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THE AMICA NEWS BULLETIN

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CHAPTER OFFICERS

NO. CALIFORNIAPres.: Phil McCoyVice Pres.: Isadora KoffSec.: David FrymanTreas.: Bob WilcoxReporter: Sharon Bartlett

SO. CALIFORNIAPres.: Francis CherneyVice Pres.: Mary LilienSec.: Evelyn MeederTreas.: Roy ShelsoReporter: Bill Toeppe

TEXASPres.: Jim PhillipsVice Pres.: Merrill BaltzleySec/Treas.: Janet TonnesenReporter: James Kelsey

MIDWESTPres.: Bennet LeedyVice Pres.: Jim PrendergastSec.: Jim WeisenborneTreas.: Alvin WulfekuhlReporter: Molly Yeckley

PHILADELPHIA AREAPres.: Len WertVice Pres.: Harvard WoodSec.: Beverly NaddeoTreas.: Doris BerryReporter: Dick Price

SOWNY (So. Ontario, West NY)Pres.: Bruce BartholomewVice Pres: Mike WalterSec.: Nancy GroupTreas.: Stella GilbertReporter: Jim Brewer

ROCKY MOUNTAINPres.: Robert MooreSec.: Sharon PaetzoldTreas.: Carl PaetzoldReporter: Jere DeBacker

NEW JERSEYPres.: Dan SchacherVice Pres.: Richard DearbornSec: Richard Groman IIITreas.: Willian DeanReporter:

IOWAPres.: Lee ZimmerlineVice Pres.: Stan PetersSec/Treas.: Mary Lou ShimpReporter: AI Johnson

BOSTON AREAPres.: William KoenigsbergVice Pres.: Charles HazardSec.: AI GrecoTreas.: Philip KonopReporter: Ray Magee

NORTHERN LIGHTSPres.: Tom OldsVice Pres.: Gene SkardaSec.lReporter: Dorothy OldsTreas.: Trudy Maier

INTERNATIONALOFFICERS

PRESIDENTBob Rosencrans36 Hampden Rd.Upper Darby, PA 19082

VICE PRESIDENTBill Eicher465 Winding WayDayton, OH 45429

SECRETARYJim Weisenborne73 Nevada St.Rochester, MI 48063

PUBLISHERTom Beckett6817 CliltbrookDallas, TX 75240

MEMBERSHIP SECRETARY(New memberships andmailing problems)Bobby Clark Jr.P. O. Box 172Columbia SC 29202

TREASURERJack & Mary Riffle5050 Eastside Calpella Rd.Ukiah, CA 95482

BOARD REPRESENTATIVESN. Cal.: Howie KoltS. Cal.: Dick RiggTexas: Wade NewtonPhil.: Bob TaylorMidwest: Bill EicherSOWNY: Jeff DepRky. Mt.: Dick KroeckelNew Jer.: Jeffrey MorganIowa: Alvin JohnsonBoston Area: Sanford LibmanNorthern Lights: Trudy Maier

COMMITTEESTechnical

Mel Luchetti3449 Mauricia Ave.Santa Clara, CA 95051

Honorary MembersAlf E. Werolin2230 Oakdale Rd.Hillsborough, CA 94010

ArchivesJim Weisenborne73 Nevada St.Rochester, MI 48063

AMICA GoalsRobert M. Taylor1326 Spruce St. #3004Philadelphia, PA 19107

AFFILIATED SOCIETIESThe Player Piano GroupThe North West Player Piano

Association.

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Publication of business advertising in no way implies AMICA's endorsement ofany commercial operation. However, AMICA reserves the right to refuse any adthat is not in keeping wtth AMICA's general standards or if complaints arereceived indicating that said business does not serve the best interests of themembers of AMICA according to its goals and bylaws.

Published by the Automatic Musical Instrument Collectors' Association, a non­profit club devoted to the restoration, distribution and enjoyment of musicalinstruments using perforated paper music rolls.

Contrlbulon.: All subjects of interest to readers of the Bulletin areencouraged and invited by the publisher. All articles must be received by the101h of the preceeding month. Every attempt will be made to publish all articlesof general interest to AMICA members at the earliest possible time and·at thediscretion of the publisher.

AMICA ITEMSFOR SALE

AMICA BULLETINS, BOUND ISSUES:1971,1972,1973 - bound sets at $15.00eachset. 1974, 1975, 1976, 1977, 1978, 1979 at$18.00 each set. PRICES INCLUDEPOSTAGE AND HANDLING. Spiral bound tolay flat. Send orders to Mary Lilien, 4260Olympiad Drive, Los Angeles, CA 90043.

ROLL LEADERS: DUO-ART, Authentic. Fororder sheet, see the April 1973 Bulletin. NickJarrett, 3622 21 st street, San Francisco, CA94114.

AMICA TECHNICALITIES BOOKS:Volume I (1969-1971), $5.50 postpaid;Volume II (1972-1974), $7.50 postpaid,Volume III (1975-1977), $8.50 postpaid.Reprints of interesting technical articleswhich have appeared in the AMICA Bulletin,arranged and indexed into appropriatecategories. Send orders to: Jim Weisenborne,73 Nevada Street, Rochester, MI 48063.

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AMICA STATIONERY: $3.20 (letter size),$1.75 (note size), including mailing charges.Fine quality stationery with ornate AMICAborders. Each packet contains 25 letters andmatching envelopes. Send orders to: RobertLemon, 4560 Green Tree Drive, Sacramento,CA 94823.

"They All Laughed When I Sat Down AtTlte Plano, But When IT Began To Play."This sound and color super-8 movie,produced by AMICA members, is availablefor loan to AMICA members and chapters.For more information write to Howard Koff,2141 Deodara Drive, Los Altos, CA 94022.

Jnfernafional cJlcf!{Jf8cJl

The dates and cities in which Cherkassky will performare given here and it is recommended AMICAns availthemselves of a rare treat by attending one of theseconcerts and introducing themselves to this splendidartist after his performance. In the meantime you maywish to listen to his stereo record: "CherkasskyKaleidoscope" - DSL07 - Editions de L'Oiseau-Lyre,The Decca Record Company, Ltd.

Shura Cherkassky, you will recall, was born inOdessa, Russia, studied first with his mother, LydiaCherkassky and later with Hofmann. It was fromHofmann, Shura admits, that he learned theimportance of those hidden voices and counterpointswhich so often surprise and delight his listeners.

1I0MIIATIOIS FOROFFICERS OF AMICA IITERIIATIOIAL

The Nominating committee formed to considernominations for the full slate (President, VicePresident, Secretary, Treasurer, MembershipSecretary and Publisher) of AMICA Internationalofficers formally requests all members of AMICA tosubmit the name(s) of any candidate(s) they would liketo see holding these posts for the next 2 years(Publisher's term is one year).

The only qualifying clause for elections pertains to theoffice of President of AMICA - "any active member ingood standing, serving or having previously served asan officer of a chapter or International, may serve asAMICA President."

Please forward your selections to the PermanentNominating Committee Chairman, Anita N. Johnson,P.O. Box 666, Grand Junction, CO 81501.

SHURA CHERNASSHY COIICERTSBY ALF UlEROUn

A recent letter from AMICA Honorary Member ShuraCherkassky informs us that he will be giving severalpiano concerts in the United States in 1980. Mr.Cherkassky, who recorded for Duo-Art in the twenties,resides in London, England. He continues to performthroughout the world and is highly acclaimed for hisspontaneous yet very precise playing - particularlythe compositions by Godowsky.

1980April 7 & 8April 19-21

May 2 & 4May 8October 19October 26November 15 &

1981March 25April 1April 8April 29May 7May 15 & 16

CONCERT TOUR

Florida PhilharmonicVirginia Philharmonic(April 20 at Kennedy Center, D.C.)Mexico CityMontrealTorontoXavier University - Cincinnati

16 Kaufmann Concert Hall - NewYork City (with Y Chmbr. Orch.)

Kaufman Concert HallNew York City

RecitalAmbassabor Aud. - PasadenaPortland State UniversityCincinnati Symphony

Original Bulletin articles, or material forreprint that is of significant historical qualityand interest, are encouraged and will receivereimbursement in the form of AMICAmembership dues discounts. (Chapter reportsand Forum inquiries are excluded.)

INDEX

International AMICAAMICA ForumRolls & MusicInstrumentsMidwestPhiladelphiaS.O.W.N.Y.Biographical Sketches

John Alden CarpenterTechnicalities

21262727333435

3637

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MARCH BULLETIII COUERBY MOLLY VECILEY

In our day, Madison A venue has been accused of thehard sell. It is a relief to find that the late 'teens and the'twenties (up until the 1929 crash) ad men used thesnob appeal approach with such delicacy. If this addidn't shame' a rich man into buying a residence pipeorgan, surely the main picture of the wife gazing intothe fabulous gardens must be calculated to suggestthat 1.) your wife will stay at home more if your hQmehas a pipe organ, 2.) your gardens will become morelush for the same reason, and 3.) your ceilings willraise in height in order to make the organ beappropriate to your mansion.

REMEMBERAMICA 1980 ANNUAL MEETING

PASADEN~ CALIFORNIA

Wednesday, 25 June 1980through

Sunday, 29 June 1980

Will include a tour of the Jack Nethercutt San Sylmar Collection

1980 COIIVEnTIOII. The AMICA Annual Meeting in Southern Californiathis year will be affected twice by an individualperhaps better known in Southern California thanelsewhere, Henry Evans Huntington. HenryHuntington was the nephew of Collis Huntington, oneof the financiers of the Southern Pacific. HenryHuntington expected to control the Southern Pacificwhen his uncle died, but it was not to be. So HenryHuntington turned to Southern Californiatransportation needs and formed Pacific Electric, oneof the main interurban lines in the Los Angeles area.

In the "Great Merger" of 1910, Huntington sold hisinterest in Pacific Electric but he had many otherinterests in Los Angeles and elsewhere in the UnitedStates.

One was the headquarters hotel for our annualmeeting. The hotel originally opened in February 1908as the Wentworth (named for the developer, GeneralMarshall Wentworth) and closed in July of the sameyear due to financial and other difficulties. In 1911, itattracted Huntington's attention. He added two floorsand reopened it as the Huntington Hotel in 1914. Thehotel was acquired by the Sheraton Corporation in1954.

Huntington-Sheraton Hotel, Pasadena

In the early days of the twentieth century when therailroad was more important in personal travel,Pasadena was a more convenient Western terminusthan Los Angeles and since Pasadena is severalhundred feet higher than Los Angeles, was morecomfortable in the summer months. The Huntington(as well as some other Pasadena hotels to which timehas not been so kind) was the place to stay. Althoughthere is a recent addition, the hotel still has much ofthe charm of the period when the instruments in whichwe are interested were "new." Our rooms for thisannual meeting should be in one or another of the olderwings.

One of the reasons why the hotel may have come toHenry Huntington's attention was that his LosAngeles home was only about 11/4 miles east of thehotel. Originally, the home was an operating citrus

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ranch. However, Huntington and his second wifeArabella were avid art collectors and Henry was anavid rare-book collector. Fairly early in his collecting,Huntington decided to leave his collections in the formof a private museum, open to the public. Theinstitution was founded in 1919. It is now known as theHuntington Library, Art Gallery and BotanicalGardens. The library is an extensive collection,mainly in the fields of American and Englishliterature and includes such things as the GutenbergBible, the first book printed in Europe from movabletype. The library is housed in a special building. Thelibrary is primarily a research library although thereare permanent and temporary exhibits and the librarydoes publish reproductions of some works.

The Huntington Library Building

The art collection which includes such items as:Pinkie, Blue Boy, and Mrs. Siddons as the TragicMuse, is housed in the former Huntington residence.

The remaining portion of the 200-acre estate is devotedto the botanical gardens which include the RoseGarden, the Australian Garden, the Japanese Garden,Desert Garden, Palm Garden, Jungle Garden, etc.

The library exhibit areas, the art gallery and thebotanical gardens are open to the public nearly allyear round. We plan to visit on the afternoon ofWednesday, 25 June 1980, the first day of the meeting.

TWO FIIIE HOnORARY mEmBERSPASS AWAYBY ALF WEROLIn

News has just been received that AMICA HonaryMember Lyle Downey passed away at his home inSanta Clara, California, on December 1, 1979. He washead of the music Department at San Jose StateUniversity until recently. In the twenties and thirtieshe installed player mechanisms in both the Ampico

and Duo-Art reproducing pianos. He also worked forthe Mills Violano Company where he installed violinsin their machines.

Recently learned was the sad news that HonoraryMember Johnny Johnson of West Long Branch, NewJersey passed away last year. He was a Welterecording artist. We do not have the date when he diedso would appreciate receiving details from the NewJersey Chapter.

lEW AMICA BULLETIII "COUERS"BY TOM BECKm

Your AMICA Publisher has received the followingletter, to wit:

Hi Tom,

Finally got my plain-cover Bulletin today. Seems along spell since the last one. Now I will not have tohide my Bulletins under the davenport cushion!

Signed,(Mercifully Deleted)

This, of course, is something that never ocurred tome-that our subject matter would be of the kind thatsome would prefer others did not know we lusted over.In this case, the "plain cover" should serve admirably.For those members more open-minded about thematter it is suggested that you carefully remove theouter jacket, which is merely intended to keep variousdirt-of-transit off your magazine, once it has arrivedsafely in your hands and to display your THE AMICAproudly upon the coffee table or even the music rack ofyour piano.

REPRODUCIIIG PlAID GETS BIT PARTBY ROBERT W. TAYLOR

Robert Redford brought his movie making team to theChicago area this past summer for the filming of"Ordinary People."

A George Steck with a.Duo-Art was acquired locally tobe used as part of a set. Typically, the piano has sixlegs and is the familiar Steck "two-tone" mahoganyfinish. We are not sure what role the piano was to havein the film. It seems it was only to be used asdecoration. After the filming was completed, the pianowas taken to California.

Release of the film is to be this spring. Who will be thefirst to spot this "old star?"

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lAC THEATRE COMPAIIY BORROWS 192.REPRODUCIIiB PIAIIO FOR LOBBY DISPLAYIan Mavor, of Munster, Ontario, added the finishingtouch of elegance and fun to the lobby display at theNational Arts Centre in Ottowa by generously loaninghis 1924 Weber Duo-Art reproducing piano to the NAVTheatre Company during its recent hit production of AHistory of the American Film (Dec 3-22, 1979).

In addition to the piano, Ian provided several rolls ofmusic including popular hits from the twenties andGeorge Gershwin's own rendition of "Rhapsody inBlue."

Audiences for A History of the American Film, a pla.ywith music by Christopher Durang, were treated to thesight and sound of the beautiful old instrument, whichis in excellent condition inside and out, before andafter the show and during intermission as theymunched popcorn dispensed by an antique machineand explored the display of movie memorabilia.

nEW HOnORARY MEMBER m: AMICA

UICTOR I. lUCKVictor 1. Zuck, known to many organists andcomposers over the past fifty-six years, was born inHagerstown, Maryland, on January 29, 1908. Hismother was a teacher of both piano and organ and inthe Zuck family residence was an old fashioned parlorol'gan utilizing free reeds and operated by suction.

Due to the influence if his uncle, David Zuck, anemployee of many years standing with M. P. Moller,leading builder of pipe organs in America, he becameassociated with Moller on New Year's Day of 1924.After serving his apprenticeship, which in those days "­was broad and deep, embracing every step in organ

manufacturing, he installed and finished organsthroughout the United States and Canada. Much of histonal education was under the tutelage of Ted Clark,Raleigh Williams and Richard Whitelegg. (Whiteleggwas a well-known Moller tonal director in the '30s and

J '40s, coming to the United States from England.)

Mr. Zuck spent two years (1930 and 1931) at West Point(U. S. Military Academy), on loan by the M. P. MollerCompany to the U. S. Government, where hecollaborated with Frederick C. Mayer, Organist andChoirmaster, on the then new and very muchpUblicized Harmonic Division of the West Pointinstrument. The Harmonic Division by itselfcontained 62 ranks and at the time was the largestchurch organ in America. After his tenure at WestPoint he returned to the Moller factory to assumecharge of the Automatic Player Department. Hesupervised the rebuilding of hundreds of pipe organplayers known as the "Artiste Reproducing Organ"and did a great amount of the hand-cuttingregistration for the automatic rolls. Some of the mostnotable installations of the automatic "Artiste" werein such distinguished places as the Waldorf-AstoriaHotel, New York City; the Greenbrier in White SulpherSprings, West Virginia; the Edgewater Beach Hotel inChicago; the Convention Hall in Philadelphia; and theGeorge Washington Memorial Shrine, Arlington,Virginia.

It should be mentioned that Victor Zuck was involvedin the design and construction of the first player organbuilt by the Moller firm, known as the "Solo

J Symphonist" in 1924. This player utilized QRS rolls,with tonal registrations controlled by hand. The firstcompletely automatic instrument was built in 1926.

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It was during 1926 when he became associated withFrederick A. Hoschke, who joined the Mollerorganization as Musical Director. Some of you mayrecall that Professor Hoschke in 1919 was an artist forAmpico - Ampico Rythmodik rolls. One of the mostpopular was "Sunset" from his "Garden Scenescompositions. He was also arranger for the ReginaCorona, Polyphon and Stella Music Box discs.

Mr. Zuck was trained in the roll making process wherethe complete composition to be recorded was firstrythmically recorded and then the actual notestranscribed from the usual score into markings on themaster-roll which was three feet in width. After theroll was marked and perforated by hand it constitutedthe "Master" which was then operated in a machine toduplicate rolls for the market.

Hoschke and Zuck worked together in their spare timeon various electronic tone producing methods. Oneproved most encouraging and in 1934 basic patentswere secured in the United States, England, Franceand Belgium. After a model was completed, exclusivelicensing arrangements were consummated with theEverett Piano Company of South Haven, Michigan.Mr. Zuck joined the Everett Piano Company in 1934,directing activities in research and manufacturing.This new instrument ultimately became known as the"Orgatron." After the first model was ready forproduction, little time was lost in d~eloping anautomatic player. Little enthusiasism' could bestimulated among the Everett Company dealers, soplans for manufacturing were abandoned. (William H.Barnes, author of The Contemporary American Organ,mentions Mr. Zuck in the 3rd, 4th, 5th and 6th editionsin relation to the Orgatron.)

Following the purchase of the Orgatron and all relatedassets from the Everett Piano Company by RudolphWurlitzer in 1944, he joined the Wurlitzer Company inNorth Tonawanda, New York, as a member of theirResearch Department. The Orgatron became theWurlitzer Organ, and he ultimately becamesuperintendent of the organ division and consultant inresearch. While he had financial interests in severalbasic patents on electrical tone production, he wasalso the personal recipient of 13 U.S. patents onimprovements in electronic tone production. Whilewith Wurlitzer, Mr. Zuck spent a considerable part ofhis time as pipe organ consultant.

When his patents expired in 1952, he resigned his postat Wurlitzer, joining Moeller once again as their SalesRepresentative for western New York, Pennsylvaniaand West Virginia. He was active in the AmericanGuild of Organists, and has written featured articlesfor their national magazine; also he was active in theInternational Society of Organ Builders, attendingmany of their congresses held throughout Europe. Inthe November 1967 issue of the Diapason magazine hereported on the Fifth Biennial Congress of the I.S.0.held in Madrid, Spain. Other publications includedRadio-Craft Magazine, (March and April 1938 issues)on "The Pipeless Organ." In the March 1955 issue ofthe Music Trade Review, his article was carried on

"The Development of Electronics" as they relate to therenaissance of the organ in various systems. Casketand Sunnyside, the National Magazine for FuneralDirectors reprinted his articles on "The PhysiologicalUse of Music."

In 1975, Mr. Zuck was ordained to the Diaconate in theEpiscopal Church, having studied previously for hisCanonical Examinations. He was ordained to thePriesthood at Trinity Cathedral, Pittsburgh, on May29, 1976. Currently he is Priest-in-charge at St. Luke'sChurch, Georgetown, Pennsylvania.

In 1937 he was married to the former NathaliePeterson, a native of New York City and the grand­niece of Frederick A. Hoschke, the artist-composer.

Some of the recording artists and composers he wasacquainted with included Lee S. Roberts of "Smiles"fame who recorded for QRS, Ampico and Artigraphicrolls; Vincent Lopez, Ampico rolls; Edwin H. Lemareof "Andantina in D Flat" fame who recorded for theEnglish Duo-Art Audiographic rolls; CharlesWakefield Cadman of "At Dawning" ("I Love YouTruly") fame who recorded for Duo-Art, and a host ofother artist composers.

Mr. Zuck has always been interested in automaticmusical instruments and at one time began collectingvarious automatically controlled ones.

Presently, in the Zuck residence there is an 18 rank,"Artiste" Reproducing Organ which he built, with alibrary of some 400 rolls. He has his own roll cuttingregistration machine which allows him to alter theregistration when different stops of pipes are added orexchanged; also, when rolls are obtained from ownersof a similar reproducing instrument, larger or smallerthan the Zuck instrument.

To play the organ in the Zuck residence in theconventional manner the tonal resources are that of a"classical" instrument, yet when playedautomatically, the organ utilizes not only the classicalregistration, but brings into play registrationorchestral in nature which can only be operated fromthe organ console by inserting a computer card.

In addition to the Player Pipe Organ, the Zuck's have aWelte Mignon, built at the Frieburg, Germany plant. Itoperates from "Red Label" records of which they haveapproximately 100 in their library.

In the interest of automatic player organs, Mr. Zuckfurnished the Smithsonian Institution with completetracker-bar and automatic mechanism drawings,switching, etc., for the "Artiste" Reproducing PipeOrgan. He has also been helpful in locating automaticinstruments for interested collectors and in providingtechnical information for the rebuilding or servicingof the organs.

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Sunday, February 3,1980, DALLAS TIMES HERALD

.' _.~

TINK WINS AWARD,...,.. In:v~ll­U tor Edwin-A. Link is shownbeforernodelof the ttainer he de­veloped that siInulates- flying'oon­ditions tor pilots without leiWiligthe' ground. The 75-year-old"Di­ventor ot the Link Trainer '''Y.~named as this year's winher.~ 'Ofthe Lindbergh: Award forachievement in science and teCh­nology. The award' is to bepfe­sented to Link, who lives in·FortPerce, Fla., May 20 at a dinner"atthe American Museum of NaturalHistory in New York.

cJlmica Jorum

HELP IIEEDEDFellow AMICAns: I need help with restoring "Other"parts of my collection and I hope someone can sharetheir experience with me. I will reimburse anyexpenses.

1. How do you replace the cracked black over goldfinish used on Music Master horns? 2. On anEmerson 6-bladed fan, the 3 wire cable from the base tothe motor is mostly gone. The color code, if any, has,,----,faded. So where do the three wires hook top and

/

bottom. How do you get the fan blade off (it has nosetscrew)? 3. I need a photocopy of the operating andparts manual for a Butterkist automatic commercialpopcorn machine (found while looking for aphotoplayer) made in the late 20s. Also, does anyonehave ideas for converting currently available newfurniture into roll cabinets?

Please reply to: Jerome Hill, 857 Navajo, Salina, KS67401.

CISE STVLE IDEIITIFICITIOIL REQUESTEDI submit the accompanying photo of my recentlyrefinished 1922 Steinway OR Duo-Art in the hopes thatsomeone can identify the exact case style. The pianowas formerly owned by one of the Fisher brothers ofFisher Body fame but more detailed information is notavailable at present. If you can help, please write: JimWeisenborne, 73 Nevada St., Rochester, Ml 48063.

aolls and cJ&usic

PIIIIO ROLL REVIEWBV DAII TunLE

88-NOTE ROLLS

"Swanee River Moon" - A waltz song with words andmusic written by H. Pittman Clarke and copyright byLeo Feist in 1921. The roll is QRS #1853 played byGeorge Holmes, assisted. The waltz is very nice both

musically and lyrically. This arrangement containsmarimba throughout the whole selection and is verygood listening. This roll was recorded somewhere inthe 1950s. The original roll which has the same rollnumber was recorded in 1921 by Victor Arden and PhilOhman. This roll does not contain any marimbaarrangement. It is a very smooth flowing arrangementwith just straight chords. This writer feels that thenewer roll does the song more justice then the Ardenand Ohman recording even though they are greatpianists. Both rolls are no longer available.

"Shorty George Blues" - A composition by GerogeThomas and copyright by Thomas. The roll is US#41881 played by the composer. The song is done intrue blues style. The first two lines of the verse arerepetative and then the last two lines resolve thephrase. In between vocal lines the bass in the piano isused fairly well plus there are a few inventions andriffs in the middle of the song break. The words"Shorty George" are not mentioned until the last twoverses. Very good for a blues roll and also very long.

"Away Down South In Heaven" - This foxtrot songwas written by H. Warren and B. Green with copyrightby Shapiro Bernstein and Four J's Music. The roll isPianostyle #30535 played by R. W. Shoemaker. This isan excellent song for both music and words. TheShoemaker recording is very good. The compositionsounds like a true New Orleans type selection with thefirst part of the verse being major in sound thenturning to minor. This song is also featured on thePaul Eakins "Big Bertha Band Organ" album.

"Indian Reservation, (The Lament of the Cherokee) ­This song was written by Loudermilk and was firstrecorded on record disc by Don Fardon in 1968. Then itwas recorded by Paul Revere and the Raiders in 1971.The roll is QRS #10-448 played by Rudy Martin. Theroll is extremely good for this type of song. Mr. Martinshould be proud to drop this roll into his portfolio.

~

Jnsfrumenfs~

THE SEEBURG PHOIIO·&RIIDBV maURICE WILLVAil)

The Seeburg Phono-Grand, shown on page 611 of Q.David Bowers' Encyclopedia of Automatic MusicalInstruments, is an interesting relic of by-gone days. Itis a 54 note piano tubed to play from 88-note rolls andis topped off with an electric motor drive, mechanicalphonograph.

The cabinet is, as was advetrised, styled like andsomewhat larger than the wind-up phonograph of theday. The accompanying piano roll cabinet was styled

the same and slightly smaller than the Phono-Grand.

The phonograph is really quite good for its day. Usingsteel needles and old 78 rpm records, it is suprisinglyloud and clear. It also has an effective volume controlconsisting of a piece of wood that slides into the throatof the wooden horn and restricts the air passage whena small lever on the top of the unit is moved. Thephonograph is also equipped with a fly-ball governorregulated speed control that is adjustable by means ofa lever near the turntable. This speed controlsupposedly let one synchronize the phonograph to apiano roll for comparison purposes. There is also anautomatic shut-off switch that must be re-set for eachrecord if it is to work.

The phonograph drive motor was made by GeneralElectric for the Johnson Motor Co. It is a series motor,G.E. No. 571816, JMC No. 880, Type SDA, form AD, rpm1080, Volts 110, DC/60 cycle (Hertz) AC/25 cycle(Hertz) AC. The voltage and frequency change isaccomplished by simply separating one connector,turning the two halves until an arrow on one side linesup with the desired power indication on the other andmating the two parts of the connector.

The piano renditions are not musically accurate sinceonly 54 notes are played by 88-note rolls. I was unableto locate a scale or tracking diagram, so I developedthe following information by trial and error. The stackis constructed in a manner that makes tubing itrelatively easy. Those note bellows that are to betriggered by two or three holes on the tracker bar arefitted with two or three nipples respectively. The 95holes in the tracker bar appear to be properlyconnected as follows:

l-Sust. pedal2-Exp. up3-Exp. down4-Rewind5-Shut-off

*6-B 27-C 38-C#39-D 3

lQ-D#311-E 312-F 313-F#314-G 315-G#316-A 317-A#3

*18-B 219-C 3

to

60-F 661-F#662-G 663-G#664-A 665-A#666-B 6

67-C 768-C#769-D 770-D#771-E 7

*72-F 673-F#674-G 675-G#676-A 677-A#678-B 679-B#680-C 781-C#782-D 783-E 7

*84-F 685-F#686-G 687-G#688-A 689-A#690-B 691-C 792- Soft Bass93-Soft Treble94-Crash95-Repeat

- 28 -

This arrangement accomodates the coding on theApollo X Automatic Musaic Roll XP series and theQRS Automatic Rolls. There is, however, someconfusion in my mind about these rolls. The PlayerPiano Restoration Company of Toledo, Ohio hasprepared a tubing diagram from the Art-Apollo for use """with the Apollo-X rolls. This is drawing number SK­77-10. It indicates that the numbers 1 and 95 trackerholes are teed together and to the crash valve.

The punchings in the Apollo-X, Automatic Music RollXP series and the QRS Automatic Rolls appear to fitthe tubing arrangement listed here. The tracker bar inthe Phono-Grand is adjustable for alignment with theroll and it has a normal alignment mark for the leftedge of the roll. When this is aligned, the normalperforated punchings for the sustaining pedal alignwith the number 1 hole and the spacing and repetitionof the punchings for the second and third holes appearto be proper for the expression system. The PlayerPiano Restoration Company drawing indicates thatthe number 1 hole is for crash, number 2 for sustainingand numbers 3 and 4 are for expression. It is noted thatsome of the Apollo X and Automatic Music Roll XPSeries rolls have some punchings that fall just to theleft· of the number 1 hole on the Phono-Grand. Thesepunchings do not correspond to punchings on the rightside of the roll that could also trigger the crash, nor arethey located musically where a crash would bedesirable. The number 94 hole in the Phono-Grandtracker bar is an enlarged hole and the punchings onthe expression rolls open this hole at times when acrash effect appears to be desirable. I would appreciateany comments concerning these points of confusion.

I currently have regulated the expression system sothat the steps are 8, 12, 16 and 20 inch water columnvacuum with a crash intensity of about 30. The unitplays acceptably well with these settings, but it wouldbe nice to know what the factory adjustments were.This regulation is accomplished by adjusting thetension on four spring loaded bellows by use of theprovided thumb nuts. The adjustment nuts areconveniently located in plain sight when the cabinetfront door is open. However, one of them is just behindthe main drive belt. When adjusting with the unitrunning, this could be hard on the fingers.

Since the Phono-Grand has no automatic trackingdevice, warped rolls are somewhat of an exasperation.One convenience was designed into the cabinethowever. As Q. David Bowers noted in the"Encyclopedia," "The roll is conveniently located at aheight which permits changing rolls from one'sfavorite arm chair." This arrangement also permitssitting in front of the unit and regulating the trackingmanually with the thumb nut in the tracker bar.Seeburg did provide a roll tensioning roller systemthat helps keep things in place. When the unit is set toplay, a pneumatic mounted on the back of the spoolbox collapses. This in turn causes a wooden roller,approximately 3 inches long, to be placed in tensionagainst the top roll from behind and remain there untilthe unit shifts to rewind at which time the bellows "­relaxes and the tension is relieved.

The piano action in this unit appears to be a regular-88-note action that was cut off at either end to fit theavailable space. It is a good quality, sturdy unit. Thebass strings are soft iron wound as opposed to thenormal copper winding. They produce a pleasant tone

/ and, without looking, the difference is not apparent.

The advertising of the day stated that the phonographcould be lifted out as a unit to facilitate tuning. Whatthey didn't advertise was that the wind motor, frontsilk panel, record storage compartment and rollstorage compartment should also be removed. Ofcourse, the doors to the record and roll storagecompartments must be removed before thecompartments will readily come out. Also, the springloaded lid support must be disconnected from the lidbefore the phonograph can be lifted out. Care must betaken not to damage the wooden horn when removingthe phonograph since clearance is tight and the horn isfragile and unprotected.

Any information concerning the proper regulation ofthe Phono-Grand, or anyone else's attempts, would begreatly appreciated. It seems logical that regulationinformation for the Seeburg PGA coin piano and theStyle X piano might be applicable, but I have not foundanything on either one.

THE SEEBURG "K"BV MIllE IIADDEO

This is the first in a series of features on some of themost desirable and beautiful automatic musical

. instruments in the world.

In future articles we hope to present to readers of theBulletin some really rare instruments such as theEncore Banjo, the Wurlitzer Harp, the Adek, Pianotist,and the Hupfeld Violina along with some of the morebeautiful art glass nickelodeons. We would like toencourage readers to send in pictures, articles orsuggestions for future publication.

In the late 1800s, a young Swedish immigrant namedJustis P. Seeburg came to the United States in hopes offinding work in his trade which was piano making.Like all new arrivers, he came with great expectationsof making his fortune in this land of opportunity and,as we might expect, that's exactly what he did. Withnothing more than hard work and aggresivemanagement, J. P. Seeburg built a business empirearound the manufacture of automated musicmachines. An empire that has somehow survived, in avery cutthroat marketing environment, even today.First with automatic pianos (nickelodeons) and laterwith automatic phonographs (jukeboxes), the SeeburgCorporation has seldom strayed from the musicalamusement machine field. The company was formed

./ in 1907 and by 1920 had become the largestmanufacturer of automatic pianos in the United States,

- 29 -

even surpassing the older Wurlitzer Corporation. Atits peak in 1921 it offered over a dozen different modelsand one of these, the model "K," is pictured here.

This intriguing keyboardless nickelodeon w~s

produced in great numbers during the twenties. It wasjust one example of the many models of compactnickelodeons that were made to be sold to theoperators of speak easies and road houses duringprohibition. The beautiful art glass front panel,depicting a stylized eagle design, was probably themain reason for its huge success. Instrumentationconsisted of a 61-note piano, mandolin and 22-notexylophone, all automatically controlled by an "A" roll.

Later, several small percussion instruments wereadded to the "K" to produce the model "KT." Theseusually included a tambourine, wood block andtriangle and on rare occasions a snare drumsubsituted for the tambourine.

Both the K and KT are highly regarded by collectorstoday and can be found in many collections all over thecountry.

'\

.HOW IBECAME APLAYER PIAIIO ADDICT., ALAII .. PIEI

I suspect that every AMICAN has some interestingstories to tell about how they got involved in thisfascinating hobby. Here are some details of how I gotstarted. Perhaps it will encourage others to put theirown recollections on paper.

As a mechanical engineer I have had a life-longcuriosity about complicated gadgets. The lady acrossthe street from my childhood home had a foot-pumpedupright player. On rare occasions her daughter wouldplaya roll for us when we visited. I knew that pianohad some wonderful mechanism in it which mymother's Ivers & Pond lacked, but I never got to lookinside. My mother wanted to teach me how to play thepiano but at the time I was only interested in theclarinet and that is all I ever learned.

From the time I left college in 1952 until 1965 I lived invarious small apartments and then for six years in amobile home. I couldn't have a player piano in theseplaces so I did the next best thing and collectedrecordings of orchestrions, band organs andnickelodeons. I would never pass up the chance to visita restaurant or museum where these instrumentscould be played.

In the fall of 1965 I bought a sizable house in Wilton,Connecticut and began watching newspaper ads forplayer pianos. I remember looking at an old paintedrelic which refused to play even though a powerful andnoisy suction box had been added. I passed that one bybecause I feared fixing it might be beyond my talentsor my budget. I was more interested when I examinedone in a dark and crowded storage warehouse. Therewas no opening for foot pedals for this one. I openedthe bottom panel and found a motor and a pump with alarge wheel. Aha!, I thought. This must be one of themore expensive players originally made electric. Thewarehouse was selling it to recover storage chargesand I had to bid against several others. After a lot ofphone calls it was finally mine in March, 1966 for $200plus $37.50 moving. It turned out to be a HainesBrothers Ampico.

While turning the van in my driveway, the moversbacked into my house, smashing the cedar shinglesabove the garage door. Insurance covered the damageand I didn't let it dampen my enthusiasm for the playerpiano. It just barely played. Some of toe stackpneumatics had come loose and I tried to glue themback without removing the player action from thepiano. I guess I was afraid I would never get all thosetubes reconnected properly if I attempteddisassembly. It was exciting to hear the piano attemptto bang out some 88-note rolls. A very few Ampicorolls had come with the piano but they didn't soundmuch better than the plain ones. However, I could seethat the piano contained a lot of devices in the bottomwhich were supposed to give expression to the music.I found two old Amphion blue prints in the piano

- 30 -

bench. Print number 241-C was for a foot pumpedmodel so only part of it applied to my piano. Print 235­C was a useful diagram of the control tubing. Bothprints displayed interesting cross sections of theexpression mechanisms.

In the classified section of Popular Science I spotted a "­Vestal Press ad for a book on how to rebuild a playerpiano. After receiving sales literature I bought LarryGivens' book, reprints of Ampico manuals, andHarvey Roehl's Player Piano Treasury. Suddenly Iknew a lot more about reproducing pianos. It wasabout this time I visited Art Sander's Musical Museumin Deansboro, New York and heard his Red Roll·Welteupright perform. Now I knew I had to do whateverrepairs were necessary on my piano to make it worklike an Ampico. In May 1966 I sent my first order toPlayer Piano Company for $50 worth of materials. Ifinally got up the nerve to remove the playermechanism from the piano. Obviously, now was agood time to call in a tuner. It took a while to findsomeone willing to come on a Saturday, there beingnobody home at my house during regular businesshours. At least one of the tuners I contacted had a fullschedule and didn't want to take on any more,especially decrepit old players that hadn't been tunedin years. Anyway, I finally got a school music teacherto come and do it for $13. One tuning pin was loose andkept slipping out of tune. I improvised a wrench andperiodically retuned that string. I even devised alinkage from that pin to the top of the pin block whichheld it in tune.

Working weekends and some evenings, I slowlycompleted the work on the player mechanisms. Ireinstalled them in the piano and I can still recall myamazement upon hearing the Rachmaninoff roll ofHopak. Until then, I had been entranced by themechanical style and rapid repetition of players. Ihadn't realized how the sound of a real artist on thekeyboard could be so moving. Now I knew I had to getmore Ampico rolls and proceeded to do so wheneverthe opportunity arose. Responding to a note in theVestal Press House Organ, I bought through the mailtwo boxes of Ampico rolls from Q. David Bowers. Thismust have been just before he moved to California tojoin with Terry Hathaway in the famous firm of musicmachine dealers. I also began adding rudimentaryAmpico coding to certain new 88-note rolls using ahand punch. The results didn't compare with realAmpico rolls, but it saved having to work the pushbuttons to get expression.

Of couse the piano was badly out of tune again beforewinter was over. Rather than go through the botherand expense of calling in a tuner again I decided to seeif I could do it myself. I purchased from Vestal Press abook by H. Stauton Woodman entitled How To Tune APiano. It was very informative but also convinced methat I would never master the art without aStrobotuner. I managed to get a new one in June 1967for only $165.50 by going through my employer'spurchasing department. Getting the tuning wrench (orhammer, as known in the trade), was more difficult as '-

./

most of the piano supply houses didn't want to dealwith non-professionals. The Strobotuner had beenpurchased from American Piano Supply in Clifton,New Jersey and I persuaded them to let me be acustomer. In the years since then I have purchasedsupplies worth many hundreds of dollars from thembut neither of us could have predicted that at the time.

The Strobotuner model ST6 came with an excellentinstruction book and I managed to do a verysatisfactory (although time consuming) tuning job onmy first trial. I will describe my tuning techniques inanother article.

During the summer of 1967 I decided to refinish thepiano. I took all the loose pieces to my garage andapplied paint stripper. I scraped off quantities of gunkand did all the things they told me to do on the canlabel. I finally reached the bare wood which I sanded.Then I did the same to the sides and the front of thecase, using plastic sheets and newspapers to protectthe living room floor. It was a tough job and tougherstill to avoid messing up the house. I wanted torefinish the piano to its original high gloss dark redmahogany. I bought some varnish stain and beganbrushing it on, always sanding lightly between coatsas per directions. But no matter how many coats Iapplied, the open grain of the veneer always showedthrough in the form of tiny pits. Evidently the originalfinishers knew some tricks I didn't know and whichweren't explained on the can label. Now I know that rshould have used a paste filler stain as the first coat.Also, the varnish stain isn't as good as separate stainand clear varnish. Finally, an amateur is asking fortrouble when he tries to achieve a high gloss finish.Bits of lint, paint brush bristles and tiny bugs arelikely to spoil the job. Here it is, twelve years later and

Skilled piano finishers at work in the Wilcox & Whitefactory in Meriden, Connecticut.

I still don't consider myself a good piano refinisher. Itend to send the good pianos to a professionalrefinisher. When the piano isn't worth that expense, Ioften try a varnish solvent sold by piano supplyhouses by the name of crack eradicator or check

eradicator. You steel wool the piano and then brush onthis stuff to amalgamate the original varnish.Sometimes two coats are required with light rubbingwith steel wool in between and sometimes a final coatof new varnish is indicated. The results won't be asnice as a professional refinishing but they are so mucheasier to achieve that it's often worth trying. Anotherscheme is to send all the loose parts to a furniturestripper, leaving just the case for home stripping. Thiscosts about $50 and is generally worth it in time andeffort saved. In recent years a scheme has beenpromoted for rubbing off the original finish with a $25per gallon secret formula and then hand rubbing thesurface with many coats of tung oil. In my opinion,this formula is too expensive and the job isn't anyeasier than other methods which produce a betterfinish.

Before I got sidetracked into a discussion ofrefinishing, I had covered my collecting chronologyup to the summer of 1967. At this point things began tomove a little faster. On August 2, an ad for a Mason &Hamlin player grand appeared in the Wednesdayedition of the Wilton Bulletin. I have to admit that thename Mason & Hamlin didn't cause any reaction withme at the time. I didn't know much about differentgrades of pianos. However, I did know from the PlayerPiano Treasury that it was an AMPICO. I had neverseen a player grand so I drove over to Westport thefollowing Saturday to have a look. It was located in aback room, covered with dust. The salesman saidsomeone already had an option on it. That didn't makeme feel bad because I already had an Ampico pianoand what fool would buy two pianos when he couldn'teven play them by hand? I was mildly interested to seethat the control levers in the drawer indicated this wasa model B. The salesman said he wouldn't sell anyAmpico rolls without the Ampico so I left.

About this time, I ordered more books from VestalPress and mentioned the two Amphion blueprints. Ididn't expect much interest because I thought thesethings must be very common. On August 8. I receiveda letter from Harvey Roehl asking if he could copythem for distribution for Vestal Press. I was planningto visit relatives near Vestal for Labor Day so Iarranged to personally drop off the blueprints and seethe Roehl collection on September 2. I knew from theTreasury that there would be some wonderfulinstruments to see and hear. I was not disappointed.The Roehls were so hospitable they even insisted Istay for lunch. In return for the loan of the blueprints Iwas given a wide assortment of Vestal Press reprints.I mentioned that I had found an Ampico B grand. Icouldn't recall the make but when Harvey promptedme I remembered it as either a Marshall & Wend"3ll orMason & Hamlin. Harvey told me that if it were thelatter, I had better make a strong effort to get it or Iwould regret it the rest of my life. As I recall, hecompared it to finding a Stutz Bearcat in the barn of anignorant farmer. Marion even suggested that I sell mybeloved Haines Brothers upright if necessary topurchase the Mason & Hamlin. I couldn't bear to dothat and anyway I had enough cash on hand to buy thegrand. I just hoped I wasn't being foolishly

Copy of advertisement that led Alan to his firstreproducing grand.

Westport-Fairfield Piano Corp.15U B. State st. Westport

(.... Bd. at Maple Aft. EDt 19 from CODD. 'l'pke.)

- 8PBCL\L SALE ­

MASoN & HAMLINPLAYH GRANDExeeBent Condltloa.

FInWIed In~.

'1495.00(Trades CODSldered>

I repaired one of my torn Ampico rolls. I covered thetorn margin and most of the Ampico coding with astrip of 1/2 inch wide masking tape. Perhaps my coat ofarms should bear the motto: "It seemed like a goodidea at the time." Of course, that part of the rollwouldn't cling to the tracker bar after that and rewindwould be triggered if I didn't hold the shift lever.Fortunately, Scotch Magic Tape was introduced aboutthat time and I learned that it was the best for rollrepair.

During the next two years I did not increase my pianocollection except for buying new and used rollswhenever I made a good find. For a while I tried tokeep my roll library neat by making roll cabinets fromthe unfinished furniture made for phonograph records.After completing five of these cabinets I gave up andnow my rolls fill closet shelves, book shelves, metalshelves, and even a few cardboard boxes. The overflowgets piled on top of various pianos.

My employer transferred me from Wilton to Danbury,Connecticut in March of 1968. I decided to build a newhouse on wooded land south of Danbury. My basementworkshop in Wilton had to be transferred to the newhouse in the fall so this disrupted my playerrebuilding activities. I met a fellow employee nameLieuwe De Haas when he put a notice on the companybulletin board saying he wanted to buy a player piano.I was happy to show him mine although I didn't wantto sell them. He soon found a model A Ampico grandand I helped him rebuild it. That was the start of hiscareer as an expert player piano restorer. I also helpedanother man with an old upright foot pumper whichmay have been a Pratt Reed. It didn't turn out very welland for several years I lacked confidence that I coulddo a proper job on foot pumpers. I made it a commonpractice to electrify them if necessary rather than getinvolved too deeply with the valves.

Early in 1969 I was laid off by my company and while Ilooked for another job I decided to restring the HainesBrothers upright using larger diameter tuning pins. Iwas afraid of damaging the pin block so I bought aspecial reamer for the size of the new pins and reamedall the holes with a power drilL Instead of widing thestring on the pin before pounding it into the block, Iturned each pin into the hole with a carpenter's brace.This enabled me to work on the upright withoutplacing it on its back but it was a bad idea, (see mottoon coat of arms). The pins are not as tight as theyshould be. The piano holds pitch fairly well but thehigh speed reaming and/or turning the pins into placeburnished the hole so as to decrease friction. One of thepins had been gimmicked with one of those bronzebushings by some previous owner. The only way Icould make that one hold was to install a new bronzebushing, and even so it isn't as tight as I would like itto be. It was very discouraging to go through all thatwork of restringing and achieve only mediocreresults. Fortunately, I will have Art Reblitz's book toguide me next time I try restringing.

By April 1969 I had found a new job in Burlington,Massachusetts so I and my two players moved to my

Bulletin, Wilton, Conn.August 2, 1967

I began restoration by recovering the stackpneumatics and replacing the folding tubes behind thedrawer. It played after that but not well. I discoveredthat many of the unit block valves had loose seats.When I recemented them with Goodyear Pliobond Iwas astounded by the performance of the piano. Sowere friends whom I brought to the house to hear it.Unfortunately, it tended to tear rolls during rewind.

I had recently joined the Musical Box Society andattended my first meeting that fall, seeing the fabulousMurtogh Guinnes collection in Manhatten. At thewinter meeting at the home of Les and Helen Flory inPrinceton, New Jersey, Carl Tomsen told me that toomuch drag on the take-up spool would cause the rollsto tear on rewind. Sure enough, I found the brake drumin the Mason & Hamlin had suffered the "pot metaldisease" and was causing the problem. I made a newbrake drum and also cut back the brake strap so that itwraps only once around the drum instead of twice.Now the spool spins freely during rewind except forthe periodic paper tightening cycles which aredesigned into the model B. I am ashamed to admit how

extravagant.

When I returned to Wilton I phoned the piano shop andthey said the piano was still there. They were getting

. impatient with the option holder so they agreed tocontact him and close the deal one way or the other. Afew days later they called to say the piano wasavailable. On the evening of September 20 I brought apiano playing friend to the shop and he confirmed thatthe piano was a nice one. The salesman was rathersurprised (and perhaps skeptical) when I told him Iintended to restore the player. He agreed that the pricecould be reduced some if they were spared the labor oftaking out the· player. We hemmed and hawed andfinally closed the deal at $1250 plus 43.75 tax. Ninety­five Ampico rolls came with the piano including eightJumbos. The original bench was also included but thisone contained no blueprints.

• 32 -

present residence in Billerica. It was just about thistime that AMICA decided to go national. I joined intime to receive the March, 1969 Bulletin. As soon as Ihad my workshop set up in the new house I beganbuying and rebuilding player pianos again. First therewas a Marshall & Wendell upright Ampico, then aWilcox & White Melodant. I formed an association witha local antique dealer and rebuilt many uprightplayers for him before he sold his business. Throughhis contacts, I bought a rebuilt a Marshall & WendellAmpico A grand, A Steinway Duo-Art, and severalinteresting uprights. I had always wanted nickelodeonpianos but had been too timid to pay catalog prices.Finally, in August 1975, Bill Koenigsberg told me thathe had seen an ad for a Marquette player piano up forsale at Gloucester, Massachusets for just $400. Hecalled and arranged for us to visit the followingSaturday. At that time I still had my little FC 150 Jeeptruck so we took that and brought our piano movingequipment. I still remember my first look at theshabby and dirty Cremona sitting in the young man'sgarage with most of its art glass gone. The electricmotor was missing but the important parts seemed tobe there under layers of dust so I quickly wrote out acheck. The man said the piano was very heavy and hedidn't think the three of us could load it on the truck.By this time I was quite experienced in movingupright pianos. We used my two 2"x12" planks to makea ramp to the truck bed and strapped my two ,Sel ProSelf Lifting Piano Trucks to the ends of the piano.These devices are the secret of easy moving withuprights. I am surprised more professional moversdon't use them. Anyway, we pushed the piano up theramp and into the truck and were on our way again inless than an hour. I heard later that another hopefulbuyer showed up about 20 minutes later.

It took me several months to restore the Cremona butit was a very satisfying job when completed. A stainedglass man in Acton, Massachusets did a beautiful jobof restoring the art glass. I had about $40 worth ofnickel plating done on the machinery under thekeyboard so I substituted clear glass panels for theoriginal solid bottOh cover. I found a suitable old pianomotor and mounted a light bulb on top of it to show offmy. handiwork. This is the early model style A withwooden pulleys and leather belts instead of gears. Themandolin device uses wooden plungers workingbeneath the piano hammers. It is described in aTechnical Bulletin I wrote for Vestal Press.

In June of 1977 Pat Mullarky gave me a tip about aCapital coin piano with xylophone for sale in WestBrookfield, Massachusets for $1500. It had been rebuiltand was in playing condition although the xylophonewasn't working and there were other problems. Withina few hours I drove out there and bought it. Today it is'working well and taking in a lot of quarters in an 1890sstyle ice cream parlor in South Merrimack, NewHampshire. I have retained ownership and share theproceeds with the restaurant manager.

I had lost my aerospace engineering job again in late1970 and from that time to present I have earned myliving on player piano work. MyoId friend Lieuwe De

Alan Pier in front of his Cremona coin piano.

Haas has made this transition successfully inGeorgetown, Connecticut and his experience helpedbolster my courage to do this. I can't recommend it toeveryone but for me it has been great to turn my hobbyinto a business. I keep detailed records of all thepianos I work on and they indicate that my total so farconsists of about 70 upright foot pumpers, 21reproducing grands, and 10 upright reproducers. Mostof these jobs have involved complete rebuilds. I havealso worked on three band organs, several reedorgans, and two pipe organs. I don't advertise muchbecause I always seem to have a back-log of workwhich comes in by word-of-mouth. I would like a littlemore time to work on my own instruments but I won'tcomplain as almost all of the work is enjoyable. I stillget that old thrill when a long silent instrument comesto life again and begins to perform like it did whennew.

MIDWEST SCHEDULE ITEMSMBS Meeting - April 18 and 19, 1980 in Dayton. Oh'io atBill Eicher's - AMICAns may attend.

AMICA - Midwestern Chapter on April 26 and 27 inDayton at the Eichers' and Barnharts'.

Clliit;; cfe Ip Iiia

PHILADELPHIA AREA CHRIStmAS PARTYBY DICII PRICE

The Philadelphia Area Chapter Christmas Party washeld at the home of Len and Debbie Wert on Sundayevening 22 December 1979. It was one of the warmest,most friendly parties I've ever been to. It was one ofthose evenings in which everything seems to go rightand everyone has a good time. Spirits soared-and Idon't mean 90 proof (necessarily). You may see ourhost and hostess seated like newlyweds by Len's Connelectronic theatre organ in the first picture. Theirbeatific smiles reflect the evening's ambience.

The second picture shows our past president, MikeNaddeo, handing a placque from our chapter to Len,commemorating his open house during the pastconvention. After that ceremony, the new officers wereformally introduced: Len Wert and Harvard Wood areour new chapter president and vice president. BeverlyNaddeo is the new secretary (she has my best wishes,as former secretary). Doris Berry is treasurer. JohnPrinscott is our new photographer and takes credit forthese polaroids you are looking at now. And I'mBulletin reporter. Bob Taylor remains ourrepresentative.

As a matter of fact, you can see Bob with guests CraigDunlap and Lee Werkheiser (from left to right, picturethree), They are really quite unhappy because this istheir second time around to the food table. They'veeaten so much that there's scarcely room for more­but; there is. Abundantly supplied by the wives (andsome male members-we must be ecumenical). Not top{ention Lucullan deserts-Mrs. Bridges has nothing'0)1' us!

- 34 -

Picture four, taken in Len's speak easy (er, I mean hisclub room) shows from left to right Jess McCartney,John Berry, Barbara McCartney, Fay Cressman and ahappily relaxed AMICA president Bob Rosencrans.

What the pictures don't show, and which no words canreally describe is the sweet air of conviviality andfriendship which pervaded the party. We played ourtraditional parlour game of exchanging silly gifts­one male guest got lace hankies and one wife a pair ofpliers. Do you suppose there were exchanges.

Len showed us a few selections from his vastcollection. He told us the tale of the gambler who washounded by his creditors and gave Len a good deal­hey, perhaps his room is a speak easy?

He then took us to his garage in which played one ofthe loudest dance organs I've ever yelled over. To be sosmall and so loud ... It must harbor the spirit of a littleboy!

And speaking of which, the garage is every AMICAn'sdream-Len's sanctum sanctorum-an awesome(that's the only word I can use to describe it)workroom. In the middle of which, clutched in a woodlathe lay a baseball bat. Dh. oh. I thought to myself,

Bruce and Chree at the Weber grand.

Bruce Bartholomew

Mike Walter

Nancy Group

Stella Gilbert

Jeff Dep

Jim Brewer

President

Vice President

Secretary

Treasurer

Board Representative

Reporter

The house is a late Victorian Gothic, with mansardroofs, turrets and gables, and beautiful stained glasswindows. The downstairs interior had never beenmodernized, and the woodwork and hardwood floorswere in very good condition. Pine boughs wereeverywhere, along with a huge Christmas tree andmistletoe in almost every doorway.

Getting everyone together, we had elections for a newslate of officers. Elected were:

With elections over, Stan Aldridge reported on a neworganization in the area, The Carousel Society of theNiagara Frontier. The main goal of this society is toacquire a 1911 Alan Herschell steam carousel, restore,and house it back in its homeland ofNorth Tonawanda.We in our chapter of AMICA wish them the best andhope perhaps to share a future meeting with them.

With the business out of the way, there was nothing tokeep us from the buffet table. The women did atremendous job of preparing and setting up the food.

Bruce and Chree have acquired quite a collection ofpianos. In the front parlor was the Weber Duo-Art, inthe foyer a newly acquired Chickering model AAmpico and in the adjoining dining room were aKohler & Campbell standard action pumper and aMarshall & Wendell upright Ampico.

After dinner everyone gathered in the parlor for thegift exchange. The exchange worked the same as lastyear, where you picked a gift in sequence according toyour assigned number. If you got a present someoneelse wanted, they could "rip you off" on their turn and

Len's finally turned the corner (remember his banquetspeech last June about the pecularities of collectors?).But no, he's turning his son into a craftsman as fine ashimself by helping him turn the baseball bat into aJacobean chair leg.

CHRISTmAS BASH AT "THEBARTHOLOMEW'S

B' JIM BREWER

The party went on into the wee small hours and whoknows how much longer, but the Baltimorechurchmice's pumpkin was ready to roll, though wewere loath to leave. I was happy to have among myguests Dr. Sebastion Kent who, as well as theaforementioned Craig Dunlap and Lee Werkheiser, weheartily welcome as new members.

A warm thanks to Debbie and Len for being suchmarvelous hosts and to the grand cooks who were kindenough to share their culinary talents. Our collectivebest wishes to the new officers for the coming year.

Our next meeting has been scheduled for Sunday 10February at the home of John and Doris Ben-y.

Bruce and Chree Bartholomew were the hosts for ourannual Christmas party Saturday, December 15th. Theweather was unusually mild, making for a pleasanttrip to Holly, New York. Bruce and Chree had justmoved there this past spring and have begun the longprocess of restoring their house to its original glory.

- 35 -

Left to right; Karl Guhlow, Dave Gaudieri and CarolOstrsky.

you would have to choose again. As luck would haveit, I was the last to pick a gift, and got ripped off somany times my head was spinning before I finally gotthe piano roll of "The Hustle," arranged by RudyMartin.-

After listening one more time to my favorite Duo-Artroll on the Weber, it was time to go. With the good-byesand Merry Christmases behind, we headed back toLockport. Driving by in the car, one could barely heara Chopin Nocturne from the old house. Trying to workup some original poetic phrase to capture the feelingof happiness and nostalgia was futile. It wasn't untillatered I remembered the slogan of the FairgroundOrgan Preservation Society which goes, "Whilstlooking into the future, don't overlook the glories ofthe past." Amen.

JJio9rapRicaldKefcRes

-

JOHn ALDEn CARPEnTERBV Emmm m. FORD

John Allen Carpenter, American-born composer,businessman, pianist and Duo-Art recording artist,was born in Park Ridge, Illinois, February 28,1876. Hisancestry goes back to John Alden who landed atPlymouth via the Mayflower.

He was taught piano by his mother, a singer ofprominence, until the age of twelve and for three yearshe studied with Amy Fay (Ref. Music Study in

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Germany - Fay, MacMillan Co., 1909). He enteredHarvard and continued to study piano and theory withW.C.E. Seebock, along with regular academic courses,graduating with a B.A. in 1897. Further music studywas with Professor John N. Paine, and then to Europeto become the pupil of Sir Edward Elgar. Returning to "­Chicago, he became a pupil of Bernard Ziehn until themaster theorist died in 1912.

Joining his father's business, he became president ofthe company in 1909, retiring in 1926 to devote his timeto music. Music was more than an avocation and hebegan to compose.

His first composition, "When Little Boys Sing" was in1904 but he did not receive attention until 1914 when hepublished his song cyc}e, "Gitanjali," based on thepoems by Sir Rabidranatha Tagore. His symphonyWas performed in 1917 at the Norfolk Festival. Thecompositions were enthusiastically received by thepublic but were)lptly discussed. They were performedoften in the. ~lJniteq States and Europe. WalterDamaroscl1 -called John the "most American ofcomposers." "Sea Drifts" based on a setting of WaltWhitman's poem, was first performed March 10, 1918in New York with the orchestra conducted by PercyGrainger, and again in Philadelphia in 1935. At theCoolidge Festival in Washington, D.C., his stringquartet was performed. A violin sonata and his "WaterColors" for mezzo-soprano and chamber orchestrawere popular. Other compositions of interest are"Improving Songs for Anxious Children," and "TheAnxious Bugler." The "Carmel" piano concerto·! wasperformed in 1946 in Carmel. California.

Mr. Carpenter campaigned for an American School ofComposition, not based on Negro, Indian or sections of

American life, but a full representation of the entireAmerican life.

He composed a series of ballets, "The Birthday of theInfanta" based on a story by Oscar Wilde, premiered inthe Chicago Opera House in the 1919/20 season. Other

-' ballets were "Krazy Kat"*2 after the popular cartoonby George Harriaman which was in the jazz idiom, and"Skyscrapers" premiered at the Metropolitan OperaHouse in' 1920. He composed an orchestral workentitled "Adventures in a Perambulator,"*3 depictingthe adventures of an infant in a perambulator in thecourse of a day's walk with his nurse. It suggests arather precocious child despite the charm of theorchestration employed to give credence to the events.When it was first presented in 1914, it was a success,but through the years it has not endured in theorchestral repertory. Mr. Carpenter's impressionismseems a bit faded today but his work w,ill remain a'piece d'occasion."

In 1947 the National Institute of Arts and Lettersawarded him a gold medal in recognition of hisdistinguished services.

Mr. Carpenter passed away at the age of 75 on April 26,1951. He was survived by his widow, a daughter andtwo stepdaughters.

One of his compositions, "Tango Americaine" wasrecorded by the composer on Duo-Art 64830.

*1 LP CRI 180 Strickland SY., Mitchell*2 New W 228, L.A. Phil., Simmons*3 ERA 1009 Eastman-Rochester Orch., Hanson;,Concert Hall LP CHS 1140, Vienna State Orch.,Swoboda.

d'ecRnicalifies

Contributed by John R. Grant.

Jnstruclion Book for

Special Noiseless

Piano Motors

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Instructionsfor Piano Molars

1'P~~i'iiiiiiiiiiiii;]HE whole purpose of the motor in a pianois to keep the pump pulley revolving at auniform speed. There is one correctspeed which the piano manufacturer hassettled upon as proper for his particularpump. In a case of imperfect operation

one should first find out from the piano manufacturerwhat the correct speed should be. If the pump runs fasteror slower than this, there is something wrong. It may bethat the motor has the wrong size pulley on it. Or pos­sibly a mistake has been made in the kind of current.such, for instance, as attempting to use a 230-volt motoron a lIS-volt line; or attempting to use a 50-cycle motoron a 60-cycle line.

One should first of all start the motor and see whetheror not the pump speed is correct. A chalk mark is made~n the pump pulley. or a rag may be tied onto one of thearms. and the revolutions counted for one minute. If thepump is running too fast. it may be noisy and unable tostand the overloacl. The motor will be overloaded andwill be noisy and hot. If the pump is running too slow.there is likely to be insufficient volume of air exhausted.

At various points in the following pages references aremade to an article known as a Commutator Stone. Thisis pr:::curable in various sizes and from various manufac­turers. A good size is one 2" long, 72" thick. I" wide.The name of one manufacturer is Lombard & Company.

South Boston, Massachusetts. The stones may also besecured from The Holtzer-Cabot Electric Co. at SOc.each.

MOUNTINGSpecially designed quiet running motors are necessary.

By refinements of design and manufacture the naturalnoises of a motor can be minimized. but not entirelyeliminated. It therefore becomes necessary to usc aspecial method of mounting, so that the noise of themotor will not be communicated to the structure of thepiano, which would amplify it. If felt is used to cushionout the sound, the felt must be thick (perhaps ~~" or even1" thick) and it should be loose. Tightly compressing thefelt will increase the sound. Sometimes it is only neces­sary to loosen the holding down screws to eliminate anobjectionable humming sound. If springs are used, theymust be long and resilient. If straps are used to supportthe motors, extra cushions may be necessary under themotor feet and under the straps at each end to absorb thesound. There absolutely must be no contact between themetal screws, the feet of the motors, and any wood partor metal part of the piano. One should be sure that theholding down screws are bushed with rubber or felt.

Too tight a belt will sometimes compress the felt mount-

ing so tightly as to destroy its effectiveness as a soundcushioner, or will pull the motor over against some metalor wood part. or may make the convolutions of a springtouch together. If metal rods support the motor, therods must be cushioned at each end and positively nottouch metal or wood.

Troubles of all kinds will generally come under one ofthe three following classifications:

(1) Disarrangell1ent of the drive.(2) A fault in electric current supply.(3) A defect in the motor.

A few points shou"ld be carefully investigated undereach classification, and the trouble located by a processof elimination as follows:

(1) Disarrangement of the drive: One should first seethat the belt tightener is not putting undue tension onthe belt. A tight belt will prevent the motor from comingup to speed successfully. It might be unable to get up tofull speed. continuing to run slowly, making considerablenoise and sparking and heating up too much. A tightbelt will wear out the bearings quickly. It may compressthe sound cushion so tightly as to make the motor noiseobjectionable. On the other hand, insufficient belttension allows the belt to slip. thus preventing the powerfrom being transmitted to the pump.

(2) A fault in the electric current supply:(a) The current supplied to the motor must be "the kind

for which the motor is designed. The markings on thenameplate of the motor indicate whether it be analternating current motor or a direct current motor. Itsvolts and its cycles (i,e .• frequency) should he noted inthe case of alternating current. If it be a direct currentmotor, simply the volts stamped on its nameplate haveto be observed. Next we must find out if that kind of amotor is the correct one to use on the premises. To learnthis, one may have to telephone to the electric lightcompany and ask what kind of current they are supplyingon the premises. To prevent mistakes some centralstation companies refuse to give this information verbally.One must be certain that he is not attempting to runan alternatinn- current motor on a direct current line. orvice versa; or~hat there are no ;uch mistakes as a 220-voltmotor on a 11O-volt line, or a 60-cycle motor on a 40-cycleline.

(b) A loss in coltage sometimes occurs because thewirim" in the house is too small. or because the line isoverl~aded. If the voltage at the termina!5 of themotor is low the motor may be unable to pull up to fullspeed, or it may spark excessively, or it may overheat.This is especially so in the case of alternating currentmotors which are affected very seriously by low voltage.An alternating current motor under such conditions maytake a long time to get up to speed and spark considerablyat its centrifugal cutout switch during the acceleration;or it may never succeed in pulling up to fuJI speed. andwill continue to run slowly, sputtering and sparkingconsiderably, and heating up very rapidly so that it willsmoke in a few minutes. If such symptoms are present, a

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portable voltmeter should be secured and the voltsacross the motor terminals measured while the motorcurrent is on. Many motors have a cord with detachableplug. The voltmeter should be connected across the twoprongs of the plug. and then the plug pushed into itssocket so that the voltmeter will measure the voltage closeup to the motor itself. It is misleading~o measure thevolts back at the house meter. It must be measured atthe motor terminals. The motor will pull full load ifthe voltage does not drop more than 10% below thevolts stamped on the nameplate. If you find that thevoltage does drop more than 10% below that. there isnothing to do but to enter a complaint with the electriclight company. and insist that they furnish the correctvoltage. They alone can remedy such trouble. The voltagemay in some cases be higher than it should. which has theeffect of strengthenin:; the motor. If it is more than 10%higher. it may cause overheating and noise.

(c) Sometimes the molor fails to start because the fusesare blown out, or because of a broken wire or imperfectcontact. Motors should never be pickecl up or carriedab0:.It by the cord. Such mishandling will break the wireoff inside the detachable plug or inside the motor wherethe cord is fastened to the winding. If, when the switchis turned on, the motor does not star-t, search should bemade for a blown fuse, !'-n imperfect contact, or a brokenwire. Failing to locate the trouble. an electrician shouldbe consulted.

(3) A defect in the motor: If all the points mentionedabove check up properly. the Ilext likely source of difficultymay be an injury to the motor itself. An inspection mayshow that a brush is stuck in its holder. or the pulley hasworked loose so that it rattles or turns Idose on the shaft,or is set too close to the motor so that it rubs against themotor or mounting. Sometimes a motor is hit or droppedso as to spring the shaft or crack the frame casting.The belt should be taken off and the motor shaft twirledby hand to see if it turns freely. At certain points ofa revolution it may turn stiffly and then turn more easilythe rest of the revolution. thus indicating a bent shaft.This can be properly fixed only by the motor manufacturer.If the motor casting is cracked. the shaft probably willnot turn at all. This can only be remedied by the motormanufacturer. Sometimes if the bearings have run drythey will get into such a bad condition as to heat up and"freeze" so that the shaft will not turn. Such a motorhad best be shipped back to the manufacturer for repairs.(See paragraph on lubrication. page 12.)

NOiSE(I) Mounting: Check first of all to see if the motor is

properly installed in its mounting, and if the mountingis properly installed in the piano so as to absorb the vibra­tion. .A normal piano mo~or may seem much too noisyif tahn out of its mounting and set on a table. However,that same motor. when held in mid-air in one's hands. orwhen correctly mounted. will become practically noiseless;so check the points mentioned on pages 2 and 3 or 6 and

7 of this booklet with particular care. Too much emphasiscan not be placed on the necessity of having the mountingin good condition to absorb the vibrations of the motor. theessentials being that tne moullting cushions bc thickenough. loose enough. and that there be absolutely nodirect contact anywhcre between the motor and thepiano. If there still seems an undue noise from the motorthen check the following' points:

(2) Noise in alternating current motors:(a) Voltage may be too high as measured at the motor

terminals. A voltage 10% in excess of that stamped onthe nameplate of the motor will increase the noise con­siderably. This will be a humming or magnetic noise.

(b) The frequency or cycles of the circuit may be higheror lower than stamped on the motor nameplate. resultingin a humming or magnetic noise. By telephoning thelighting company the frequency of the circuit may beascertained.

(c) Loose centrifugal cutout switch: Some of the olderdesigns of motors had the centrifugal switch fastenedto the shaft by means of a set screw. Once in a greatwhile one of these will work loose and rattle. The centri­fugal cutout switch makes a rubbing sound when comingto rest. This noise is momentary and is to be expected.

(d) Excessive end play of shaft: Movement back andforth in a direction parallel to the shaft may exist if themotor has been taken apart and the fibre washers onthe shaft not replaced at one or both ends. An end playin excess of approximately -l-c" may cause knocking so~nds.

(e) A nicl{ed or dented thrust bearing (a term applied tothe washer and its seat on the shaft and bearing sleeve)will cause a knocking sound when the shaft is operatedvertically in grand pianos. Sometimes when a motor istaken apart. the seat of the thrust bearing will becomeinjured. but can easily be smoothed up with a fine file.

(f) Starting winding may not be in circuit, due to thecentrifugal cutout not functioning. or an open circuit inthe starting winding. The motor will simply stand still.making a humming sound and heating up rapidly. Some­times it is only necessary to sandpaper the centrifugalswitch contacts bright and clean to remedy this trouble.(Do not use emery paper. Emery is a conductor of elec­tricity.)

(g) Loose fit of shaft in bearings may exist, due to wearfrom long operation without lubrication. An attemptto move the shaft in the bearings at right angles to itslength should disclose no movement or 10Qseness whatever.(This does not refer to the end play referred to in (d)above. which is intended to be about -h".) Worn andloose bearings cause rattling. knocking, and magnetichum. Such a motor can be repaired only by those con­siderably experienced in such work.

(3) Noise in direct current molors:(a) Loose fit of shaft in bearings (as mentioned above).(b) End play of shaft (as mentioned above).(c) Brushes may squeak or rallie as a result of not

fitting perfectly to the curvature of the commutator.This fit should be just as perfect over the entire end of

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the brush as it is possible to get it. Upon installing a newset of brushes one should fit them by passing a long.narrow strip of No. 00 sandpaper back and forth beneaththe brush. the rough side outward. This seating processshould be continued until the brushes present a nicelycurved surface to the commutator. An extra good finishto the seat can be secured by afterward holding a piece ofdry commutator stone ('See page I) lightly against thecommutator and passing-it back and forth while the motoris running. One should use just as much care in fitting abrush as in grinding in a valve of an automobile engine.When once fitted. brushes should never be interchanged. orturned around. or end for end in the holders. but shouldalways be put back exactly the way they were originally.Sometimes a drop of oil on a cloth may be used on a com­mutAtor to stop squeaking, but it is best to use little if anyoil on commutators. Usually a rough commutator can

be smoothed by holding a piece of very nne sandpaperlightly! against it, passing it back and forth while themotor is running and finishing up with a commutatorstone as directed earlier in this paragraph. If it is badlyroughened or grooved it may become necessary to turnthe commutator smooth in a lathe. This can usually bedone by a good machinist. If none of the foregoingexpedients are successful, send the motor manufacturer acopy of all stampings on the nameplate, ordering newbrushes of different composition for it.

HEATINGIt is to be remembered that in an electric motor under

operation heat is always being generated. Motors run­ning in enclosed spaces such as the inside of a piano can notbe kept as cool as those whic\:1 operate out in the openwhere the air currents play freely around them.

A motor when running continuously at full load andunder conditions of restricted ventilation. such as thosein a piano. may become so warm that the hand can not beheld on it except with considerable discomfort.

Electrical engineers have learned what is a safe degreeof heat for the materials of which a motor is composed,and recognize that a temperature which feels actually hotto the hand may be perfectly safe in a motor.

We quote as follows from the handbook issued inSeptember. 1923. by The Electric Power Club, entitled"Instructions for the Installation. Operation. and Careof Electric Motors and Generators."

"When a machine appears to be too hot to thetouch. the actual temperature should be meas­ured with a thermometer. The safe operatingtemperature of a motor or generator can not beaccurately determined by the hand. as it is impos­sible to hold the hand comfortably on a motorwhich has been heated to within its guarantee."

While it is true, as we have stated, that the feel of amotor to the hand does not give a true index to its tem­perature. yet there is a rough test which will sometimesdisclose abnormal heating conditions. If. for example.a motor after a half hour's run became so warm that ,the

hand could not be held on it, that would indicate aabnormal operating condition or a defect in the motorthat in time would cause excessive heating. If, on theother hand. at the end of an hour's run, under load.the hand may be held on the frame of the motor even withsome little discomfort and there are no other symptomsof distress, it is pretty certain that the motor is in nodanger by reason of heating.

We are not here enlarging upon the procedure necessaryto obtain temperatures by means of thermometers. Whilethis is a fairly simple operation in the hands of thoseaccustomed to doing it, it is quite possible for those withno experience in such matters to get misleading results.However, should anyone desire at any time instructionsin the manner of making temperature measurements on amotor by thermometer, we will be very glad to send suchinstructions.

In the following paragraphs we give certain suggestions. which may be followed if the simple test we have suggestedshould indicate danger from this source:

(1) Voltage may be too high and thereby cause undueheating. A voltage 10% in excess of that stamped on thenameplate may increase the heat of either alternating ordirect current motors considerably. High voltage willcause a direct current motor to run faster in speed anddrive the bellows faster, thus overloading the motor.....ighvoltage has little effect on the speed of an alte.rnatingcurrent motor, but it does increase its temperature andits magnetic hum. .

(2) The frequency or cycles of an alternating currentcircuit may be lower than stamped on the motornameplate. A difference of only five cycles may causeconsiderable heating. On the other hand. if the frequencyof the line is high, the motor speed is increased, driving thebellows faster, thus overloading and overheating themotor.

Most piano motors run at speeds varying from 1,125 to1,200 revolutions per minute according to the load.The latter speed, 1,200, is what is known as the synchro­nous speed. Sixty-cycle motors, for example, operating ona 60-cycle circuit can not possibly run above 1,200 revo­lutions per minute. A rough test of the frequency ofthe circuit may therefore be made by running the motorfree and taking its speed with, for example, a Starrattspeed indicator. If the motor runs above 1.200 revolutionsper minute under those conditions it would indicate thatthe frequency in the circuit is higher than it should be.High frequency is quite rare nowadays. Yet if it shouldbe found that a motor runs up say to 1,250 revolutions,that would indicate abnormally high frequency and itmight even be necessary to have a special motor wound upand a special pulley made to compensate for the higherspeed.

(3) Overloads will overheat a motor. Overloads may bedue to:

(a) Pump working stiffly, caused by improper bearingconditions in pump, or incorrect adjustments. Most

pumps are provided with a spill valve (or blow-off orfree-out) to limit the maximum pressure. Check thepump pressure and see that the spill or release is adjustedaccording to the manufacturer's standard.

(b) Pump running too fast. (W rang pulley or wrongfrequency.)

(c) Line voltage being either too high or too low.

(4) Worn bearings in the motor cause the rotor or arma­ture to run out of centre, which increases the heating. Ifthe-b~arings wear so badly that the revolving part rubsagainst the stationary part, the motor will burn out in ashort time.

SPARKING

Alternating current motors will spark momentarily atthe centrifugal cutout switch wh·~n coming up to speed.This spark occurs because the switch is cutting out thestarting winding. Sometimes this sparking is prolongedso as to become harmful in case the motor is overloadedand has difficulty in getting up to speed. Also if thefrequency of the line circuit is low, the motor can no(getup to full speed, and continues running slowly with con­siderable sparking, sputtering, and heating. The cutoutwill become roughened and pitted. or the 'springs weakenedby such heating, so that it will not function.

Direct current motors may spark at the brushes, due to:

(I) High mica. Occasionally the mica insulationbetween the commutator segment~ creeps up abovethe surface. This may be due to the mica wearing unevenlywith the copper, thus impairing the brush contact. Some­times this can be cured by usin~ a commutator stone orNo. 00 sandpaper as we have described on page 8.But if conditions become very bad it will be necessaryto turn off the commutator.

(2) Rough or grooved commutator, from other causes.The same remedy as in No. I above should be applied.

(3) Poorly 6lting brushes: In such a case the brushshould be reseated as we have described on page 7.

(4) The ring supporting the brush holders may for somereason have been turned around out of its proper positionso that the brushes do not Tide the commutator in thecorrect place. On most direct current motors there is apaint mark or a chisel mark on the brush ring and the

frame indicating th~ proper position. Before taking themotor apart one should make note of these marks, or if forany reason there are none, he should make a mark on thebrush ring and on the motor frame so that upon puttingthe motor together he can set the brush ring in its properposition.

(5) If upon studying the behavior of the motor and itscondition none of the forgoing suggestions seem to apply,probably there is a defect in the windings of the motor.This will be difficult to diagnose except by an expert.Therefore in such a case the motor will have to be sent toa competent repair shop, or to its manufacturer.

LUBRICATIONA very common method of lubrication shown in Figure

I onsists of a wick cup with felt wick to feed the lubri­cant to the shaft surface. When the motor is shippedits wick cups are filled with a non-fluid oil sufficient forperhaps six months' operation, depending of course onhow much of the time it is operated. It must be remem­bered that lubricants have a tendency to waste by creepageand by evaporation. The motor may have been in thestockroom at the piano factory for a long time, and theoil wasted away there; therefore it is very advisable torenew the oil in the wick cups upon installing the motor.One should never use linseed oil, lard oil, tallow, paraffin,or heavy grease. In an emergency, vaseline will answer,but it should be replaced with proper lubricant at theearliest opportunity. Wick oil cups should be refilledtwo or three times a year. We supply a non-fluid oil forwick cup motors which is sold in collapsible tubes. Thisis known as "Lubricating Compound/No. I:' AddressThe Holtzer-Cabot Electric Company, 125 Amory Street.Boston. Massachusetts. Price 50c. per tube includingpostage.

.J---+- -t-+--'--t--++-- --t---~-/

Fig. I

If the motor is in an upright type of piano and has itsshaft horizontal. it is satisfactory to use a good dynamo oilin the wick cups. Some upright piano motors are pro­vided with an oil tube over the top to the rear bearingwhich must be oiled two or three times a year with gooddynamo oil. When used in a grand piano it becomesadvisable to replenish the lubricant of a wick cup morefrequently than two or three times a year, because itwastes away faster. the shaft being in a vertical position.

Fig. 2

Figure 2 shows our later and improved method oflubrication. Surrounding the bronze bearing sleeve isquite a large chamber which is packed full of wool waste,saturated with lubricant. The wool waste touchesagainst the shaft. conveying to the bearing surfaces quitea copious amount of oil. This oil is returned to the wasteagain and used over and over. In the latest design,shown in Figure 2, the wool packed space entirelysurrounds the bearing sleeve. There is' a very large amountof lubricant in the waste, probably sufficient to last for

several years. (In the "earlier design there was not spacefor such a large quantity.) This type of bearing worksequally well in a horizontal or vertical position. There arerefilling holes in the top and bottom of the waste chamberclosed by brass plugs. To determine whether additionallubricant is needed. remove the motor from the piano. then

'simply unscrew one of these brass plugs, and then pressthe waste down firmly with a screw driver, causing theexcess of the lubricant to be squeezed out of the waste andappear on the surface of the waste. If you can see such anaccumulation by peering down into the opening, at thesame time pressing down firmly, it is an indication that nofurther lubricant is needed. Should it be discovered thatthe waste has become dry, simply squirt in a half teaspoon­ful of good dynamo oil and screw the brass plug back inplace again. Do not use more than that amount for fearof excessive oiling, which is harmful to commutators.brushes. and windings.

r---------------------~_,

GENERAL OFFICE AND FACTORY orTHE HOLTZER.CABOT ELECTRIC CO.

BOSTO"!

nEW MEMBERSMark Galwin: 5 Woodland Ave., Beaconsfield,Quebec, Canada H9N 4V8. 1924 Kurtzman 5'9" WelteLic. Referred by Arthur Galwin & Terry Smythe.

Ernst Inauen: Retonio's Mech. Music Museum,Gerbestrasse 4, CH-9050 Appenzell, Switzedand.Mechanical Music Museum and Dealer.

Anthony & Lucie Chaberlot: 108 Rue de laVerronnerie, Dry, 45370 Clery Saint Andre, France.1917 Steinway Duo-Art OR; 1930 Seybold Piano­Accordion-Jazz; 1930 Seybold Cab piano w /xylo &perc; 1930 Seybold/Hohner Magic Organ; 1905 AeolianOrchestrelle V; 1920 Phillips Orchestrion; 1910Hupfeld Phonolistz Upr; 1880 Busson Harmonium.

Jimmy & Carolyn Evans: 3509 Devine St., Columbia,SC 29205. George Steck grand Duo-Art. Referred byBobby Clark.

Jim & Cleo Fralick: 461 Glover Street S.E.,Oragneburg, SC 29115. Kohler & Campbell grandWelte Licensee. Referred by Bobby Clark.

Steven & Beverly Hudgins: 8236 26th Ave. North, St.Petersburg, FL 33710. 1921 H.C. Bay upr plyr. Referredby Warren Knapp.

March & Carol Houser: 7226 10th Ave., North, St.Petersburg, FL 33710. Krakauer Bros upr plyr.Referred by Warren Knapp.

Teet & Edna Riech: Rt. 4, Box 60, Dunnellon, FL 32630.1979 Aeolian upr plyr "Mussette". Referred by QRS.

Edward & Irma Golden: 4075 Southwell Way,Sarasota, FL 33583. 1920 Steck 5'2" Duo-Art; 1921Milton upr Recordo.

Joe Hoppe: 1452 Pauger Street, New Orleans, LA70116. 1926 Marshall & Wendell 5' Ampico Spanish.Referred by R. Lee Lanier.

James & Mary Elizabeth Blalock: 101 Susan Drive,Houston, MS 38851. 1925 Steinway XR Duo-Art.Referred by Larry Mangus.

Helen O'Connor: 20239 Maple Leaf Court,Gaithersburg, MD 20760. 1976 Aeolian upr plyr"Sting".

James Tibbatts: 819 18th Street, Union City, NJ 07087.1929 Lauter-Humana uprplyr; 19? Weydic Hen~elmanupr plyr; 19? Hazelton Bros 5'8" Welte Licensee.

Raymond V, Sziber: Rt. 2, Box 11, Wildwood Way,Titusville, NJ 08560. 1916 Lauter-Humana upr plyr.

Joseph & Anna Malyndziak: 9 Sleepy Hollow Drive,Norwalk, CT. 06851. 1924 Marshall & Wendell 5'1"Ampico; 19? George Steck upr Duo-Art; 19? Wilcox &White upr plyr; 19? Autopiano upr plyr; 19? AeolianPianola upr plyer. Referred by John Tokarski.

Betty Kinney: 3836 Dogwood Trail, Allentown, PA19103. Upr Plyr. Referred by Bill Dean, MaryanneAdams, Bill Baab.

Marie & Louis Abel: 354 E. Roosevelt Blvd., "­Philadelphia, PA 19120. 1964 Wurlitzer upr plyr.

Mark Batterson & Ronald Wideman: 5327 BayntonSt., Philadelphia, PA 19144. 1926 Welte-Mignon 5'4"Original. Referred by Bob Taylor.

Robert Streicher: P.O. Box 39, Pond Eddy, NY 12770.

Thomas & Shirlee Marsh: 3769 Niagara, Wayne, MI48184. 1923 Kimball 6' Welte Licensee; 1925 Werner(Schulz) 5'4" Aria-Divina Recordo. Referred by EdJoswick.

Loren Sannes: 229 Harvard, South Lyon, MI 48178.1926 Weber 6' Duo-Art. Referred by Bob Suchyta.

Piano Workshop: 3166 West 33rd Street, Cleveland,OH 44109.

Markland & Eleanor Walker: 1603 Clio Avenue,Cincinnati, OH 45230. 1914 Aeolian upr plyr; 1913Weser Bros. upr plyr; 1918 Milner upr plyr; 1921 Stroudupr Duo-Art. Referred by San Favret.

Edward & Amelia Lewis: 410 Lafayette Lane,Hoffman Estates: IL 60195. 1924 Art Apollo 4'9"; 1979Wurlitzer Spinet plyr.

)

Craig Pierson: P.O. Box 466, Billings, MT 59103.Referred by Bill Holmes & Bonnie Tekstra........................................................ .

James & Jeaneen Roelke: 6975 Applewood Drive,Madison, WI 53711. 1925 Nelson-Wiggins Cab. Style 8........................................................ .

Dennis & Christine Brady: 850 S. Syndicate, St. Paul,MN 55116. Referred by Gene Skarda.••••••••••••• ••••••••••••••••••••••••••• 0 ••••••• 0 •••••••

Albert T. Davis: 010 Ranch, Hyannis, Nebraska69350. 1920 Chickering Ampico grand. Referred byHowes Piano Co.........................................................

Marilyn McGartland: 8548 Church Road, St. Louis,MO 63147. Holland upr plyr........................................................ .

Arthur & Sandra Durand: 1488 S. Zeno Way, Aurora,CO 80012. 1921 Steinway XR Duo-Art. Referred by DickKroeckel.........................................................

William & Priscilla Arthur: 8856 E. Dartmouth,Denver, CO 80231. 1922 Knabe 5'2" Ampico.........................................................

Gib & Emma Gibson: 1301 Caudle Drive, Houston, TX77055.

L. L. Updegraff: Rt. 6, Box 610, Claremore, OK 74017.Gulbransen upr plyr; Autopiano upr plyr; Windsor uprplyr.........................................................

Rodney & Adele Harris: 57 Virginia Court, WalnutCreek, CA 94598. 1918 James & Holstrom upr plyr.Referred· by Robert L. Wilcox.

Raymond & Kathy Fairfield: 16481 Jackson Oaks Dr.,Morgan Hill, CA 95037. 1917 W. O. Nisley upr plyr.Referred by David E. Harmer.

Jay & Cheryl Munns: 1136 Serenade Ave., WestCovina, CA 91790. Baldwin Modello upr plyr.

Michael R. Bath: 4402 Sugarland Court, Concord, CA94521. 1979 Universal upr plyr; 1972 Thomas 821CElect. Org cust. built.

Greg W. Gilbert: 9798 Coalinga Ave., Montclair, CA91763. 1924 Starr upr plyr; 1913 Gulbransen-Dickensenupr plyr. Referred by Harvey Roehl.........................................................

Ron McUne: P. O. Box 237, Jacksonville, OR 97530.1917 Carleton Nick Price & Steeple A-roll; 1912Shattuck upr plyr; 1930 QRS Play-A-Sax; 19? Tanzbarply Concertina. Referred by D. W. McMenamy.

Michael & Cheryl McDonald: 14546 166th S.E. Renton,Renton, WA 98055. 1923 Bush & Lane upr WelteLicensee; 1917 Marshall & Wendell upr Ampico; 1924George Steck 5'4" Duo-Art.

CLASSIFIED

FREE LISTS: All types rolls. cylinder records and machines.Discs, cobs. catalogs & literature. Mechanical music and muchmore. Our 2200 year ... VI & SI'S ANTIQUES, 8970 Main St..Clarence, NY 14031 .

FOR SALE: ALWAYS a very large stock of orchestrions, monkeyorgans, music boxes, fair ground organs, automata, etc. Be asubscriber to our free mailing list. Retonio's Mechanical Music andMagic Museum, Blumenrain 16, CH-9050, AppenzeltSWITZERLAND (071) 87 25 44.

SCOPITONE- 159-page manual filled with the history,schematics, film listings. and restoration hints for the French andAmerican Scopitones. Regularly $29.50. Current sales promotion$16.50. I also haife American machines available for sale. GeroldKoehler, 1002 Forest, Joplin, MO 64801. (417) 781.-2120.

STEINWAY grand piano 6'1" Style "M" Duo-Art player, custommade walnut elaborate art case with inlaid marquetry, completelyrebuilt and refinished, genuine iVOry keys. virtually a new piano.With 50 rolls $25,000. Also Steinway style "L" grand 6'4", Duo-Ai"tplayer completely rebuilt and refinished, walnut case 18,000. Box171, Alpine, NJ 07620. Telephone (201) 768-2261.

WURLITZER bell actions, pipe chests, trap actions; Seeburg parts;Wooden violin pipes. All EXACT reproductions. Highest qualityrestoration work available. SerVing collectors nationwide. Write forinformation. ANTIQUE AUTORCHESTRA CO., 450 West 4t:,Street, Beaumont, CA 92223. (714) 845-7536.

FOR SALE: Marshall & Wendell Ampico "B" grand reproducingpiano, 4'8", William & Mary art case, with art bench. Excellentunrestored condition. This is the same as the piano displayed onthe cover of Givens' Re-enacting The Artist. This is a full "B"mechanism, made in 1931. Price $5.300.00. Bill Koenigsberg. 77High Pine Circle, Concord, MA 01742. 1-(617) 369-8523.

FOR SALE: Mandolin attactments - fits all upright pianos. Easyinstallation. $18.00 postpaid in U.S. W. F. Knapp, 2819 53rd St.N.. St. Petersburg, FL 33710.

FOR SALE: 1926 GULBRANSEN player, mint restOfed, allmanufacturer's tags intact! Unbelieveably clean original conditionthroughout. $3500. Antique Autorchestra Co., 450 West 4th Street.Beaumont, CA 92223, (714) 845-7536.

FOR SALE: George Steck upright 1920, #63434. Piano excellentcondition, player needs complete restoration. Case mahogany,stripped wax finish only 100 Duo-Art, 70 88-note rolls, $2000.00Marilyn Moritz, 159 Lonsdale, Oakwood, OK 45419. (513) 293­4021.

AMICA SPECIAl! 33% DISCOUNT: Choose ANY 6 standard 8&­note rolls from the Klavier or QRS catalogs and you only pay for 4when you join the PIANO ROLL CLUB of America. Your onlycommitment is to purchase 4 more rolls at the regular price duringthe next two years. For every 6 rolls you purchase after the initialorder you will select 1 FREE roll. Each month you receive news ofthe current selection. You can buy that roll or any other roll fromthe Klavier or QRS catalogs or no roll at all. Send your name.address including zip, telephone number,-and the list of yourchoice of 6 rolls to Piano Roll Club of America, P. O. Box 5095.Anaheim, CA 92804.

FOR SALE: Viva-Tonal (Model 810) Phonograph in walnut.Excellent case and playing condition. (47'12" x 30" x 24".) C. 1926.Last word in Clolumbia Acoustics. RARE. $495. Bill Pixley, (316)442-4383.

a.R.S. ROLLS: Up to 1/3 off, factory shipped. Send 50¢ forcatalog. Price lists free. Write: Baley·s. 310 Grandview,Kalamazoo, MI 49001.

FOR SALE: Superscope Pianocorder. model Pl0l. brand new.never installed with 30 tapes, $1,075.00. Write: Laura Boswell,1901 Nebraska. Pecos. Texas 79772.

FOR SALE: Three Duo-Art' Catalogs. 1922, 1924 & 1927w/supplement. All are in very good condition & complete. $200.00for all three. 2. Pianola & Pianola Piano Music Catalog 65 Note ­1910 Aeolian Co. Good condition - $20.00. 3. QRS Player PianoRoll Catalog 1920 - 5'12" x 8". Ex. condition - $50.00. 4. Duo-ArtMusic Opera Number - Nov. 1927. Small brochure 20 pages ­$25:Q0. 5. Catalog of Carola Inner Player Pianos by the CableCo. 7" ~" - 48 pa'ges. ex. condition - $35.00. Many other bookson pianos,CWfite fof list if interested. Write: Carl Paetzold. 1118 E.15th Street Loveland. CO 80537.

FOR SALE: Aeolian Grand Organ rolls ( 91 total). Excellentcondition. complete listing for a self-addressed stamped envelopeor direct all inquiries to: R. H. Wood, 5064 Kraus Rd .. Clarence, NY14031. (716) 759-8528. Offers invited - Reasonable.

STEINWAY MODEL "OR" DUO-ART 6'5": Entire piano andmechanism professionally rebuilt. Restrung. new hammers. originalivories. Refinished mahogany standard case with bench.$12.500.00. Jerry Maurer, 31416 Manchester Lane. Bay Village,Ohio 44140. (216) 871-3886.

FOR SALE: Ellington Welte Mignon 5'5", 1914. Case refinished,original ivories. some cracked. no chips. New pin block, hammers,restrung. Player restored. Excellent. $7000.00. Lawrence Frazer,133 N. Dixie Dr" Vandalia. OH 45377. (513) 898-3431.

SAVE GAS - SHOP BY MAIl! Ampico, Duo-Art, and Welte rollsby Klavier at 10% DISCOUNT INTRODUCTORY OFFER. Sendorders or requests for catalogs to PIANO ROLL CLUB of America.P. O. Box 5095. Anaheim, CA 92804.

FOR TRADE ONLY: Have Ampico B drawer and Ampico B pump.Will trade for Steinway model O.R. stack and complete set oflevers for Steinway. also a few misc. Duo-Art parts. ContactHarland Krueger. 1039 N. Sawyer St .. Oshkosh, WI 54901. Phone(414) 235-2363.

PIANO ROLL AUCTION of Ragtime, Blues, Popular. 88-note andReproducing. Free list. Rolls (AM), Box-367, Port Washington. NY11050.

WANTED: Duo-Art Rolls, "By the Seashore" - Smetana ­Milinowski S-31778; "Etude F Maj. Op. 72 #6" - Moszkowski ­Milinowski S-31808; "Etude C# Minor Op. 2 No.1" - Scirabin ­Yalkovsky 73259; "Melody" - Brinkman - Brinkman S-31838;"Minuetto" - Brinkman - Brinkman S-31788; "Grillen Op. 25 #1 &

6" - Miaskovsky - Prokofieff 73888; "Long, Long, Trail" - Elliott ­Elliott - 103415. Emmett M. Ford. 649 N. Pinecrest, Wichita, KS67208.

WANTED: ALL kinds of mechanical musical instruments. We payhigh prices for outstanding music boxes. orchestrions. automata,barrel organs. etc. We specially look for: Mills Violano, HupfeldViolano. Chordeophon, Encore Banjo, Eroica disc changer.orchestral disc boxes, working models, merry-go-round withhorses. interchangeable orchestra table music box. very largeorchestrions. etc. Retonio's Mechanical Music and MagicMuseum, Blumenrain 16. CH-9050. Appenzell SWITZERLAND(071) 87 25 44.

BUYING: AMPICO, DUO-ART. WELTE & OTHER TYPE OFROLLS. DESCRIBE AND PRICE. ALTMAN 8970 Main Street.Clarence, NY 14031.

WANTED: Player piano. "fixer-upper," any repairable condition.Stanley, 8776 Elden St .. La Mesa, CA 92041.

WANTED: Collector pays realistic prices for: Grand/baby grandplayer pianos • nickelodeons • circus organs· large music boxes •etc: Any condition. Send want list. I can find you anytbjl'lg. PaulManganaro. 121 Valley Brook Ave .• Lyndhurst, NJ 07071. (201)438-0399.

WANTED to fill a special request: Welte Philharmonic pipe organwith roll playing mecahnism; Wurlitzer Mandolin (not Concert)PianOrchestra rolls; Mills Violano Virtuoso (single or doublemodel); Hupfeld Phonoliszt-Violina; 1/4 hp. 1725 rpm Wurlitzermotor. Please describe. American International Galleries, attentionDave Bowers. 17792 Fitch. Irvi ne. CA 92714.

WANTED: Piano rolls for Mills Novelty Co. 65-note MagnetiCExpression Piano. Contact: J. Inman, 633 E. Ponderosa. Reedly. CA93654. (209) 638-9343.

WANTED: Ampico A pneumatic striker stack for 1923 Fischergrand reproducing piano or one which can be modified to fit. CarlArvidson. 11 Watson Dr.. W. Simsbury. CT 06092.

We have finally outdone ourselvesl For years we havemade fine orchestrions and components but this is a realimprovement on the "0" roll spool frame. Finally a FastLoading Orchestrion Spool Frame!. Loads like a QRSroll and tracks great. Ready to tube and complete with asolid state tempo control. Use our rolls or buy the endsfrom us to push into yours. Call (209) 538-2330 toreserve one for you or send $3.50 for our color catalog ofFine Orchestrions and Components to; RagtimeAutomated Music. 1320 Angie #C. Modesto, CA 95351.

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11 on parts torAMPICO &DUO-ART REPRODUCING PIANOS

.inc.tud.ingAMPICOModel A Switches (Brass not alum,)Model A or B Valve SeatsModel A or B Valve PlatesModel B'Bal1 Bleeds

DUO-ARTAeolian replacement Cross ValvePlates (Stainless Steel not plated

steel.)ALSOAutomatic Punches for roll repairs

or Roll Editors.Replacement lips (specify size)

MAIL ta~ge ~~amped, 4el6-add~e~~edenvetope 60~ c.u~~en~ L.i~t & P~.ic.e~.ALSO, w~.ite and adv.i4e u~ 06 you~

~pec..iat need~ and .inte~e~t~.EXPANVEV CATALOG c.om.ing 400n.

ROBERT STREICHERP.O. Box 39

Pond Eddy N.Y. 12770

lor the p(o ••Tuned and untuned percussions

for use in all automatic instruments

Single and duplex spoolframes

for A,G,and 0 rolls and all

wurlitzer scales

Custom fabrication in wood and

metal of one or a thousand parts

Piano and orqan supplies and

hardware---=-==- ---=-- -

~--'hox-1 094 <-=-­-~

ill lubbock, t,exas~¥">;'?AJP'" L-79408~­

Mechanical Systems / Inc.

AUTOMATIC MUSIC ROLL CO.

P. O. BOX 3194, SEATTLE, WA 98114 PHONE (206) 633-3664

AMR PRESENTS THREE NEW AMPICO RECORDINGS

217051 THREE LITTLE FISHES Arranged and Played by LIBERACE. Liberace cleverly begins$8.00 this recording in his own style and then this novelty tune is cleverly adapted and played in

the style of three different noted classical composers of the past, Schumann, Brahms andLiszt. The last rendition of Liszt is in the style of the Hungarian Rhapsodies.

217003 1. MUSKRAT RAMBLE (Dixieland Jazz) This is one of the liveliest Dixieland Tunes in$11.50 a great arrangement by J. Lawrence Cook. Now available for the Ampico. 2. THAT'S A

PLENTY (Dixieland Jazz) Another one of the liveliest Dixieland Tunes ever written. ASpecial treat with the Ampico coding. These two superb recordings arranged and Playedby J. Lawrence Cook offered here on one Ampico roll.

217013 1. MAGNETIC RAG: 2. SOMETHING DOIN'. Played by the COMPOSER-SCOTT$11.50 JOPLIN. For the first time, Scott Joplin actually plays your own Ampico Piano!! Some­

thing Doin' was written (in collaboration with Scott Hayden) in 1903 while Joplin wasliving in St. Louis. The 1903 rags are prevailingly songlike; even the rhythmic "SomethingDoin" has a beautifully flowing second subject.

SPECIALPRICE!! - Pur(.hase all three new Ampico rolls for $27.50 (Add $2.50 forShipping and insurance).

50203$20.00

70403

30033

STODDARD AMPICO TEST ROLL. The complete words and directions areprinted on this roll. We have 6 copies only of this roll left on hand.

AMPICO B TEST ROLL For Use With Service Manual 1929. The completewords and directions are printed on this roll. Only one copy of this roll isleft on hand.

TESTER C 25 NOTE REPETITION. Only one copy of this roll is left on hand.

VISA and MASTERCHARGE ORDERS ACCEPTED BY MAIL OR PHONE

ORIGINAL ROLLS VARIOUS TYPES

(A) So you have an Ampico and not many Ampico rolls. Do you want one of the largestcollections of Ampico rolls? 1800 Ampico rolls. 98% are in excellent condition, boxesand labels are excellent. All different titles. All original rolls. Phone for price.

(B) 400 Original Welte Licensee rolls. All in excellent condition. This collection consists ofthe best rare recordings, around 25 purple seal rolls. A superb collection. Phone for price.

(C) 100 Original Duo-Art rolls. 98% in excellent condition. All different titles. $1 SOO.OO pp.(D) 90 Estey Resident Organ Rolls-$1000.00 postpaid.(E) 23 Kimball Organ Rolls. Excellent titles, never played. $350.00 postpaid.

~~~(H)

(I)(J)

(K)

ORIGINAL LITERATURE1927 Duo-Art Roll Catalog-Excellent Condition. $150.00 postpaid.1925 Ampico Roll Catalog-Excellent Condition. $75.00 postpaid.1930's Billboard Magazines-Some without covers. Have 150 all different titles. $3.95each. Minimum order 20 magazines. Price includes postage. pp.Specially Sleeted List of 250 Best Selling Welte-Mignon Rolls, Licensee. 10 pages. $15.00October, 1925 Ampico Roll Bulletin, Excellent condition. This bulletin with the January,1925 Catalog supplied a complete list of rolls to that date. - $20.00 pp.4 PAGE Brochure "The Gold Seal Library of Ampico Recordings. - $15.00