

Removal and Replacement. Bellows-system removes in onepiece leaving governing devices attached to under side of pianokey-bed. Top action also comes out in one piece complete byremoving side screws.

The National Piano Co.T H E A I R - O - P L AY E R

This mechanism is manufactured by the National PianoCo., of Boston, Mass., and is fitted into the pianos made by thisconcern.

Bellows-System. Direct variation type, but has single by-pass expression governing box in communication. Twoexhausters and one equalizer. Expression and motor governorsand cut-off box are separate from bellows-system.

Pneumatic Action. Double valve type. The primary andsecondary valves for each pneumatic are contained in a seamless metal shell or cartridge, fastened to the upper surfaceof the pneumatic and to the trunk vacuum chest, and detachablefrom both by loosening metal strap attached to stiffening trussrods. This construction is used wherever valves are necessarythroughout action. A complete new cartridge can be substitutedfor a defective unit in a moment. Pneumatics strike from backdirectly through plungers on wippen of piano action and haveregulating screw for regulation of dip.

Tracker-Box. Carries re-wind lever, and has mechanicaltracking adjuster operated by knurled nut at left. Motor, tracker-box, motor governor and motor transmission are all carried together on one frame, forming the superstructure,which is detachable individually. Tubes are rubber.

Motor. Five-point pneumatic. Carried on superstructure toright of tracker-box. Mechanical gear shift. Motor governorimmediately beneath motor.

Governing Devices and Control. Motor governor is onsuperstructure below motor, and is controlled by re-wind leverrunning into it and also by tempo lever operating tempo valvein governor valve box. Re-wind lever also operates action cut-off valve in action cut-off valve box under key-bed of pianoat left side. Control levers and buttons are arranged as follows,

213

from left to right: (1) Sustaining lever operating direct ondamper lifter rod, and carrying button which controls pouch inaction cut-off box, to cut off action while running ahead. This iscalled the “skip” button. (2) Split levers, operating bass andtreble hammer lifting pneumatics above action on either side.(3) Tempo lever operating as above and carrying expressionbutton which controls pouch in cut-off box under piano key-bed. Tempo lever also carries button which controls valvebox under piano key-bed at right. Pouch rising in this valve boxcuts off motor entirely.

Removal and Replacement. Superstructure is detached bytaking out screws at either end, disconnecting motor suctiontubes and lever connections, and loosening screws behind,which hold tracker-tubes to pneumatic action. This suffices fortuning and regulating pneumatic action. Pneumatic action canalso be detached and removed. Bellows-system comes out inone piece after removing thumb-screws and disconnecting suction tubes. A small recess under the tracker-box contains an extra valve cartridge with hook for detaching same frompneumatic action.

The Peerless Piano Player Co.This name is given to a form of automatic or coin-operated

automatic player-piano manufactured by the Peerless PianoPlayer Co., of St. Johnsville, N.Y. It comes in various forms,not only as a straight pneumatically operated piano, but with theaddition of organ pipes, drums, castanets, mandolin attachment,cymbals, etc. The largest of the latter styles are known as“orchestrions.”

Bellows-System. Electric-motor driven exhaust units threein number. When organ pipes are used there is also a set ofthree compression bellows driven by same motor. Direct oralternating current, using light circuits. Equalizer. Belt or friction drive to tracker above key-bed. Friction drive can beregulated for speed. Motor is housed in bottom or in back of piano.

Tracker-Box. Above key-bed carrying driving gear withspecial type of clutch for drive and rewind. Tracker-bar hasmarginal perforations for all operations. Rubber tubing.

Pneumatic Action. Single Valve.Motor. Electric driving bellows and take-up spool on

tracker frame by belt or friction drive.Governing Devices and Control. Organ feature is placed

above piano hammers, and can be taken down with its casingcomplete. Organ pipes are tuned with test roll by putting themin unison with piano strings. Pipes have tuning slides. Mainelectric switch operable by hand as well as by coin slot. Startre-wind switch in front of tracker. Soft pedal device lifts wholehammer rail by pneumatic, controlled by marginal perforation.All organ features, with drums, traps, etc. operated by pneumatics subject to controlling switches actuated by marginalperforations. Pneumatic automatic sustaining pedal device similarly controlled. Start, stop and re-wind after roll is finishedoperated automatically by pneumatic switches.

Removal and Replacement. Organ feature removable asabove described. For tuning, tracker box swings forward onloosening bolts that hold it to piano plate. Pneumatic action alsoremovable; but this is not necessary for tuning. Bellows are

hung under key-bed and can likewise be removed, although thisis not usually required for any purpose.

Pratt-Read Player Action Co.WA S L E U N I Q U E

This mechanism is manufactured by The Pratt-Read PlayerAction Co., of Deep River, Conn., and is installed in variouslines of pianos.

Bellows-System. Indirect variation system. Two exhaustunits and one equalizer. Special form of folding pedals. Exhaustunits and equalizers hung separately on trunk channel board,and valve boxes are mounted on channel board. Bellows-systemcarries motor and expression governors.

Tracker-Box. Carries an automatic an automatic take-upspool device, for alignment of music roll, on left of tracker-box,with single pneumatic. Tubing is rubber. Automatic brakes formusic roll and take-up spool, operated pneumatically.

Pneumatic Action. Double valve. In Style A, the pneumatics are in two banks facing forward, and attack on thepiano action abstract by means of a lever, or auxiliary key,underneath. Vertical primary facing rearwards and horizontalsecondary facing forwards, on same frame, all massed in two banks, each pair below its pneumatics. Vents massed onseparate rail above top bank of pneumatics, facing forward.

In Style B, the pneumatics are in two banks facing rearward, and attack on a regulating button in the wippen. Vertical primaries massed in two rows on top of pneumaticaction, underneath tracker-box rail, with horizontal secondariesabove pneumatics; vents massed on separate rail at top and rearof pneumatic action.

Motor. 5-point motor pneumatic. Mechanical gear-shiftcontrolled by re-wind lever.

Governing Devices and Control. Double divided soft pedaldevice, with pneumatic lifting hammer-rail; controlled by buttons on key-slip. Expression governor on right hand side ofbellows-system facing forward, controlling valve box on topleft hand side. Lever on key-slip controls accent-valve, andsame box contains action-cutoff valve actuated by re-windlever. Motor governor is behind expression governor and controls motor valve box at top right hand side of bellows, facing forward; is actuated by tempo lever.

Silent drive device, actuated by re-wind lever. Automaticsustaining pedal pneumatic mounted underneath key-bed atbass end of piano.

Removal and Replacement. Top action is removed by loosening large screw bolts at each end, disconnecting wiresand brace to piano plate. Tempo indicator connection and motor tube need not be touched. Bellows-system is removed bydisconnecting suction tubes, and wires, and loosening screws in angle irons at top of bellows.

Price & Teeple Piano Co.S Y M P H O N O L A A N D H A R M O N O L A

The mechanisms known by the above names are manufactured by the Price & Teeple Piano Co., Chicago, fortheir own exclusive use. The following description applies to both.

214

Bellows-System. Indirect variation. Two exhausters and twoequalizers, high and low tension. Adjustable torsion springs onunits, with ratchet adjustment. Motor and expression governorscarried on bellows-system.

Tracker-Box. Tracker-bar is manually shiftable for transposing of keys and carries automatic single-pneumatictracking device, controlled by flange bearing against paper onlift side. Thumb nut adjustment also provided. Automatic sustaining pedal perforation and on-and-off switch.

Pneumatic Action. Single-valve system. All valves mounted on chest at top of action, immediately below tracker.All valves can be withdrawn separately by taking off hard rubber ring on top of each. Valves have metal seats. Pneumaticsare mounted below on three parallel metal bars, each pneumaticbeing adjustable for position. Rubber tubes from valves topneumatics. Vents are massed in one row on brass tube runningimmediately below tracker, and have screw adjustments. Actionmounted on metal brackets set into key-bed.

Motor. Six-point pneumatic with three double units andthree double valves. Mechanical gear shift. Tempo valve carriedon level with motor, and fastened at side of piano. Is made ofmetal, containing rotary metal valve.

Governing Devices and Control . Sustaining pedal pneumatic for automatic operation and direct finger lever for manual operation. Double divided hammer-rail pneumaticscontained below key-bed and controlled by finger-buttons onkey-slip. Expression governor with coiled spring adjustment,carried on bellows together with action cut-off box. Motor governor with coiled spring adjustment carried on bellows andcontaining motor rewind valve. Tempo and rewind controlledby combination lever.

Removal and Replacement. Pneumatic action can beremoved by disconnecting two rubber tubes (automatic sustaining and tracking device tubes) and taking out two bolts,one at each end. Action is then tipped back, drawn forward andtaken out. Bellows comes out in one piece by pulling up twospring latches and disconnecting four rubber tubes.

The Schumann Piano CompanyS C H U M A N N

The Schumann piano player mechanism is the product ofthe Schumann Piano Company of Chicago and is used exclusively in connection with the line of pianos manufacturedby that company.

Bellows-System. Indirect variation type. Made in two separate halves, each containing one exhaust and one equalizerunit. Also containing accenting device, making it possible toaccent through the pedaling. Either half of bellows-system canbe disconnected from the other and permitted to swing forwardon pivots towards the front of the piano. Folding pedals pitchedto obviate toe action.

Pneumatic Action. Single valve system. Horizontal valvewith aluminum stem and fibre and leather disk. Regulating system for lost motion.

Tracker Box. Carries pneumatic tracking device on top ofbox, operated through finger lever on key-slip. TransposingTracker Bar, transposing into six keys.

Motor. 6-point, units are in three tandem sets. Double

acting slide valves.Governing Devices and Control. Motor governor with

jack-knife cut-off valve on top of pneumatic action, left side.Tempo lever governing same and re-wind lever connectingmotor governor and valve box with action-cut-off valve.

Stop device to stop motor operated by button on key-slip.Double divided hammer-rail lifting pneumatics controlled bybuttons on key-slip. Pneumatic damper lifter for sustainingpedal operated by button on key-slip.

Removal and Replacement. Bellows-system removable ineither of two halves, by disconnecting hose, rods, and thumbscrews at either top end and swinging forward. Pneumaticaction removed by disconnecting tubes and rods and releasingscrews at ends.

M. Schultz Co.This player mechanism has been developed by the

M. Schulz Co., Chicago, and is used exclusively in the line ofpianos manufactured by them. It contains many features ofinterest and some novel applications of principle.

Bellows-System. Direct variation. Two exhausters. OneEqualizer. Pedal leverage designed to eliminate “kick.” Bellowsare distinguished for simplicity of design, and cleanness ofappearance. Action-cut-off valve box and motor governor withtempo-box are carried on bellows trunk.

Pneumatic Action. Single-valve system with novel form ofbellows-valve, balanced and weighted, carrying vent in its head.Each valve is immediately above its corresponding pneumatic.Valve boards forming reduced pressure chamber are detachable,each with its row of valves. Special regulating screws are provided for regulating touch depth and taking up lost motionbetween pneumatics and piano action. The whole action may bedetached in one piece by removing 4 screws and one brace.

Tracker Box. Immediately above pneumatic action. Can bedetached completely from the latter, carrying tracker-tubes andmotor with it. Tracker-bar is provided with two-pneumatic typeof automatic tracking regulator. Rubber tubing. Tracker box isdetached by removing screws in front of pneumatic action, thusdetaching front muffler board, and then removing rubber tubesfrom metallic nipples on top of action. Guide rail holds tubes inproper position for replacing.

Motor. 5-point pneumatic. Mechanical transmission gear.Slide valves run on guide rails.

Governing Devices and Control. Motor governor of bellows-type on front bellows-system. Has double spring system and regulating screws. Tempo box behind governor andaction cut off at bass end of key-bed. Double divided hammerrail lift for soft pedal controlled by direct mechanical leveraction or by pneumatics governed by buttons. Direct lever control for sustaining pedal.

Removal and Replacement. Accomplished as above. The whole action is in three large sections, each removable separately. All parts are interchangeable.

The J.P. Seeburg Co.S E E B U R G

This mechanism is manufactured in a line of pianos by the J.P. Seeburg Co., of Chicago. It is of the coin-operated

215

automatic type. Besides the straight player-piano there is also inthis line an orchestrion with pipes of various voicings, drums,cymbals, etc. There is also a player-piano with a scale of organpipes added.

Bellows-System. Electric-motor-driven double exhaustunits. Where organ pipes are used, waste air after escape fromexhausters is turned into organ wind trunk. One equalizer.

Tracker-Box. Below key-bed. Friction drive from bellowsdriving music spools. Speed governed by thumb-screw underkey-bed. Rubber tubing.

Pneumatic Action. Single valve.Governing Devices and Control. Expression governor in

equalizer frame controlling high or low tension through manuallever on front of shaft. Coin-operated main switch, pneumaticcontrol. Marginal perforations in tracker-bar controlling pneumatic sustaining pedal device, pneumatic soft pedal device,pneumatic operation of mandolin rail, pneumatic stop at end ofeach piece and pneumatic re-wind at end of roll. Organ pipestuned by test roll in unison with strings. Drums, cymbals andother features are operated by pneumatics through special perforations in roll, with manual operated cut-offs to each.

Removal and Replacement. When tuning, pipes areremoved individually. In orchestrions whole Drum Board withdrums and trap arrangements mounted thereon can be removedin one piece by removing screws at each end. Pneumatic actioncan be taken out in one piece.

The Simplex Player Piano Co.T H E S I M P L E X

The mechanism manufactured by this company is made bythem for wholesale use.

Bellows-System. Indirect variation type. Expression (2) andmotor governors are carried on bellows frame.

Tracker-Box. Carries hand-operated roll adjuster for correction of tracking. Horizontal tracker bar.

Pneumatic Action. Both double and single valve type. Special type of secondary valves with hinged disk.

Motor. 5-point pneumatic. Single Units. Mechanical transmission of gear-shift.

Governing Devices and Control. Expression governors forbass and treble divisions of action. Suction is normally carriedthrough these governors, so that playing is normally soft. By pressing buttons located on key-slip, valves are thrownupward in governors, opening suction passages independent ofgovernor. This allows for accentuation. Governors can be cutout entirely by lever which keeps buttons in operating positionand thus holds valves open. Expression governors are located atleft side of bellows-system. Sustaining pedal device is eitherpneumatic with operating pneumatic and button or manual withfinger lever. Hammer-rail lifter pneumatic also used, controlledby button. Tempo and re-wind levers control motor valve-boxlocated at right side of bellows, together with motor governor.

Removal and Replacement. Bellows-system can beremoved in one piece with all governors, etc., by disconnectingtubes and levers and taking out thumb-nuts. Top action can beremoved by loosening screws at either end of same and disconnecting tempo lever connections to tempo indicator.

Standard Pneumatic Action Co.This mechanism is manufactured by the Standard

Pneumatic Action Co. of New York. The Standard PlayerAction forms the regular player equipment of many well knownplayer pianos. It is designed for simplicity and reliability.

Bellows-System. Direct variation type. Two exhausters, andtwo equalizers. Folding pedals. Auxiliary accenting valve.

Pneumatic Action. Double valve type. Vertical primariesand horizontal secondaries in separate chests. Vents accessiblefrom front of primary chest. Wind trunk connection to bellows.

Tracker-Box. Tracker-bar has marginal perforations forautomatic tracking device. Automatic tracker is at left side oftracker-box and contains two horizontal pneumatics with double valves. Tracker duct tubes are metal.

Motor. 5-point pneumatic. Mechanical transmission and re-wind gear. Motor can be thrown forward without removingfor tuning purposes.

Governing Devices and Control. Motor governor of openjack-knife cut-off type is located in front of bellows near rightside. Contains also motor valve box, controlled by tempo leverand containing motor re-wind valve controlled by rewind lever,which also controls action cut-off. Finger lever making directmechanical connection to damper lifter for sustaining pedaleffect and direct finger lever hammer-rail lifters operatingmechanically, on divided hammer-rail.

Removal and Replacement. Top action is removed by taking out screws which fasten action to trunk passage at leftside, and end fastening screws. Bellows come out in one piece by removing large fastening screws at each side and disconnecting rods and hose. Tuner need not remove top actionto tune.

Steger & Sons Piano Manufacturing Co.S T E G E R N AT U R A L P L AY E R

This mechanism is manufactured by the above-named concern for their exclusive use.

Bellows-System. Direct variation. 2 exhausters and 2 equalizers, high and low tension. Motor governor, motor valveand action cut-off boxes are carried on bellows frame. Specialfolding pedals.

Tracker Box. Carries tracking device operated manually by thumb nut at left side. Tubing to valves is metal; in oldermodels sometimes rubber.

Pneumatic Action. Pneumatics are placed forwardly andoperate rocking levers to piano action. Valves are accessible andindividually adjustable from front.

Motor. 5 point pneumatic, single units. Mechanical gearshift.

Governing Devices and Control. On newest models all con-trol levers and buttons are massed on shelf which pulls out fromunder key-bed, locking keys in same operation. Some modelshave left thumb lever for lifting entire hammer-rail. All havedouble divided hammer-rail lifting pneumatics disposed in front of rail or at side of piano action, controlled by fingerbuttons on shelf or keyslip. Left little finger lever direct connected to damper lift rod for sustaining. Tempo lever controls slot in box on bellows frame at right side, next totempo governor of bellows type. Action cut-off valve is in

216

action cut off valve box at left side of bellows and together withmotor rewind drive valve in motor valve box is controlled byrewind lever.

Removal and Replacement. Pneumatic action and motorcome out by removing large bolts at either end, disconnectingmotor tube and tempo indicator rod. Bellows system is removed by unscrewing metal supports in front of exhausters,disconnecting rods and withdrawing.

The Sterling Co.The Sterling Player mechanism is manufactured by the

Sterling Co., of Derby, Conn., and is of their exclusive design,being fitted only to their own line of pianos.

Bellows-System. Indirect variation type. Two exhausters,one equalizer. Bellows frame carries motor and expression governors. Motor and expression valve boxes are carried above,fastened to the underside of piano key-bed.

Pneumatic Action. Double valve type. Primary pouches arein form of small diaphragm pneumatics, with the vent to eachsunk in its upper surface. Secondaries are immediately beneathand vertical. Pneumatics have operating ends toward front ofpiano and actuate rocking levers which engage with abstracts ofpiano action.

Tracker-Box. Contains tempo indicator. Thumb-nut for correcting position of music-roll. Tracker-duct tubes are rubber.

Motor. 5-point pneumatic. Mechanical transmission gearwith special non-blocking take-up spool cog.

Governing Devices and Control. Expression control, asstated above, through bellows governor and expression valvebox controlled by accent lever on key-slip. Hammer-rail liftingpneumatics above hammers at each end of scale, controlled bybuttons on key-slip. Motor governor as stated above with motorvalve box fastened on under side of key-bed at right end, controlled by tempo lever. Re-wind lever controls re-windmotor valve in motor box and action cut-off in expression boxat left end.

Removal and Replacement. Bellows-system comes out bytaking out screws at each end, disconnecting rods, hose andpedals. Top action is removed in exactly similar manner.

Tel-ElectricThis mechanism is manufactured by the Tel-Electric Co. of

Pittsfield, Mass., and may be installed in any type of upright orgrand piano.

On account of the original system on which this mechanism is designed and constructed, it is necessary to adoptfor its description a special method; as follows:

Principle of Operation. A series of magnets is suspended ina shallow box underneath the key-bed of a piano. Each magnetis connected with a key of the piano by means of a wire runningfrom the bottom of each key through the key-bed to the armature of the magnet. When energized, the magnetic fieldinfluences the armature, which turns pulling down the wire andoperating the key.

Selection and Control . A control box is provided, connected with the piano only by a cable running to the box ofmagnets. This control box may therefore be operated at any distance from the piano, within the length of the cable. The

control box contains a delicate motor for turning the music roll.The latter is a narrow continuous strip of brass, about five inches in width and wound on a spool. The tracker-bar containsdelicate contact-points and the circuit is completed for each bythe incidence of perforations in the roll. A rheostat of specialdesign controls the force of the current and consequently theforce of touch, while a similar device controls the motor speed.Both of these elements may be controlled by hand or by automatic electric devices controlled by the roll.

Vose & Sons Piano Co.V O S E

This mechanism is used in the Vose piano exclusively,being manufactured by Vose & Sons Piano Co.

Bellows-System. Indirect variation. Two exhausters and oneequalizer. Special folding pedals.

Tracker-box. Carries automatic tracking device with twopneumatics under box, and marginal perforation. Automaticsustaining-pedal perforation opened and closed by switch.Tubes are rubber.

Pneumatic Action. Double valve system.Motor. Five-point pneumatic, with mechanical gear shift.Governing Devices and Control . Sustaining pedal

pneumatic at left of bellows under key-bed, with automatic perforation in tracker-bar and finger button on key-slip. Doubledivided hammer rail lifting pneumatics above action at rightand left sides. Expression governor controlled by finger leveron key-slip, at left side of and behind bellows system, carriedseparately on sides of piano. Expression governor is of bellowstype with adjustable coiled spring. Action cut-off carried insame box. Motor governor and motor valve box at right sidebehind bellows, carrying tempo-slot and rewind drive valves.Tempo lever on key-slip. Rewind lever on key-slip. Key-lockactuated by pulling down key-slip. Auxiliary tempo-valve intempo-valve box, actuated by finger plate on key-slip.

Removal and Replacement. Pneumatic action can beremoved by disconnecting rods and taking out large screws, oneat either end. Bellows-system is removed by doing exactly thesame thing.

M. Welte & SohnThis mechanism is manufactured by M. Welte & Sohn of

Freiburg, Germany. It is constructed both as a separable cabinetwhich may be placed in front of any grand or upright piano oras an interior attachment placed within a modified upright pianocase. It is intended solely as a reproducing player, using rollswhich record the performances of artists. Hence the followingdescription is general in character.

Bellows-System. Is driven by an electric motor and containsa set of exhaust units with equalizers, expression governors andsimilar devices.

Pneumatic Action. Double valve system. Welte type.Expression Devices and Control. A rheostat, controlled by

pneumatic switches operated by marginal perforations in theroll, governs the speed of the electric bellows motor, and socontrols the vacuum tension. Divided pneumatic hammer-raillifters and pneumatic sustaining pedal device operated by marginal perforations. Expression governors for controlling

217

accent operated in similar manner. Entire operation is automatic, controlled entirely by record roll. Starting, stoppingand re-wind of motor controlled automatically by pneumaticswitches controlling electric cut-outs. Tempo is governed byphrasing of rolls, which are records of the playing of individualartists.

Some models are placed in key-board-less pianos, whileothers are fitted into enlarged upright piano cases, having thepneumatic action above the hammer-rail. For grand pianos, thecabinet type is used.

Weser Bros.This mechanism is manufactured by Weser Brothers, New

York, and is used exclusively in the line of pianos manufacturedby that firm.

Bellows-System. Is fitted with both foot-pedal and motordriven exhaust units, so that operation may be either personal orautomatic as desired. Self-dropping pedals of special foldingdesign.

Tracker-Box. Carries automatic tracking device and threaded guiding wheel, whereby any width of music roll canbe accommodated.

Pneumatic Action. Single valve type. Flexible contactbetween pneumatic and piano action. Pneumatic action massedin three banks. Metal cap vents in front immediately accessibleby uncovering valve chest cover. Lost motion regulation onpneumatic and regulation for touch depth of same on regulatingrail in front of piano action abstracts.

Governing Devices and Control. Automatic hammer liftworking from equalizer wall. Double divided hammer-rail liftoperated by buttons on key slip. Accent lever working onexpression box and sustaining lever operating direct mechanicalaction of damper lifters. Tempo and re-wind controlling valvesin motor valve box and action cut-off.

Removal and Replacement. Both bellows-system and pneumatic action are removable immediately in unit form, theformer without the use of screw-driver. It is not necessary toremove pneumatic top action to tune the piano.

Wilcox & White Co.T H E A N G E L U S

Manufactured by The Wilcox & White Co., Meriden,Conn. The Angelus is made for both upright and grand pianosand is also made in cabinet form. It contains many exclusivefeatures which have gained for it widespread fame. TheAngelus is incorporated regularly in several pianos.

General DescriptionBellows-System. Indirect variation. Two exhaust units and

one equalizer. The bellows-system carries the sustaining pedalpneumatic and motor governor. Expression control pneumaticsfor the bass and treble ends of the action are located at each endof the piano case below keybed.

Pneumatic Action. Above keybed. Double valve system.Pneumatics are of the diaphragm type, being inflated instead ofexhausted for operation. This system is peculiar to the Angelus.The diaphragm pneumatics act on lifters which engage theabstracts of piano action.

Tracker Box. This is located immediately above pneumaticaction. Contains tempo indicating dial. Tracker tubes to primaries are of a special composition. The Angelus may alsobe fitted with a duplex spool box and tracker, whereby both 65and 88 note music rolls may be used. Is also fitted with leverfor aligning note perforations with ducts in tracker-bar.

Motor. Five-point pneumatic. All units in a straight line.Placed above keyboard of piano on level with top of trackerbox.

Governing Devices and Control. Motor governor is controlled by a phrasing lever, whereby the air exhausted fromthe motor is at all times under perfect control of the performer.The motor governor also contains the ordinary tempo valveconnected to the tempo lever on the front edge of key-slip. Allother expression levers are also located on the front edge of the key-slip and when not in use are covered by the foldingkey-slip. The opening of the key-slip causes the foot pedals tofall into player position. Folding up the key-slip and giving oneor two depressions to the foot pedal causes them to retract intothe piano case, so it is not necessary to stoop and fold the pedals when the instrument is to be closed. Re-roll lever controls action cut-off valve, which is situated in the equalizer.The same lever also controls the re-roll valve in the motor governor. Two expression control pneumatics for divided actionare incorporated in the Angelus and the emphasizing of themelody notes can be done either by the buttons actuated by the fingers of the left hand or the melody notes may be automatically emphasized by the melodant, actuated throughprimary and secondary valves so that when the small marginalperforations in the music roll register with ducts in the tracker,the melody note which has been advanced slightly on the special roll, is sounded at high tension, with the accompanimentnotes following at low tension, the operation being made possible by the advancing of the melody note, thus giving timefor the melodant perforation to pass the tracker, opening andclosing the special by-pass in expression governor. The graduating accompaniment lever operates a by-pass valve sothat a crescendo or diminuendo effect may be given to theaccompaniment notes. The graduating melodant lever affectsthe volume of the emphasized notes. One lever controls thegraduated melodant, the graduating accompaniment and themelodant. The sustaining pedal lever can be worked by thethumb or automatically by means of perforations in the notesheet through a pneumatic.

Removal and Replacement. Top action is removed byextracting the supporting screws and disconnecting the re-windand tempo lever wires. Bellows system easily removed forinspection if necessary.

Angelus Grand. Is exactly the same as above except that itis adapted to grand pianos. The Angelus action is behind thefallboard of the piano and contains the diaphragm pneumatics.The bellows system is fitted under key-bed between the posts ofthe piano and is completely hidden. Foot pedals are containedin the bottom part of the lyre, into which they fold when not inuse. All of the features described above are found in theAngelus Grand.

Cabinet Angelus. Same as above, but fitted into cabinetcase so it may be placed in front of any piano.

218

NewsFrom

The Chapters

On Saturday April 26, 2003 the Lady Liberty Chapterwas given a private tour of the historic Lockwood-Mathews mansion in Norwalk, Conn. On the second floor of the mansion resides the music box collection of the East CoastChapter of the Musical Box Society. The collection starts withthe earliest musical pocket watches and ends with Edisonphonograghs and a reproducing player grand piano. Ourguides were our own Marvin and Dianne Polan. We thenmotored to home of Bill and Ann Edgerton in Darien. Aftera fine lunch and a short business meeting. Bill gave us a tourof his amazing collection starting with early manivelles, pianomelodicos, an Aeolian Orchestrelle, a 65 key Weber upright, aSteinway Duo-Art, a Welte Ampico, a copy of a Seeburg KTSpecial built by Bill and a 89 Key Gaviolli Fairground Organ.Bill demonstrated the various ranks of pipes and how theywork together to produce the “Gaviolli Organ Sound”. Wethen toured Bill’s wine cellar and the workshop. As the meeting ended many of the members went to the Brew Housefor a classic German dinner.

LADY LIBERTY CHAPTERReporter: Buzz Rosa

President: Vincent Morgan (718) 479-2562

Orchestral Angelus-Piano. This piano contains a set of organreeds in addition to the pneumatic action and is also fitted uponspecial order with a mandolin attachment. The organ reeds may beplayed from the manual keys of the piano or from the music roll,and the reeds and piano may be played separately or simultaneously.

Winter & Co.This mechanism is manufactured by Winter & Co. of New

York, and is used by them exclusively in their pianos.Bellows-System. Indirect variation type. Two exhausters and

equalizers. Bellows carries expression and motor governors.

Tracker-Box. Carries automatic tracking device.Pneumatic Action. Double valve type.Motor. Pneumatic type. Mechanical gear shift.Governing Devices and Control. Expression governor with

expression valve box controlled by finger lever. Finger sustaining lever with direct mechanical action. Double dividedhammer-rail lifters controlled by buttons on key-slip. Tempo andrewind levers operating in motor and expression boxes to controltempo and rewind motor valves, and action-cut-off valve.

Sent in by John Motto-Ros

EDMUND J. SPRANKLEJune 30, 2003

Last week I received the sad news that Ed Sprankle had unexpectedly passed away in Oakland, California. I met Ed andJoan at the 1971 AMICA Convention in Los Angeles. We soondiscovered we had many of the same interests and lived only 40miles apart. That’s how it started and continued for the next 32years. Ed liked to collect “stuff” that was unique, and he alwaysbecame an expert on the things he collected. His love of ragtimeand blues music led to interest in an “A” roll piano. He was surehe wanted one with violin pipes. Off we went to the SmallwoodAuction in San Francisco, and he purchased a Seeburg “E” withviolin pipes—was he happy!

When Ed turned fifty, Joan invited Nadine and I to his birthday party at a little French restaurant Ed liked near Lake Merritt in Oakland. To this day, I feel special to have attended thatparty with his family and friends. Ed’s family has always beennumber one.

I started calling him Fast Eddie, based on a couple of cars heowned early on, and he called me Johnny. I think he rather likedthe nickname because every so often I would receive an e-mailsigned Fast Eddie. There were times when I had piano rolls withmissing song titles and he would send back the names of the missing songs. Then there were the great summer John Farrell/EdSprankle visits. We always looked forward to those visits. I knewEd was not feeling well when he canceled this year’s visit withJohn.

Eddie will be missed by me and his many friends and collectors. Without a doubt, he is still out there looking for thoserare Jimmy Blythe “A” rolls.

Marvin shows his stained glass replica for a Seeburg KT Special

219

John Dousmanis tries to determine a date

for this antique milling machine

Norma, Keith, Randy andBuzz wait as Bill loads a newroll onto the Duo-Art

Bill Maguire admires the workshop as Gene Saboda

inspects the lathe

Marvin depresses theseat of a child’s Swissmusical chair to acti-

vate the music

Marvin Polan playsone of the fine cylinder

boxes in the MBSI Collection

We took turns foot pumping Bill’s 65 noteWeber Upright

This large automatoncalled the “Mask Merchant” was

restored by the Ryderfamily and on loan tothe MBSI Collection.

Keith and Maryamenjoy the sounds ofa “Cuff Box” andcompare it to aRegina box on theright.

Keith, Fran, Paul and Ira listen to a KalliopeDisc box

The Lady Libertygroup listens to aroll played by theSteinway Duo-Art.Notice the 89 KeyGavioli waits forits turn to playagain.

Allen expertly plays somelive cocktail music on theSteinway Duo-Art

A view ofBill’s 4000bottle winecellar

The Midwest Chapter started its weekend in Pontiac,Michigan, home to Michael and Gayle Riley’s “HammeredStrings” piano shop. We couldn’t miss the location as we weregreeted by a grand piano lid out front with AMICA spelledout in huge letters. Inside were pianos in various stages ofrestoration, including a large ebony Steinway Grand, and

MIDWEST CHAPTERReporter: Christy Counterman

President: Stuart Grigg (248) 356-5005

220

Michael gave tours of the workshop where some of us found essential parts for our own pianos. He also displayedwonderful piano pedal bookends – a clever use of spare parts.But the “star” of the shop was demonstrated by Gayle – aKramer Recordo Baby upright player. As you can see, it stoodonly waist high, but was a full upright in case style and had allof the player mechanism somehow fitted into the case, sparingno room to reach the tuning pins. Several of our memberswanted to take it home, and it probably would have been possible, considering the size!

Next we returned to the site of our first chapter meetingway back in 1972, Meadow Brook Hall, a Tudor revival mansion originally built between 1926 and 1929 for MatildaDodge Wilson, widow of John Dodge of Dodge automobilefame. On our tour, we quickly located the two Steinways, trying to find the Duo-Art originally restored by our chapterin the 70’s. Liz Barnhart identified the piano, but we couldnot find the plaque commemorating the AMICA restoration.Of special interest to our group were a Capehart phonographthat turned records to the flip side after playing a selection,and a walnut-cased Victrola. The Residence Organ, said to bethe largest one in a private residence at the time it wasinstalled, had elaborate inlaid woodwork matching that of theinside walls of the elevator. It was illuminated by an originalTiffany lamp which showed off the roll collection, housed inbuilt-in cabinets. The 100 room mansion is surrounded by anewly-built golf course and elaborate gardens, and as we finished our tour, we went downstairs to a beautiful sunroomfor the evening’s meal, hosted by Stuart Grigg, Don Johnson and Bob Andersen.

Sunday morning led us to the suburb of Rochester Hills,where Don and Bob served a delicious brunch before the business meeting. Their new home was a perfect backdrop tonumerous antique pieces from Don’s family as well as aSteinway Duo-Art, a Schumann 88-note upright with gorgeous wood case flanked by large columns, and the Ampico grand – restoration in progress. The garage was largeenough to host our mart, while many members admired Bob’s1955 Olds Holiday and the newer 70s vintage Vista Cruiserstation wagon. The model car collection inside the house wasan added treat.

President Stuart Grigg presided over the business meeting in which we elected the following other officers: VPLiz Barnhart, who will continue as Board Rep., TreasurerAlvin Wulfekuhl and Secretary Sherri Neff. The ChapterProject Reproduco has been delivered to the First Ladies Museum in Canton, Ohio, but the opening of that part of themuseum has been delayed by construction changes. We alsodiscussed venues for meetings, tentatively scheduling September 6 and 7 and December 6 and 7 for future events.

We would like to thank our hosts, Gayle and MichaelRiley, Stuart Grigg, Bob Andersen and Don Johnson for hosting a wonderful weekend north of Detroit. And thanks toDon and Bob for providing additional photos for the bulletin.

Dan Harrett plays us atune on the Dulcitone at Hammered Strings.

Michael sharesrestoration techniques.

Michael Riley has alarge assortment ofplayer piano switch

covers and tempoindicators - a few of

us chose ones weneeded.

There was no doubt about whereour chapter was meeting withthis “Grand” sign whichannounced our arrival at Hammered Strings.

Liz Barnhart explains hus-band Mike’s latest projectto Gayle and Carole.

A sad footnote to report is the passing of our longtime Chapter Secretary, Judy Wulfekuhl. She faithfully recorded and transcribed the minutes of our chapter meetings, maintained the mailing list on her trusty Palm Pilot, took photos of chapter meetings and international conventions for the Bulletin, and was co-host with husband Alvin of our chapter meetings in Cincinnatias well. Many of our chapter members have voted to make a contribution to the AMICA Memorial Fund as a tribute to a memberand friend who will be missed.

Michael Riley explains the spring mechanism to Mike Barnhart.

Joe Katulic, Stuart Grigg, Wes & Sherri Neff, Christy & Donna Counterman enjoy dinner.

221

Gayle shows the baby upright to Sherri Neff.

The Barnharts and Markeys enjoy dessert at Meadow Brook.

The figured wood grain was beautiful onthe Schumann upright pumper.

Warren & Hilda Merchant and Pat Markeychoose their Ampico Selections from

Tom Todd’s sale.

Host Don Johnson showspiano photos to Wes Ness and

Pat Markey at the Ampico.

The Steinway Duo-Art played several selections for our group.

Our members takea break to posewith the Steinway.

Our tour group at the entrance toMeadow Brook Hall.

The side entrance toMeadow Brook

boasts a two-story atrium.

Genuine Tiffany stainedglass windows are

featured throughout Meadow Brook.

Kathy Hartley, Warren Merchantand Dan Harrett at the Garage Mart.

222

April Meeting

April 26 and 27 found us having another band organ rallyin the fabulous Descanso Gardens. This was definitely thebest yet, the Gardens being a wonderful venue for a rally, andlarge crowds were there to enjoy the music along with theflowers, which were in their full glory.

Last year we had Huell Howser, a California TVpersonality at the event, and this year he kindly ran the showMonday before this rally, with a voiceover telling everyonethat we would be there again and giving the dates.

(Huell is so popular in California that I think if he everdecided to run for Governor no one else would stand achance! He has a very friendly, homey manner, and peoplerespond to him. I know I wouldn’t want to run against him!)

Descanso sends out 10,000 mailers showing the eventsscheduled, so that doesn’t hurt anything either. They put out areally nice brochure and also have flyers printed up and in theracks with their upcoming event notices a week or two ahead.The bulletin board has the current week special along withnext week’s event, which reminds people, too.

A lot of the attendees had seen us the year before and hadcalled the Gardens to see if we would be back, and if so when,since they found it so enjoyable they didn’t want to miss itthis year.

There were nearly 4,000 people per day, and I would saywell over half of them were there for the music. I lost count ofhow many people said they “saw us on Huell Howser’s show”and had to come see for themselves, because they didn’t knowthat kind of music still existed anymore. Many of them told usthey remembered it from their childhood, and quite a fewremembered organ grinders with real monkeys playing in onelocation or the other. We always have people come to the rallies expecting to see live monkeys, and that is always atopic of conversation.

Many of the attendees were just amazed at the idea of ourcollecting such things, and “Where on earth do you keepthem?” was the top question, followed closely by “What dothe neighbors say when you play that thing?” Of course notfar behind is “What is something like that worth?” and“Where can I get one?”

Many people ask us about how the instruments were usedoriginally, so we are able to impart a little bit of a history lesson along with the music. It’s really nice when the interest

SO. CALIFORNIA CHAPTERReporter: Shirley Nix

President: Frank Nix (818) 884-6849

runs so high, and it seems that with a crowd that happensmore often. The music seems to cast an aura where people arehappy and good-natured. (Do you think the music of today,rap, for example, endow people with that good feeling?)

While waiting for the tram ride it’s interesting to watchthe people sitting around, paying very little attention to theorgans, but their feet are moving to the beat. They don’t evenrealize the music is seeping into their unconscious.

It was really an appreciative crowd, and it wasn’t unusualto see couples dancing or people singing to the music. It’salways fun when we get German or Dutch people and theysing along in their native tongue. Of course, I can’t tell if theyare singing the right words or not, but as long as it sounds OKto them, it doesn’t matter. There were lots of monkey organsaround for the kids to crank, and they loved it. So did the parents, for that matter. Usually the kids cranked some andthen the parents decided to try it, too. It’s always fun to watchthe kids . . .their faces show their total concentration.

We have a nice assortment of organs, with the monkeyorgan owners growing in number at a nice rate. Of course,Mike Ames has his Dutch Street Organ, which is always ahuge attraction. Dave Wasson brings “Trudy”, we bring outthe Limonaire, Lloyd Osmundson has his Caliola in a muchdecorated trailer, Jerry Pell brings his Wurlitzer, Bill Blairand Jean Hurley bring his Pell organ, and Jim and CaroylWestcott bring their fire-truck-mounted Pell. (Of course, thefire truck is a golf cart, but it is for small fires.)

For the monkey organs, Ken Hodge brought his newlyacquired Verbeeck, a lovely organ, Bill Klinger brought histwo organs he made, Peter Breede and Bob Meyer likewisemade their own. Robin Biggins and Ardis Prescott have theMolinari, Ralph and Gloria Schack brought out their Brunorgans, Bob McCord had his Verbeeck, Herb and RochelleMercer rounded out the group. Norm and Maggie Richardson spent the time playing the Nix Hofbauer.

It’s nice having a two-day event, although not everyonecould make it for both days. We had enough participants,though, to fill both days. I don’t think anyone who came therewent home feeling there wasn’t enough music.

Descanso Gardens is a lovely area, and have many shadypaths and nooks with benches, often beside a creek. The rosesthis year were in full bloom, and with so many varieties inbloom at one time it really is a wonderful place. The tulipswere still blooming, although not as spectacularly as last year.

One has to be impressed at the fact that this 165 plus acreestate was formerly the home of Manchester Boddy. The billfor labor for the garden personnel had to be horrendous.Remember, at one time there were over 200,000 camelliasalone planted, to say nothing of all the other shrubs, trees,ponds, brooks and all the things that go to make a really “niceback yard.” The rose garden has a significant collection ofinternational rose specimens, some dating back to ancienttimes.

Of course, I’m sure the Boddys never envisioned such anevent when they were living there, but one has to wonder ifthey wouldn’t have enjoyed it thoroughly and approved wholeheartedly?

223

I’m sure this will continue as an annual event, since itreally increases the attendance for the Garden, and is a superplace for us. Everyone seems to be happy with the arrangement. I can’t think of a nicer place for an organ rally.

Our next rallies will be in Ventura, Sierra Madre, and ourusual Arborfest Gala at the Fullerton Arboretum. We are finding that often we get requests for a small contingent ofmonkey organs for an event, and we usually fill that bill, also.It’s just a great way to get AMICA out before the public.

Since we did our rally in Descanso I think we’ve had ahalf-dozen calls from people with player pianos needing technicians, and we have been able to direct them to the areapeople who can make their pianos right again. Hopefully,these people will join AMICA and get involved.

It seems to be a great way to present our organization tothe public. They have to know about us to be interested, and many people have told us they found us on the AMICAwebsite after seeing us at an organ rally.

Ken Hodge and his neworgan – a Verbeeck

Mom and dad help thekids crank the Nix Perlee organ

Maggie and Norm Richardson, whoplayed the Nix Hofbauer organ

the whole time

Frank Nix and theLimonaire

One of the prize winningroses

The notice on the Gardens BulletinBoard for Sunday

Bill Blair and Jean Hurley

Erica Meyer and family friendCarol Schurr encourage BobMeyer, who plays his monkey

organ.

Bill Klinger and his twoorgans he built

Jim Westcott serenadesthe crowd with his fire-

truck mounted Pell organ

The bulletin board, which greets attendees asthey come in, with a nice write up about the rally.

If you look closely you willsee Ralph Schackwaiting in linefor a train ride.

224

May Meeting

May 17 found 40 Southern California AMICAns jugglingtheir cars in front of the Nix home in Woodland Hills. Parkingwas arranged in driveways and on the street. (The neighborsare still talking about the used car swap meet! Good thingthey are used to the strange goings-on at the Nix Homes.) At 8:00 a.m. a bus pulled up and everyone boarded for twodays of fun, heading north to Fresno. (Four other membersdrove on their own, meeting us in Fresno.) Along the way we had some contests with nice prizes. Darren Pell, andDianne Reidy won for the artistic part of the contest (this wasbig-time art work), and Bob Lloyd, Robin Biggins and JerryPell won for the literature part of the contest. You would havehad to be there to appreciate the “talent” shown. It gives awhole new meaning to “fine arts,” and that phrase will neverhave the same meaning to us after this. The prizes were worththe effort, though.

We rode for a while, and then stopped in Kingsburg forlunch. Frank and I had checked out this small, sleepy town ona prior trip, and figured it would do for a lunch stop andstretch. Lo and behold, when our bus pulled into town therewas a three-day Swedish festival, complete with food court,booths, and lots of entertainment. The streets were full of people, and it had suddenly become a busy, exciting town.

There were folk dancing exhibitions, and Chuck Cones,who loves to dance to any lively music, had a good time joining in the dancing, to the delight of the crowd.

We all wandered around, managed to take time to eat, andboarded the bus again. It was really a fun stop, and weenjoyed it so much we decided to stop on the way home, too.

Our next stop was at the lovely home of Mike Argain,one of the top restorers in the world. Mike’s home is in anewer area of Fresno, and it is really a beautiful location. Thehomes are all pride of ownership, and the landscaping is lovely and lush all through the tract.

Mike had his wonderful Hupfeld Helios playing, asalways, like a dream. What a delightful instrument that is,with the capability of a full concert orchestra. His WeberSolea, likewise, was in top form. Those two instruments areworth any trip, and this was no exception.

Dianne and Dave Reidy found the music too good toresist, and they entertained us with their dancing. I think theCharleston almost did them in, though. It was a long piece ofmusic, and they had to keep going for what must have seemedto them like hours.

Mike also had our Hupfeld Helios up and playing, andthat was a thrill for us. When we bought this machine it was,literally, in jigsaw-type pieces, and only Mike’s magic touchsaved it and brought it around to the lovely instrument it istoday. To have three such great instruments playing for us wasa real treat. His Pianolin, too, was a real crowd pleaser, to saynothing of the Steinway reproducer. One of our new memberslater told me his wife had fallen in love with the Steinway,and has suggested that a reproducing piano be their nextacquisition.

Mike and his lady friend, Patty, had arranged snacks forus, and they were spectacular. What a feast! It was lovely to

sit in the backyard, enjoy a cool drink and a treat, enjoy thepleasant Fresno spring day, and listen to the instruments.

We spent over three hours there, just enjoying ourselvesimmensely, and then it was back on the bus to take a short tripto dinner at a Basque restaurant, and boy, do the Basques puton a feast. The Basques really enjoy their food, and a largemeal is a given. By the time we left, several people mentionedthat perhaps we needed to change the air pressure in the tiresto accommodate the extra weight!

The hotel we stayed in was a lovely spot, with roses andflowers everywhere. The owners are Japanese, and they reallywent out of their way to see that we had everything we needed, including a meeting room and even homemade waffles for breakfast.

In the evening we met in the meeting room and had ashow and tell. Frank Nix brought a cob organ and some ofthe fine cobs being made by Walter Moore in Dallas. BillBlair brought an album of his veteran’s outings, Bill Klingerbrought some valves to show, and I believe there were a couple of other things, but my memory has failed me, and I apologize to anyone I missed.

The next morning we went to the Forestiere UndergroundGardens next door. This is a one-of-a-kind place. The SanJoaquin Valley gets very hot, and when Baldasare Forestiere,an immigrant from Sicily, found his wooden cabin too hot tolive in he decided to dig a cellar.

When he found the cellar was much cooler and more livable in the hot Fresno summer, he began tunneling, and inthe end he had created his own underground world. He hadsculpted a fantastic retreat, all under the hardpan of the earth.His kingdom included a unique complex of undergroundrooms, passages, and gardens. He spent some forty yearsworking with shovel, pick and wheelbarrow. (His youngerbrother helped him when he could.)

His home consisted of some 10,000 square feet, andincluded two bedrooms, kitchen, living room, library, bath,fishpond and aquarium, plus many hallways, patios and lotsof nooks and crannies.

This was really an interesting visit, and perhaps madeeven more so by the stories of our guide, Andre Forestiere, agrand nephew of the original owner. We decided it was a niceplace to visit, but most of us wouldn’t want to live there. Perhaps this is why Baldasare was never married???

From there we made a stop at the Kearney Mansion, oneof Fresno’s famous attractions, this one being built on top ofthe ground. It was a very interesting place, and important inthe history of the Fresno area. Kearney was one of the largedevelopers of the area, and was known as “the Raisin King.”

After our lunch stop we rode through the area known asthe Grapevine, and the wild flowers were still in bloom, making for a scenic trip. (Richard Rigg furnished “entertainment” on the way home, to the delight of the captiveaudience!) All in all, it was a good trip, and we were reallyhappy to have six new members along, plus some old members who had become inactive in recent years.

We all owe Mike and Patty a really large vote of thanks.Mike took time out of his busy schedule for Frank and I when

225

we were up in Fresno planning the trip, taking us to theBasque Restaurant and suggesting the Underground Gardens.He and Patty had put in a lot of time getting everything ready for us at Mike’s home, and we all appreciated it. Theirhospitality was beyond the call of duty. It would have beenworth the trip just to see and hear the instruments and Mike’spresentation of them, and all the extras made it really special.

Look Mom – we cleaned ourplates – now can we have dessert?

Dave and Diane ReidyCharleston to the music of the Helios.

An appreciative audience,with Mike’s Weber Soleain the background.

Dave Bernstein, Bill and Nora Ann Klinger and Ken Hodge enjoying dinner.

Mike’s fantastic Weber Solea.

The Pianolin which got a lot of attention.

Mike Argain explains hisHupfeld Helios - his friendPatty (with camera), Diane

Lloyd, Roy Beltz and Patty’smother and friend.

Richard Rigg, Beverly andRichard Ingram,Darren and Jerry Pell

Frank Nix and Jerry Pell are dwarfed by Mike’s Hupfeld Helios.

Postcard of Roll Artist Mark Hambourg - Breikoph & Härtel, 54 Great Marlborough Street London W

226

Frank Nix and Dave Bernstein check out the well-thought-out ventilation system.

Richard Rigg “The Entertainer”

It looks like Darren Pell (ouryoungest attendee) is leadingLloyd Osmundson through the

tunnels (or are they both lost?).

In front of the Kearney Mansion

In one of the passageways,Rochelle Mercer, Dave Reidy,Bill Blair, Lloyd Osmundson,Cal Soest, Chuck Cones and Jean Hurley

227

ADVERTISING GENERAL INFORMATION ABOUT

ALL ADVERTISING IN THE AMICA BULLETINAll advertising should be directed to:

Michael Kukral216 Madison Blvd.Terre Haute, Indiana 47803Phone: 812-238-9656e-mail: [email protected]

Ad copy must contain text directly related to the product/servicebeing offered. Extraneous text will be deleted at the Publisher’sdiscretion. All advertising must be accompanied by payment inU.S. funds. No telephone ads or written ads without payment willbe accepted. This policy was established by a unanimous vote ofthe AMICA Board at the 1991 Board Meeting and reaffirmed atthe 1992 meeting. AMICA reserves the right to edit or toreject any ad deemed inappropriate or not in keeping withAMICA’s objectives.

The BULLETIN accepts advertising without endorsement,implied or otherwise, of the products or services being offered.Publication of business advertising in no way implies AMICA’sendorsement of any commercial operation.

AMICA PUBLICATIONS RESERVES THE RIGHT TOACCEPT, REJECT, OR EDIT ANY AND ALL SUBMITTED ARTICLES AND ADVERTISING.

All items for publication must be submitted directly to thePublisher for consideration.

CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimumfor AMICA members. Non-members may advertise double themember rates ($10.00 minimum). Because of the low cost ofadvertising, we are unable to provide proof copies or “tear sheets”.

DISPLAY ADVERTISINGFull Page — 71/2 " x 10" . . . . . . . . . . . . . . . . . . $150.00Half Page — 71/2 " x 43/4" . . . . . . . . . . . . . . . . $ 80.00Quarter Page —35/8 " x 43/4" . . . . . . . . . . . . . . $ 45.00Business Card — 31/2 " x 2" . . . . . . . . . . . . . . . $ 30.00

Non-member rates are double for all advertising. Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the first week of theeven months.

(Rev. 6-98)

“No good deed goes unpunished.”

~ Clair Booth Luce

FOR SALEREPRODUCING 1925 ESTEY BABY GRAND, (Rebuilt 20+ yearsago), bench and ~ 25 Welte Mignon rolls. $7,000 OBO. ALSO 1924HAMILTON UPRIGHT MANUALO PLAYER not rebuilt,unassembled. $700. Contact [email protected] or call (714) 738-4769 weekdays. (Fullerton, CA) (5-03)

A TREASURE FOUND. NEW ELECRIC “O” FRAME. Still inoriginal crate. Best Offer. Phone 623-875-2742 (5-03)

1925 MASON & HAMLIN AR AMPICO A, Ampico system rebuilt20 yrs. ago., piano action & pinblock in very good original condition,beautiful Mahogany case refinished, $16,000; 1931 STROUD PR, LATE DUO-ART, Duo-Art mechanism rebuilt & plays beautifully,standard case mahogany piano action & pinblock in good original condition, includes roll cabinet & 30 rolls, $6,200. Barton Player Piano Co. 612-378-1102 (4-03)

1926 CHICKERING AMPICO, rebuilt case stripped. Bench, $3,900.MARSHALL WENDALL AMPICO, needs restringing, hammers,refinishing, Perfect Ivorys, Florentine, Floral & Fluted legs, matchingbench, mechanism restored, $3,200. John Babey, Cleveland Piano Service 216-383-8420, 216-531-9255 (4-03)

KNABE AMPICO A CIRCA 1922 PARLOR GRAND, restrung and repinned 1996, pump rebuilt 1997. Bench, cabinet custom builtin 1997 for 146 Ampico rolls - classical, popular, religious, $8,500.Rachel, Kauffman Museum, 316-283-1612. Photographs and detailswww.bethelks.edu/kauffman (click on Special Projects, click onKnabe)(4-03)

PLAYER PIANO, manufactured by the Aeolian Co., NY circa 1910.Fully restored and maintained by Chester Kuharski, Madison, WI. Beautifully refinished golden oak and located in Stoughton, WI. 125piano rolls included. Call: 262-728-9564 for information or email:[email protected] for a picture and information. (4-03)

COINOLA MODEL X ORCHESTRION. Made by Operators PianoCo. plays but needs work. Includes 8 Capitol “O” rolls. 500 old 78 RPMrecords $200. Don Jamisch 4794 Wildflower Ct., Dousman, WI 53118.262-965-2627. (4-03)

REPRODUCING 1925 ESTEY BABY GRAND, (rebuilt 20+ yearsago), bench and ~25 Welte Mignon rolls, $7,000. Also 1924 HAMILTON UPRIGHT MANUALO PLAYER not rebuilt,unassembled, $700. Contact [email protected] or call 714-738-4769 weekdays. (Fullerton, CA) (4-03)

MASON HAMLIN AMPICO B 5’7” Grand Piano. New strings andhammers, tubing in 1980. Plain original mahogany finish. Originalivories. Played great until recently. Needs some TLC to get it back intoshape. Comes with bench and 75+ Ampico A & B rolls including somerecut Ampico B jumbo rolls - $10,000. Contact by [email protected] or by phone 404-218-4052. (4-03)

1924 MARSHALL AND WENDELL 5’ GRAND AMPICO AREPRODUCING PIANO. Plays great! Player fully restored; pianorefinished; piano action regulated and reconditioned with new key bushings, key bed felts, and new key tops. Includes matching bench,$4000 or best offer. Call for pictures. Pat Dewitt, Ft. Wayne, IN 260-749-7737 260-429-7384; [email protected] (6-03)

NEW PIANO ROLL BOXES - “TOP HAT” BOXES FOR AMPICOROLLS - BLACK LEATHER WIH GOLD PRINTING AND FALSE BOTTOM - EXACTLY LIKE THE ORIGINALS! $4.00 EA. + SHIPPING. 2 sizes available for 88 note: Large (fits 2 3/4”Flange) covered with Black Alligator Paper(Top), Black Leather (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. + Shipping.Small (fits 2” Flange) Covered with Black or Tan Leather Paper (Top),White Litho (Bottom)$1.20 ea. + Shipping. 65 Note Roll Boxes MaroonPaper (Top), White Litho (Bottom) $2.25 ea. + Shipping. A 10% Discount will be given on orders over $100.00, and a 20% Discount onorders over $300.00. Many other Repair Supplies available (ParchmentLeaders, Flanges,Tubes, Tabs, Repair Tissue) Richard Ingram (760) 244-ROLL (7655) [email protected] (6-03)

228

AMICA TechnicalitiesSince 1969, AMICA has been publishing into bound vol-umes, collections of technical articles written and con-tributed by its members for publication in The AMICABulletin. They may be purchased as follows:Vol 1 - 1969 to 1971 . . . . . . . . . . . . . . . . . . . . . . .$10.00Vol 2 - 1972 to 1974 . . . . . . . . . . . . . . . . . . . . . . . . .8.00Vol 3 - 1975 to 1977 . . . . . . . . . . . . . . . . . . . . . . . . .9.00Vol 4 - 1978 to 1980 . . . . . . . . . . . . . . . . . . . . . . . . .7.00Vol 5 - 1981 to 1988 . . . . . . . . . . . . . . . . . . . . . . . .20.00Vol 6 - 1989 to 1993 . . . . . . . . . . . . . . . . . . . . . . . .20.00

Postage PaidPlease note: Supplies of the earlier volumes may be

temporarily unavailable as stock is depleted. Overseas orders may take longer than domestic shipments.

AMICA ITEMS FOR SALE

The AMICA Bulletin1971 through 1999 bound annuals

of the AMICA Bulletins$24.00 (U.S. Dollars) per year postage paid

Make checks payable to: AMICA International

Send Orders to: Stuart GriggGrigg Graphic Services, Inc.20982 Bridge StreetSouthfield, MI 48034Fax: (248) 356-5636e-mail: [email protected]

Get the Whole Story !IInn SSttoocckk NNooww SShhiippppeedd IImmmmeeddiiaatteellyy !!The AMICA Bulletin remains the single source of complete information about the technical and

social aspects of our hobby. No home library would be complete without a FULL SET of theAMICA Bulletins, bound into sets by year.

In addition, technical articles published in the bulletin have been extracted and published asinvaluable reference volumes. More than 30 years of knowledge, discovery and revelation can befound in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space!

ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail.

HANDMADE BARREL AND PNEUMATIC ORGANS made inGermany. With moving figurines and a lot of humorous surprises. See: www.magic-mechanical-music.de Musik & Spiel Automaten Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2;Tel: 07626-7613, Fax 07626-971009 (6-05)

PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut“Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat” 88 note roll. Original and other re-cut rolls; program rolls for AMPICOand DUO-ART. All in excellent condition. Write or call for listings.Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, call 270-343-2061. (6-03)

AMPICO, DUO-ART & WELTE Rolls, great selection of popular, classical and medleys. Also, 88-Note Piano Rolls, hundreds of used rolls,- $3.00 each plus shipping. Also New Old Stock QRS Rolls, $5.00 each.Will furnish lists on request. Dave Caldwell, 400 Lincoln Lake Road NE,Lowell, Michigan 49331; E-mail: [email protected], (616) 897-5609 (6-03)

WANTEDRED WELTE MIGNON piano rolls (T-100). Paying top dollar. MikeKukral 812-238-9656 or [email protected] (6-04)

ENCORE AUTOMATIC BANJO ROLLS, original or recut. YousufWilson, 636-665-5187; email – [email protected] (6-03)

AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I’ll buy small or large collections. Now is the time to clean out duplicates andunwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell, MI 49331, phone 1-616-897-5609, E-mail:[email protected] (6-03)

ARTRIO-ANGELUS reproducing rolls and catalogs wanted. DavidKrall, 4218 Torrence Ave., Hammond, IN 46327. 219-932-2322. (4-03)

RARE G AND 4X ROLLS, to buy or arrange to have recut. [email protected] (4-03)

AMICAMemorial

Fund DonationsPlease think of AMICA as a place to

remember your friends and family with a donation to the AMICA Memorial Fund.

Send to:

John Motto-RosP.O. Box 908Sutter Creek, CA 95685-0908209-267-9252

WANTED! ARTECHO, APOLLO, CELCO Reproducing rolls.1 or 1000. Also QRS APOLLO 58-NOTE ROLLS (SQUARECHUCK DRIVE) and QRS Automatic (Red “X”). Also available For Sale, newly scanned and recut ARTECHO TEST ROLL, $18 ppd. Robin Pratt, 630 E. Monroe St., Sandusky, OH 44870; (419) 626-1903, [email protected] (6-04)

229

Complete pianos and player systems restored using factoryoriginal techniques by an experienced professional. Complete

or partial systems can be sent to my shop for restorations. I supply special UPS cartons for this unique service.

Ben Gottfried464 Dugan Rd. • Richfield Springs, NY 13439

315-858-2164 (6-03)

A Complete Restoration ServiceFor The Pneumatic Piano

Ben’s Player Piano Ser vice

Visit the

AMICA Web page at

http://www.amica.org

WANTED TO BUYMUSIC BOXES

MUSICAL CLOCKSMECHANICAL ORGANS

Always in the market for better quality disc and cylindermusic boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes,slot machines. Any condition.

MARTIN ROENIGK75 Prospect Avenue

Eureka Springs, AR 72632

(800) 671-6333 • (479) 253-0405

www.mechantiques.com • [email protected]

(6-03)

(2-04)

A GUIDE TORESTORING THE

AMPICO “A”Forty-five pages

of technical information focusing on aspects of restoration unique to

the Ampico “A”. A list of materials and suppliers, diagrams for specialized

tools and three floppy discs containing 100 photos.

Send $40 to: Paul Manganaro,

P.O. Box 535, Coopersburg, PA 18036

230

MAIL TO: Mechanical Music Press-A 70 Wild Ammonoosuc Road • Woodsville, NH 03785

603-747-2636 (Voice/Fax) or 877-760-8243

E-mail: [email protected]

The Golden Age of

AutomaticMusical Instruments

By Arthur A. Reblitz

www.mechanicalmusicpress.com

Only $120 each, plus $5 postage and handling for single copy USA ground shipment.

“The most important tracker scalesfrom Treasures of Mechanical Music,hundreds of color photos, interesting

stories, history and technical information!”

AVAILABLE MID SEPTEMBERShort clip at: PlayerPianoShop.com/mp3

Cost $12.00 - plus shipping

Contact Sam Harris252-758-6944

[email protected]

1926 5’8” Weber Duo-Art GrandC O M P L E T E LY R E S T O R E D

• Pneumatic system rebuilt• New pin block and strings

• New Hammers - complete regulation• Original Ivories - perfect condition

• Soundboard refinished• Case refinished• Artist’s bench

• Matching roll cabinet and 50 Duo-Art Rolls

$13,500BARTON PLAYER PIANO, Minneapolis, MN

www.pianorollstuff.com

(4-03)

(4-03)

(4-03)

231

(4-05)

(4-05) (4-05)Web Page: www.leedyrolls.com Web Page: www.leedyrolls.com

232

REPLACEMENT LEADERSThese 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types ofreproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes.To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharpknife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff (For early red label boxes)

B. Black on ivory (Area for reusable artist photo)

C. Black on ivory (Most common)

D. Black on ivory (Very late rolls by combined Aeolian/American)

E. Green on ivory (Most common)

F. Green on ivory (Favorite Fifty & Selected Roll Service)

G. Welte Brown on buff (Most common)

Note: Early Welte’swith blue leaders maybe repaired with thisbrown leader. Many ofthese when reissuedhad brown leaders.

Please make checks payable toAMICA INTERNATIONAL, And send to:

BRIAN K. MEEDER904A West Victoria StreetSanta Barbara, CA 93101-4745

e-mail address for orders:[email protected]

Checks or moneyorders from foreign

countries must be drawn on U.S. bank.

Style QuantityA ______________

B ______________

C ______________

D ______________

E ______________

F ______________

G ______________

Total Quantity ______________

Price: $ 1.00 eachMinimum Order: $10.00

Postage and Handling $ 5.50

Roll Order $ ________

Total Amount (U.S. $) $ ________

the amica bulletin - stackssq291fn2326/july_aug-03.pdf · containing the step-down letter written...

Documents