OFFICERS INTERNATIONAL OFFICERS CHAPTER OFFICERS

PRESIDENT NO. CALIFORNIA Bob Rosencrans Pres.: Howard Koff t 36 Hampden Rd. Vice Pres.: Phil McCoy Upper Darby, PA 19082 Sec.: Dick Reutlinger Treas.: Bill Wherry VICE PRESIDENT Reporter: Stuart Hunter Richard Drewniak 191 Capen Blvd. SO. CALIFORNIA Amherst, NY 14226 Pres.: Prentiss Knowlton Vice Pres.: Elliott N. Lacy SECRETARY Sec.: Evelyn Meeder Isadora Koff Treas.: Lewis Troffer 2141 Deodara Dr. Reporter: Bill Toeppe AMICA MEMBERSHIP RATES: Los Altos, CA 94022 TEXAS Continuing Members: $15 Dues BULLETIN Pres.: Tony Palmer Tom Beckett Vice Pres.: James Guinn New Members, add $5 processing fee 6817 Cliffbrook Sec/Treas.: Haden Vandiver Lapsed Members, add $3 processing fee Dallas, TX 75240 Reporter: Dick Barnes

MEMBERSHIP SECRETARY MIDWEST (New memberships and Pres.: Milton Cooperman mailin9 problems) Vice Pres.: Jim Prendergast Anita Nickels Johnson Sec.: Jim Weisenborne P. O. Box 666 Treas.: ,Alvin Wulfekuhl THE AMICA NEWS BULLETIN Grand June tion, CO 81501 Reporter: Molly Yeckley

TREASURER Jack & Mary Riffle PHILADELPHIA AREA Published by the Automatic Musical Instrument Collectors' 5050 Eastside Calpella Rd. Pres: Donald Wood Association, a non-profit club devoted to the restoration, distribu­ Ukiah, CA 95482 Vice Pres.: Larry Cornell tion and enjoyment of musical instruments using perforated paper Sec.: Barbara Macartney music rolls. BOARD REPRESENTATIVES Treas.: Doris Berry N. Cal: Frank Loob Reporter: Dick Merrill Contributions: All subjects of interest to readers of the bulletin S. Cal: Dick Rigg are encouraged and invited by the pUblisher. All articles must be Texas: Steve Chapman SOWNY (So. Ontario, West NY) received by the 10th of the preceding month. Every attempt will be Phil.: Larry Cornell Pres.: Stan Aldridge made to publish all articles of general interest to AM ICA members Midwest: Bill Eicher Vice Pres.: Chuck Hannen at the earliest possible time and at the discretion of the publisher. SOWNY: Dave GaUdieri Sec.: Janet Drewniak ADVERTISING Rky. Mt.: Toni Hart Treas.: Tom Zorn Line ad rate: 8\1 per word, $1.20 minimum. New Jer.: Dan Schacher Reporter: Jim Brewer 4 Page rate: $12.50 per quarter page or multiple thereof. COMMITTEES ROCKY MOUNTAIN Ad copy will be typeset (at additional cost) only if requested. Technical Pres.: Robert Moore Each photograph or half-tone, $5.00 Mel Luchetti Sec.: Sharon Paetzold Camera-ready copy that is oversized or undersized will be 3449 Mauricia Ave. Treas.: Carl Paetzold changed to correct size at your cost. Santa Clara, CA 95051 Reporter: Ja mes Bratton Camera-ready copy must reach the pUblisher by the 10th of the preceeding month. Honorary Members NEW JERSEY Pres.: Peter W. Brown Cash must accompany order. Typesetting or size alteration Alf. E. Werolin Vice Pres.: Francis J. Mayer charges will be billed separately. Make checks payable to 2230 Oa~dale Rd. Sec.: Jeffrey Morgan AMICA INTERNATIONAL. Hillsborough, CA 94010 Treas.: Glenn W. Grabinsky All ads will appear on the last pages of the BULLETIN, at the Reporter: Betty Schacher discretion of the publisher. IOWA Publication of business advertising in no way implies AMICA's Pres.: Richard W. Parker endorsement of any commercial operation. However, AMICA re­ Vice Pres.: Dale Snyder serves the right to refuse any ad that is not in keeping with AMICA's Sec./Treas.: AI Johnson general standards or if complaints are received indicating that said business does not serve the best interests of the members of AMICA, according to its goals.and by-laws.

AMICA Stationery, $3.20 (letter size), $1.75 AMICA ITEMS AMICA TECHNICALITIES BOOKS: Volume I (note size). including mailing charges. Fine SALE· (1969-1971), $5.50 postpaid; Volume II (1972­ FOR 1974). $7 .. 50 postpaid; or order both sets for quality stationery with ornate AMICA borders. AMICA BULLETINS, BOUND ISSUES: 1969, Each packet contains 25 letters and matching $12.50 postpaid. Reprints of interesting techni­ $9; 1971, $15; 1972, $15; 1973, $15; 1974 calities articles which have appeared in the envelopes. Send orders to Robert Lemon, 4560 unbound sets, $15; 1974 bound sets, $18; AMICA Bulletin, arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18; 1976 bound, $18, PR ICES appropriate categories, spiral bound to lie flat. INCLUDE POSTAGE AND HANDLING. Spiral Send orders to Howard Koff, 2141 Deodara "They All Laughed When I Sat Down At The bound to lie flat. Send to Mary Lilien, 4260 Drive, Los Altos, CA 94022. Piano, But When IT Began To Play ..." Olympiad Drive, Los Angeles, CA 90043. This sound and color super·8 movie, produced ROLL LEADERS: DUO-ART, Authentic. For by AMICA members, is again available for loan order sheet, see the April, 1973 Bulletin. Nick to AMICA members and chapters. For more Jarrett, 3622 - 21~Street, San Francisco, CA information write (0 Howard Koff, 2141 94114. ~, Deodara Drive, los Altos, CA 94022. JnfernafionalJlJKJ(8Jl

CLARENCE HI CKI~AN HONORED You probably know that Mrs. Stoddard died in February and Larry Givens gets the Stoddard Ampico together The following letter was written by Honorary AMICAn with all the rolls. Several years ago he put her Clarence Hickman to Honorary Membership Chairman, piano in operation and we both admired him greatly. Alf Werolin. You will note that I presented him with the Stoddard Gruen 50th Anniversary watch which Stoddard gave to August 16, 1977 me at the time I received the Presidential Medal for Merit. "Dear Mr. Wero] in: I expect that you are very busy with your associa~ This note is being written on my 88th Birthday. tion's activities. I, too, have been very busy in spite of the hot humid weather we have been having I attended the World Archery Center banquet in Penn­ for many days. Today is the first nice day we have sylvania and was given a prel iminary induction into had for a long time. the National Archery Association Hall of Fame. I Sincerely yours," met a member of AMICA there and he thought that since I am an honorary member of your association that you C~enee Hiekman should know about the honors I have received this year.

On July 16, 1977 , was inducted into the New York FROM THE PUBLISHER State Archery Association Hall of Fame at Auburn, New York. This event was written up in the Sunday In the absence of the Secretary's minutes of the Board Dai ly News. or Annual Meetings at San Francisco in September to verify the fact, and for those of you who were un­ On August 5, 1977 I was given final induction into able to attend, let it be known that your previous the National Archery Association Hall of Fame. Bulletin publisher was re-elected for a third, one­ am enclosing the program of that event. It was a year term. Outside of the Nominating Committee's great occasion for me for the other two inducted continued support, the card and letter from members were friends of many years. Also the Presenter for not on this committee simply poured in. My thanks my induction was Ann Weber Hoyt, a girl that I have to both my admirers - with such widespread acclaim, admired for many years. She was inducted into the how could I but forge eagerly ahead! Hall of Fame in 1972. I first met her at a tourna­ ment held on Long Island July 14, 1940. She was then Seriously, over the years I have received many per­ only 16 years of age but she made 6 golds at 60 yards. sonal complimentary notes for which I am deeply grate­ I was the Field Captain of that tournament and took ful. However, my biggest reward comes in the receiv­ her picture with her six golds. ing of so many excellent informative articles written or submitted by fellow members of AMICA. Ann went on to be champion many times of the National, The Eastern, The Metropolitan, The New Jersey State. THE AMICA News Bulletin has continued to be improved She then went abroad and was World champion. Her in total content and quality because of generous husband, Earl Hoyt, was one of the three inducted contributions of new and old material and I hope if August 5th. He also was awarded the Maurice Thomp­ you continue to enjoy the magazine you receive you son Medal of Honor at the ceremony. That is the will, in turn, send your "compliments" in the form highest honor given by the National Archery Asso­ of an article of your own. AMICA is now 1000 plus ciation. I received that honor in 1950. members strong and there is a wealth of useful in­ formation among us. Please send it in for sharing soon! INDEX

INTERNATIONAL AMICA 208 Winnipeg News 210 EUBIE BLAKE PLAYS AT MICA FORUM 211 "The Piano's Reproductive THE MEKANISK MUSIK MUSEUM System" (reprint) 213 "Interfacing Pneumatic Player BY CLAES 0, FRIBERG Pianos" (reprint) 216 ROLLS & MUSIC 221 Usually the music at Mekanisk Musik Museum is sup- PHILADELPHIA 225 pI ied by barrel-organs, musical clocks and mechanical S.O.W.N.Y. 227 violins, etc., but every fortnight on Wednesday even­ IOWA 228 ing the old house comes alive with ragtime and jazz, , BIOGRAPHICAL SKETCHES being played live among the exhibited items. Charles W. Cadman 229 TECHNICALITIES 231 Last week the exception was made and the concert was held on a Tuesday, when Mekanisk Musik Museum intro­ duced a true celebrity, Eubie Blake, to the enthu- 208 - te.. . Jnfernafional c!lcJJ(J(8c!l ..r----.

siastic audience. The rooms were bursting with people sort of protest music. Today, 80 ~ears later, the and the expectations were high. As the player piano same music was played to a nostalgic Danish audience started playing "I'm Just Wi ld About Harry" and the who felt the touch of the wings of time - and loved 94 year-old composer, pianist and conductor was care­ it! There has got to be a certain feel ing for jazz fully guided in between the rows of seats, the ap­ in the Danes otherwise so many great American ar­ plause was overwhelming. And it never stopped when tists would hardly come to I ive here, as lately the Eubie Blake played his own compositions, interrupted pianist, Fred Hunt, has done. by anecdotes from his I ife about people he had met during his long musical career and about the condi­ Before the arrival of Eubie Blake that certain Tues­ tio\ls of the black in the U.S.A. in the earlier days. day evening at Mekanisk Musik Museum, Lief Slot and Thus he played for more than one and a half hours, Brent Verner Jensen did some "warming-up" and they keeping· the audience in the palm of his hand! Claes returned again, after the interval, during which the Friberg then suggested to the elderly gentleman that mechanical instruments were demonstrated in the most he should have a I ittle break, but no! - Eubie did fascinating way, but although they did their best it not wish to disturb the wonderful atmosphere and went was Eubie Blake's evening - of that there can be no on playing, sometimes singing so loudly along that doubt. the mus i·c a Imos t lid rowned" and te IIi ng funny ep i sodes as well pS more serious ones. There were between, these moments of sublime music played so skillfully PRESS RELEASE: and with a tempo and dexterity which many a young pianist must envy of him! THE UNIQUE COLLECTIONS OF THE INTERNATIONAL PIANO ARCHIVES TO GO TO MARYLAND On July 31, 1977 it was announced jointly by the In­ ternational Piano Archives and Dr. Stewart Gordon of the University of Maryland that the University of Maryland Libraries are to become the nel. home of the collections of the International Piano Archives.

These collections, including all the scores, record­ ings, tapes , iconography, clippingsfi.les and other materials assembled over an eleven-year period by the International Piano Archives will become the property of the University of Maryland and housed at the University of Maryland Libraries. Provision has been made for these collections to be administered as a separate, special collection along guidlines and procedures to be determined by curator Gregor Benko, who has been named an instructor on the piano faculty of the University.

The collections will be moved into the Maryland Library in the fall of 1977. Some months will elapse before the collections are unpacked. Please address all requests for access to materials in these col­ lections to: Dr. Joanne Harrar, McKeldin Library, University of Maryland, College Park, Maryland 20742.

The concert - rather a solemn word for these ragtime The International Piano Archives Corporation will evenings which are as informal as they are popular ­ continue operating as an entity separate from the ended up with Eubie Blake playing six-hand piano with University of Maryland and has by contract sole and Danish pianists Leif Slot and Bent Verner Jensen in exclusive rights to the publication of materials in "Maple Leaf Rag" and the whole house with all its in­ the archive henceforth the property of, located at, habitants were swinging so that it could almost be and to be administered by the University of Maryland. seen from the outside. A terrific finish to a great International Piano Archives will exercise this right and unforgettable evening! and continue to publish modern LP's of historic re­ cordings. We felt we were experiencing 1ive history, remember­ ing Doctorow's novel "Ragtime" and the fact that Editor's note: AMICAn Gregor Benko writes that "all Scott Jopl in was a contemporary of Eubie Blake's, the Duo-Art material of the original American-Aeolian who made his first compositions before the turn of Co. (including original rolls) will now be housed at, the century at a time when jazz and ragtime were a and administered by, the University of Maryland Li­ brary." - 209 to. . Jnfernafionaf JlcJKJ(8Jl '~

every half hour, beginning with my Seeburg KT into WINNIPEG NEWS which I inserted my cordless microphone.

by Terry Smythe The reaction was immediate and astounding. Within about 15-20 seconds, large crowds would materialize On 1 and 2 October 77, 4 of my instruments - 1927 as if by magic. And on every face was a happy smile! Violano, 1927 Seeburg KT, 1915 Cremona G, and 1909 This delightful reaction, and the consistent public Cremona 3 - were on public display in the Winnipeg respect, was most gratifying. Convention Centre. The occasion was the annual display of the Manitoba Classic & Antique Automobile With each presentation, I included a little anecdote Club, in cooperation this year with the Roadrunners about each instrument (e. g. The Seeburg KT discov­ and Street Rod associations. erd after resting 12 years in a functional chicken coop with a caved-in roof. ), and some comments about the preservation and restorationof player pianos and nickelodeons.

Several of the claqsic and antique car owners told me that my instruments were natural companions, and they would now be on the look-out for such things. So while I did invite the general public to be my "eyes", I fear I may have generated a number of new collec­ tor / competitors.

Terry Smythe (right) answers questions from inter­ ested onlookers.

There were approximately 210 cars on display, of which there were about 130 classic or antique. Of these, most were stunning restorations, and I was very pleased and proud to have my fully restored instruments on public display along with them.

As my collection was the only active display, it turned out to be the hit of the show. Everything else there The display seemed to have been very well received, was on passive display. I put on 15 minute mini-shows my instruments got home without damage of any sort, and I will likely do the same show again next year.

- 210 - J:lmica 40rum

note from the photos the unusual configuration of TELEPHONE CONCERT the expression pneumatics and the pump. Alfred re­ ports there are no lost motion pneumatics and a The following letter was sent to Anita Johnson by sketch (not drawn here) indicates a standard mid­ member A1 Greco. twenties stack. "Thought I would pass this to you. I had a dinner party over the Labor Day week-end for some friends who have never seen or heard a reproducing piano. Needless to say, they were impressed with it, es­ pecially as they had never seen a grand player. Before playing an Ampico roll, I played an 88-note roll first so they could hear the difference. The old roll happened to be R. Billings "I Love My Baby." A guest remarked, 'I bet that artist would be sur­ prised to hear that roll again.' (I had mentioned that I was collecting quite a few autographs from various recording stars, Mr. Billings' included). So -I picked up the phone and called Mr. Billings. He was home! He sure was a surprised man to hear his old roll being played for him from Boston to Niles, Illinois! Then he asked me to hold the line for a minute, and we heard the same song being played by him on an organ. He sure appreciated that call, as much as we enjoyed hearing his voice. He told me that when he recorded that roll, the brass at US Music Roll told him he was too frisky! It was quite a night."

UNUSUAL AMPICO GRAND LAYOUT Original correspondence went to Harvey Roehl (who New AMICAn Alfred C. Smith has a Marshall & Wendell steered Mr. Smith to us) who then suggested the with an unusual Ampico layout for which he would like mechanism may have come from a 1938 Ampico spinet more information if anyone is familiar with this set­ while forwarding the query to us to see if our mem­ up. Apparently the piano has a B drawer but you will bers could supply additional information. If you have more useful details, please contact Alfred Smith at RFD 1, Wurtsboro, NY 12790.

MANUFACTURING DATE WANTED I would 1ike help from Bulletin readers to narrow down the manufacturing date of an Ampico 'A' piano. It is a John Broadwood & Sons grand with serial num­ ber 54632. If you can help please respond to: Chuck Sorensen, P.O. Box,1269, APO San Francisco, Cal ifornia 96555

Edi tor's note: Chuck sent a tip for those who have been having difficulty finding a Pierce Piano Atlas. A revised 7th edition is available from Bob Pierce, 1880 Termino Ave., Long Beach, CA 90815. Considering Chuck's request above - the Atlas doesn't tell all!

- 211 - National Geographic September 1923

Contributed by Bill Flynt

Singing is Half the Joy CNationaLLy PricecL--\I\ Branded in the Bad i II of Owning a Gulbransen Ii The songs you like best to hear, sung by some loved voice, to r:J your own sohly-accented, perfectly'timed accompaniment on a .~ Gulbransen. There's genuine enjoyment lor you! 1._"" ~I Select your song rolls from the hundreds upon hundreds available, wilh the words already printed on them, The key they II are pitched in doesn't mailer. Too high? Too low? Just tum a I knob. The Gulbransen instantly transposes. An ordinary song roll may be played as a splendid and correct i! accompanying number, on the Gulbransen. The difficult finger­ ing is taken care of by the roll. Through the pedals you register your touch, your time, your expression, lollowing exactly the in­ terpretation given the song by the vocalist. Four simple Instruction Rolls-exclusive with the Gulbransen -show a method 01 correct playing. Bear this in mind, too: you <)'W"P'~1 can play any make 01 roll, even electric reproducing rolls, on your Strfylkt5/ /, i Gulbransen. --...,.., and Morl MuSIC )i ~~' ~------Every piano and player·piano needs tuning at )cas( twice a year. ~ j .r Don't neglect rour Gulbransen. ~./ Send This Baby for a Bab~ GULBRANSEN·DICKINSON COMPANY, Chicago CHECK COUPON Check here il you do not o",'n ~·~ano. C:;;;Oclian Di3lribulor3: "~ ) 0 Mutual Sales Service, Ll ired, 79 Wellington Sl. West, Toronto .. ~ti.S:~,. 0 Ch.eck .hercllif~~ter~ted .in having "vet . !t~{~?j aC(lon 1M3 e In your plano. "- (' lb ~, :;.;. '~~'~-10 W,il(' name and addre~s in margin. Mail t~ (:)J92)G'D Co ". l~~au:\~~~k '.Ji?::".r ·PUI8RAN.SEN·DICt:.1l-lSON COMPANy.g'j't),N) 6""»------'-'-- . ~" Kedllc A ... e~~c_~. til. --- . .•. ...FJ ULB-RANSEN The ~egistering Piano .. _--_.._--, ------,---._------_. --~ Reg/,fe" YOUR TOUCH Regf,lu3 YOUR TThiE Reg;,'en YOUR EXPRESSION ReRf,t." YOUR INDIVIDUAliTY Notes on Anatomy: Contributed by Wade Newton and Richard Tonnesen

Photo 7: The Duo-A rt re­ producing player piano as it is currently displayed in my home. Notice the electric motor at bottom center. It is original equip­ ment. The vacuum pump is at the right,' it is con­ nected to the motor by a 7968 V8 Buick fan belt, which just happens to be a perfect fit. The piano was built in 7925 and required extensive ren­ ovations. The binary dy­ namics control system is This article first appeared in the September 1977 issue of BYTE. located at bottom left (see photos 3a and 3b). (S) 1077 BYTE Publications Inc., Peterborough, NH 03458, USA. All rights reserved. Reprinted and published by permission.

The Pia.no's Reproductive System B'0Chris Morgan, Editor

When was the binary number system in addition to a large selection of popular first used for control purposes in a mass titles. (The piece de resistance was a com­ produced machine? The early nineteenth plete set of themes from Wagner's Ring cycle century Jacquard punch card controlled comprising some 30 odd rolls!). loom comes immediately to mind; but, Reproducers were a luxury item during surprisingly enough, a more widespread the 1920s, and for good reason: they were application occurred in the first quarter of built like fine watches and contained some this century: the reproducing player piano! fairly sophisticated features (for the time) The reproducer was so-called because it to control dynamics, operate the pedals, and went one step beyond the player piano in so on. 'its,--ability to "reproduce" the dynamics and Photo 1 shows the Duo-Art with the subtle--shadings of the pianist who recorded bottom cover removed for clarity. The spool the roll. box (photos 2a and 2b) is located at the top I have owned a Duo-Art upright re­ and is the place where the piano roll is in­ producing piano for five years now (see serted. Immediately below the keyboard photo 1), during which time I have re­ are the levers which are used to control the stored it so that it can now play the specially speed of the roll as it plays, as well as encoded Duo-Art rolls which were made for volume and roll rewind. At the bottom it. The Duo-Art roll catalog was re­ center is the original electric motor (bUilt markably extensive, featuring such items in 1925) which drives the vacuum pump at as Chopin etudes and Beethoven sonatas the right. No pedalling is required on this - 212 - model, a boon for the lazy experimenter. Like most player pianos, the Duo-Art works on a vacuum actuated system which opens and closes cloth covered "pneumatics," or bellows. These in turn do all the mechanical work inside the piano, such as playing keys and operating pedals. But what makes the Duo-Art so in­ teresting is its binary-based volume control system located in the lower left section of the piano (see photos 3a and 3b for a close­ up). There are two independent volume con­ trol systems built into the Duo-Art. They are controlled by two sets of four holes per set, located above the main row of holes near each end of the tracker bar. Photo 4 shows the right-hand set of holes in enlargement. Notice that they are vertically in line with the four highest note sensing holes on the tracker bar. When a Duo-Art roll is played, Photo 2a: The spool box, showing the brass tracker bar. There are 88 holes therefore, a special pneumatic 8 pole double across the bar, corresponding to the notes of the piano. There are additional th row switch must be th rown to disable the holes at each end to input two 4 bit "nybbles" of information to the dy­ lower two sets of four holes and allow the namics {volume} control system from the paper roll. upper two sets of four holes to control piano dynamics (the volume of sound heard). Each set of holes is connected to a set of "accordion" pneumatics, so-called be­ cause they open and close like vertical accordion bellows. A rod at the top of each pneumatic is connected to an air governor. As the pneumatics close, the governor admits more and more air to the system and the volume of the notes played on the controlled side of the keyboard goes up. The spacings of the four sections of the pneumatics are 1/2, 1/4, 1/8 and 1/16 inch, so that 16 different volume levels can be achieved. This bellows is in fact a form of mechanical digital to analog converter. So we have two nybbles (or one byte) of in­ formation to control volume in a Duo-Art reproducer piano. Photo 3b shows a level corresponding to 1/2 + 1/8, or 10/16ths of maximum volume, and photo 3a shows a zero level for comparison. Photo 5 shows the Photo 2b: A view of the spool box with a Duo-Art roll installed. Note the roll positioned to produce the level of dense groups ofholes at each side of the roll; these contain binary encoded photo 3b; the most significant bit is to the information about the volume of the notes which are being played. All four left. Since an opening (hole) corresponds to dynamics holes are about to be uncovered on the left side as the roll paper a binary 1 level, the binary number here is moves downward across the tracker bar. (Thus maximum volume is about to 1010. • be set up.) The dynamics holes appear as groups of holes rather than long Counting from the right in photo 4, the slots so that the paper will not fall apart. The tracker bar holes underneath first 3 holes are mute pedal control, auto­ are long enough so that the small paper bridges left for mechanical strength matic reroll and the "theme" hole. The do not close up the holes as they pass over them. theme hole is an ingenious feature. There are often cases when the piano must suddenly change volume levels for isolated notes or left-hand accompaniment dynamics control chords and then return to the previous system to control the entire keyboard range, level. It takes a finite time for this sort of while the right-hand theme system change, so the rolls are designed to allow the "charges" itself with vacuum for the up-

- 213 - Photo 4: A closeup illustrating the four right hand dynamics con­ trol holes, located slightly above the center line ofthe rest of the holes.

Photo 3a: One of the two Duo-Art accordion pneu­ matics used to control the volume of one half of the ••••• II piano keyboard. Each of the four chambers can be indi­ vidually exhausted under control of the piano roll. The pneumatic is connected by a rod on top to an air gover­ nor. The four chambers close by 7/2, 7/4, 1/8 and 7/16 inches, so that the air governor can be set to any of 76 different vacuum levels to power the keyboard pneu­ matics. The roll's 4 bit binary "word" is thus translated into a vacuum level: in effect, this is a digital (vacuum lines from tracker bar) to analog (mechanical position ofgovernor) converter.

Photo 3b: The accordion pneumatic shown convert­ ing the integer value 10 ",-,,' in to one of 16 possible , .,.' . mechanical positions. This corresponds to the binary Photo 5: The roll in this case is outputting level ten to the accor­ number 7070 on the roll. dion pneumatics. Photo 3b indicates the resulting mechanical See photo 5. position output ofthe pneumatics.

- 214 - \ coming volume change. When the roll quality is severaLorders of magnitude better triggers either or both of these holes, control than the "new fangled" phonograph which of the respective sides of the keyboard is eventually supplanted it commercially. transferred for that instant to the theme In its heyday, the Duo-Art Company control. Details· of this theme control could afford to hire some of the most system are essential to the design of soft­ famous pianists of the age to record / ware drivers for Duo-Art players converted for them: Paderewski (see photo 6), Wanda to computer control. Landowska, Vladimir Horowitz (when he Numerous other fascil14ting features was in his twenties), Igor Stravinsky (!), / abound on this instrument. Take for ex­ George Gershwin (playing his own four-hand ample the automatic roll-centering negative arrangement of "Rhapsody in Blue" by Photo 6: A Duo-Art roll feedback system. The curved vertical overdubbing), and on and on. The rolls were of Chopin 5 "Polonaise, "finger" shown in photo 5 is one of two beautifully decorated, too (see photo 6). Opus 40, Number 7," af which are positioned to just touch the edges Readers wishing to find out more about played by Paderewski, in of the roll. If the roll wanders off to the the fascinating hobby of reproducing pianos position over the tracker right or left, the fingers tilt back, uncovering should write to the Vestal Press, POB 97, bar. Note the extensive air tubes which are under vacuum. This Vestal NY 13850, and ask for their catalog. ornamentation, both visu­ sends a signal to a set of opposing bellows The Vestal Press specializes in books about ally and verbally, in the with a high damping ratio, which push the player pianos and other musical automata. form of the performer's roll spool back until the air tube is covered The Player Piano Company in Wichita KS is authorization of the work. again. The design is simple, yet effective. an excellent source of supplies for the do-it­ This roll is approximately Long before Norbert Wiener made it ex­ yourself restorer. The current bible in the 55 years old. Paderewski plicit, servomechanisms as control systems field is Rebuilding the Player Piano, by was a link in a liszt of were in practical daily use. Larry Givens, published by Vestal. In it salon pianists which began Just how good does the Duo-Art sound? you'll find valuable material about the Duo­ in America with Louis Well, it has some obvious limitations (limited Art and about the other brands of com­ Moreau Gottschalk, and dynamic range, for one), but on the whole peting reproducers like the Ampico and which continues to this it sounds remarkably good. The sound Wurlitzer models. But that's another story.- day with certain candela­ bra wielding virtuosos.

- 215 - Photo 7: The object of the design exercise documented in this article is an interface between the computer in the basement and the Steinway baby grand player piano shown at the left in this picture. Using the interface of figure 7, and the solenoid valves of photo 2, electronic control of the restored piano will be completed by adding a motor driven bellows unit oflater vintage than this 7970 piano. In the picture, various subassemblies have been placed at skewed angles atop the keyboard (spool box and 3 phase wind motor) and underneath (foot operated bellows and pedals). In the restoration of this piano, all the original mech­ anisms will be preserved, with the electronics interface consisting ofan addition to the basic design. This article first appeared in the September 1977 issue of BYTE. G) 1977 BYTE Publications Inc., Peterborough, NH 03458, USA. All rights reserved. Reprinted and published by permission. Notes on Interfacing Pneumatic Playe'r Pianos

Carl Helmers Everyone is familiar with the concept living rooms of contemporary suburbia. Editor of the player piano, a complex mechanical Many of the owners of player pianos monstrosity which had its heyday in the may not recognize that these instruments early part of this century as the prime home can be a most interesting output device for entertainment device before the invention of a ·personal computer, an output device Contributed by electronic media which now dominate the whose interface can be achieved with very Wade Newton & home entertainment scene. But player pianos little woodworking and mechanical skill Richard Tonnesen are far from dead. Just as there is an active as well as the usual hardware and software subculture of computer aficionados, there skills of the experienced computer hacker. is a whole cult of player piano and mechani­ I have long had an interest in electronic cal music freaks. Thanks largely to these music as generated and controlled by com­ people a working player piano is not an puters. It is this interest which started me uncommon sight in the parlors, dens and on the road to learning electronics hard-

- 216 - pneumatic vacuum line with the output of "SPOOL BOX" MECHANISM a computer. Figure 1 shows a schematic illustration of the essence of the typical player piano's control mechanism. The

SOURCE player piano roll passes over what is called SPOOL the "tracker bar" in the jargon of that technology. This tracker bar has one hole for each active key of the piano as well as auxiliary holes for various other types of information which may be encoded on the rolls. When a hole in the roll passes the hole AIR FLOW WHEN ­ HOLE PRESENT in the tracker bar, the vacuum line associ­ ated with the hole is opened to outside air. This release of the vacuum in the line triggers one of the "pneumatics" in a bank under the piano, which is basically a vacuum . operated buffer amplifier with enough output power to toggle a key or actuate some other TAKE UP SPOOL / ~ ; mechanism. The operation of the "pneu­ matic" is of no great concern at this point, TO "PNEUMATICS" OF I PLAYER PIANO ACTION since all we need to know is that if the vacuum line is opened, the key will be Figure 7: The normal arrangement ofa player piano's vacuum control system struck, and that if the vacuum line is closed, is illustrated here. A player piano roll moving past a "tracker bar, " analogous the key will be released and the device will to a magnetic tape recorder's read head, turns on and turns off a flow ofair charge up with vacuum, waiting for the into the evacuated control line which goes to one of the pneumatic controls next time that key is to be actuated. The of the piano. For the key mechanisms, the leading edge of loss of vacuum conversion to electronic control is simplest cues the striking of a key, which is held down until vacuum is restored. if we just adapt the existing mechanism by This occurs when the roll passes to a point which closes off the particular plugging up the tracker bar holes (tem­ ~ line. For control of a full 88 notes, there are 88 separate "channels" in the porarily during electronic performance) , tracker bars of the more sophisticated players, not counting additional chan­ and adding a "T" junction to each control nels to control dynamics, pedals and other special effects. line so that an electronic control valve can simulate the opening of the vacuum line. Figure 2 shows this adaptation of the ware skills needed to build computers for usual vacuum line arrangement for electronic music control. control. I also knew that player pianos existed, Figure 2 also shows schematically the and would eventually make an i~teresting physical arrangement of a flap valve. As I experiment for use with electronic music began looking into the problem of control­ in programmed performances of concerto ling air flow, I quickly learned about the style works with orchestral background existence of electrically controlled pneu­ for the solo instrument provided by elec­ matic devices used in pipe organ and piano tronics. But I had never turned my atten­ technology. It turns out that there is a tion to the details of the piano interface company called ~eisner Inc, which among problem until one day in October of 1976 other items makes a specialty of manufactur­ when I went to an estate auction in nearby ing and selling control valves for player Milford NH at which a 1910 Steinway­ pianos and pipe organs. Photo 2 shows the DuoArt baby grand player piano (in un­ model for the schematic rendition in figure playable condition) was put on the block. 2, a Reisner No 601-90 magnet with 5/8 After outbidding a mechanical music' box inch valve mounted for the purpose of museum owner from Maine, I had the poten­ testing on a scrap of pine board, with a tial for the ultimate piano. When the piano metal standoff used as the junction fitting to is eventually restored, it will provide my connect to the vacuum line. The Reisner personal and computer music systems with subassembly consists of everything you see a piano output device which, incidentally, attached to the metal frame which is can be used for normal piano rolls, normal screwed to the top of the wood block: the practice under direct manual control of magnet, the upper valve seal with cushions the keys, and under computer control using for sound dampening, and the return spring. an interface to be described in this article. In adapting this unit to a player piano's The piano, which is shown in photo 1, purposes, a bank of these valves is required, gave me the impetus needed to examine in with a number depending upon the details of more detail the problem of controlling a the particular piano. {For more complete

- 217 - information on these valves, contact Reisner Inc, 240 N Prospect St, POB 71, Hagerstown MD 21740.) The physical mounting of the valve magnets, tubing, etc, depends upon the particular piano being Photo 2: A test jig used to converted. In the case of my baby grand tryout the magnetic con­ player, an equipment chest will probably be trol valve concept. The attached under the sounding board in back Reisner No. 601-90 mag­ of the presently installed pneumatics chest. net with 5/8 inch valve is Some woodworking ability and some mounted on a wood block mechanical handiwork are required in the using wood screws. In a fabrication of a bank of valves and in making final installation as part of the interconnections to the vacuum lines. a multiple valve attach­ ment to a player piano's penumatics, one such valve Electrical Drive and Interface would be assigned to each The era of integrated circuits simplifies control tube ofthe piano. the basic problem of controlling the sole-

RETURN SPRING .. --FLAPPER ARM

WOOD BLOCK MOUNT

JUNCTION FITTING (SEALS WOOD, PROVIDES MOUNT FOR VACUUM LINE)

ARBITRARY ROLL POSITIONED TO BLOCK ALL OPENINGS (OR MASKING TAPE)

PAPER MOTION SUPPRESSED

TO "PNE UMATIC S"

Figure 2: Adapting the player piano mechanisms for computer control is accomplished using Reisner magnets and flapper valves. Each tube from the tracker bar is modified with a "T" junction which allows an alternate control point on the vacuum line. When the piano is run in computer control mode, all the holes in the tracker bar are sealed and the solenoid controlled valves simulate the effects of the roll's passage over the bar. The sealing of the bar can be accomplished by pasting a run of masking tape over the bar or by disabling the spool box's drive motor and positioning a roll's leader over the tracker bar to close all the holes. For details ofthe valve, see photo 2. A basic interface drive circuit for the solenoid is shown in figure 3.

- 218 - + 12V

INHIBIT LINE (NORMALLY I) SHARED

BACK emF REISNER 601-90 PROTECTION MAGNET WITH DIODE 5/8In. VALVE (EG :IN914) 90!J. COIL

SN75452 8 PIN DIP

7(21 5(3)

CONTROL SIGNAL 6( I)

POWER +5V' PIN B GROUND· PI N 4

PIN NUMBERS X(Y) X' ONE SECTION OF DUAL PACKAGE y. OTHER SECTION'S PI NOUTS

Figure 3: The basic magnet drive circuit used for the pneumatic player piano interface. The driver circuit shown here is a Texas Instruments SN75452, a dual peripheral driver which comes in a miniature 8 pin dual inline package. Each driver has a maximum capability of sinking 300 mA in the low level output state (logical 7 input which "turns on" the magnet). With the nominal 90 ohm coil and a low level output of 0.25 V the coil will have 77.75 V across it. The current through the coil is thus 730 mA, more than enough to actuate the valve based on experiments with the unit shown in photo 7 which was tested against a vacuum applied to valve through the rubber hose.

noids of the Reisner magnet valves. The substantial back EMF which can damage the solenoid coil has a resistance of nominally 75452 output transistor if it is not shorted 90 ohms, and from the specification sheet out by the diode. (The inductance is suffi­ (confirmed by tests in my laboratory) the cient to cause an impulse which can be felt valves can be actuated under load with a by the observer if fingers are held across the current higher than about 100 mA (about coil while the voltage is removed. This 9 V across the magnet). Using the Texas suggests a minimum of 50 to 100 V of Instruments Linear and Interface Circuits inductive "kick.") Data Book as the source of information, it soon became apparent that the 75452 pe­ Logic of a Practical Interface ripheral driver circuit (or its cousin, the The brute force technique of interfacing 75451) would prove quite adequate for the the piano would be to simply put one wire job since it can sink 300 mA and has a from a latched output bit to each driver of maximum voltage rating well above the the piano magnets, resulting in roughly 80 to voltage required for the actuation of the 100 twisted pair interface data paths in a magnets. The basic circuit for driving a monstrously thick cable. This is an unwieldy solenoid with the 75452 integrated circuit is mess. The problem is shared by pipe organ shown in figure 3. In this illustration, I have aficionados, as I found out from Jeff shown one of the two gate inputs as an Raskin's lecture at the First West Coast inhibit signal (normally at logic level 1) and Computer Faire's session on computers and the other input pin as the control signal music in April of this year. At that time he defined so that if it is low (logic 0) the suggested the use of a serial technique to magnet is off (valve closed) and if it is high define the state of a bank of control valves. (logic 1) the magnet is on (valve open). The Basically, the technique consists of using diode mounted on the solenoid coil is an serial synchronous transmission from the absolute requirement. These magnets have a computer to cut down on the immense considerable inductance, and as a result number of lines which would otherwise be when the current is removed will generate a required. Figure 4 shows a detailed sketch of

- 219 - TO ADDITIONAL STAGES

SERIAL DATA TO· --- ~ NEXT STAGE I ------

IC4.X 74LS9~ IC5.X OR 7"l9~ 74LS75 ONE OF FOuR (T YPICAL) 10 MAGNETS 00 2 0 ODI'-'6+---+--t--+--i

RIGHT TYPICAL 9 SHIFT \5 IC6.X VALVE 3 STAGE CLOCK ac DC R--+---+----+-l * REPEATED FOR EACH t.J SHIFT GROUP OF REGISTER 12 4 CONTROL OB DBI'-'D+---+--l----+-1 VALVES ( MOUNT DIODE ON L-SHIFT MAGNET) 6 MODE QA " OAH--+---/----+-t S£R.IN LOAD· 13 4

*ORIVERS AS IN FIGURE :3

SERIAL DATA FROM-­ PREVIOUS STAGE PARALLEL. JL /" ------\ IDENTICAL DRIVES I". /--- TO KEEP FANOUT .12V 4A POWER SUPPLY TOLERABLE WITH SIiORT CIRCUIT PROTECTION (ALLOWS 31 SCHMITT TRIGGER IC2 MAGNETS ACTIVE BEFORE LINE RECEIVERS 74LS04 SHuTDOWN,

74LSI4 10 I.J SYS TEM RESET

{TWISTED PAIR I I.J ICI 74L$14 SYSTEM RESET DISABLES ALL DRIVERS; FIRST TRANSFER l~ 12 l.J SHIF T CLOCK CLOCK ENABLES DRIVERS

(TWISTED PAIR) I.J 74L$14 74L$04

SERIAL DATA C>-j~-""1--, "",,,"-_~, 2

(TWISTED PAIR) PROGRAMMED TIM'NG DIAGRAM - .-NUMBER OF SOLENOiDS IC2 74LS04 S~RIAL DA1A -----I I 0 0 ,--o--y~ o I ~ TRANSFER CLOCK SHIFT CLOCK (TWISTED PAIR) .I.J lRANSFER CLOCK VALVE VALVE VALVE VALVE ttALVE - VALVE VALVE VALVE n n-I n-2 1'1-3 4 3 2 , ON OFF OFF ON •.• OFF ON ON OFF

Figure 4: Solving the problem of heavy interconnection cables. This diagram shows a synchronous serial transmission scheme which requires four twisted pair wires to connect a parallel output port with the piano for programmed serial transfers. One twisted pair cable is dedicated to the system reset line so that the local electronics in the piano will turn offall drivers when the system is reset. The other three lines are connected to three output bits. One bit is programmed with the successive bits ofdata for the various valves when an output transfer is done. After each data bit is defined, the shift clock line is toggled to push its value down the 88-7 00 or so shift register stages assigned to control the 88 to 700 valves used in the piano. Then, when all the bits have been defined in successive operations, the transfer clock line is toggled to parallel load all the control latches and define the state of the solenoids. With a programmed transfer loop on a typical microprocessor, no more than 50 /.lS per bit should be required, or an update time of 5 ms per 700 solenoid data transfer under program contra!' This gives the processor a limiting resolution of 7j200th of a second, well within the timing accuracy needed for music. Using specialized transmission hardware to automatically serialize the data from 8 bit bytes would speed up the typical data rates ifneeded.

the logic I designed which will enable this the widely available TTL MSI technology method of interfacing to be employed with shown. The entire bank of n/4 such modules three signal lines from a parallel output port defines an n bit shift register with an n bit of the control computer. In this scheme, latch in parallel. Transfers of new informil­ each group of four valves is assigned one 4 tion are accomplished (see timing diagram) bit shift register segment and a latch which under program control by shifting out n bit can be loaded from the shift register. This values with the data line and shift clock line, module of four bits works out very well with after which the now valid outputs of the n

- 220 - bit shift register can be transferred into the n bit latch to set the state of the valves. As conceived here, the unit can be directly plugged into an existing parallel The lOOt'h Anniversary output port which has 3 available lines. The timing diagram shown in figure 4 is imple­ mented in software by programming the of states of the bits when transferring the current data for the piano, which might be derived from a music interpreter program, or from a real time keyboard source. When OUf TinFoil Cylinders programming the low level transfer routine, each bit in turn is shifted and is used to By Joel Selvin control how the "serial data" line will be set at the output port. After the bit is defined, HIS YEAR MARKS the average r.eader ,.- but Oliver the "shift clock" bit is turned off, then T. lOOth anniversary of one of Read and' Walter L. Welch turned back on, to clock the data into the the more remarkable ,. inven­ wrote another history of the shift register. After all the control bits have tions by Thomas Edison - the phonograph ~ complete and been transferred by "n" operations, the pllOnograph. At first, Edison thorough as to make Gelatt's output bit which controls the "transfer did not rate his new invention fine work appear almost super­ clock" line is toggled off, then on, accom­ all that highly; he gave up ficial. plishing the transfer of the shift register's work refining thephonograph in favor of the electric light "From TinFoil to Stereo: contents to the latches and thus defining the and regarded the phonograph The Evolution of ihe Phono­ state of the various solenoids. as little more than a dicta· graph" by Read' and· Welch phone. (Howard W. $ams Co.; $9.95 System Reset and Inhibit paper; 550 pp.; Ulus.) 'is strictly Nevertheless, the phono­ for the professional or inten­ The state of the solenoid drivers must be graph survived and went'(>n to sive student. The scbolarly set in software in the control computer; assume· a role providing home tome covers the technical and however, if the system is first turned on, or entertainment throughout ~he' legal development of the phon­ if garbage is left over from previous use, the world that would have un­ ograph with microscopic preci­ result could b.e a crashing dissonance on the doubtedly blown Thomas sion. First printed in 1959, the piano output device. To account for bad Alva's mind. work became known as the bible on tb.e subject, although initial values, the circuit incorporates IC3, The fascinating history of it was unavailable fOr many which drives the inhibit lines as a set-reset the contraption. - from Edi­ years prior to its first reprint­ flip flop. When system reset occurs (low son's first tin foil cylinders to ing last year. level on that line) all the solenoid drivers are long-playing albums - is told disabled by a low level on the "inhibit" in a most entertaining manner input (see figure 3). When the first transfer in "The Fabulous Pbono­ of data under program control defines a graph: 1877-1977" by' Roland valid solenoid drive state, the inhibit condi­ Gelatt (Macmillan; $10.95; 349 tion is removed by the transfer clock pulse, pp.; mus.), first pUblished 'in 1954 and revisedJor the phono­ and does not recur until another system graph's centen'nial. reset. The original 22 chapters Summary trace the evolution of the phonograph from Edison's lab­ In these notes, I have outlined the essen­ oratory to the brink of the From the San Francisco tials of the low level details needed to stereo era. Three additional Sunday Chronicle, Sept. interface a pneumatic player piano with a chapters. specifically written typical computer system's parallel output forJhis,edition, bring tbe story 4, 1977. lines. This can lead to some very interesting up to date. personal use applications of computers, as Gelatt takes the reader on a Contributed by Gar new piano music is programmed and played leisurely trip .through tlle var­ Britten. using the mass storage facilities of a personal ious technical and marketing computer instead of the traditional piano advances of the machine's first 75 years. The. last 25 years, roll. These notes are by no means complete, actually, should be a separate and I leave the software of control of the book and Gelatt just skims the piano system to the tastes and judgement of period in his final three chap: the individual user.- ters. Gelatt wrote a thorough, complete history - with more than enough details for the ' World. Sunday, Sept. 4, 1977 - 221 - An Interview on the DUO ART Pianola with Leopold Godowsky (7reatJ1rtis~jDian~t joy under his expressive and authoritative hands. I saw him as he heard that and Ieacher performance reproduced a week later-shade by shade, and touch LEOPOLD GODOWSKY EN there are who hy touch - all so true to his are primarily is admittedly one of the foremost feeling and to the highest im­ greatas executive pulses of his art. pianists oj the age - one, too, of artists~~but there greate~t the piano-teachers in the I theyhalt. Few,in­ For a while he·sat silent as if higher realms of musical educa­ deed, can impart adjusting himself to the tremen­ tion and a composer for the piano theirart to others dous import of what he had who has contributed largely to -possess the power to pass on, heard • the technical and musical devel­ as it were, the divine afflatus of And then he spoke. opment of the instrument. Ap­ their genius, to inspire, to teach. "It is trulY'a remarkable ex­ pointed by the Emperor ofAustria, perience," he said at length, "to Such a man, however, is the hear the Duo-Art mirror in everv Director of the famous K. K. great pianist Godowsky. Him­ M eisterschule in Vienna - Eu­ essential quality of tone and eX". self, one ofthe first artists of his pression the Fantasie as I played rope's leading jinishing institution time, he is yet perhaps one of the for concert pianists, he held this it a week ago! To think this greatest piano-teachers of all same performance will be heard important post for over jive years time. And this you feel in the in thousands of homes, years prior to the outbreak of the pres­ very presence of the man. hence - just as I played it at ent war. This appointment is I shall not readily forget the Aeolian Hall! always made by the Emperor occasion when I met him first. "Why, it would be inconceiv­ personally, and is the highest He was playing Chopin's immor­ able if I had not actually experi­ honor of its kind that can be be­ tal Fantasie in F minor, and it enced this marvel of hearing stowed upon a musician. becamea radiant and yet a solemn myself play-If I had not recog·

;;0;;;;;;;;;;;0;;;;;;;;:;;0;;;;;;;;;;;0;;;;;;;;:;0;;;;;;;;:;0;;;;;;;;:;0;;;;;;;;:======- 222 - nized my touch, my characteris­ "Then the reproducing piano A Word of Descrip­ tics, my art itself." represents, in your opinion, "It is as if," he continued, "I something of an epoch in inter­ tion of THE DUO­ looked at a color photograph not pretative pianoforte playing?" I ART PIANOLA of my face, but of the music-self enquired. that is within me!" "Your phrase suggests it very He was leaning forward in his well," said the great musician. o appreciate the full signifi­ seat,his wonderful hands gesticu­ "The Duo-Art Pianola occupies, T cance of Mr. Godowsky's lating, his face tense with the to my mind, somewhat the same tribute to the Duo-Art Pianola, ardor of a sincerity, obvious and relation to pianism that the some understanding of this mar­ unquestionable. printing press does to literature. velous instrument is necessary. It brings the noblest renderings Briefly, the Duo-Art Pianola is a "Are you content that your of individual pianism to the new reproducing piano. It has performance shall go down to homes of the millions. It dis­ three attributes. posterity represented, as it tributes broadcast the results of FIRST- It is a regular piano for must be, on a record-roll of this the musical talent and genius of Duo-Art Pianola?" I asked. hand playing and practice, conven­ our time." "Don't hesitate to state a doubt tional in appearance and obtainable if you feel one." "Then it will actually be a fac­ in either Grand or Upright form. "Irecognize the fact that it will tor in musical education?" SECON D-lt is a regular Pianola be so-and I am satisfied that it "A great factor," he replied. which may be played with ordinary should be so," replied he simply. "Greater, perhaps, than we can Pianola music-rolls. As such it He paused. "Did you imagine now estimate.''' offers the same facilities for per­ sonal expression control as other that I did not think ofthis before "Think," he went on-"of the I made a record upon the Duo­ models of the Pianola. As it is tremendons educational stimulus electrically driven, however, it does Art Pianola? Do you believe of the instrument. Think of the that I could have signed such a away with the necessity for foot­ child, or the student, able to hear pumping. record had I not felt that my repeatedly some transcendent pianism had been faithfully interpretation and thereby ac­ THIRD-and this is its new and recorded? Never could I have quire refined taste and superior revolutionary feature. It re-creates done so! The moment, however, knowledge of music. Think of from special music-rolls the exact that I heard the first notes repeat. the music teachers themselves performances of various pianists cd exactly as I had played them, who will increase their informa­ who have made record-rolls for it. I knew that the truthfulness of tion through the reproductions Obviously the importance of this the reyrodUC!ion was unassail­ of superior pianism. great new feature depends on the ability of the instrument to faith­ able. knew they would reflect "Yes-hy this instrument truly my spirit and my aim, long fully reproduce musical values in reproductive art is put 0:1 as expressiveness as well as technique. after I am gone." permanenta basis as composition That it possesses this ability to a "Is your touch the same when itself. And for it, as for other degree positively miraculous is evi­ you record a roll for the Duo-Art truly artistic types of modern Pianola, as when you are playing instruments, I, as an artist, must denced by the extraordinary en­ thusiasm of the great musicians ordinarily at concert?" have the greatest respect." "Exactly!" who, like Mr. Godowsky have "The true measure of the made and are making record-rolls "Is the tone reproduced the value of its accomplishment to for it. Among these may be men­ l;ame?" the cause of highest music is now tioned such famous names as Bauer, "Precisely the same!" at last beginning to be realizedby Busoni, Godowsky, Gabrilowitsch. "Then the word 'mechanical' the musicians themselves-who Saint-Saens, Carreno, Hambourg, does not occur to you in connec­ in the infancy of modern-instru­ Damrosch, Grainger and many tion with this instrument?" ment development, perhaps,were others. wmewhat skeptical. But such an "The word 'mechanical' can An Invitation to You instrument as this leaves preju­ only occur to one in music when Only those who actual:y hear the Duo­ dice defenseless." a mechanical result is produced Art Pianola are in a position to correctly musi~," estimate its extraordinary value as a means in he replied quickly. I have read this interview in print of entertainment, personal enjoyment and "With the Duo-Art Pianola it is and it is a true and authori­ aesthetic culture. The reader is there­ the last word one thinks of. F'or tative statement of my opinions. fore cordially invited to write us for the it is the spirit of the artist which address of our nearest representative. He comes from it-not merely the will then be shown this wonderful in­ strument without importunity to purchase notes he has struck. One might it. Address Dept. K1-29. as logically call the piano itself ~ mechanical because it produces The Duo-Art Pianola is obtainable in the following well·known soundsby mechanical means! ••• No! No! Th~ art ofthepianogains pianos-the STEINWAY, the STECK, the STROUD and a wider audience through this the famous WEBER. Its prices range from $750 upwards. wonderful invention and so it must thereforehave animportant place inthe musical development THE AEOLIAN COMPANY of the future!" AEOLIAN HALL, NEW YORK CITY 1916 !======- 223 -======-.....,jJ cJ!olls and cfKusic

My one small objection to Dick's LP is the steady PIANO ROLL REVIEW diet of rinky tink piano plus percussion accompaniment. Having heard Dick on the convention Steinway, it BY- DAN TUTTLE would have been a welcome change of pace to have in­ terjected at least one standard piano solo rendition 88-NOTE ROLLS amongst the orchestrated selections on eacr side of the recording. "Cincinnati Blues" -A foxtrot with words and music Tom Beckett by T. Everett and White and publ ished by Weile Co. in 1924. The roI lis recorded by "S id Laney" on QRS #2621 word roll. This is a typical blues style song with nothing musically special about it. The pianist, Sid Laney, does the composition a favor or two by adding fairly good jazz riffs here and there. The words of this song could best be described as being ugly. This roll is an example of a blues that is really blue. ROLL ODDITIES "Brown Eyes, Why Are You Blue?" - Speaking of blues, this is a foxtrot written by Bryan and Meyer and re­ BY RICHARD PARKER corded by Lee Sims on US Roll #43234. The playing style of Mr. Sims is wei I-known to collectors al­ though the writer is not a fan of his playing style. It can be said that Lee Sims was one of the more in­ ovative recording artists at the US Roll Company and this roll musically illustrates that talent fairly well.

"Linger Awhile" - The roll is Imperial #X5349 and played by Clyde and Frankl in. The song is a foxtrot with words by Harry Owens and music by Vincent Rose. The music was publ ished by Leo Feist, Inc. in 1923. This song is sti 11 considered today as a popular stan­ dard. Nothing more than a good tune that's easy flow­ ing and well-played on this Imperial Song record with trill ing action for the main melody of the song.

"Time Is Tight" - This roll is QRS #10-324 played by Rudy Martin. The song is from a Paramount pic­ ture called "UptighL" The music and words are by B. T. Jones, A. Jackson Jr., D. Dunn, and S. Crop­ per. The song was made popular by Booket T. & The The words read "nobody's aP1.:rq "-A Freudian M. G.'s on record disc in February 1969 on Stax Re­ slip? cords. The piano roll arrangement of this soul se­ lection is not quite up to par of what one would ex­ pecL In the future, the roll may well be found in mint condition. Both piano roll and Stax record com­ pany are "de-funked."

RECORD REVIEW "Echoes From Lulu White's Mahogany Hall" - by Dick Kroeckel, LP number GRUl930 from Grassroots Projects Unlimited in San Francisco (see advertisement in the back of this issue).

Colorado AMICAn Dick Kroeckel's selections of both ragtime favorites and lesser recorded songs should prove good listening for ragtime LP collectors. Many of us were fortunate enough to hear and see Dick at the San Francisco AMICA Convention and found that he is a showman as well as an accomplished pianist. If you ever have an opportunity to see him play live, The only roll I have with musical scale with first don't miss it. letter of the words being the note to sing. - 224 - d'RiladelpRia

The planned program consisted of comparing the per­ MERRILS HOST SEPTEMBER MEET formances on the 5'8" 1924 Knabe Ampico A (A), 5'6" BY ALLEN E, FORD 1924 Baldwin Welte (W), and Edison Diamond Disc re­ cords (E) - the latter on loan from Al len Ford. The On September 18, the Philadelphia chapter of AMICA comparisons were made between the same artist in dif­ met in Maryland at Lucy and Dick Merri II 's turn-of­ ferent media such as Milne: A, W; Lopez: A, E; Zes the-century home, built by Lucy's grandfather to re­ Confrey: A, E; different artists but the same com­ place his home which had been consumed by fire on pos i t ion "Nola": A, W, E- etc. I t was noted the this site. Lunch was served on the porch which af­ Ampico recordings were not made by Lopez but in his forded a fine view of the well-manicured lawn and style. gardens of this sylvan property. The food was com­ posed of favorite dishes brought by members and was properly expanded by several main courses, iced mint tea, and beer supplied by the"Merrills. The two fully operational pianos, of the five pianos the Merrills own, are located at opposite ends of the entrance ha I I.

Dick Merrill about to place an Edison Diamond Disc on the turntable.

At the end of the program we were reminded of the October 1st, 8 p.m. function at The Old ~lill, site of Rose Val ley Piano Roll Company, at which music (nickelodeon, foot pumped player, and Steinway Duo­ Art),movies, and food would be served for $3.00 per Lunch on the porch - the photo shows about 50% of person. the house.

Bob Rosencrans at the Baldwin. Richard Price at the Knabe. L. to r. (in clear view) Mike Naddeo, Dick Dahlberg, Jim Spriggs, Irene Ford.

- 225 - to.. . 4RifadefpRia . r---' ~----- PHILADELPHIA AREA AMICA CHAPTER

PRESENTS "A NIGHT AT THE ROSE V ALLEY ROLL COMPANY"

Chickering grand in the cellar. L. to r.: Dick Dahl­ OCTOBER I. 1977 berg, Dick Merrill, Bob Rosencrans. THE OLD MILL As the meeting changed from formal to informal, the ROSE VALLEY PA. Cressmans treated us with a sl ide show of the San Francisco AMICA Convention. Later, a qu~ck peek in the cellar revealed a Steinway Duo-Art upright, Stein­ way 65-88 note player, and a 5'8" Chickering Ampico in the process of restoration and refinishing. "'---~ •.... At the suggestion of Dick Price we were further - treated to several impromptu performances featuring duets with Dick Price at the Knabe and Bob Rosencrans at the Baldwin. Several solo performances were exe­ cuted by these gentlemen also, with each piece in­ itiating requests for encores. It's always a plea­ sure to hear prestigious instruments in such fine re­ stored condition as those belonging to the Merri 11 fami Iy.

Our gracious host and hostess obviously went to great lengths to make this meeting the fine success it was. As always when attending an AMICA meeting, it was too soon too late when all departed for home.

PHILADELPHIA CHAPTER HOSTS ROSE VALLEY NOSTALGIA NIGHT On Saturday, October 1st, the culmination of almost two years of planning took place for Mike Naddeo and Larry Cornell, both Mike Naddeo explains the capabilities of the piano members of the Philadelphia Chapter of AMICA. It was the night of as well as emceeing two and one-half hours of en­ a triumphant return to the Rose Valley Roll Company, which was tertainment. John Berry at the controls. situated in "The Old Mill" (now the Community Center) in Rose Valley, Pa. from 1916 to 1923. In addition to the slide presentation, Mike and Chapter member The Rose Valley Roll Company was the maker of "Ideal" music John Berry put on a rapid paced musical extravaganza, which included rolls, which were successfully marketed all over the United States. For several original Ideal rolls, played on Larry Cornell's Cunningham a long time, the location of the original factory was a mystery, and it player piano, a Reproducing Roll Concert featuring Bob Rosencrans' took a good deal of investigation to find out the story of this once beautiful Steinway Duo-Art grand, a fully choreographed minstrel great enterprise. But, Mike and Larry were equal to the task, and show, using Vocal Style Minstrel Roll No.1, a Rag Concert on Mike's gathered enough information, old pictures, and memorabilia to Peerless Jr. Nickelodeon, and finally, a photo player accompaniment produce a fifteen minute, professionally narrated synchronized of Laurel & Hardy in "The Music Box". dissolve slide show that was the "hit" of the evening.

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The whole presentation, which lasted 2'h hours, played to a packed house of enthusiastic "Valley" residents and Borough officials, the majority of which were still around long after the planned program was over, asking questions, playing rolls, and singing songs, drinking draft beer and eating peanuts. International President Bob Rosencrans expressed the sentiments of all AMICANs when he stated, "The opportunity of sharing our hobby with people who had little prior knowledge of automatic music machines is what really made this whole experience extremely rewarding". The slide show may be available to other AMICA Chapters if there is sufficient interest expressed. Contact Larry Cornell for details.

Editor's Note: The Philadelphia Chapter of AMICA is to be congratulated for its many recent public per­ formances to publicize our hobby. I a~ sure they would be happy to share their pJanning details with other chapters interested in putting on such shows. Rose Valley "Folk" are the minstrels, accompanied by John Berry at Larry Cornell's Cunningham upright. PROGRAM

INTRODUCTION ED MAHLER "RAPSODY IN BLUE" STEINWAY MIKE NADDEO "THE SUBM ERGED CATHEDRAL'DUO_ART GRAND

IDEAL ROLL- "DIANE" CUNNINGHAM INTERMISSION UPRIGHT PLA YER PUTANOTHERNICKELIN PEERLESS JR. FORGOTTEN HISTORY SLIDE SHOW "THE MUSIC BOX" LAUREL & HARDY VOCALSTYLE ROLL MAHLER'S MINSTRELLS THE ROLL ROLLS ON SLAUGHTER ON 10th AVENUE

to..

"SINGIN' IN THE RAIN" After getting dried off and warmed up with a drink, it was time for the business meeting. Felix Klempka BY JIM BREWER demonstrated a new player manufactured by the Univer­ sal Piano Company in California. The outstanding S.D.W.N.Y~ Chapter members did not let the incessant feature of this action is that it is constructed of rain of the previous three weeks "dampen" their spir­ aluminum, is very air tight, compact, and light. We its as a very good turn-out was experienced at Chuck hope to be hearing more on these actions at future and Carol Hannon's for our September meeting. I hate meetings. Many S.D.W.N.Y. members were able to at­ to "make waves" but the water problem was particular­ tend the convention in San Francisco and detailed ly acute in the street directly in front of our host's reports were given by various members. A nominating home. Part of our entertainment was observing cars committee was formed for the upcoming electon, headed trying to drive through almost two feet of water. by Stella Gilbert. - 227 - Jo~a I

With the work of the business meeting over, we got us to use his horne as a meeting place for the day down to the really interesting Part of the evening. while awaiting the time to go out for the evening's Memories of theold-time movie house were brought entertainment. Dick had attended our first formation back with the showing of the silent movie, "The Cow­ meeting last April and while he has not elected to ard." This 1915 Civil War epic starred early greats become an ~1ICA member thus far, with friends like Frank Keenan, Charles Ray, Gertrude Clair, and Mar­ him, who needs members. Actually, it is pr0bably a garet Gibson. Bil I Hatzenbuhler provided the accom­ good thing he was not a me~ber as he would surely paniment on an upright Haines Brothers Ampico. Bill have violated the unwritten A!'1ICA law that hosts are did an outstanding job. His skillful blending of to keep things simple. His horne is a showplace of themes for each particular character seemed to smooth do-it-yourself projects from the completely remod­ out some of the overly dramatic scenes. 1915 is eled old horne with sun porch, rooftop cupOla, and very early for a feature film, and the "movie makers" hand-dug swimming pool down to even the room-size were still in the learning stages of conveying the braided rugs on the floors. About the only thing film message to the audience. not hand-made by him was the 7' Steinway grand in the living room. While this piano, of recent vin­ After the fi 1m, a buffet dinner was set up with a tage, was not automatic it had no need to be with mouth-watering selection of salads, vegetables, and the assortment of talent present that day. Among casseroles. By the time we were through with din­ those taking the opportunity at the keyboard were ner, the rains had stopped and the water had receded Brian Kosek, Stan Peters and, of course, Dick Harmon. to the curbs in the street. With hopes for a drier Brian accompanied our resident vocalist Gertrude tomorrow, we left to travel the waterlogged streets Morris in a few old popular songs before the busi­ to home. ness meeting got under way.

IOWA CHAPTER - OCTOBER MEETING BY RICHARD W, PARKER Well, what do you say? I mean what do you think when here it is only the third meeting, or first for­ mal meeting of our new chapter of AMICA and you get all that we got October 1st in one fantastic day? Dick Harmon at the "Richard Harmon" harpsichord. Twenty members and guests arrived in Cedar Rapids at the horne of Richard Harman who had agreed to allow

Al Johnson, our secretary, gave his report on the successful San Francisco convention and the plans of AMICA president Bob Rosencrans to attend a future meeting of the Iowa Chapter. Also discussed was the suggestion that the club find a rebuilding project, from a local museum for instance, to give both a com­ mon focal point for chapter members and also be a vehicle to demonstrate rebuilding techniques to those without much prior experience. Ways to get both AMICA and the local chapter in the public eye were brought up by some members and these are to be dis­ cussed in future meetings.

At this point it was time to take a short walk through Iowa's crisp autumn air and falling leaves to neighbor Chuck Cooling's to see and hear his Steck ~ Duo-Art. Rebuilt by Al Johnson a few years back, it ~ was playing to perfection and, had we had the time, would probably have been played to destruction that Iowa AMICAns on their way to a Duo-Art concert. afternoon. Al gave a detailed demonstration of the - 228 - Duo-Art's expressive capabilities with both Duo-Art green salad, meatloaf and sliced ham plus 3 kinds and regular 88 note rolls as he winged his way of pie, just to mention the things I personally got through "Red Wing" making use of the expression lev­ around to eating. Dinner I~as announced by Dick from ers. Many thanks to Chuck Cooling for the use of the Steinway with the playing of the doxology. his home and piano even though he couldn't be there at the time. Chuck runs an antique shop in a little Ly this time evening had arrived and it was off to tOlm called LADORA, said to have been named by a the Paramount Theater \~here the Cedar Rapids Area music teacher for three notes of the musical scale. Theater Organ Society was presenting their yearly organ recital and silent movie. Somehow Al or some­ one had gotten us all tickets to this no-seats-re­ served show which is always sold out in advance. The featured organist was Hector Olivera from Argentina and the featured organ \~as the 3 manual 11 rank Wur­ litzer with at least 24 different sound effects be­ sides the music pipes.

Hector Olivera can play more notes with his feet than many organists can do with 10 fingers if my eyes were not deceiving me. And when he uses his 3 hands (two for the keys and one for the stops - he had to have that many I'm sure), well, you've just never heard "Seventy-Six Trombones" before. ~ly olm fav­ orite \~as his version of Barbara Streisand' s "Ever­ .~reen." Included in the program was Laurel and Hardy's silent movie "Liberty" and a sing-a-long, both accompanied by Hector.

And there, roaming the theater halls during inter­ Gertrude Morris and Brian Kosek team up to entertain, mission, wondering if all the AMICA members had found among others, Rex Fritts. good seats was - yes, Dick Harmon.

What a day. ~~at a meeting. But Al put it best when Back to Dick Harmon's for a concert by Stan Peters he sftid, "No use writing this up for the Bulletin. who sang and played an assortment of "folk" tunes on They'll never believe this in California anyway." his own button accordion. Stan will be glad to hear that the picture taken of him at that point di~ not Aren't you lucky the Publisher lives in Dallas then! turn out printable. Next our host played a selec­ Texans, being noted for telling a tall tale or two of tion on the "Richard Harmon" harpsichord, built by their ow~ will accept one from Iowa, too, Richard. --- you'll never guess. We never did get around TB to playing the clavichord in the upstairs guest room.

And what was Dick doing in his spare time this beau- tiful Saturday? Cooking supper for 20 guests, that's ~ what. A supper of sweet potatoes with apple slices, ~ CIiJ~i09rapRic aI

CHARLES WAKEFIELD CADMAN BY EMMETT M, FORD Charles Wakefield Cadman, an American-born and ed­ ucated composer, was born in Johnston, Pennsylvania on December 24, 1881. His mother was a choir singer and his great grandfather built the first pipe organ west of the Allegheny Mountains.

He showed an early musical ability and studied the pianoforte at the age of 13. Serious music study began at the age of 20 with Steiner in organ. His Dick Harmon serves tea to Hartin Hubbard and those further training was with Edwin Walker, Anna Pricilla of the guests who were seated in the sun room. Fisher and Emil Paur. In Vienna. he studied with

- 229 - ~ JJioorapllicaf 8ltefcRes ." . I the violinist-composer, Luigi von Kuntz and in or­ Cadman wrote the score for the film "Captain of the chestra and harmony with Leo Ochmier. In 1908 he Guard," a Universal Production and premiered at the became a music reviewer on the Pittsburgh Dispatch. Roxy Theatre March 28, 1930. He also composed vocal Mr. Cadman was thoroughly an American in inheritance numbers (romantic ballads) suited to the vocal talent and training and was organist in several churches of of the actor John Boles. Pittsburgh. After Mr. Cadman's songs became m~re popular and were His first compositions were organ pieces and ballads being sung everywhere, he began touring the country in the traditional manner. After "discovering" the and visited London and Paris in a series of recitals American Indian, he attained national prominence, with Princess Tsianina Redfeather, a Cherokee and starting the study of Indian folk-lore and music. Creek mezzo-soprano. The public was enthused but In 1909 he went to Omaha and with the help of Frances critics looked with suspicion on his translations of La Flesche, son of an Osage Chief, captured - with a the songs, suggesting that his romanticization rob­ phonograph, several native songs of the Indian and bed them of the real Indian qualities and strength. later translated and idealized them. He toured and Regardless of this opinion, the popularity of the gave lectures on Indian songs. The famous song, songs increased and remained as favorites in the "From The Land of Sky-Blue Water," based on two love home, concert stage, phonograph recordings, and on calls, was published in 1909 as one of "Four Indian piano rolls. Mr. Cadman claimed no virtuosity - he Songs." It was sung by ~1me. Lillian Nordica on the was a skillful enough pianist to play his own com­ concert stage. His other songs were sung by great positions and add his own individuality. He was ac­ singers and the songs were popular in the home and tive in the player piano field, recording many of other places of musical activity. his songs.

His opera "Shanewis" (Mr. Cadman has recorded for Duo-Art the Prelude and "Lionel's Narrative"), was presented at the Metropolitan Opera House, March 23, 1918, conducted by Pierre Monteux and the soprano was Sophie Braslau. It was performed the second time in 1919. The other opera, "The Witch of Salem" was first performed in Chicago in 1926 in the Chicago I Civic Opera House with Henry Weber as conductor and sung by Mme. Irene Polvaska and the tenor, Charles Hackett. Two others, "Sunset Trail" was performed in Denver, COlorado in 1922 and "Garden of ~1ystery" in New York in 1925.

Other compositions \vere "Three ~loods" for symphony orchestra, some chamber music, "The Vision of Sir Launfal," a cantata for male voices, "Sayonara," a Japanese romance for two voices and three songs, and "Songs to Obsseus" and a song cycle, "White Enchant­ ment." Another composition, "DarK Dancers of the Mardi Gras" arranged for piano and orchestra was first performed December 20, 1946 with the composer as soloist with an orchestra in Los Angeles.

In the late 1920's, Mr. Cadman requested his name be withdrawn from a contest by the National Federation of Music in which he was to be voted for membership in the Hall of Fame. He felt the future generation should be the better judge for recognition as to his CHARLES WAKEFIELD CADMAN works for American Music. His name was not withdrawn and he, with other outstanding musicians, was listed as an outstanding American composer.

In 1910 he established residence in Southern Cali­ Mr. Cadman died at the age of 85, December 30, 1946, fornia. His songs were rejected five times before three days after a heart attack. He was living in a publisher accepted them. In 1929 the song "At Los Angeles at the time of his death. Dawning" sold more than a million copies. He had sold the song for $15.00 and when the famous a pop­ Though Mr. Cadman recorded his songs and composltlons ular tenor, John McCormack sang it, the song leaped for Duo-Art, other pianists have recorded his works into popularity. The song sold so well ~Ir. Cadman on Ampico and other reproducing pianos. Such pianists ~ made a fortune from it and it was from the earnings being Dilworth, Suskind, Hejtmanek, Laros, the latter .. of the song he built his canyon home near San Diego. recording the second movement of Mr. Cadman's "Sonata Though the publisher was not compelled to do so, he Op. 53" (Ampico 5315F), as did ~lr. Cadman on Duo-Art began paying Mr. Cadman handsome royalaties. Mr.

- 730 - JJioorapRical ~ltefcRes

61229. The sonata was published in 1915 and it has Mr. Cadman's notation: "No Indian or Negro Themes are used in this \~ork."

The follolVing photographs were submitted by Peter Mintun. According to Peter, both photos of Ampico recording artist Wilbur ChenolVith and Vee LalVnhurst are rare. The picture of Miss LalVnhurst is from 1935 IVhen she lVas 30. The date was not known for the Chenowith photo.

Rudy Vallee. accompanied by Wilbur Chenoweth at the N. B. C. studios where he introduced "DREAMS" to his l'adio public. VEE LA1VNHURST

J'ecRnicalifies

A RAPID ROLL-REPAIR RIG

by Roger Torkelson

Spooling yards of paper out on the kitchen table is an iffy way of making roll repairs. An inquisitive cat or a curious child can undo your labors in less than five seconds. Then, there's always the joy of discovering that your razor blade missed that sheet of Masonite you so carefully laid down and left the table with a "distressed finish." And perhaps also a distressed wife. Or self.

On the premise that a few hours spent making a good reliable tool can save a great many hours of frust­ ration later, I decided to build a roll-repair rig that should last me the rest of my life. TOp view, showing removable Masoni te work surface, Since most roll damage seems to be near the end of guides for straight-edge, drive cranks and knobs. a roll, a "fast forward" is very useful. Likewise, a "fast rewind." This in turn requires some way of A solid surface is necessary for accurate punching, providing for accurate alignment of the supply and and substantial heft will hold everything in place take-up spools, or you will turn your rolls to rags as you work. Above all, everything should work as during rewind•. smooth·~ and effortlessly as possible, so you can

- 231 - crecRnicalifies

devote your full attention to the repair itself. The take-up spool has a gear drive for two reasons: (1) It allows you to select a gear ratio that will The design illustrated here fills all those require­ give you the desired fast forward, and (2) a clock­ ments handsomely. The work surface is made from !:I" wise rotation of the crank advances the music roll. Tempered Masonite (smooth on both sides) that rests (Clockwise is most natural for most people.) I find on a bed of 3/4" plywood. It is removable -- so it the optimum gear ratio to be one that adva~ces the can be turned over when one face gets scarred, and paper 9 to 12 inches per turn. The 3" diameter of replaced when both surfaces become unusable. Total my take-up spool does that with a 1:1 ratio. weight of the unit is a vibration-resisting fifteen pounds. The rewind is chain driven for similar reasons. It lets you choose ~n optimum ratio, and it brings the Standard player piano parts can be used for the roll crank forward, so you can reach it more easily when carriers and the take-up spool. I elected to build working from the front of the unit. the take-up spool from 3" cast acrylic tubing. The flanges are made from acrylic sheet, cut and beveled Since I also collect - and therefore sometimes need with a fly-cutter mounted in my drill press. Metal to repair - pin-ended organ rolls, I modified the collars couple the spool to the shaft. Acrylic is roll carrier and spindle to accept them. easy to work with, dimensionally stable, and makes a handsome -- even elegant -- take-up spool. Knobs bristle from every corner of the unit, so you

-i en »0 c: 7" "'0 rrl "'0 ...... W0 R K r- .... c::: ("oJ I I ~ .... -< ...... U1 "'0 ...... , .... ~ I Cl'l ARE A en .... en ...... "'0 "'0 .;.. ~ 0 0 16-1/2" = 0 0 ...... "T'I r- ~'\ j r-

Fast Forward Crank

DRAWING #1 1/4" Masonite Work Surface -::::}11~~~1~~~d_~~~~:::::=:::--_·_--_·_~·_- .~ t Chain .... Drive ~ ~ L L:.... !.-....L...L__-=~B_r_ak_e ~~~~~~==::::I::.L ---l

1-:: 27" ------~

- 232 - J'eclinicali/iea .,o..,.---,.

can make fine adjustments from every angle. (If you The shafting is all 1/4" diameter, which allows you are left-handed, you will probably want to reverse to use standard radio knobs, collars, etc. You can the design and put the cranks on the left, etc.) even build cranks out of lever-type knobs by simply bolting smaller knobs to holes drilled near the end of the lever. The gears and sprockets in this unit are Nylon, and cost about 30¢ each at a local surplus/salvage shop. (Since many of the dimensions will be determined by the gears you use, they have not been given here.)

The rig in use, showing how panel over drive box forms a handy place to lay tools, markers, etc.

Unground ball bearings were used, primarily to keep friction at a minimum. But they are also reasonably inexpensive (about 25¢ per bearing), extremely easy to install, allow you to use crude rolled shafting, accept end-thrust loads, and require no lubrication Detail of take-up spool drive & crank construction. in an application like this. Flanged bearings are the easiest type to use: you simply bore a hole and slip the bearing in. The flange aligns it.

The supply roll must be centered in relation to the take-up spool to guarantee a safe re-roll. This is accomplished by mounting its outermost ball bearing on an adjustable carrier. A small machine bolt that threads into a Teenut in the main frame· adjusts the carrier (and therefore the spindle). A compression spring on the spindle shaft supplies the restoring force. (The ball bearing will easily tolerate the small amount of misalignment that results.) Similar springs on the other shafts hold the bearings tight in their seats, and eliminate rattles and unwanted looseness, etc.

Detail of supply-roll drive and brake assembly. Note elegant rubber-band type brake tension spring!

Adjustable brakes consist simply of strips of thin Masonite that bear against small V-pulleys on the main shafts. You can adjust the spring tension to give you the degree of braking that works best. The brakes also hold the paper stationary as you work.

Guides for a straight-edge are useful,especially if you are splicing rolls, or punching holes that must be synchronized with other holes. (Such as when it was the "snake's day off" at the Duo-Art factoryll Underside of rig. The finger holes in plywood bed are to facilitate removal of Masonite work surface. The unit does take some time to build, but the use - 233 - NEW MEMBERS Brian & Diane Detar Joseph & Barbara Canna 1ly crecRnicalifies 21 3! Knox St. 116 Bos ton St. ~ ~ Costa Mesa. CA 92627 Salem, HA 01970 714 548 1037 000 745 5470

Charles & Donna Nordmark William (Billy) Waggaman of flanged ball bearings places the project well in 1413 So. Mary Ave. Box 927 the range of most people's capabilities. Sunnyvale, CA 94087 Lorida, Florida 33857 408 732 2728 813 385 4032 Above all, the end result is such a joy to use that you will actually look forward to your next repair Roger & Louise Fullwood Fred J. Kern session. And let the kids watch. The roll will be 10 Roosevelt Rd. 321 Garden Blvd. as safe as it would be on your piano. Maybe even a Sykesville, MD 21784 Bell ev i 11 ~, IL 62221 bit s.aferl 301 795 6186 618 234 8864 referred by Alvin Johnson

Mrs. Mary Lilly Harold & Lillian Fidler HAVE YOU SEEN ONE OF THESE? Charles Lilly 10 Kensington Ct. Berkeley, CA 94707 This Simplex "Special Piano Player was advertised in 8800 State Hwy 133 The Etude magazine of February 1903. Of curious note Carbondale, CO 81623 415 526 6182 referred by Art Reblitz referred by Sally Lawrence ~the claim that "It is so constructed that it is not necessary to cut, mar, or alter in any way the Francis & Ruth Claussen Terry Hughes casing of the piano in making the attachment." 2258 36th Ave. RR3 Sunset Shores San Francisco, CA 94116 Kendallville, IN 46755 They had to connect it somehow! Perhaps the belly ~ board or the soundboard was not considered part of 415 566 3085 the "case" in this instance. referred by Barbara Whitely I Bette Redwine Ludwig upr player. Are any of these things about today? 425 Clubhouse Dr. Aptos, CA 95003 Advertisement submitted by James Guinn. 408 688 2379

Millage & Bertha Small Crawford upr plyr; Aeolian 191 Prospect Hill Rd. upr Duo-Art; Marshall & Wen­ Noank, CT 06340 dell upr Amphion; Decker upr 203 536 6387 autopiano; Chase upr Welte­ Mignon (Lie.); Crawford upr plyr Pratt-Read.

E. H. G. Luckers 1918 Ibach Pianola upr; 1917 Postbus 107 Kastner Autopiano; 1917 Weber Vaals 6290 AC pianola w/flutes - coin Ope Holland

Dav id & Phy 11 is Ma 1inov 1918 Knabe 6' 6" Amp i co A. 83 Scheffel in Ave. Staten Island, NY 10306 212 979 1918

Harvey & Jane Mitchell upright player. Simplex SPECIAL Piano Player 2704 Helberg ..IT MAKES MUSICIANS OF US ALL" Houston, TX 77092 713 682 0700 The Latest and Most Wonderful Invention in Automatic Piano Players..Compact-Ornamental- Capable of the Haines 5'4" Ampico A. Most Artistic Results. Gilbert C. Petzke 3950 Emerson As shown in the above illustration. the SIMPLEX SPECIAL does not come in Evanston, IL 60203 referred by Bobby Clark & contact with the keyboard. It does not interfere in any way with the ordinary Doug McGee uses 0: the piano. You can play the piano either with the aid of the SIMPLEX 312 674 3950 SPECIAL or in the ordinary manner without changing the position of the piano or player. George & Nola Theobald 1925 Seeburg; 1897 Regal It is so constructed that it is not necessary to cut, mar, or alter in any way the 317 Second Ave. endless roll coin-op.; 1893 casing of the piano in making the attachment. Results obtained with the SIMPLEX SPECIAL are equal to those obtained San Francisco, CA 94118 Aeol ian roll organ; misc. with our regular SIMPLEX, and we feel we do not need to say more than that. 415 221 7337 music boxes and phonos. The SIMPLEX SPECIAL is operated in the same mariner as the SIMPLEX. Anybody can play more than five thousand selections of music on any piano by Lee C. Hazen 1935 Aburo dance org 78 key; the aid of the SIMPLEX. 204 Shoreside Dr. rt. 1925 All ison upr plyr; Price of the Simplex Special, $300. Price of the Simplex.$250 Hendersonville, TN 37075 1960 Dynavoice plyr; 1900 Music Libraries at all principal Simplex agencies. SEND FOR CATALOGUE. 615 824 2311 Gem roller org; mise music THE 0 DO REP. B ROW N. Manufacturer boxes. 20 MAY STREET, WORCESTER, MASS. Tom King 1909 Ebersole upr plyr; 1915 Albert & Nancy Laverick 1916 Weber 6' Duo-Art; Cable Rt 2, Box 1237 Kimbal I upr plyr; A.B. Chase 500 Osborne Ave. upr Recordo (Melv. - Clark). Delta, OH 43515 upr plyr. Morrisville, PA 19067 419 822 5554 215 295 6291

Tom & Betty Jane Colvin Pratt-Read upr plyr. John T. Jaynes 1022 Marsha 1l &. Wende 11 5' 4" 1508 Longshore Dr. 1500 Whitecliff Way Ampico A. Ann Arbor, MN 48105 Walnut Creek, CA 94596 313 663 1862 415 933 7029 Will ian & Dorothy Holmes 1915 Coinola X; 1973 Paul & Janelle Zahtilla Weber upright Duo-Art. PO Box 891 Wurl itzer spinet player. 2843 California St. Big Sky, Montana 59716 San Francisco, CA 94115 406 993 4759 referred by Mike Schwimmer 514 931 2845

Norm & Lesley Hurford 1926 \~eber 6'6" Duo-Art. Alan & Nancy Smiley Orchestrions & reproducers. 13 Sherwood Dr. 846 N. Ashland Lismore, NSW Austral ia 2480 River Forest, IL 60305 216054 referred by Clive Drummond 312 366 2288

Alfred C. Smith 1935 Marshall & Wendell Jere Debaker 1909 Melville Clark upr plyr RFD #1, Ampico B. 7602 Arapahoe Rd. Apollo; Weber 6' Duo-Art. Wurtsboro, NY 12790 referred by Harvey Roehl Boulder, CO 80303 303 666 9174 John Honnert Honorary Member - Sept. 12620 Biscayne Blvd. apt. 16 1977. Made recordings No. Miama, FL 33161 for Capitol, Supertone, 305 891 4317 Challange & American 88 note rolls 1927-1933.

Robert Frazier 1921 Welte plyr pipe org; 12 East 12th St. Aeolian grand reed org; 1923 New York, NY 10003 Haines 5'8" Ampico A; 1928 FREE LISTS: All Types Rolls, Cylinder Records & Machines, 212 243 5026 Fischer 5'3" Ampico A Louis XV case; 1919 Hazleton 5' Discs, Cobs, SheJt Music, Catalogs & Literature. Mechanical Music Welte Lie.; 1937 Knabe 9' Ampico B; 1927 Steinway upr & Much More. 6ur 20th Year . green roll Welte. referred by Fran Mayer Vi & Si's Antiques 8970 Main St., Clarence, N.Y. 14031 Melvin J. Warther 1923 Laffargre upr Welte •• 2307 Cheverly Ave. Mignon. FOR SALE: Knabe "Late - A" 5'10" grand #105789 (1927­ Cheverly, MD 20785 28). This is a beautiful, dark, Flame-Grain mahogany 310 773 3909 referred by Richard Dahlberg piano with matching bench. Top has been professional­ ly refinished, sides and front restored. Meticulously Luis A. Chardon Mason & Haml in 5'3" Ampico B. rebuilt mechanism plays with marvelous expression. 71 Loma Rd. Pinblock, bridges, and soundboard perfect. Action San Carlos, CA 94070 fully regUlated. Pump has sleeve-style amplifier 415 369 7288 referred by Richard Rigg pneumatic. Expression system has every "late - A" feature in the book except "B" valves. Definitely Adam Loj ews ki 1927 Seeburg L; 1924 Seeburg one of the best "A'" sever built. Overall sound is 62 Summit Ave. E; 1924 Capitol A w/viol pipes; delightful. $7000 or B.O. Patrick Mullarky, 11 Sewaren, NJ 07077 1924 Steck upr Duo-Art; 1935 Ruggles St., Westboro, ~ 01581, (617) 366-0078. 201 634 0236 Werner ply1; 1891: Celestina. FOR SALE - SEEBURG 'E' with xlyophone. Plays, but Bill & Betty Toth 1927 Chickering 5'3'~ Ampico needs complete rebuilding and refinishing. All parts 33262 Astoria St. A; Wurl itzer LX. ) are original. $6,200. Peter H. Levine, 11295 E. Dana Point, CA 92629 Vassar Dr., Denver, CO 80232. (303) 751-2893. 714 46~ 2772 referred by Richard Rigg CONVENTION "T"-SHIRTS AVAILABLE: T-shirts with the Thomas N. Todd 1928 Chickering 5'8" Ampico 1977 San Francisco Conver-tion Logo are still avail­ 10779 Jordan Rd. A; 1908 Pianola plyr Metro­ able in sizes medium, large, and extra-large for Sal ine, MI 48176 style/Themodist 65 note; 1920 $6.50 postpaid f~om Isadora Koff at 2141 Deodara 313 429 4417 Davenport/Tracy upr plyr. Drive, Los Altos, California 94022.

Johan & Alison Vandergun Heintzman"player. Relive the era of the reproducing player piano 332 Brunswick Ave through a collection of period advertising for these Toronto, Ontario musical marvels which were capable of duplicating Canada M5R 2Y9 the human touch so exactly that the virtuosos of the 416 967 7620 day, Paderewski, Busoni, Rachmanonoff, etc., all re­ corded for and endorsed them. THROUGH YOU I LIVE Frank Lafitte Honorary Member - Sept. 1977 FOREVER, 108 pages, soft cover. Beckett Productions, 10 Boxwe 11 Rd • Recorded for Duo-Art - 1927. 6817 Cliffbrook, Dallas, Texas 75240. $4.95 post­ Berkhamsted, Herts paid. Texas residents add 25¢ state tax. England HP4 3ES ORIGINAL LITERATURE WANTED: Will purchase or trade WANTED: complete sete of levers for Duo-Art Steck for original Ampico, Duo-Art or Welte-Mignon litera­ grand piano. Also expression parts for Cable Co. ture. Also want catalogs, service manuals, etc., for Solo Carola piano. Bennet Leedy, P.O. Box 44, all types of mechanical musical instruments. Dick Middleton, MI 48856. Howe, 351 North Post Oak Lane 60S, Houston, TX 77024. FOR SALE: Franklin Upright Ampico. Also, Oak MUSIC BOX CATALOGUE! Hundreds of music boxes, nickel­ (Mission Case) Stuyvesant (65-88 note) "Themodist­ odeons, band organs, phonographs, player pianos. Metrostyle" player. Both need restoring and re­ 112 pages. $3 ppd. Satisfaction guaranteed. finishing. Bill Pixley, (316) 442-4383. American International Galleries; l802-A Kettering, Irvine, CA 92714. FOR SALE: Marshall &Wendell Ampico upright repro­ ducing piano, circa 1924, rebuilt in 1969. Reproducer FOR SALE: 1926 Fischer Ampico, 5' original finish, excellent, piano good, case fair. With 25 rolls, extensive player rebuild, mahogany with inlays. Plays $2100. Bill Flynt, 1722 Iroquois Drive, Garland, TX very well, excellent tone. $4500, will consider Duo­ 75043. Phone (214) 278-8093. Art rolls as part payment. Tom Lillibridge, 1564 Plateau Dr., Los Altos, CA 94022. (415) 948-4667. BUYING: AMPICO, DUO-ART, WELTE & OTHER TYPE OF FOR SALE: Vacuum gauges, Marshalltown brand, 2 1/2" ROLLS. DESCRIBE AND PRICE. face, 0 to 30 inch H20, with snubbing orifice and ALTMAN, 8970 Main St., Clarence, N.Y. 14031. 5/32" nipple. New, calibrated, guaranteed. $9.00 postpaid in U.S.: W. E. Flynt, 1722 Iroquois Drive, Garland, TX 75043.

ESTEY 5'2" WELTE MIGNON, early original (drawer), rough condition, needs complete restoration; $1050. RARE MECHANICAL PIANO, Wing &Son upr. foot pumper with PIANOTIST tracker system. See page 582 of ency. A true collector should have this to complete the collection. The piano is in good condition and has one roll; $5500. Three push-up piano players: Sim­ plex 65 note, $450; Aeolian Metrostyle 65 note, $375; and Aeolian ~1etrostyle Themodist 65/88 note, $750. WEBER 5'8" DUO-ART, very good condition; $2750. KNABE upr. M1PICO, restoration started, player system original, $2150. Let's talk or trade. Would like musical boxes. All offers considered and probably taken. Emil Ruby, 137 Chanticleer Drive, Pittsburgh, PA 15235. Phone (412) 795-0926. 100 standard size, pin-end rolls. Make offer. Ampico SILLY and Duo-Art AUCTION: list 50¢. Art Faner, 555 Winter St. N.E., Salem, Oregon.

1928 5'6" Weber Duo-Art - rebuilt 5 years ago - needs adjusting and tuning, mahogany case, needs refinish­ ann Hhh ing - 120 rolls, $4,500. Carl Kempf, 2023 Gober Ave., Smyrna, Georgia, 30080. 1-404-435-8861 or 1-404-634­ 4595. Martin W. Murphy, 2718 Gallahad Drive, N.E. iOR B Atlanta, GA 30345.

FOR SALE: Aeolian Duo-Art Pipe Organ player in wal­ nut cabinet with relay and rolls. Best Offer. Judy Hanulec: Phone (516) 744-1468. ­·a· VIOLANO ROLL CATALOGUE: xerox of typed list, 75% of all titles 1920-1932. 200 page numeric; 117 page alphabetical. $25 each or both for $45. Don't delay! Art Reblitz, 3916 Azelea, Colorado Springs, CO 80907. SHn iRHnelseo

FOR SALE': Seeburg "L" nickelodeon. Restrung, new hammers, new action parts, player rebuilt, refinished, eonVEntlon. new motor. $5,000.00. Robert C. Stewart, 3609 - 27th MSI St., Kenosha, WI 53142.

WANTED: Aeolian Duo-Art pipe organ rolls - IS),," wide, reproducing variety. Tom Beckett, 6817 Cliffbrook, Dallas, TX 75240. Phone (214) 239-5019. FOR SALE OR TRADE Cremona G (flute pipes). Totally re­ stored to factory new condition inside and out. Valued at $10,500. For trade purposes, am interested in obtaining several unrestored reproducing grands. Offers considered. For photos &cas­ sette recording, contact: TERRY SMYTHE 71 Bourmont Bay Winnipeg, Manitoba Canada R2J 1K2 (204) 256-2134

/

TALK "RAGTIME," you are talking INTERNATIONAL's member DICK , KROECKEL and his first record release, "Echoes From Lulu White's Mahogany Hall," an album of great Ragtime selections and piano styling.

For your copy, which includes postage and handling.

MAIL TO: GRASSROOTS PROJECTS UNLIMITED Box 4689, San Francisco, CA 94101 - - , II KE-LP! Complete AMPICO 'A' components from pre I 1923'Marshall & Wendell grand. Pneuma- .­ I have a Philipps Pianella C, tic sectioning L. to R. 28-36-19. Up- • and I need any of the following: ~ side-down valving. Sell in entirety. $350 asking. * Philipps PM rolls. * Wurlitzer PM rolls (they're supposed to be the same). CUNNINGHAM upright #83420 with WFLTE * Schematic for the piano. system. Excellent restorable condition. * Information: is anyone $1750. capable of or planning to make new PM rolls? Is there anyone who can * MAGIC FINGERS under-grand keyboard copy them (they're metric)? drawer unit. 30 loose valves. Suction * Does anyone make blank motor. Mfg. by Gribble Music Co., Kan­ rolls of the proper width, sas City, Mo. $75. 22.5 cm+? I will pay going prices for the rolls. I have a few items to trade if that is preferable. Call Dick Dahlberg, Bowie, MD. (near Wash. D.C. and Baltimore MD) 301-262­ Bob Otnes, 2160 Middlefield Rd., 1664. Crating and shipping extra. Pre- Palo Alto, California 94301. .ferp.u. t • Phone: (415) 324-1821 • -

NEEDED DESPERATELY 88 NOTE PLAYER ROLLS WANTED (AND WILL PAY MOST ANY PRICE) I. IS IT TRUE WHAT THEY SAY Complete or ao/ parts for AMPICO "A" or ABOUT nIXI E "B" action./yen the small controls or any drawer parts. 2. JUST ONE MORE CHANCE Also needed is the hardware for mount­ 3. THIS LAND IS YOUR LAND ing the drawer. 4. DOWN IN THE VALLEY Wi 11 also buy any type pi ano, regardl ess of condition if the Ampico parts are OK! 5. THIS TRAIN IS BOUND FOR GLORY AND, I am looking for an Ampico, or any 6. KALUA other make of roll of "I Was Born About BEYOND THE REEF - Hawaiian Four Thousand Years Ago." 7. 8. ZHIVAGO THEME (not QRS)

RON E. DOWNER !tiEL!:! 1274 - 36th Avenue 213/283-2461 I. L. CORDELL 2240 Lorain San Francisco, Calif. 94122 Road, San Marino, California 91108 5}or 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

------b 0 x-1094 ----=oc - ----:---J m·1 lubbock, t,exes .~~~~~~_ 7940~­ Mechanical Systems, Inc.

PLAYER PIANO OWNERS - RE-CUT YOUR STANDARD POPULAR ROLLS World's Largest Selection of $20,00 PER TITLE ADDITIONAL COPIES $4.00 EACH AUTOMATIC MUSICAl INSTRUMENTS! Music boxes! Reproducing pianos by Ampico, Duo-Art, and "10 MINIMUM ORDER OR QUANTITY Welte! Nickelodeons! Orchestrions! Hundreds of automatic That'i~ght! Now you may order just ~ re-eut of musical instruments for sale at wholesale prices! Send $3 for our fascinating"AIG Review." You've never seen another your favorite popular standard roll (20-30 feet). Don't catalog like it. Satisfaction guaranteed. Or, send $10 for a pay for unwanted copies. Frayed edges are no problem subscription to the next six issues. for us. We use a full quality, lint free, 3 pt. dry waxed paper for our re-cuts. All old rolls are returned along Nearly 1,000 instruments are now in stock-the world's largest inventory. Complete facilities for low cost shipping your new re-euts - packaged in new boxes for your pro­ to you. Our network of buyers in America and in Europe tection and storage', Be certain to include any special (Claes Friberg in Copenhagen is our European director) gives instructions for multiple copies, Allow 6-8 weeks for you the best selection at lowest prices-there are no middle­ delivery. No reproducing rolls at this time, please. men or agents to pay. Our California showroom is open Wednesday through Satur­ YOU MUST BE SATISFIED!! day 9 A.M. to noon and 1 to 4 P.M. We are a quick 15 Clip and return with order minute drive south of Disneyland, just a few minutes from the nearest freeway. Visit us the next time you are in the CRAIG'S PIANO SHOPPE \ 9.25 SOUTHOVER Los Angeles area. A wonderland of automatic musical instru­ ments awaits you! In addition you can see fabulous orches­ TOLEDO, OHIO 436~.2 (419) 478-4711 trions, organs, and pianos in our educational exhibit. Name ....,...._ Phone !--) _ We can supply the seven-pound, 1,008 page, illustrated Complete Address _ "Encyclopedia of Automatic Musical Instruments" for $30 postpaid-the standard reference book in the field. Over 7,000 copies sold. Satisfaction guaranteed. Total # Rolls to be R~ut_x $20.00 = $ _ Are you an active collector, dealer, or museum? Then being on the AIG mailing list is a MUST! Directors of American Total Additional Coples_x $ 4.00= $ _ International Galleries are: Bonnie Tekstra, Terry Hathaway, Dave Bowers, Claes O. Friberg. ~t'NATI0", Postage & Handling $,_--=$3::.;':"::0-=0__ AMERICAN INTERNATIONAL ~.... ~~""of( TOTAL (Check or Money Order MUST GALLERIES ~ "~ accompany your order) $, _ 1802-A Kettering Street 'i f; Irvine. CA. 92714 U.S.A. "'~. "f SEND YOUR ROLLS INSURED AND SPECIAL Tel. (714) 754-1777 ~ <0 4TH CLASS SOUND RECORDING RATE', M~nufadurer of Automated Musical lnshumenh 2235 'H' 51reel Bakersfield Calf 9330\ 805.322.5058 Now Laraer & BeHer Than lver

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