50121-3 INTERNATIONAL CHAPTER OFFICERS OFFICERS NO. CALIFORNIA Pres.: Phil McCoy PRESIDENT Vice Pres.: Isadora Koff Bob Rosencrans Treas.: Bob Wilcox ,-. 36 Hampden Rd. Sec.!Reporter: Jack & Upper Darby, PA 19082 Dianne Edwards VICE PRESIDENT SO. CALIFORNIA Bill Eicher Pres.: Francis Cherney 465 Winding Way Vice Pres.: Mary Lilien Dayton, OH 45429 Sec.: Evelyn Meerler SECRETARY Treas.: Roy Shelso Jim Weisenborne Reporter: Bill Toeppe 73 Nevada St. TEXAS Rochester, MI 48063 Pres.: Jim Phillips PUBLISHER Vice Pres. Merrill Ballzley AMICA MEMBERSHIP RATES: Tom Beckett Sec/Treas.: Janet Tonnesen Reporter: James Kelsey Continuing Members: $15 Dues 6817 Cliffbrook Dallas, TX 75240 MIDWEST New Members, add $5 processing fee MEMBERSHIP SECRETARY Pres: Bennet Leedy Lapsed Members, add $3 processing fee (New memberships and Vice Pres.: Jim Prendergast mailing problems) Sec.: Jim Weisenborne Bobby Clark Jr Treas: Alvin Wulfekuhl P O. Box 172 Reporter: Molly Yeckley Columbia SC 29202 PHILADELPHIA AREA TREASURER Pres.: Len Wert THE AMICA NEWS BULLETIN Jack & Mary Riffle Vice Pres.: Harvard Wood 5050 Eastside Calpella Rd. Sec.: Beverly Naddeo Published by the Automatic Musical Instrument Collectors' Association, a non­ Ukiah, CA 95482 Treas: Doris Berry profit club devoted to the restoration, distribution and enjoyment of musical Reporter: Dick Price instruments using perforated paper music rolls BOARD REPRESENTATIVES N. Cal.: Howie Koff SOWNY (So. Ontario, West NY) ContrIbutions: All subjects of interest to readers of the Bulletin are S Cal. Dick Rigg Pres.: Bruce Bartholomew encouraged and invited by the publisher. All articles must be received by the Texas: Wade Newton Vice Pres Mike Waller 10th of the preceeding month Every attempt will be made to pUblish allarticles Phil Bob Taylor Sec. Nancy Group of general interest to AMICA members at the earliest possible time and at the Midwest Bill Eicher Treas.: Stella Gilbert discretion of the publisher. SOWNY Jeff Dep Reporter: Jim Brewer Rky. Mt.: Dick Kroeckel ROCKY MOUNTAIN ADVERTISING New Jer: Jeffrey Morgan Pres.: Robert Moore Iowa: Alvin Johnson Sec. Sharon Paetzold /' • CI..wIed: 10¢ per word, $150 mmimum Boston Area: Sanford Libman Treas.: Carl Paetzold • DIsplay advertising Northern Lights Trudy Maier Reporter: Jere DeBacker '-- Full page 7'12' xl 0" $6000 COMMITTEES NEW JERSEY One-half page horizontal 7Y2" X 4 'V4/1 3000 Technical Pres.: Dan Schacher One-half page vertical 3%" x 10" 30.00 Mel Luchelli Vice Pres.: Richard Dearborn One-fourth page vertical 3%" x 4-Y4" 1500 3449 Mauricia Ave. Sec: Richard Groman III Santa Clara, CA 95051 • Each photograph or haJf-tone $5.00 Treas.: Willian Dean Honorary Members Reporter: • We recommend display advertisers supply camera-ready copy Copy that is Alf E. Werolin oversized or undersized will be changed to correct size at your cost We can IOWA 2230 Oakdale Rd. prepare your advertisement from your suggested layout at cost Pres.: Lee Zimmerline Hillsborough, CA 94010 Vice Pres. Stan Peters • All copy must reach the publisher by the 10th of the preceeding month. Archives Sec/Treas.: Mary Lou Shimp • Cash must accompany order. Typesetting, layout or size alteration charges Jim Weisenborne Reporter: AI Johnson will be billed separately. Make checks payable 10: ANlICA 73 Nevada St. BOSTON AREA INTERNATIONAL. Rochester, MI 48063 Pres: William Koenigsberg • All ads will appear on the last pages of the Bulletin at the discretion of the AMICA Goals Vice Pres: Charles Hazard publisher. Robert M. Taylor Sec: AI Greco 1326 Spruce St. #3004 Treas Philip Konop Publication of business advertiSing in no way implies AMICA's endorsement of Philadelphia, PA 19107 Reporter: Ray Magee any commercial operation. However, AMICA reserves the right to refuse any ad that is not in keeping wrth AMICA's general standards or if complaints are AFFILIATED SOCIETIES NORTHERN LIGHTS received indicating that said business does not serve the best mterests of the The Player Piano Group Pres. Tom Olds members of AMICA according to its goals and bylaws The North West Player Piano Vice Pres.: Gene Skarda Association. Sec.!Reporter Dorothy Olds Treas.: Trudy Maier

AMICA ITEMS AMICA STATIONERY: $3.20 (letter size), AMICA TECHNICALITIES BOOKS: $1.75 (note size), including mailing charges. FOR SALE Volume I (1969-1971), $5.50 postpaid; Fine quality stationery with ornate AMICA Volume II (1972-1974), $7.50 postpaid, borders. Each packet contains 25 letters and AMICA BULLETINS, BOUND ISSUES: Volume III (1975-1977), $8.50 postpaid. matching envelopes. Send orders to: Robert 1971,1972,1973 - bound sets at $15.00 each Reprints of interesting technical articles Lemon, 4560 Green Tree Drive,Sacramento, set. 1974, 1975, 1976, 1977, 1978, 1979 at which have appeared in the AMICA Bulletin, CA 94823. $18.00 each set. PRICES INCLUDE arranged and indexed into appropriate POSTAGE AND HANDLING. Spiral bound to "They All Laughed When I Sat Down At categories. Send orders to: Jim Weisenborne. The Plano, But When IT Began To Play." lay flat. Send orders to Mary Lilien, 4260 73 Nevada Street, Rochester, MI 48063. Olympiad Drive. Los Angeles, CA 90043. This sound and color super-8 movie. produced by AMICA members, is available ROLL LEADERS: DUO-ART, Authentic. For for loan to AMICA members and chapters. order sheet, see the April 1973 Bulletin. Nick PLEASE MAKE ALL CHECKS PAYABLE TO AMICA INTERNA TlONAL For more Information write to Howard KOff, Jarrett,3622 21 st street, San Francisco, CA 2141 Deodara Drive, Los Altos, CA 94022. 94114. Jnfernafional JlcJJrJBJl

WILBUR CHEnOWITH DIES AMICA BOALS COMMlmE THE AMICA has received word from Honorary BY ROBERT ftI. 'IYLOI Membership Chairman AU Werolin that AMICA Honorary Member Wilbur Chenowith died early in AMICA Goals Committee Meeting Friday, February April, 1980. No further details were available at press 15, 1980. time. We regret the passing of another fine recording Downtown Holiday Inn, Denver Colorado artist. Present: Carole Beckett, Bobby Clark, Bob Moore, Dick Reutlinger, Bob Taylor. Guests: Tom Beckett, Dorothy Bromage, Bill Dean, nOMlnATlno COMMlnEE REPORT Dick Rigg, Jim Weisenborne, Molly Yeckley. BY 1111'1 IIIC_La JIllIlSOIL-CHAI.11I Bob Taylor reminded the Committee of the Edwards Collection of 40,000 88-note rolls. The Committee After requesting and receiving AMICA membership authorized Bob to go and inspect the collection and response from notices placed in THE AMICA Bulletin give them his judgement as to condition, titles, and in December, 1979 and March, 1980, and after a vote any other relevant information. It is estimated that the taken by the Nominating Committee on the names collection would cost approximately $5000. Several submitted, the following slate of AMICA officers to be members wondered what AMICA would do with the installed at the AMICA Convention in June, 1980 is collection if we should purchase it. announced. The Technical Committee in the person ofMel Luchetti President - Robert M. Taylor has indicated interest in preparation of the special Vice President - Terry Smythe publications on rebuilding various types of instruments. Itwas agreed that Mel should be involved Secretary - Jim Weisenborne in the preparation of these publications. In our discussion it was again emphasized that not only Membership Secretary - Bobby Clark, Jr. should various approaches to solving problems be Treasurer - Mike & Liz Barnhart given but also those approaches that seem not to work. Publisher - Dorothy Bromage The Goals Committee agreed to recommend to the Board that the Archives Group be made a Standing Committee of AMICA International with an enlarged membership and budget of $1,000 until June 30, 1980. They should begin the active solicitation and Cover: Cover design created from a music catalog sheet cataloging of memorabilia associated with automatic Contributed by Bill Flynt. musical instruments. We did not feel that rolls should INDEX be solicited at this time. International AMICA 62 The Goals Committee recommends that members of AMICA Forum 68 all Standing Committees be listed inside the cover of Rolls & Music 69 the AMICA Bulletin. Instruments 69 Northern California 72 The Goals Committee recommends that at least one Philadelphia 73 member of the Goals and Archives Committees be in New Jersey 73 common. The Chairman of both committees seemed to ~rthernL~ts U be a logical choice. Biographical Sketches Eugen d'Alhert 77 We discussed the possible affiliation with a museum, Technicalities 80 college, or other public institution to houtle the materials we are soliciting. We discussed grants to the Original Bulletin articles, or material for reprint that is of Automatic Music Foundation, or affiliation, with significant historical quality and interest, are encouraged collection in College Park, Maryland. Although there and will receive reimbursement in the form of AMICA membership dues discounts. (Chapter reports and Forum is a fine collection at San Sylmar already, there might inquiries are excluded.) be some reason to consider a joint program of some sort. Each member present was asked to think what sort of institution would be interested in such

- 62- materials as we might have, and report these ideas to Bob Taylor for further follow up. FllIAIICIAl STATEMEIIT Bobby Clark suggested that we solicit ideas for Goals AMICA IIITERIIATIOIIAl from those members who attend the Pasadena convention. He and Bob Taylor ~ill prepare a JUNE 1, 1979 through DECEMBER 31, 1979 questionnaire to be distributed there. At the Board Meeting the following tasks were given to the Goal Committee: CHECKBOOK BALANCE OF 5/31/79 $5,713.20 Savings Account 1. What sort of a budget should there be for travel of (Financial Savings & Loan) $18,148.15 Honorary Members to Conventions and local chapter meetings. CASH RECEIPTS: 2. Should there be assistance for travel expenses to Membership Dues $12,112.00 attend Board Meetings. Film 53.18 Regular Bulletin 00.00 3. How many local chapters should there be. Bound Bulletin 351.00 Technicalities 267.50 Respectfully submitted: Leaders 5.50 Robert M. Taylor, Chairman Pins 00.00 Stationery 00.00 Advertising 1,087.02 Convention (Philadelphia) 647.11 TOTAL $14,523.31 $20,236.51 IICIIIIEI c.MlnEE REPOIT BY. CASH DISBURSEMENTS: Bulletin 6,400.00 The Archives Committee is now in full swing and is Bound Bulletin 00.00 actively seeking gifts or information about materials Technicalities 00.00 which will be of interest to the membership. Materials Printing & Paper 628.95 such as roll catalogs, photographs, advertisements, Telephone 536.37 promotional brochures, letters, sheet music, Stamps & Postage 780.00 biographical materials, etc. will be safely stored and Accounting & Tax 160.00 indexed at the Oakland Community College Library. Supplies 40.33 All gifts.will be acknowledged in writing should you Film & Video Taping 1,493.06 care to claim them on your income tax. Write to: Jim Convention 00.00 Weisenborne, Librarian, 73 Nevada St., Rochester, MI (Convention Fund $2,810.45) 48063. Advertising 00.00 OTHER EXPENSES Piano rolls for the reproducing pianos and organs will So. Calif. Gift 500.00 also be gratefully accepted although they are not being So. Calif. Loan 1,000.00 actively sought at this time. After the archive system Club Banner 238.50 is well established it is anticipated that certain types Clerical 49.00 of rolls will be sought. Celebrity Fund 110.00 Repair of Typewriter 26.00 TOTAL $11,962.21 $8,274.30 CHECKBOOK BALANCE OF 12/31/79 $8,274.30 EDDY HAllSOII Savings Account (Financial Savings & Loan) lEW HOIIO.RY MEMBER of 12/31/79 $18,900.54 ., ILf E. ....111 At its last meeting, the Board approved conferring Respectfully submitted, Honorary Membership status to Eddy Hanson of Waupaca, Wisconsin. Hanson is a renowned organist MARY C. RIFFLE and piano soloist and was a recording artist for QRS, Imperial and Kobar rolls and records. A more detailed Treasurer biographical sketch will appear shortly in the Bulletin. We are happy to welcome EddyHanson to the AMICA family.

- 63- Pianist rolls up 94 years pre~- By WIS IlAASE says. partment and is ing to ~lay ~or AMI O.'s ,eXPl'tlllll Stoff Writer AMICA,'is respons1ble convention In June In ~tJfe beglns at 80." f~r her comeback. They Pasadena, Calif. This will Ursula Ho)ltnsbead discovered" ber. name be her' fourth convention sayS it and as a M-year'­ ~o~the ~cord1ngart- concert for them. .old 'performing pi.aDist ists In the 'Industry ~d "I'm going to have to and piano" teacher. ~ spent three years,tracing take another partner otWrt to know. ber from Denve~ to Buf- with me, because Joseph She will give a demon­ faJo to San AntonIo. WheDcan,t go," Hollinshead stration and touch on the she, heard her ,p.tec~s says. But she's confident histo~Of piano rolls at 3 agam on a piano .rol,l, ~t she can blend her music p.m" daY in the Alam,o was an emotIOnal time. to another pianist. "I love Music oter for the san In 1973 ' she was made doing ~t," she says. Antonio MUsic Teachers. , an bonorclry member and MUSIcal talent rubbed Hers Wtllbe a living restored and reproduced off on at least. one of her history, - because' she her original piano player three ~andc~drym, who was THERE for the "Old roll. is studymg vo~ce In ,H,?us- Piano Roll Blues." During her earlier ca- ,ton and working Wlth an "I was born with mU&1C reer she composed three opera compafiy. in niy~ertips. When! numbers and recorded Cards and letters ,from play the " 0, 1 can feel for Duo Arts. One, "sand- old an~ new fnends the m C," the petite man's Frolic," started poured In after her ap­ redhead ~Y$,. And wtiile out to bea lullabye ded1-;pearances and she care­ the years have slowed cated to her son, but "he 'fully mounted them in her 8tep,$e stlll shakilS was 100 ,livNy for a scrapbook$:<' the keyboard, when,' she sits down to play. , sleepy twie." The others' "Age is a matter "of Even at'tJle age of,9 were "I Want You" and inind," Hollinshead says. she used music to pay "Echo de Amore." "If you don't mind, it Also in 1973, one of the doesn't matter." , het' biDs. She says, "I set lif~ out and solicited aU the biggest thrills of ber Hollinshead says' she kids· in the neighborhood' tlinecame when she a~teels her life had a very to ,taJre piano lessons for pearoo on Johnny Car- rewarding oiltcome from -....J the ,prtncely Sum of '10 son's "To~t Sh?w." a. hopeful aDd humble be- cents a lesson., 1 taught "I ,was gwen lust five guuung. " days notice," ~he remem- "I also' think musieians them what, haG been STUDENT CRISTINA GREVER, ,9, gets taught. me, thus raising bets.. "AndI told them I'dl1ve longer because they the dollar eyery week for ci few' Pointers from teache" Ursula have to catch a plane are 40ing the,thing they my lesson, which was the Holllnst,eacI, M. back immediately for' a 'lov~ all their life. And it 'Foit Worth concert." ,helps when you're happy beginning 0" my business STAFF PHOTO BY STEVE KRAUSS ana musfcal career." "I ,was treated royally. in your job," Hollinshead up recoi'd1ngsome of my ano ~ts. ,,, Ba~~~, preparation,concludes as she happily For this, reason, ner work," Hollinshead says. She also bad a weekly was tl1riJl1ng. They foUild sings along with her key- memoirs; published in '~I was offered a joo musical radio show; a' player piano and I board trip ddwii memory two-Part form iIi the De­ cember, 1975, and March, traveling around' the ' Real estate played a duet with my- lane. ' 1976, Automatic Musical stateS and playing con-HoUinshead8nd het self. Collectors Association <;ens for piano deatets busband parted imd she "MakeupJ)e0ple gIam­ Bulletins, were ~ntitied, arid demonstrat:i.ng plano entered the realestata)Iized me so I didn't rec "Ten ~nts a Lesson." roll ,music for ,Melville field where, she' waSsiic" Jgnize myself; Jommy Clatk Piano Company, ces8fuI' (or2tFyears hi and Ed autograpbed pic, Parents makers of Art Apollore- Buff8lo. ,Her only' child, tures of us on ,camera: I Hollinshead was raised productng PianOs., Theodore went into the even had a star on ,my in Denver. ,H~r parents "My mother thought 'it business ~thher. dressing room," she says. o were '.Mary and John was a great opportunity Ten years ago; Holl1ris- Of C01U'8e she was a co Dletrt~ of PoI1sh and so .with b,e.r blessing I'head and h~rson moved youngster then, only 87! , 0- Cerman descent rode' the; Utilorr Paclfic to San AntDn1o~ She ''re- Later she was asked to ~d appe,~_ .. The concert p1.8n1sthaS BurUngton J!ajlroads tired" she says. ,But she on "Wl,tat's My .-.... always' 'liked ito' create to many cities and loved couIdn'tkeep her fingers Urie : and after: several and. imprOvise at. the key, evwy minute."stlll She returned ,to mu-questions her' "line" was ooanLWorktng in a mu­ Sbe roamed Robert sic and started teaching ~eSSed by Arlene Fran- sic ,store 'in Denver won HoI11nsheadffom ,'Buf- piano. ClB. • bera trip to Chicago falo; N.Y., and he became the player. piano re- ."This wasf1lm1na.comp~etelY where she saw her first )ler -promoter and man- vival put her ,back ()n differe"nt' .. g "a mos­ automatic piano. ager as'she went, out:on stage and even on televi. 'phere, she say~. Every~ her 0m:s~orming. sion. , , ,~newas "f,ery ~blxed ~ "1 Just st90d fascinated Jlo d g~ve con- . "There ciI'p-over_tOOO informal. as " phaJitoili fingers, ~ llayed a beaut1ful grand certs lD upstate New 'members :m UJ)1te<1 Agenda "----1>lano. 1 asked someone York ",,:", Buffalo, Syra-' StateS of ,the', Automatic Today she teaches 10 how it worked. Explain- cuse."~F~~' ar1ughNi ,tMecto'usi~~ent 'Coandl-students! plaYS duet con­ agata, ,e i "rs~,on certs WIth Joseph Kerr ipg, ~n'j:scovered I a· . pi8J10 and ent:enatned'in even more in Europe and fromTIin1ty's Music De- was 811d:endec:t, DlgbteIubS With two-pi-, the Orient," HoIUnshead ' ",

- 64- - 65- automobiles of the collection. At the far end of the 1878 salon, a broad stairway leads to the mezzanine. At the first landing is a large, tall case clock. This clock fell WRITED AWARDS AIlIIOUIiCED forward on its face during the Sylmarearthquake with disasterous consequences to both the movement and Of the many fine articles submitted to THE AMICA its case. Both have been perfectly restored. On the News Bulletin for publication in 1979 the following second landing is a Knabe reproducing piano. On the have been selected as outstanding and the authors will mezzanine are displayed the Nethercutt mascot (hood be presented a plaque at the convention in Los Angeles ornament) collection and a large (seven foot long) as a special "thank you" for their contributions. sculptured allegorical history of California which was Dr. Robert J. Rosencrans - Music at John part of the International Silver Company display for Wanamaker's. the 1905 San Francisco Panama-Pacific World's Fair. The mezzanine also has reproductions of two Louis Dr, Clarence N. Hiclonan - A Tribute to Charles XV desks. The desks were made in 1977. A spiral Fuller Stoddard. staircase (Stairway to ~he Stars) takes one to cloud Ninety-Nine (one level below heaven-Cloud One Q. David Bowers - Automatic Musical Instruments Hundred). Cloud Ninety-Nine represents a living room As An Investment. (a very large living room). In the entryway are several ornate ormalu trimmed cabinets displaying an outstanding collection of musical and repeater watches. Around the walls and in alcoves are the larger orchestrions and some of the rarer instruments SAil SVLMAR in the automatic musical instrument collection. Welte Cottage Orchestrion, Hupfeld Phonoliszt Violina, B' BILL TOEPPE several Steinway and other reproducing grand pianos, The first AMICA Annual Meeting held in Los Angeles Wurlitzer Style 32 Concert Pianorchestra, Wurlitzer was headquartered at the Alexandria Hotel in Style 40 Mandolin Pianorchestra, Wurlitzer LX downtown Los Angeles in 1972. A highlight of that orchestrion, Mortier Style 41 orchestrion, Weber meeting was a tour to the J. B. Nethercutt collection Maestro, Mills Violano Virtuoso, Encore Automatic called San Sylmar. Sylmar is a small community in Banjo, self-playing Xylophone and Wurlitzer the San Fernando Valley about 25 miles northwest of Automatic Harp. Some are obvious "one-of-a-kind" Central Los Angeles (but within the Los Angeles city items such as the Ehrbar piano represented to Franz limits). To the east are the San Gabriel Mountains, to Josef I in 1898 in celebration of his golden jubilee. the northwest the Santa Susana Mountains and Others are sole survivors such as the Monopol Gloria between the San Fernando Valley and the central part Double-Disc musical box and the Welte "Wotan" Brass of Los Angeles, the Santa Monica Mountains. The Band Orchestrion. The guide explained the northern part of the San Fernando Valley was not as illustrations on the orchestrion front. Wotan and urbani~ed as the southern portion and in this Brunhilde are represented with Brunhilde having just somewhat desert-rural environment, J. B. Nethercutt been put to sleep with Wotan having put the ring of fire built his private museum for his automobile and around her. After relating the illustration to the automatic musical instrument collections. Wagner's works, the guide explained the orchestrion J. B. Nethercutt explained how the museum got the had been designed as a jazz orchestra!! Another "sole name "San Sylmar.- when he showed his friends the survivor" is the Popper Gladiator orchestrion. The architectural renderings of the proposed museum, one largest orchestrion is the Hupfeld Excelsior Pan friend announced that the only appropriate name Orchestra which is also the largest surviving could be "San Sylmar," that being an oblique reference orchestrion. to Hearst Castle at San Simeon, up the California coast All of these instruments sit on a carpet of custom a ways. design which illustrates the life cycle of clover. For our second visit as an AMICA International In the center of the living room is a pit containing a Annual Meeting, San Sylmar is still the most four manual organ console for the Wurlitzer Hope­ prominent building in the Sylmar area. Except for the Jones Unit orchestra. This organ came from the top floor, the exterior of the building is rather plain. It Atlanta Roxie Theater. The pipe chambers are along is only when you get close enough to see the formal the far wall. Back in one of the alcoves are several entrance that you can see it is not a Lyons (let Lyons organ players which playthe theater organ. The organ guard your goods) moving and storage warehouse. also has a custom-designed organ/recorder player The doors are duplicates of the doors from a library in using magnetic tape. An artist may sit at the console Scotland. The facades are intricately tooled bronze. and have his or her playing recorded (as control Each door has niches with bronze figures. The doors signals) on magnetic tape. Playback of the tape will open upon the automobile salon. The salon represents control the organ playing. a display room of a first-class automobile dealer ofthe twenties with marble floor, pillars, and mirrors and A smaller room to one side of the huge "living room" chandeliers everywhere. The impression is of a is the Louis XV dining room. One ofthe features ofthis European palace. In this salon are award-winning room are the pictures on the ceiling of members of the

- 66- Nethercutt family (painted as angels). Another interesting item is the chandelier which is believed to be from Versailles. A small passenger elevator takes the guests to the next floor. This is the lobby of the Cameo motion picture theater. This theater is equipped to project any standard format film. The pit in front of the theater stage contains another three manual organ console (to play the organ downstairs) plus a photoplayer with two side cabinets. The remaining portion of this floor contains the "collection room." The room contains many musical boxes and nickelodeons and the roll collections for many instruments. Another part of the building not shown during the usual tours is the lower floor. The front part of this floor is the parking area (with carpeted floor). Behind A Symphonian disc clock goes up on the auction this is the auto graveyard where the unrestored cars block. are stored, a storage room where the restored cars not on display are stored and the automobile restoration shops. Originally the museum was available for viewing on an "invitation only" basis. However, the museum now has regular tours and is available for viewing to groups of about fifty. We have asked that the tour for this AMICA meeting be as complete as our p!evious tour. We will be divided into four groups for the tour so that the entire group can be conducted through the museum at one time. Note that while photography is· allowed, flash photographs are not. Without time exposures, you will need a camera with a f/1.4 lens (or faster) and ASA 400 film to capture pictures of the automobile collection. The rooms with automatic musical instruments are not a brightly lit so an F /1.2 lens, and even faster film would be desirable. The San Sylmar collection is one-of-a-kind and Frank Adams discussing auction items with Bill everyone interested in antique automobiles and Rowland, a local piano tuner and player piano automatic musical instruments must see the "expert." collection at least once. The AMICA Annual Meeting may represent your best opportunity because of the museum's regular policy of tours for groups only.

RELIC PATCH mUSEUm CLOSEOUT BY RON BOPP Of interest to an AMICA member was the Relic Patch Museum Auction in Quapaw, Oklahoma, on October 20th and 21st, 1980. The Museum consisted of many well-restored cars, clocks and other collectables. Also, of interest, were several automatic musical instruments, including a Single Mills Violino Virtuoso, a 20 inch upright Regina Music Box, and Johnny Cash, June Carter Cash and Roy Clark "­ several Seeburg Nickelodeons. There were two actively bidding on antique automobiles. Seeburg Model K's, one KT and a Seeburg L (Junior). As was expected, the crowd attending the auction was I"" primarily of automotive interest and apparently -,,< money was no object. As well as high prices being paid for the automobiles and other collectables, the Jlmica dorum musical instruments themselves tended to sell at ./ prices higher than AMICAN'S are accustomed to -- paying. Perhaps, the most outrageous price paid was approximately $8,000.00 for a partially restored Seeburg L sans art glass. Two National Calliopes also WELlE IIlFORmATIOIl IlEEDED were offered and one would think that the brass pipes were made of gold, instead of brass. Shown is a drawing of a unit which is mounted on a steel bar in the offset of a Ludwig Welte Drawer. Several AMICAN'S were present for the auction and they seemed to enjoy the festivities, although we must I have to restore such a piano and since all of the admit that very few of us were able to come away with tubing was gone, I need someone's kind assistance that "Prized Treasure." Frank Adams, from Seattle, with the tubing of this device. It also appears that the was present, as was Walter Bellum, Sarasota, Florida. tUbing of this piano does not follow the ones shown in Local AMICAN'S included Stan and Martha Vestal Press technical reprints so I would be most Whitehurst, Oklahoma City, Oklahoma, Gerold and grateful for any and all extensive information that Linda Koehler, from Joplin, Mo., Bill and Billie Pohl, would pertain to a piano of this type. Please contact: I. from Springfield, Mo., and Mary Jo Williams and Ron L.Cordell, 2240 Lorain Road, San Marion, CA 91108. Bopp of Joplin, Mo.

WOOD

BBAf,.sT

I , I ca> I / (J)I I~ I I (~ I I , I I I I I I I , I I Local AM/CAn, Gerald Koehler, inspecting his new I purchase, ornate straight piano destined for '': I an a I I

Pianocorder system. I I I I I I I I I I The auction lasted for two days, and as mentioned, as I .:~ I I . far as the AMICAN'S were concerned, was somewhat I I I disappointing, but it was very interesting to see other , types of antiquities for sale. Also of interest, were the & , (i) presence of celebraties. Johnny Cash, June Carter ~ I action is evidenced A strange voice on the phone does relate. throughout the roll. "And I fixed it myself-come on over'" You feel "summoned" and arrive about eight. "A LUte More Love" -A composition written by John He ushers you toward the exhibit; Farrar and published by John Farrar Music and Irving Accolades you're expected to sing. Music, Inc. The song was made popular on record disc He awaits, with his wife, your pronouncement. by Olivia Newton-John. The. roll, QRS #10-644, played "Where'd you find that lovely old thing?" by Bob Berkman would not be responsible for the song's popularity. It misses the power and strength of While under the piano you moan, the original song therefore this copy of "A Little More Matching its asthma-like groan. Love" could have used a little more care. Rebutton its apron; ask stately, "Have you pumped out your tracker bar lately?" Driving home, you bemuse the old grand, Though afflicted with numerous faults, Did boast one musical forte - The thump in the pump was a waltz! Jnsfrumenfs

ITL. c20lls and cJr{us;c CAIIADIAII ORIAII PIPE - (Till Deuelopment Ind PrOduction 01 I 1I1U1 PIlII DraIn VOICe) BV .lIm mi. Last fall, just before sunset, enjoying a cool Alta 39, PlAID ROLL REVIEW savoring the fresh coolness in the air and w~tchingthe endless V's of Canada geese on their annual southward BV DIll TUmE migration, I was suddenly struck with a vision. Perhaps it was the combination of sounds from above 88-NOTE ROLLS impinging on a brain recently filled with 1400 pages of "Oh, By Jingo" -A one-step with words by Lew George Ashdown Audsley. In any event, I had just Brown, music by Albert Von Tilzer and copyright by completed Audsley in preparation for rebuilding two Broadway Music Corp., 1919. The roll is QRS #1089 sad looking pipe organs. The numerous empty holes in played by Pete Wendling. The music in this composition is very good as are the humorous lyrics. Pete Wendling's style of playing adds greatly to this song which makes this roll one that stands out in a collection. "Oh, How I Laugh When I Think How I Cried About You" -A 1920 composition written by Turk, Jesseil and White with a title that just won't quit. The roll, an Imperial #91009, is played by Clarence Jones. This writer's opinion of this song is that it is all right but nothing special. The performance by Clarence Jones is about as the song. It sounds as if Mr. Jones searched hard for places in the song to add jazz riffs that sounded good. It seems he didn't find many. "I'm Sorry I Made You Cry" - This one-step was written by N. J. Clesi in 1916 and copyrighted by

·69 - the pipe chest of one of them spurred me to c~nsiderable mental effort. I thought that perhaps a unUSUAL mECHAnisms FOR REVIVinG fairground organ restored in Canada with a row of inviting holes could be incorporated with a unique An ·OlE PLAYER PIAno' J Canadian voice! BY ROil BOrP Suffice it to say that both mind and hand have labored Recently, while attending an auction, I came across an throughout this last Canadian winter. Not least upright Story and Clark player, which had been amongst the accomplishments has been an entirely converted to play with the help of extra motors and new pipe organ voice. I have tentatively named this pumps. Please note the accompanying pictures. In the peculiarly voiced stop the 'Doppel Canuckleflotte,' upper portion of the piano case one has ingeniously although I am prepared to reconsider this, upon added a belt driven motor to supplement the roll advisement. The accompanying photograph conveys motor. I'm sure this must really give a smoothness to the external appearance but not the internal the motor, like it never had before and was quite intricacies. The voice is, of course, unique, unusual, unique. The second photo shows an ingenious way of rich, vibrant, reminiscent perhaps of the muted piping in your vacuum. Instead of installing a vacuum honking of the Canada goose. On high wind pressure, unit inside your piano, why not use plumber's conduit it sounds an octave below that obtained under low out the side of the piano to give it that professional wind pressure. A switchable restrictive orifice enables touch. the full effect of this quality to be realized. Perhaps this point bears repeating it is essentially two voices in one, controllable by the music roll. An entire organ built with several ranks of this stop (and variations) would have a dramatically enlarged scope.

/

Story & Clark player piano revealing unique roll motor "booster" to add power and "smoothness" to the roll play.

Modestly, I assume that the publication of this unique development will firmly establish my reputation. Any inquiries concerning production rights will be answered, allow six to eight weeks for reply as I expect an unusual response to this announcement, which, I might add, is exclusive to AMICA.

A new method of providing vacuum source for ,a failing player. This eliminates the bulky suction box in the bottom of the piano.

- 70- pianos, reproducing pianos, coin pianos and PIAno DATIIiI COLUMn orchestrions would share similar information, and I BV lIT BLITZ am personally willing to correlate, analyze, digest, and then submit for publication in the AMICA bulletin Many collectors are interested to learn when their all information which is sent to me. Here and there, automatic pianos were manufactured, and technicians collectors own pianos with verifiable dates of are interested to know when certain design manufacture. By plugging these dates into lists of improvements and mechanical changes took place. known serial numbers, valuable dating information For some pianos, this information is readily available. might come to light. To my knowledge, there is nothing wrong with the serial number dating information in Pierce's I would like to begin with the following specific areas: (formerly Michael's) Piano Atlas concerning such Stroud Duo-Art uprights, Steinway grands, pianos as Mason-Hamlin, Chickering, Baldwin and Gulbransen player pianos, and all pianos made by certain other brands. Dave Bowers' Encyclopedia of Seeburg, Marquette (Cremona), Western Electric, Automatic Musical Instruments includes charts of Nelson-Wiggen, Link and Operators (Coinala and Wurlitzer serial numbers which are useful in dating Reproduco). For each piano, send the brand name, coin pianos, orchestrions and band organs of that serial number, any date which you have found company. anywhere in the piano, reason to believe that the piano was made in a certain year, and any unusual features. Dating other instruments isn't as easy as it sounds, A black and white photo of the instrument showing its however. For example, Pierce's Atlas attributes all player action or any unusual features would be Stroud Duo-Art uprights which I have ever seen to the helpful, but not necessary. Send any information, year 1927; two ofthese pianos which have been through complete or incomplete-I would rather have a few my shop have had the dates 1923 and 1924 on their fragments next month than a complete pedigree stacks, respectively. A Steinway OR currently owned "sometime in the future when you have more time:' by AMICAN Pete Levine of Denver has several years' For the coin pianos and orchestrions, even just the span between the "correct" Steinway serial number brand name, style and serial number would be helpful and a rubber-stamped date on the key frame. Other if no other information is known. You can go through than Wurlitzer, few coin piano and orchestrion dates your whole collection in about ten minutes to get this are known at all. information: send it to: Art Reblitz, 3916 N. Azalea, Colorado Springs, CO, 80907. All information, Further confusing the issue is the fact that many piano including source, will be made available to any actions, including those actions used by some of the AMICA member at any time as well as being famous piano manufacturers, were actually made by published in a future article. If you prefer to remain specialized action builders including Pratt-Read, anonymous, please specify this. Wood & Brooks, Wessell, Nickel and Gross, and others. A pencil date with initials on an action might indicate The Stroud and Steinway information will be- useful that the action was completed on that date, but might because of the aforementioned inaccuracies in Pierce. have nothing to do with the date of completion of the Coin piano and orchestrion datawill be useful because piano. The Aeolian company purchased many empty there is none currently available. When submitting Steinway pianos and installed Duo-Art actions Gulbransen information, specify the type of player several years later; for this reason, widely differing stack: glued-on pneumatic decks; screwed-on unit player actions appear in Steinways bearing serial pneumatics with self-contained valves; or unit valve numbers which fall within the same year. blocks on front of stack. Perhaps it will be possible to establish which groups of serial numbers pertain to It is a well known fact that large keyboardless each type of stack, making it easier for rebuilders and orchestrions such as the Seeburg KT and KT Special, collectors to identify those Gulbransens which are Western Electric X, Nelson-Wiggen 4X and 5X, Link 2E easier to rebuild. and many other models all use the same piano back, probably purchased from the Haddorff Piano For this issue, I submit a list of Seaburg serial Company. A Link style 2E orchestrion exists with a numbers which establishes a few interesting facts. small Link nameplate screwed over a Seeburg piano First, several entirely different series exist. Secon~, plate, as does a Seeburg with Link piano plate. Certain some, if not all, Western Electrics fall into the Seeburg keyboard-style Seeburg pianos have a small Seeburg numbering system (a fact which is not surprising as nameplate covering a piano plate which bears the W-E's were built in the Seaburg factory). Third, the wording "Seybold Piano Co., Elgin, Ill." huge spread of numbers from 51,000 to 82,000 and 155,000 to 165,000 indicates that whoever actually Slot machine expert and author Richard Bueschel has manufactured the pianos probably used many of the been writing a column on slot machine dates, serial numbers for pianos other than Seeburgs. (It is doubtful numbers and features for Bill Harris' magazine "The that Seeburg produced 40,000 automatic pianos). Itwill Coin Slot." Much useful historical information has be interesting to find lists in Michaels' which surfaced in that column because collectors all over the accurately date these numbers, or to find other brands world have submitted details about machines in their of pianos which use them. Fourth, no specific time collections. I think the mechanical music collecting periods (early, middle or latQ.) may be assigned to the field would benefit similarly if owners of player various styles of flute and piccolo pipes which were

- 71- used in Seeburg orchestrions. SEEBURG SERIAL NUMBERS fBali[ornia 7035 F with metal violin pipes, crawling horizontal pneumatic coin switch 7071 F with flute pipes 11025 G with violins and harmonic flutes, flat belt, regular accumulator 18145 G, possibly Seybold-made; violin and piccolo CHERnE"S HOST CHAPTER MEETinG pipes 18642 G (Seybold piano plate) BY JACIII DillIE EDIM. The above two 18,000 series G's have one-piece piano plates; I consider these to be later than the following 5­ All in attendance at the Founding Chapter's March digit pianos. meeting were deeply grateful to Fred, the world's 51978 K with violin pipes friendliest bassett, for allowing his humans, Bob and 54593 L (Junior) with early style pump Roberta Cherney, to invite us into their home. Upon 58571 (stained glass with allegorical muses) violins entering Bob and Roberta's home, one would and harmonic flutes immediately be struck by their beautiful and unique 61120 L Orchestra with chain drive and large flute furnishings. As an example, Bob, an amateur radio pipes (melodias) operator, has made a very unusual lamp from a large 66052 H tube from a commercial radio station. The filament 69293 L Orchestra with violin pipes glows brightly in his "shack." The Cherney's also 75000 H have a very beautiful music box. Everybody was 82837 G with 2-piece piano plate, violins and piccolos delighted by its appearance and by its music. And, of 92943 H with 2-piece piano plate, violins and large course, we were all met by Fred, who made sure we all flutes passed inspection, and we all did! 155428 L (Junior) early style pump Chapter President Phil McCoy-called us all to order for 156797 KT with xylophone (pressure pump; pressure a brief business meeting during which we discussed unused) the upcoming meeting in Pasadena. We had quite a 157614 E with xylophone time deciding who was going and-how we were going 157826 E (with possibly non-original xylophone) to get there. One person suggested that the chapter 157956 E with xylophone charter a bus. Someone else suggested that we could 158308 E with xylophone all get together on the bus and sing camp songs. "It 158997 Western Electric X with xylophone would be great fun." It was then suggested that that 159767.KT with xylophone person be allowed to ride along behind the bus on a 160336 KT Special in KT flat-top, eagle front cabinet, 2­ skateboard! way vol. control 161189 KT Special in large standard KT Special Everyone at the meeting was happy to see Treasurer cabinet, 2-way volume control Bob Wilcox back in action after knee surgery. Now 161789 L (Junior) with new style pump that Bob's back on his feet, reluctant dues payers had 162221 Celesta best take heed and get out either their checkbooks, or 163140 with xylophone their track shoes. 163640 L (Junior) with late style pump, 3-way volume control . After the business meeting, we all settled down to 165200 K with xylophone, 3-way volume control listen to Bob and Roberta's 1920 Steinway Duo-Art. 165681 Western Electric Derby The Cherney's had selected a program ofChopin, Liszt 165717 Western Electric Derby and Gottschalk, all played by Guimar Novaes. Part of 165809 Greyhound the program consisted of a comparison of recordings of Gottschalk's 'Grand Fantasie Triomphale Sur Whenesubmitting Seeburg information, indicate the L'Hymne National Bresilien' from Duo-Art roll 6442 following: style of pump (reciprocating or rotary), and RCA Red Seal Recording 6372. The piano, which style of coin accumulator (if early rack & pin crawling both looks and sounds beautiful, won, no hands down. style), 2-way or a-way volume control ("soft-loud" or "soft-med-loud"), type of drive (flat belt, chain, or V­ Automatic music got a boost in the Bay Area media belt), type ofpipes, and if a xylophone-Orchestrion has this March. Virgina Cheshire proudly showed a pressure pump with unused air pressure. Indicate everyone who hadn't already seen it an article in the any clues as to date. March 13 issue of the San Francisco Examiner featuring the piano restoring activities of Dick The above information is from the Akers, Avary, Leonard of San Francisco. The article was a good one, Bovey, Bowers, Cohen, Gronowski, Hovancak, Levine, and spotlighted the doings of a very active man in a Reblitz and Svoboda collections. fascinating and pains-taking line of work. The meeting at the Cherney's was perfectly delightful in every respect. We had good people, good music,

-72 - good instruments and good feelings all around. On Friday, Ruth saw more of the sights she missed Everybody, with the possible exception of Fred, is during the AMICA Philadelphia Convention. In the looking foreward to more of the same at the April get­ evening Bob Taylor had a reception in his apartment together at Jerry Miller's home. in Ruth's honor. There were more than 20 members of the New Jersey and Philadelphia Chapters there. The "­ New Jersey members came from a considerable distance and brough a dozen red roses-and Ruth was far from blue. Klavier had kindly agreed to recut a Welte roll with 5 4Rila~elpRia pieces played by Ruth. She autographed the rolls with personal comments. After hearing a small portion of the Welte roll, "The Fountain," played as an S8-note roll, Ruth then showed us how it should be played. We were also honored to have her playa Chopin Etude and RUTH BllIGAmAn SMITH one of Granados' Spanish Dances. As much as we all enjoyed her all-too-briefconcert, we VISITS PHILADELPHIA treasure Ruth for her gentility and charm. Lest you have not met Ruth, don't assume that she is a Last Autumn Ruth Bingaman Smith wrote several shrinking violet with no opinions: just ask her about members of the Philadelphia Chapter of AMICA to tell of her planned visit to New York City on January. politics, music, and world affairs! Never tiring of having this gracious lady as a guest, The reason for Ruth's visit to the north was that her we invited her to come to Philadelphia on her northern girlhood friend, Ora Witte was having her 80th tour. birthday party and Ruth can never turn down an invitation to a grand occasion such as that. Ora had Ruth arrived in Philadelphia late Wednesday evening, January 16. She went to the Acorn Club, a ladies club planned to come to Philadelphia to be with Ruth and see the sights but she _is starting a new career in just across the street from the Academy o~ Music (home of the Philadelphia Orchestra). Ruth told us that television and could not be away from New York. What this was the fanciest club she had ever been in: no is it about growing up in Texas that keeps them so name on the building and no key to her room ("Why active and vibrant? nobody would think of stealing at the Acorn Club" she If you could have seen the many poses that. were was told by the staff). struck for our intrepid photographer-unfortunately Thursday was spent on tour of historic Philadelphia the photo lab lost the film. You'll just have to wait to under the capable oversight of Bob Rosencrans and see Bob's magnificent 1937 Weber with the Duo-Art in an Ampico B drawer. (Yes Virginia they actually did Len Wert. A small dinner was arranged for that make some). Is that an invitation to come visit Bob? evening at the Acorn Club and then several members of the Chapter went with Ruth to a concert of the Philadelphia Orchestra conducted by Klaus Tennstedt. Unfortunately, we could not arrange a piano concerto, so we had to content ourselves with Itzhak Perlman as the soloist playing Mozart's Violin Concerto No.5. The other featured work was Bruckner's Symphony No.7.

FREYERS HOST nEW JERSEY CHAPTER B' R. F. BROmAn Sunday afternoon, March 16, the New Jersey Chapter of AMICA had its meeting at the home of Mr. and Mrs. Ed Freyer. Our afternoon started with a few sprightly played pieces on Ed's Duo-Art followed by a short business meeting at which the chapter members set all arrangements concerning the Ernest. Schelling Concert on May 4th. This concert will be held in Schelling's hown town of Belvidere, New Jersey. After the business meeting Mrs. Freyer served all of us L. to r: Bob Taylor, Ruth Bingaman Smith, Bill Babb. hungry AMICAns all types of delicious goodies. Some Ruth is holding one of her rolls. of us couldn't get away from the table but a promise to

-73- c9'(o.

1I0RTHERII LIGHTS CHAPTER IIEWS BY DOROTHY OLDS The Northern Lights Chapter gathered for its quarterly meeting at 11:00 a.m. on Saturday, February 23rd, 1980, in the party room of the Last Frontier Restaurant in Roseville, Minnesota, a suburb of St. Paul. It was a bright, sunny, crisp winter day, a good day for L. to r: Ed Freyer, Bill Babb, Joan Chase, R. F. Groman. traveling. The setting of the party room enhanced the (rear) Alan Lightcap, Jeff Morgan. interest of everyone. "Intriguing" paintings adorned the walls. A highly polished bar, complete with brass rail and lavish, gilded mirrors reflected the Victorian splendor.

Bill Pilkey, Len Wert, Ed Fryer, Doris Pilkey, Bill Babb. In the rear - Ruth Stier. L. to r; Bill Maier, Dorothy Olds, ArIon Amundson, Tom Olds. see Ed's collection of coin pianos and roll perforator got most of us moving. As members and friends filtered in, new acquaintences Ed's collection, which he started in the late 1950s, were made. When a new member (who lives 180 miles contains many fine coin pianos including a Seaburg from you) asks if you know his sister, and your reply KT special, E and G pianos, a Link with an accordion is, "Yes, she works with me," we realize what a small added, and a superbly playing Double Mills Violano world this isl Virtuoso that I fell in love with. I regret that we didn't get to hear the Violano playa jazzy fox-trot but that The Seaburg A nickelodeon had a good workout and gives us a good excuse to go backl The most produced some lively music, which almost had some fascinating machine was Ed's roll perforator which he of us marching around the room. built himself to cut piano rolls. We all marveled at that Flashbulbs were lighting the room frequently, as Bill piece of machinery. The group kept all instruments Maier and Lowell Breckland snapped many pictures. going well into the evening. Lowell finally "arranged" everyone in front of the bar Our next meeting is scheduled at Richard Dearborn's for a group picture. followed in May by a meeting at Bill Baab's in We were pleased to have Mr. Kugler in our midst. He J Bethlehem, Pennsylvania. Hope to see everyone at owns the Kugler Museum, which houses many and both meetings. varied automatic musical instruments. We hope to tour his museum sometime in the future.

-74- Another surprise was the "horn" which ArIon Tom Olds demonstrated some 3M tape which may be Amundson played for us. Sometime in the past, he had the answer to roll repair. It is removable, which is occasion to purchase some rolls, similar to those very good for most of us, since it is frequently difficult played on a Roll-monica. However, they did not fit a to align tape perfectly when first put in place. Roll-monica. Then he had the good fortune to find this However, it is not 'on the market at this time. These are ~ "horn," which needed some restoration. And, you sample rolls and Tom sent some to Jim Weisenborne guessed it, the rolls could be played on this "horn." (who demonstrated a 3M product for roll repair at the (I'm sorry ArIon, but I don't recall what your "horn" is Dayton Convention) to tryout. At present Tom is called. -[looks like a Play-A-Sax - Ed.]). We certainly trying to obtain more rolls of tape and also determine enjoyed this new entertainment. if there is a market for it. Since 3M doesn't produce their products in small amounts, it will be necessary to let them know of our needs if this tape is practical for repairing rolls. As the sun was sinking to the west ofthe Last Frontier Restaurant, all of us AMICAble music lovers reluctantly departed. The restaurant crew was getting nervous 'cuz we hung around so long-here it was 5:45 p.m. and we still had all of the mart items and all that stuff that goes with conducting a meeting, including people, to clear out. Like all AMICA meetings, no one really likes to be the first to leave.

Lowell Breckland, center, converses with Joe and Shirley H6mer.

AMICAns assembled for group photo.

There will probably be a joint meeting with the Iowa Chapter, in Iowa, sometime in the future. Next meeting date: May 18,1980 at Jerry and Blanche Noel's in Hamburg, Wisconsin.

L. to r; Dan Petros, Marlys Petros, Gene Skarda, Bob Dumas and Joe Homer watch Gene demonstrating his roll repairing device.

Prior to our official meeting and after a lot of socializing, we had a "western" lunch which each ofus ordered to his own liking. Following a very lively meeting, Gene Skarda gave a demonstration of a "new" mechanism for the repairing of piano rolls. It's really a neat rig which I'm certain many of us would like to have.

-75 - \ \ -1he Iove 1iest mlrac." Ie / til a cenMlI \// J ). of miracles

..• J::jstfl/ . ..

A piano is playing. Rich and resonant, the slow notes climb-climb-to break at last in glittering showers of sound. This is the touch of genius, on these keys! Genius is painting, in transcendent colors, the dreams ofgenius. Rachmaninoff is playing Chopin. Yet Rachmaninoff is half a world away! It is the Ampico you hear. Ampico is the miraculous instrument which-as part of the actual piano-reproduces the artist's playing as perfectly as though his hands were on the keys! So per-­ fectly that even the great musicians, listening blind­ fold, cannot tell the difference. Through the Ampico you hear the real voice of the piano, in all its beauty! The Ampico is the piano itself. It is the artist at the piano-waking to life the greatest, the best-beloved, of all instruments! By a system of recording which registers tone to an infinitely finer degree than the human ear can detect, the Ampico brings to you faithfully every subtlety, every shading, of the artist's technique. The individual genius that draws you to hear cercain pianists upon the concert platform weaves its unchanged spell about you in your own home, from the keys of your own piano-by means of the Ampico. The owner of the Am pico .has practicall y every great pianist of the day at his beck and call. Rachmaninoff, Orloff, Lhevinne, Rosenthal, Bloomfield -Zeisler, Leginska, Ornstein, Levitzki-a host of them -all are yours. The masters ofsyncopation- Lopez, Delcamp, Confrey, many others-they are yours. At the mere alnpico touch of an electric button they will play for you­ while you relax in your chair to listen, undisturbed. When you, yourself, wish to play, the Ampico leaves the piano entirely yours-action unchanged, tone un­ changed. And in the piano's beautiful form-its charm oflustrous wood and flowing line-the Ampico The Ampico comes in theJollowing pianos: makes no alteration. MASON & HAMLIN KNABE CHICKERING Among the warmest admirers of the Ampico are musi­ J. & C. FISCHER HAINES BROS. MARSHALL & WENDELL cians and music students. To these it brings, intimately, the instruction and inspiration of the great masters. AMPICO SYMPHONIQl:E Just as the student of music profits by hearing the THE WILLIS (in Canada) public concerts ofgreat pianists, so he profits by hear­ Electrically operated models-$750 to $4,500. An initial payment ot 10% ing them through the Ampico. will place an Ampico in your home. The remainder is payable over a There is only one way to believe in this miracle of the period of two years. Ampico. You must hear it! You can do this at any store where the pianos listed here are sold. It is an Salons in principalcities experience you should not postpone. virtuosos even at their mature age could repeat what the audacious d'Albert did then and there in his youth. One morning I was practicing repeatedly with the JJioorapRical right hand alone a difficult passage from the Rubinstein G major concerto, when, following a knock a,llefcRes at the door, d'Albert entered. Hardly waiting for a "Good morning," he burst out in his squawky falsetto­ like voice: 'I cannot practice that way!' 'How do you practice?' I challenged. 'I do not practice at all-1 just play-1 JUST PLAYl' was the response. To which I EUBEn DrlllERI would only say, 'Well, that may do for you, but not for ordinary mortals,' I would consider Eugen the greatest BY EnlMm M. FORD of the living interpreters of Beethoven. Nothing could eradicate from my memory the inimitable manner in Eugene Francis Charles D'Albert wa~ born in which he played Chopin's arpeggio Etude in A flat, Glasgow, April 10, 1864. His father, Charles Napeoleon and the harp-like Etude in E flat. What a revelation in D'Albert was a French dancing master and a composer phrasingl The like of which I have never again heard of dance music; he had studied piano with Kalkbrenner from any pianist," in Paris. The father was born in Germany, a country in which Eugen eventually settled, took citzenship and changed his name to Eugen. His music study began with his father. He won the Newcastle Scholarship to the National Training School in London at the age of twelve to study piano with Ernest Pauer, theory and composition with Ebenezer Prout, John Stainer and Sir Arthur Sullivan. His first composition was performed when he was fifteen and at sixteen he appeared regularly as soloist in Hans Richter's Popular Concerts. It was in this series that he played his concerto at the age of seventeen. Winning the Mendelssohn Scholarship, he went to Vienna. There he played a movement of his concerto with the Philharmonic Orchestra. It was then he met Liszt and with Richter's encouragement became Liszt's student. He was a ruddy-cheeked lad of eighteen when he arrived in Weimar to study with Liszt. Due to his small stature, Liszt delighted in addressing him, "D'Albertus Magnus" (the great). More than once, after the lad had played, Liszt would exclaim enthusiastically, "Kleiner Lowew-ganz wie Tausig!" "(Little lion-quite like Tausigl") Young Eugen astonished all, students and teacher, with his impromptu feats, causing amazement among the advanced students like Rosenthal, Reisenauer, Sauer, and Siloti. Even in'later years these pianists could not equal the young Eugen when he was nineteen. There was ease and readiness in handling the stunning technical difficulties and his playing bristled with fire, For a time Eugen was pianist to the King of Saxony energy, spirit, self-conviction and courage, all and in 1895 became the conductor of the Weimar qualifications that brought back to the aged Liszt his Orchestra (a post once held by Liszt), and in 1907 own youthful days, endearing Eugene to him. A well­ became director of the Hochschule fur Musik in Berlin known Liszt student, Carl V. Lachmund tells of this when Joseph Joachim resigned. amazing youth: "d'Albert, by far the greatest piano genius, is the only one who could-had he willed­ D'Albert was a scholar and a virtuoso, producing stepped into the shoes of Anton Rubinstein. Eugen critical editions of the works of Bach and Beethoven. astonished Liszt and the students several times with He wrote cadenzas for the Beethoven concertos and impromptu feats that could not have been prepared, made arrangements of Bach for the piano which are and that caused amazement among us fellow­ considered excellent. students-all were his senior by several years. The dear, grizzled and aged Liszt chuckled in glee and He was a colorful personality and his personal life burst into his favorite "Pch!" an exclamation which, to was stormy and complex with a phenomenal those initulary, meant more than words could convey. virtuosity and he influenced fellow artists and And let it be added that neither Rosenthal, Godowsky, succeeding generations of pianists. Hofmann, Paderewski, Busoni, nor any other of the One striking fact of his personal life is the marital

-77 - "career;" this includes six wives! His second wife was recitals and it was then his wife began to "steal his the famous Teresa Carreno, ten years his senior whom thunder" since Teresa did not know how to play the he married at the age of twenty-eight. Carreno had not part of a concert artist's wife with proper abnegation been impressed when she met d'Albert in Germany and tact. Jealousy began to appear and d'Albert began (1891) when a guest ofFrau Wolff, the wife of Carreno's to go with friends other than the ones with whom he .-/ concert manager, Hermann Wolff. She was shocked to and his wife had formerly mingled. Upon their return meet the "gnomenlike person, careless in dress with to Villa Teresa, the students they had taken created stringy hair cut long and a straggly mustache and she restlessness, confusion and complications in the resented his high voice, minor in reflection, the family life. D'Albert's stinginess, his desire to lower sinister look of his eyes peering through narrow slits, household expenses by limiting the servants to two, eyes that saw too much and revealed nothing. His hand and the actions of his son, Wolfgang, by his first felt flabby in her own hearty grip. She could hardly marriage added more confusion to the family. realize this was the great Eugen d'Albert!" But D'Albert's peculiarities and eccentricities, his d'Albert's concert at the Philharmonic changed her devotion to spiritualistic seances, his forcing the opinion. He played the Beethoven G major concerto, family to wear the heavy Jaeger woolens, the daily one Carreno did not like. When d'Albert began to play exercises he insisted the family do in barefeet every it was a revelation-what did it matter how he looked, morning followed by cold-water treatments, drinking how he talked. Never had she heard such music since goat milk and strictness of diet, developed resentment the pianist Anton Rubinstein. D'Albert had been in his wife and the children. The fall was a strenous offended by the coolness of the reception Carreno had season for both husband and wife as they began two­ given him, but when she went backstage to meet him, piano recitals, These duo-piano concertswere given in he was effected by her approval of his playing and he Europe only and created one of the phenomenal warmly responded to her magnetism. They soon began virtuosi displays of the late 19th century, They were to meet and be seen together at concerts and attending memorable considering the marked personalities of each others concerts. Trips were made by the two and the two pianists. Scionti stated, "What a singular the tongues of musical Berlin wagged but looked experience such a recital must have been to an tolerantly on the budding romance. d'Albert was in the audience, with a kind of musical contest between a process of getting a divorce from his charming, flighty "Walkure" and a "Wotan," two giants ofpianism at two actress wife; he felt she was not fit to be the mother of keyboards. From accounts of their almost incessant his son. Carreno bought Villa Palstring in Coswig on domestic battles, this could not have been two-piano the Elbe between Dresden and Meissen and playing at its highest perfection as, first of all, this art rechristened the house "Villa Teresa" where she and demands transcendant understanding, sympathy and d'Albert established living quarters with two psychic cooperation between participants." (D'Albert / Bechstein grands. It was now that Teresa began also teamed with Hans von Bulow in two-piano working on Tschaikovsky's B flat minor concerto later concerts.) At the end of the summer they decided to played on all her concerts, bringing both her and the give only a few more concerts together. Teresa was concerto attention. One of their many mutual friends expecting another child and the tension of preparing was Johannes Brahms. Scharwenka and d'Albert were concerts, d'Albert's irritable, mean-spirited close friends. Under d'Albert's influence Teresa's taste personality and Teresa's personality, joyful, in music developed. She discarded flashy works, her melancholy or hysterical by turns, created more tone took on a subtle shade and she studied the deeper explosions and anger. D'Albert began to seek solace in values in music. flirtations which enraged his wife. The birth of a daughter, Hertha gave a month of peace but a concert After returning from a U.S. tour, d'Albert and Carreno season took the man and wife separate ways and the marrried in Folkstone, England, July 27, 1892. On two-piano concerts were abandoned due to friction January 4 a daughter, Eugenia was born. D'Albert between two dominating personalities. By thistime composed his piano concerto in E major· as a gift for d'Albert's philanderings had reached proportions Teresa. D'Albert conducted the orchestra in Berlin, which could not be ignored and his wife openly January 8, 1893 when Teresa played the concerto. belittled him. He left home and there was no returning. Critics described the concerto as a "dull and colorless A divorce was granted to Teresa October 2, 1895, with compositioJb~' Teresa's playing of the concerto was stipUlation d'Albert would provide for the children admired and sile used it in her concert tours, She was until the age of independence. He actually sent only a getting the attention in place of her husband who had minimum of money which created serious financial composed the work. A critic WOrte, "Frau Carreno difficulties for her. In less than a month, he married yesterday played for the first time the second concerto Hermine Frick, a singer. After divorcing her he of her third husband in the fourth philharmonic married Ida Theumann. concert." The critic of Tagliche Rundschau was sarcastic and positively venomous in his discussion of It was as a teacher and a pianist rather than a d'Albert's part in the concerto. Teresa continued to composer that d'Albert left an impression on his play the concerto with different conductors and in period. He carried on the tradition of Liszt in piano different cities and it was the mainstay of her performances and left many students who became appearances with the orchestra. She also played her famous. Two were Walter Gieseking and Edwin .../ husband's "Suite." D'Albert was accompanied by Fisher. He auditioned Dohnanyi, Backhaus and Teresa when he went from city to city giving solo Henderson and gave them advice but did not teach them.

·78 - His New York debut was with the well-known famous shoulder-d'Albert had been divorced and violinist, Eugene Ysaye in a sonata recital. Later he remarried between accepting the invitation and played the Beethoven G major concerto with Ysaye coming to dinnerI conducting the orchestra. The same concerto was also His tactless behavior did little to help his music's . performed with the New York Symphony conducted by chances. Before and during World War I he went out of\..-/ Walter Damarosch and in Pittsburgh he played the his way to assert his allegiance to Germany and to Brahms concerto with the orchestra conducted by make public statements of contempt for English Paur. culture, particularly his former British teachers. He The strain of touring effected his nerves and an vent his spleen in outbursts against the very popular unpleasant incident occurred in Cincinnati which was Vaughan Williams. given wide publicity. The pianist's art was criticized Seeking a divorce from his last wife, who did not want by a reviewer which enraged d'Albert and he made to give it to him, caused him to go to Rega where it blackmail charges against the critic. His concert in could be obtained. He died in that city March 3, 1932. San Francisco brought him great acclaim, but the Various ailments had affected his memory. His will press, following the Cincinnati incident, showed bequ~athedhis fortune to a laundress, but the will was considerable enmity. When returning to Milwaukee declared invalid and the court awarded his the public's attitude was so hostile d'Albert feared an considerable fortune to his last wife and the children of attempt on his life. The remainder of the tour, which his previous marriages. He left 150,000 Swiss rancs to included Mexico, was terminated and he and his wife the Music Department ofthe Prussian Academy ofArt. left for Europe. Wilhelm Raupp wrote a biography of d'Albert entiled, D'Albert was a prolific composer in many fields which "Eugen d'Albert, Eukeenstler Und Menschens­ included a symphony, two piano concertos, two chicksal" printed in 1932 by ~oehler & Amelang in overtures, a cello concerto, various chamber works, Leipzig; the book is in German. compositions for the piano and other instruments, and incidental music for plays and operas. The best known He made many phonograph recordings and some are opera was "Tiefland" premiered in New York, rare. They do not show him at his best, technically or November 23, 1908. It had been premiered in Prague otherwise. They apparently were made at a time when November 15, 1903. Since his operas were not his technique was not the best, possible because of his successful, to justify the Board of Directors of age. He used freedom and license and eccentric, sloppy Breitkopfs (d'Albert's publisher) it was felt the time and undisciplined means. There are wrong notes, had come to part company from this operatic writer memory lapses, distorted rhythms and an indifference. 1'­ and when d'Albert took his next opera to them, he was He did assume the. attitude no one would care to listen "-­ asked to take it somewhere else. D'Albert took it to to the discs. They cannot be used as an example of his Bote & Bock in Berlin. The opera was "Tiefland" and it ability, which was stupendous in his youth and was one of the great operatic jackpots in history. maturity. An Lp, CRS64, was released several years Rudolf Lothar, librettist ofthe operawas sure the work ago of the records from 1914/1918. would be a flop so he sold his rights to d'Albert, the composer, for a few hundred crowns. The opera D'Albert made piano rolls for about every pompany became a hit, pouring a rain of gold down on d'Albert then in business. Those for Ampico are listed from and the publishers, Bote & Bock. He also composed a Hupfield. The Welte were probably made in Germany concert suite entitled "Cinderella," and a and the Duo-Art when he was in New York on a U.S. philosophical choral work, "Der Mensch und das tour. Leben," which was a cycle for sopraanQu4orchestra. *Recorded on Lp Candide CE 31078, Michael Ponti, One opera "Die Schwarze Orchidee" was based on a pianist; detective thriller and its scenes were laid in America and utilized jazz themes. He sawall his operas Orchestra of Radio Luxembourg; Cao, conductor. produced but the twentieth was unfinished at the time of his death and was completed by Leo Blech and premiered in Dresden. It was qUite evident his principal ambition was to be a composer-and a husband! His career was brilliant as a pianist and he was famous for the number of wives. Dr. von Hase recalled the day M. and Mme. d'Albert were to be dinner guests at the Hase Villa. Dr. von Hase, grandson of Gottfried Hartel and head of Breitkopf, urged other guests to be on guard and not to snicker when the couple arrived; they would ,Seem a rather funny-looking couple-Mme. towered at least a head over her famous and diminutive pianist-husband. When the couple arrived not even the host could restrain his composure. Mme. d'Albert was a charming petite, scarcely reaching to her husband's

-79- ~eclinicalifie8 OllllnlL STlnDlm len.. TOOL BY _II I. IIMT The attached illustration shows a tool Regulating the Prin1ary Valves which recently came into my Before the playel' action leave" the fae-' 1)0 ,Not Remove Yalve to Re;.:ulate possession. It is a folding scale made t or~'. the primary val ves are carefully ad­ The primal'y valve does not have to VL of a celluloid-like material and justed and regulated, and under normal removed for regulation. Mel'ely place th., apparently is the Primary Valve conditions these valves will stay reKUlated primary valve g'aug-e (supplied by OUI' com­ indefinitely. But there are cases when due pany) under .the top seat of the valve as Gauge mentioned on page 41 of to ne~lect of the cat'e of the piano for a pictured in the accompanying illusti'ation. "Principles of Player Action long period of time, the primary valves When doing' this be ven' careful to. see that will need some re/{ulation. the hevelled edg'e of the gauge· is up (as Opera.tion" (the "Standard" action). To re/{ulatc.the primary valve, ~enlly tap illustrated in the aecompany·ing- drawing The front side of the scale (shown) the top of the val\'e stem with a small marked "rig-Ilt way"i-if primar~' p:auge in­ hammel', which will loosen the valve to sCI'ted in the valve with the flat edge IIp reads "Measure the Value of a Player enable you to re/{ulate it. . (as illustrated by "wron/(" way") it may Action by the Service it Gives" _and cuuse the leather to curl undcr. This rna'· not be n·9ticeable to the eye, but it will h~ shows the Standard Action "S." The sufficient to cause the "ulve to leak, scale at the bottom matches the track~r After the valve ha~ been properly :,ealed bar hole spacing with the notati~n press ~l,own on the top seat and 11 p on th., under seat of th~ valve with some f1al m'etal "Directions for the use of this scale on inslrument. When rep:ulatin/{ the primar~ other side." In very small letters are valve, be sure to see that the p:aup:e fit, snugly under the top scat. but be \'NY care­ the words "The Americal Art Works" ful to see that it is not tight. Otherwisl'. followed by what look like "Cosmoo­ the ·motion will nol he sufficient. After the ton, 0:' On the opposite side there is a \':llve has heen adjusted to the valve g-au/("P. RIGHT WAY ,1~Ju·e the to.p of the vah'e before removing' 12" ruler scale and wording which the p:au/{c'. If thE'· vah'e gauge is removed reads as follows: "Directions for use of liefore tne valve has been glued, it may g~t out of r,·"ulation hefQre the "Iue is applierl scale. The scale on the opposite side U:,e a ~mall, flat brush or a small stick represents the 88 holes of the tracker to apply the g-lue to thE' valve, but be ver~' .earpful not to cover the entire top of thl' bar. Use it to measure off, on the valve with glue-thb only adds weight to ttacker bar, notes that the test roll / the· valve. Glue the valve as it was orig:­ indicates as not working properly. By WRONG WAY inallv. After the I-due has been applied, re­ move the primary gauge. The primal'." using this scale, you eliminate the valve should have a motion of 1-:32 of :111 need for counting the tracker bar holes ;r.ch. These measurements are not neees­ ~al~~' \\"hen the- p,·i.P.'lur~· "alve. g-auj{.c i~ .HS.Ptl. to find the defectlve note. (Note: the howeyel' it !s well to know them. notch in the rule is a primary valve gauge.) Compliments of Standard Player Action." It is interesting to note that the Principles ofPlayer Action Operation" states "The primary valve should have a motion of 1/32 of an inch, which equates to 0.03125." The gaug~ itself has been fabricated from material which is 0.036" thick, a difference of aIlnost 5/1000:'

TECHniqUES OF they differ from the traditional methods. I realize this article may stir up some controversy. Some will say I ASELF-TAUBHT PlAID TunER tune pianos as if I were calibrating a laboratory BY AlAI PIER frequency· standard ratp.er than adjusting a musical instrument to produce the purest tones. My methods ---" In a previous article I related how I bought a Conn rely more on the eye than ear. For this reason they Strobotuner in 1967 and began tuning pianos without work well when the tuning has to be done in a noisy any formal training. In the process I developed some place. Also, these methods work well on a piano which techniques which seem to work quite well although is badly out of tune, a conditian found all too often in -so- players undergoing restoration. For me, it is the a piano, the tougher it gets. In upright pianos, a easiest, fastest, and most accurate way to tune a piano. difficult spot is encountered at the highest notes Tuners who have spent years perfecting the more having dampers. There is barely enough room to traditional techniques probably won't want to change install mutes between the dampers and hammers. If their habits. This method is probably best suited to the you can tune the two outside strings using a narrow novice. mute, the inside string can be brought into tune by ear. "­ It takes a good ear to tell wether the string beingtuned When I first began tuning I followed directions and is sharp or fiat relative to the others. The strobe image looped the temperment felt between the strings from won't help much either. A good technique is to start the "break" in the scale proceeding upward. Having with the string obviously sharp and let it down the tuned the unmuted center strings I would go back and same way, always banging hard on the key to insure tune, each side string. I soon discovered that this you don't leave the string in an unstable condition. As wasted'time because the center string would quite a last resort you can install narrowmutes on each side often go fiat during the second pass and need retuning. string or you can pluck the strings in sequence. I also came up with a better method of muting the Plucking (or chipping as they say in piano factories) outside strings of a triad. Instead of using the felt or is also a useful technique for getting a clear tone for two wedges, I modifiedthe big end of a rubber wedge to the strobe in the highest octave of small pianos. A grip the outside strings, as shown in the illustration. convenient tool for doing this is a large brass paper This enabled me to quickly proceed up the scale, staple. It is important to have the microphone as close completely tuning each note to the strobe as I came to as possible to the strings beingtuned in the top octave. it. If the pitch is being raised very much the notes Otherwise some effect, probably echoes, blurs the pJ,"eviously tuned may go fiat while you tune higher strobe image. Make sure you get a distinct high notes due to increasing bearing force on the bridge. contrast image or you might get fooled by a harmonic. However the unisons will remain in tune with each other and the effect is in the direction of octave Once you get past the dampers, the mute can be stretching so retuning is usually not required. installed low enough so as not to interfere with the piano hammers and things go a little faster. However, Speaking of octave stretching, the Conn instruction the shorter strings in the treble require more precise book explains quite simply how to do it and I am sure control of the tuningwrench. (I wish they hadn't begun the directions which come with other strobe tuners are calling it a tuning hammer because that only adds equally explicit. In most good pianos the in~trument confusion to an already confusing SUbject). Most will show that there is little need for it. Tuning the top books warn against using the wrench with the handle octave 5 cents sharp is often adequate. I have noticed a perpendicular to the strings as this may bend the _ practice of some tuners to overdo octave stretching. I tuning pin. I don't think this is a valid concern because \." would rather listen to a piano which has been tuned the force will never be enough to exceed the elastic with no stretching than one which has been over limit of the steel and cause permanent bending. I find stretched. There is a natural decline in high frequency the perpendicular position preferable in many cases response of the ear as we get older and this probably because it enables me to brace my fingers against the explains why aural tuners sometimes tune the high tuning pins or a lip on the piano andtorque thewrench octaves too sharp. with my thumb. You naturally have more precise A novice tuner may want to get a second hand strobe control of your hand muscles than your arm muscles instrument rather than invest a lot of cash in a new and this control is essential in turning the pin to the one. The high reliability of the Conn model ST6makes right position. it a good choice. After twelve years of hard use my Having completed the treble tuning, I now return to Strobotuner still provides reliable service. I have the break and tune the bass from there down. The work never even had to replace a tube. One time it blew a goes faster now as you tune double strings instead of fuse when I left it on the hearth and rain coming down triads. The sequence goes like this: Install mute on the the chimney splattered in the back. A simple drying right and tune the left string (high pin on upright). and a new fuse fixed that. Of course I don't mean to Move the mute to the left and tune the right string (low imply that the new solid state tuners aren't equally pin). Switch the strobe tuner to the next note down and good or better. See three excellent articles on tuning you will find the mute is already in positionfor tuning aids: Bob Barns in the Dec. 1976 Bulletin, Allen Ford the left string. and Richard Merrill in the March, 1977 Bulletin. Octave stretching is automatic in the bass section I have seen in some literature that it may take a because the strobe shows you all the upper harmonics mechanical strobe wheel a minute to stabilizeon a new which you can use as your reference in reaching the speed when switched to a new note. This is erroneous. null point. The image gets less distinct as you go lower The light weight wheel jumps into synchronization in especially in older strobe tuners which don't contain less than one revolution, assuming the instrument is clarifying filters. When in doubt, strike octave chords working properly. There is no need to wait between or fifths to make sure you are getting the right pitch. notes. Likewise, the initial warmup time is su~risingly short as can be seen by monitoring the Any beginning tuner may get the wrench'on the wrong calibrate mode. pin at times. Be alert to this possibility if the strobe "­ image doesn't respond to a pull on the wrench. Failure As in mountain climbing, the higher you go in tuning to observe this precaution may result in broken

- 81- strings. To replace a broken string or do any of the other regulating and adjusting that so often IMPROUIIIB OLD STEil.' accompany a tuning job. I refer you to Art Reblitz's book, Piano Servicing, Tuning & Rebuilding. 1110 IIIIBE ICTIOIIS I don't recommend spending close to $40.00 for a .'".1.''' tuning wrench (hammer). I have always used an A characteristic of neglected Steinway or Knabe economy model and it works fine. actions in some climates seems to be a stiff, unfriendly An article in the January 1979 Scientific American by feel of the keys. Although the piano seems to have Gabriel Weinreich reveals how a string tends to lock faintly good repetition, you may feel that other pianos on to the same frequency as the others in a given triad you have played have better actions. There is a remedy or pair when it is tuned within a certain range ofthem. for this. This effect makes it easier to get the unisons on the You will notice that in every piano repair book, there same pitch. I believe it implies that it is most accurate is mention made of the sliding repetition lever spring to-tune eaehstring-individually to a standard such as a in these actions, and that these springs accumulate a strobe tuner while muting the other strings. Any lot"of dirt and corrosion that fills the tallow lubricant method where you listen for a zero beat against in these slots in which the springslides. This is all OK another string will not be so precise because the string so far, but in order to properly cleanout these grooves, being tuned will jump into agreement with a string you are usually told to disassemble the entire action vibrating the bridge beside it. The result is that the frame, since they are inaccessible to inspect. This note is in tune but the string is closer to sltpping-outof little trick should save you anywhere from two days to tune. The article also speculates that in some cases a week, depending on how fast you are. richer after-tones are achieved if the unisons are slightly out of tune. I will leave that perfection to the 'This cleaning is about the first thing you should do to concert tuners. the action after you remove it from the piano, and you can leave it on the key frame, since the keys lift the I just want to bring the strings to the right pitch and whippens as high as possible. Looking at either end of hope they stay there as long as possible. With a little the action, you will look down a small triangular practice, my method is fast enough to tune a grand "tunnel" between the repetition lever and the whippen. piano, adjusting every string, in about an hour. and you will see a spring that holds the end of the Uprights take a little longer due to the increased repetition lever up against the drop screw. The other difficulty with the mutes. Modern consoles, and end of the spring acts as a return spring for the jack, so especially the modern console players are a pain. it is dual purpose. The important thing is that the slots Their shorter strings don't produce clear strobe in the underside of the repetition levers and the images and there is too little room for inserting the springs that slide in these slots, be cleaned up and mutes. coated to prevent the same problem later. Most cities that have janitorial supply outlets will have a company that will sell you a bottle brush. You will need one about a foot long, andwith either natural horsehair bristle or a slightly stiffer nylon substitute. The nylon will have frayed ends on the bristles to feel -======1] soft like the horsehair, and wilt do a better job than horsehair, but both work eventually. The stem of the brush is a extra heavy wire twist that is about three feet long overall. You can cut it later if you want it shorter. The diameter of the brush part is two inches. In most cases, you can have such a brush made up for you at a cost of about $5.00. The next step is to flip up the repetition lever springs by taking a small reverse hook or springtool made for the purpose and pressing each spring down out of it's slot, and conducting it sideways to clear the lever. Then it will spring up along side the lever out of the way. This does not hurt them. Now take your bottle THE PIER DOUBLE ENDED RUBBER MUTE brush and chuck it up in an electric drill. Aim it at the tunnel I was telling you about and turn it on forward, Take a 112 inch wide rubber mute and carve a diamond and the brush will slowly wind its way down through shaped notch in the large end using a small Exacto the tunnel. You can hold the forward motion back and knife. Chamfer the corners and trim it to make it clamp speed up the drill whlch causes thinner horsehair on the two outer strings of a triad. bristles to work better. By the reversing the drill, the brush is able to back out of the tunnel, since the brush is a spiral and drives like a big soft screw. Ifyou wish,

-82- you can pour carbon tet replacement, which is called Jeffrey Lowe: 3341 E. Colorado Blvd., Pasadena, 111 Trichlorethylene, into the action while the rotary CA 91107. 1926 Knabe 5'9" Ampico Italian. brush is doing its work, and be sure that every bit of dirt will be removed. When the brush cannot go any farther through one end of the action, reverse ends and Martin A. Rosa: 474 Jefferson, Ave., Brentwood, duplicate your procedure on the other end of the NY 11717. 1922 Ivers & Pond upr plyr. Referred action. by Q.R.S. '-" The next step is to clean the tallow and corrosion off the spring ends which you have picked out of their George & Elsie Jensen: 1197 Richardson Ave., slots. I start with a stainless wire brush and scrubeach Los Altos, CA 94022. 1914 Francis Bacon upr plr. spring. It doesn't take long. Then you can spray a little Referred by Phillip McCoy. McLube, which is a non-silicon mold release spray, into a cap, and wipe each spring with a little of this using a Q-Tip. Remove the action frame from the key Marlys & Louis Petros: 4501 Drew Ave., North, frame, flip the action frame upside down with the Minneapolis, MN 55422. 1920 Haines Bros. upr hammer heads pointing down on the bench and Ampico. Referred by Walter Scott, looking through the bottom of the whippens where the capstan felt is glued, you can see the slots you have Bill & Elissa Southard: 1990 Boynton Ave., just cleaned if your light is good. Take your can of McLube or any similar type mold release agent, and Martinez, CA 94533. using a WD-40 spray top with the long red plastic tube, shoot a little into each slot. Repeat this about three Tom Fortier: 4430 St. James Court, Flint, MI times all the way through. Or you can use Crown 48504. Referred by Molly Yeckley. graphite spray, and spray a little into the lid ofthe can, then using a good artist brush, about a 2, paint liquid graphite in the slot. Herbert B. Stockinger: 2424 Lake View Ave., Los Angeles, CA 90037. Music Boxes. Referred by At this piont, you can either go through a complete Mary Lilien. regulation of your action, or you can put it back together and try it first to see if that helped it. I have never done it to an action that didn't respond Grace Friar: 12 Grafton Street, Greenlawn, NY amazingly. Keys play smoothly and the action can be 11740. 1931 Stroud 5'4" Duo-Art art case. Referred regulatedto a much finer degree after you have taken by Bob Rosencrans. care of this problem. And it is no longer a problem that a technician must take care of. Many owners who are & mechanically inclined can take care of this Kenneth Lucille Hubbard: RR2 Box 83, themselves. After this phase is completed, the owner Elkader, IA 52043. Referred by Martin Hubbard. may now wish to have the action regulated by an expert. Anthony J. Giglio, Jr.: 111 Chapman Street, Watertown, MA 02172. Referred by Sanford Libman.

Allen C. Green: 7300 Deane Hill Drive, NEW MEMBERS Knoxville, TN 37919. 1929 Steinway OR Duo-Art; 1914 Steinway upr Duo-Art; 1921 George Steck grand Duo-Art. Referred by Bobby Clark. Hope E. Morrow: 2418 Glencoe Ave., Venice, CA 90291. Ron Wolf: 10906 Highway K, Franksville, WI IO. IO ••••• IO. IO •• IO ••••• IO. IO •••• IO ••• IO ••• IO •• IO ••• IO •••••••• 53126. Gary & Sara Baker: RRl Lakewood Terrace, Manito, IL 61546. 1918 Hazelton 5'3" Welte Lie.; 1815 Emerson upr plr. Referred by Craig Robert & Georgia Calvert: 15467 Stratford Brougher. Drive, San Jose, CA 95124.1926 Cable-Nelson upr plr; 1925 Wurlitzer upr plr. Referred byAl Smith. • •••••••• IO •• IO ••••• IO ••• IO. IO •• IO. IO •••• IO •••••••••• IO •••• Michael Hamann: 1026 Niagara Sreet, Buffalo, NY 14213. 1924 Steinway Duo-Art. Referred by Lily & Richard Hughes: 4580 Badger Road, Q.R.S. Santa Rosa, CA 95405. New Duo-Art upright.

• ••• IO •••••••• IO •••••• IO •• IO ••••• IO •• IO ••• IO ••• IO •••••• IO •• Carl & Clarice Burgwardt: 64 Greenmeadow Arion J. Amundson: 16455 20th Street South, Drive, Orchard Park, NY 14127. Lakeland, MN 55043. 1906 Emerson 65-note plr; ~ 1910 Automatic Music Co. A-roll Nick; 1890 • •• IO •• IO ••••• 10 ••• IO ••• IO •••••••• IO •••••••• IO •••• IO •• IO ••• Wilcox & White plyr organ; 1930 Clairola 4" roll. Referred by Gene Skarda. FOR SAlE: Cremona Style 3 nickelodeon. original beveled Edwin & May Bell Wood: 326 5th Street. North. "canary" glass, currently tubed for G rolls and includes xylophone. Safety Harbor. FL 33572. Referred by Warren tambourine, triangle & indian block. Playing condition - stack Knapp. recovered and retubed. Action needs complete refurbishing. $2900.00. Tom Beckett, (214) 239-5019 evenings. J Lucille G. McCoy: 2720 Roosevelt Ave.• FOR SALE: Rare Apollo Expression player. Wide tracker (17 Richmond. CA 94804. 1920 Baldwin 6'1" Welte inch, 128 holes) plays regular "88" rolls plus the large 16Y2 inch Lie. rolls, Beautiful tone. original finish. Fully reconditioned. Sacrifice at $2,950., rolls included. Mike Smith (415) 864-7363.

AMPICO ROLLS, sixteen. for sale or trade for Duo-Art or QRS story rolls. Send stamped envelope for list. Lyle Beller, 655 Mariposa Circle, Chula Vista. CA 92011.

CLASSIFIED FOR SALE: Knabe Louis XV Amplco. 64". immaculate $5700. Steck Baby Ampico Spinet - excellent $2900. Marshall & Wendell FREE LISTS: All types rolls. cylinder records and machines. 64'; Mediterranean Ampico. fine $4200. Custom Steck square Discs. cobs, catalogs & literature. Mechanical music and much grand, carved, inlaid, elaborate $2900. Steinway Victorian more. Our 22nd year ... VI & SI'S ANTIQUES, 8970 Main St., Rosewood 48" Consoles. $2000 & $2500. Randolph Herr, Clarence. NY 14031. 11107 77Ave., Forest Hills. NY 11375.

FOR SAlE: ALWAYS a very large stock of orchestrions. monkey FOR SALE: Complete Duo-Art mechanism for grand. $600. organs, music boxes, fair ground organs. automata, etc. Be a Expression box $150. Pump and motor $250. Bob Waltrip, subscriber to our free mailing list. Retonio's Mechanical Music and 1214 19th St.. Parker, Arizona. 85344. (602) 669-2485. Magic Museum, Blumenrain 16. CH-9050. Appenzell SWITZERLAND (071) 87 25 44. FOR SAlE: 1931 Stroud Duo-Art grand. Restored. $3995 or boo Libman. 8 Patrick Ave., Pinehurst. MA 01866. FOR SALE: Mandolin attactments - fits all upright pianos. Easy installation. $18.00 postpaid in U.S. W. F. Knapp. 2819 53rd St. FOR SALE: Knabe Grand Ampico "A" 5'3".1925. Case walnut. N.. St. Petersburg, FL 33710. Style A-GE. In 1969 re-strung also new tuning pins. hammers, dampers. and all under keyfelt. Cabinet. plate and soundboard Q.R.S. ROLLS: Up to 1/3 off, factory shipped. Send 50q: for refinished. New key covers (plastic). Ampico will need complete catalog. Price lists free. Write: Baley's, 310 Grandview. restoration. $4,600.00. Ampico "A" drawer. $195.00 Pianolodeon /' Kalamazoo, MI 49001. rebuilt and playing excellent with 10 rolls, $250.00 Beckwith player 1927 studio upright, 45'h"H and 58"L. Finish dark walnut, original ivories. Needs restoration, $1100.00 Warren Knapp, 2819 FOR SALE: George Steck Duo-Art grand 5'2" with two tone 53 St. No.. St. Petersburg. FL 33710. (813) 321-3050. mahogany case. Instrument complete. but needs complete rebuild. $1800. H. Kemp. P. O. Box 128, East Rochester. NY 14445. (716) 586-3519. PIANO ROLL AUCTIONS and all types of music for automatic instruments, also sheet music. Send for free catalog. Please state TUNE your own instruments. Peterson and CONN tuners. Contact your interest. Grace Friar's Musical Notes. 12 Grafton St.. Green microphones. Send for discount price catalog. Libman. 8 Patrick Lawn. Long Island, New York 11740. (516) 261- 2636. Ave.. Pinehurst. MA 01866. WANTED: ALL kinds of mechanical musical instruments. We pay FOR SALE: Hurdy Gurdy - Barrel Piano, made in Spain in 1950's. high prices for outstanding music boxes, orchestrions. automata. Plays six tunes. Includes block and triangle action, two extra music barrel organs. etc. We specially look for: Mills Violano, Hupfeld barrels six tunes each. and carrying cart with artillary wheels. Violano. Chordeophon. Encore Banjo, Eroica disc changer, Perfect condition. $700. M. Potash. 375 Linwood Ave.. Newton. MA orchestral disc boxes. working models. merry-go-round with 02160. (617) 965-4785. horses. interchangeable orchestra table music box. very large orchestrions. etc. Retonio's Mechanical Music and Magic Museum. Blumenrain 16. CH-9050. Appenzell SWITZERLAND FOR SALE: Wilcox and White Angelus Orchestral. Good (071) 87 25 44. unrestored condition. English Oak case. $600.00. David Severance, (509) 758-3484. BUYING: AMPICO. DUO-ART, WELTE & OTHER TYPE OF ROLLS. DESCRIBE AND PRICE. ALTMAN 8970 Main Street. FOR SAlE: Original Ampico rolls: 30 regular size, 15 large size Clarence, NY 14031. (popular & classical. some never opened!). $175 plus shipping. Ampico tracker bar pump. original box, $22. Original Givens Mel­ O-Dee rolls NEVER PLAYED: 116 regular size, 24 large size. Jazz. WANTED: Collector pays realistic prices for: Grand/baby grand medleys. 40·s. etc. No duplicates. $325 or best offer (plus player pianos • nickelodeons • circus organs • large music boxes. shipping). Dave Schultz. 763 Fairacres. Westfield, NJ 07090. (201) etc. Any condition. Send want list. I can find you anything. Paul 654-5611. Manganaro, 121 Valley Brook Ave., Lyndhurst. NJ 07071. (201) 438-0399.

FOR SALE: Stroud Duo-Art upright serial #54957, complete restored with 50 Duo-Art rolls $3500. Harvard Wood, Philadelphia WANTED: Ampico A pneumatic striker stack for 1923 Fischer PA. (215) 622-0550 days; (215) 688-3521 eves. grand reproducing piano or one which can be modified to fit. Carl Arvidson, 11 Watson Dr.. W. Simsbury, CT 06092. WANTED: Complete Duo-Art mecahnlsm for Stelnway Grand. If you have any or all components, please contact McCall-Monroe Plano Service. Call collect: (714) 622-8826. flor the ,,(0 .... WANTED: I would like to correspond with anyone who owns a 61 key Artlzan. BAB. or North Tonowanda band organ. Please write Andy James. 601 Alaskan Way, Seattle. WA 98104. Tuned and untuned percussions

WANTED: QRS roll #80400 "Autumn" by Chamlnade. Will pay for use in all automatic instruments top price for roll but will also settle for cassette recording. John Myers, Box 1255, Wheeling. WV 26003. Single and duplex spoolframes WANTED; American Fotoplayer, complete o( any parts. Wurlltzer style W Organette rolls or any parts. Robert Morton Theatre Organ for A,G,and 0 rolls and all console with roll player or parts to one. James B. Williams, 799 Maple Street, Ogden, Utah 84403. 801-394-7263. wurlitzer scales

WANTED: Music rolls for a Wurlitzer R-J series reproducing Custom fabrication in wood and player pipe organ. Hal Kemp, P. O. Box 128, East Rochester, NY 14445. metal of one or a thousand ports REMEMBER Piano and orqan supplies and hardware AMICA 1980 CONVENTION ---box-1094 ~-<" Pasadena, California - _.-.:----; I lubboc~ texas June 25 through 29 ~~~~~~L--79408~. Mechanical Systems, Inc. 1980

MASON & HAMLIN 'B'

5'8" Mason & Hamlin Ampico 'B', flawless condition, serial #40707, florentine art case, highly figured book·matched walnut I doubt there's a more perfect example of the world's finest reproducing piano in existence today. $37,000.00

Jim Blanchard 915 445 5150 --

;t Announces\J Its N e~est "0" Roll Release

Y-RITE MUSIC Ru...... o 401 S. BROADWAY , TURLOCK, CALIF.•. U.SA 95380 (209) 667-1932

ROLL NO: 0-1980 LATEST POPULAR HITS 5 1. lie A Yellow Ribton 2. Lucille I 3. The Gamljer ;;; 4. Sti" The One :; 5. Bad. Bad Leroy Brown 6. Music Box Dancer 7. You Light Up My Life 8. She Believes In Me 9. She Loves You 10. The Entertainer

"HIGH GRADE MUSIC ROLLS FOR ELECTRIC PIANOS" IlmllllllllllllllllllllllMlllllllllllllllllllllllllmlllllllll11IIIIIIIIIIIIIIIIIIIIIIOOIIIIIIIIWIL ~1111111111111111~~""'lmlllmllllmll~lIllmllllllll"lllllII 00 $30 Per Copy Plus $1.75 Shipping 401 S. Bro.dw., Turlock, C.llfornl. 85380 NO W AVAILABLE DIRECT: ""' ".\", "G" and "0" Orchestrion Rolls - Wurlitzer 125, 150 and 165 Rolls (208) 887-188' Ampico. Duo-An and Welte Reproducing Piano Rolls or 887-1832 ~EW ,'IS-Note Player Piano Rolls - Dealers Inquiries Invited Send For FREE list of Titles AUTOMATIC MUSIC ROLL CO. Order Ampico Rolls by Roll Number. P. O. Box 3194 Seattle, We. 98114 Phone (206) 633·3664 VISA and MASTERCHARGE ORDERS ACCEP'rED BY MAlL OR PHONE

A TOTAL OF 13NEW AMPICO ROLLS ARE LISTED ON THIS PAGE

AMR PRESENTS THREE NEW AMPICO RECORDINGS 217051 THREE LITTLE FISHES Arranged and Played by LlBERACE. Liberace cleverly begins this record­ $8.00 ing in his own style and then this novelty tune is cleverly adapted and played in the style of three different noted classical composers of the past; Schumann, Brahms and Liszt. The last rendition of Liszt is in the style of the Hungarian Rhapsodies. 217003 1. MUSKRAT RAMBLE (Dixieland Jazz) This is one of the liveliest Dixieland Tunes in a great $11.00 arrangement by J. Lawrence Cook. Now available for the Ampico. 2. THAT'S A PLENTY (Dixie­ land Jazz) Another one of the liveliest Dixieland Tunes ever written. These two superb recordings Arranged and Played by J. Lawrence Cook offered here on one Ampico roll. 217013 1. MAGNETIC RAG; 2. SOMETHING DOIN', Played by the COMPOSER, SCOTT JOPLIN. $11.00 For the first time, Scott Joplin actually plays your own Ampico Piano!! "Something Doin' " was written (in collaboration with Scott Hayden) in 1903 while Joplin was living in St. Louis. The 1903 rags are songlike, even the rhythlD1c "Something Doin' " has a beautifully flowing second subject. The above three New Ampico Rolls are each in the high quality AMR Ampico boxes, labels and are affixed with the high quality AMR Ampico roll flanges. SPECIAL PRICE!! - Purchase all three new AMR Ampico rolls for $27.50 (Special just one Shipping Charge for any number of new Ampico rolls - $2.00

AMPKCO MODERN RELEASES $6.00perroll.

(Word Roll Ampico No. (Title eJComposer) (Played By) orInstrumental) 41101 Feelings (Albert) Johnny Guarnieri Instrumental 41111 Evergreen (Williams/Streisand) Bud Noble Word Roll 41121 Exodus Theme (Gold) Bud Noble Word Roll 41131 Mahogany Theme (Masser-Goffin) Bud Noble Word Roll 41141 Music Box Dancer (Mills) Walter Erickson Instrumental 41151 Tie AYellow Ribbon (Levine/Brown) Walter Erickson Word Roll

30013 Selections From: "THE STING" PART I I. Entertainer; 2. Solace. (Scott Joplin) Played by Flynt. 30011 MAPLE LEAF RAG (Scott Joplin) Played by William Flynt. 30001 AFRICAN ECHOES (Sereante-Teicher) Played by William Flynt.

AMPKCO MODERN RELEASES - 58.00 per roll

30023 Selections From: "THE STING" PART II 1. Pineapple Rag; 2. Easy Winners (Scott Joplin) Played by William Flynt.

SHIPPING CHARGE: On Ampico rolls. Just one shipping charge $2.50 any number of rolls. Add $1.50 for Insurance. Overseas and Canada $3.50 for the first roll and .75 cents for each additional roll.

AMR also has the following other types of rolls for sale: A large list of various types of Original Olllan rolls and nickelodeon rolls for sale. A list of Original Welte Licensee rolls for sale. A List of Original Duo-Art rolls for sale. Coming soon: A list of reissued and new Duo-Art rolls. A list of reissued Welte Licensee roUs.