CHAPTER OFFICERS INTERNATlONAL OFFICERS NO. CALIFORNIA Pres .. Phil McCoy PRESIDENT Vice Pres.: Isadora Koff Bob Rosencrans Sec.: David Fryman 36 Hampden Rd. Treas. Bob Wilcox Upper Darby, PA 19082 Reporter Sharon Bartlett "'.... SO. CALIFORNIA VICE PRESIDENT Pres.: FrancIs Cherney Bill Eicher Vice Pres.: Mary Lilien 465 Winding Way Sec Greg Behnke Dayton, OH 45429 Treas Roy SheIso Reporter: Bill Toeppe SECRETARY Jim Wei sen borne TEXAS 73 Nevada St Pres. Carole Beckett Rochester, MI 48063 Vice Pres: Sal Mele AMICA MEMBERSHIP RATES: Sec/Treas: Doyle Cassel Reporter Kay & Merrill Baltzley PUBLISHER Continuing Members: $15 Dues Tom Beckett MIDWEST New Members, add $5 processing fee 6817 Cliffbrook Pres.: Bennet Leedy Dallas, TX 75240 Vice Pres: Jim Prendergast Sec.: Jim Weisenborne MEMBERSHIP SECRETARY Treas.: Alvin Wulfekuhl (New memberships and Reporter Molly Yeckley mailing problems) PHILADELPHIA AREA Charlie W. ,Iohnson Pres. Mike Naddeo THE AMICA NEWS BULLETIN P. O. Box 38623 Vice Pres .. John Berry Dallas, TX 75238 Sec Dick Price Published by the Automatic Musical Instrument Collectors' Association, a non­ Treas Claire Lambert profit club devoted to the restoration, distribution and enjoyment of mUSical TREASURER Reporter: Allen Ford instruments using perforated paper music rolls. Jack & Mary Riffle SOWNY (So. Ontario, West NY) 5050 Eastside Calpella Rd. Pres.: Jeff Depp Contrlbutlonl: All subjects of Interest to readers of the Bulletin are Ukiah, CA 95482 encouraged and invited by the publisher. All articles must be received by the Vice Pres: Bruce Bartholomew 10th of the preceeding month Every attempt will be made to publish all articles Sec.: Mike Walter of general interest to AMICA members at the earliest possible time and at the BOARD REPRESENTATIVES Treas: Stella Gilbert discretion of the publisher. N. Cal. Howie Koff Reporter: Jim Brewer S. Cal: Dick Rigg Texas: Wade Newton ROCKY MOUNTAIN ADVERTISING Phil.: Bob Taylor Pres Robert Moore Sec Sharon Paetzold • Clallllled: 10¢ per word, $1.50 minimum Midwest: Bill Eicher SOWNY: Chuck Hannen Treas.: Carl Paetzold • Dllplay lIdvertlllng Rky. Mt.: Dick Kroeckel Reporter Jere DeBacker Full page . 7Y2' x 10" $5000 New Jer.: Jeffrey Morgan NEW JERSEY 1 One-half page horizontal 7 /2" X 4%" 2500 Iowa: Alvin Johnson Pres.: Dan Schacher One-half page vertical 3%" x 10" 25.00 Boston Area Sanford Libman Vice Pres.: Richard Dearborn One-fourth page vertical 3%" x 43;''' 1250 Northern Lights: Trudy Maier Sec: Richard Groman III • Each photograph or half-tone $500 Treas. Willian Dean COMMITTEES Reporter • We recommend display advertisers supply camera-ready copy. Copy that is Technical IOWA oversized or undersized will be changed to correct size at your cost. We can Mel Luchetti prepare your advertisement from your suggested layout at cost. Pres.: Dale Snyder 3449 Mauricia Ave. Vice Pres: Stan Peters • All copy must reach the pubiliher by the 10th of the preceeding month. Santa Clara, CA 95051 Sec/Treas. AlVin Johnson • Cash must accompany order. Typesetting, layout or size alteration charges Reporter Richard Parker Honorary Members will be billed separately. Make checkl payable to: AMICA BOSTON AREA INTERNATIONAL. Alf E Werolin 2230 Oakdale Rd Pres .. Alan Pier • All ads will appear on the last pages of the Bulletin at the discretion of the Hillsborough, CA 94010 Vice Pres.: William Koenigsberg pUblisher. Sec .. AI Greco Treas: Philip Konop Publication of business advertising In no way Implies AMICA's endorsement of AFFILIATED SOCIETIES Reporter: Ray Magee any commercial operation. However, AMICA reserves the right to refuse any ad The Player Piano Group that is not in keeping with. AMICA's general standards or if complaints are The North West Player Piano NORTHERN LIGHTS received indicating that said business does not serve the best interests of the Association Pres.: Ron Olsen members of AMICA according to its goals and bylaws Vice Pres.: Gene Skards Sec.: Dorothy Olds Treas. Trudy Maier

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

SUMMER BULLETIN SCHEDULE SOLO-CAROLA As indicated in last month's Bulletin, please take note that this INFORMA1"ION EXCHANGE will be the last Bulletin issued until the combined August/September Bulletin to be prepared and mailed to you As a by-product of the Ilgenfritz study, I have started to for delivery in September. There will not be a separate August compile a list of all Solo-Carola rolls. There are apparently issue. about 600 by the numbers that I have seen, and about a third Deadline for the August/September Bulletin will be August of these have been identified, listed, and cross-indexed with 10th. Recordo and Imperial where possible. About 80% of the rolls listed to date have exact counterparts in Recordo or Imperial and may have equivalents in both. ERNST SCHELLING I will be glad to provide a listing of these 200 known rolls (numbers only) upon receipt of a return envelope with a 15¢ (LOAN) ROLLS NEEDED stamp. Any additional numbers that anyone can provide will be added to the list. The present version of the list (including The New Jersey Chapter of AMICA has decided to present an titles and artists) is available for postage and copy cost ($1.00), "Ernst Schelling Soiree," to be presented in the local (cultural) but I suggest waiting for an updated version including the theatre as an historical tribute to him, at his birth place. data that will hopefully be forthcoming from this request. We do have some Schelling rolls, however we would like to Bobert H. Bowerman, 222 Maintonomi Avenue, Middletown, buy or borrow more for this concert. If anyone can assist, the RI 02840. following Duo-Art rolls are needed: #7215 Nocturne (Ragusa - played by Paderewski-ALL the others were played by Ernst Schelling). #101588 Home, Sweet Home. #5770-86-99 Sonata B Minor, Liszt. COLOR COVER MATERIAL And the following WelteMignon rolls: NEEDED FOR CHRISTMAS BULLE"rlN ,/ B 1448 Mazurka C Major Gp. 56, #2, Chopin BY TOM BECKETT C 1444 Nocturne B Major, Gp. 62, #1, Chopin C 1450 Soiree dans Granade, Debussy The last couple of years we have been very fortunate in C 1451 Tacatta, Debussy having excellent material donated to us for use in making up 1445 Etude, A flat Major, Gp. 10, #10, Chopin our Christmas issue (December) cover. So far nothing really 1446 Etude F Major, Gp. 25, #3, Chopin suitable has come in this year and so I ask that anyone who may have something that is seasonally appropriate please 1447 2 Preludes, C Major, Gp. 28, #1 & Bb Maj., #21, Chopin consider forwarding it to us for possible Bulletin use. Your 1449 Prelude & Fugue, E Minor, Mendelssohn original will be carefully handled and returned and you will 1452 Au Chateau de Wiligrad, Schelling be given published credit for the cover. 1453 Romance, C# Minor, Schelling Please contact: William Dean, 15 Hahn Street, Washington, NJ 07882 NOMINATING COMMITTEE SELECTION The AMICA Nominating Committee announces it has selected Cover - Design created from a 1925 Duo-Art Tom Beckett as its candidate for the office of Publisher for advertisement. Reprinted from Through You I Live the upcoming 1 year (1979-80) term. Forever, courtesy Beckett/Zahm. Bill Eicher, Chairman AMICA NGMCGM INDEX INTERNATIONAL AMICA 105 AMICA FORUM 113 INSTRUMENTS 114 ROLLS & MUSIC 115 EDITOR'S NOTE: The following article on the evolution of MIDWEST 115 the music roll was photographed from the original printed in IOWA 118 an August, 1927 copy of "The Tuner's Journal" contributed by BIOGRAPHICAL SKETCHES Dick Merchant. Harold Samuel 122 The un;derlinings were drawn in by the original owner (not TECHNICALITIES 122 Dick). The article was not re-set (without underlines) because of the length involved. Article begins on page 106.

- 105- The Evolution of the Music Roll By Charles F. Stoddard (Inventor of the Ampico) , Director, Research Lab­ oratory, American Piano Company, New York City Convention Address

HEN Mr. O'Meara asked me to talk January 24, 1842. Until about 1850 the to you on the subject of evolution, I only mechanrca11yoperated keyboard instru­ W immediately asked him if he did not ments were organs. At this time, we find realize that many people associate evolution Hunt and Bradish in Warren. Ohio. taking with the monkey, and he replied that there out a patent on a little pianoforte controlled are just as many who associate the music by a paper music roll and actuated by a roIl with the monkey. I asked him what crank turned by hand, so we may safely say he meant and he quickly explained that he that aoout 185U was the earliest date of a referred to the music roll that Tony puts in piano player actuated by a paper music roll. his hand organ while ] ocko collects the This patent of Hunt and Bradish is accom­ pennies. panied by a drawing of a little piano with only thirteen strings which could be carried I have a photograph of an old print dated around easily under the arm. The illustra­ 1657, thirty-seven years after the Pilgrims tion shows the crank, but as no monkey is landed at Plymouth Rock, which shows a shown I presume it was not carried under beautiful pipe organ operated by such a roll. the arm or strapped over the shoulder. The entire mechanism was driven by an overshot water wheel. In Latin is a com­ The first music rolls which were laid out plete description of this organ which tells were merely perforated rolls with the notes exactly how the music was laid out. I shall exactly as they were shown in the sheet read a translation of the Latin: music, thus leaving it entirely to the operator to provide the musical expression. A great Transfer the Pythagorean melody to the many thousands of players were sold which aforesaid phonotactic cylinder. Since the were operated by these crude mathematically melody consists of 54 times, or measures, laid out music rolls. How well do we all the whole circumference of the cylinder should be divided into 54 equal parts; then remember having a neighbor who owned one each part should be subdivided into three of those piano players! Those owners had a parts since each note of this melody equals lot of fun trying to put musical expression one-third of a measure. In the figure the into those mechanically played notes, but the heavy lines drawn longitudinally on the cylinder mark the first division into 54 neighbors suffered a lot of agony. parts, the dotted line shows the subdivisions Generally speaking, the owners of those into three parts. Then transfer to the cyl- instruments had about as much idea of music inder the melody and fix the teeth which correspond to the notes in the proper places. as the old fellow in the country church or­ chestra who played the piccolo. At one of Notice particularly that we have a com- the vesper services at which the orchestra plete description in 1657 of the exact method performed this particular old fellow got the of laying out a music roll which was fol- pages of his sheet music mixed so that he lowed up to the first part of the present was playing the third page while the rest of century. the orchestra were playing the second page. The little wooden roll filled with pins that A distinguished gentleman who sat in the Tony puts in his hand organ is made by the third pew was so upset by the mistake that selfsame method that was used in the earliest he could not repress his feelings and in his automatic keyboard instruments. disgust said right out loud, "the damn fool piccolo player." After the orchestra had In about the year 1840 we find the first completed its selection, the minister stepped mentio~ of the use of the continuous paper to the front of the pUlpit and asked the per­ roll whIch later supplanted the pin cylinder. son in the congregation who called the pic­ Claude Felix Seytre of Lyons, France, ap- colo player a "damn fool" please to stand pear_s to be the inventor of the perforated up. The distinguished gentleman did not paper tI.Ote sheet. ThiEl patent was dated stand up, but a little deacon in the back of - 106 - the church rose and said, "Preacher, may I ically produced music: Simultaneously with suggest that you do not try to find out who the development of the Welte, there was a called the piccolo player a damn fool, but similar development made in this country that you try to find out who called the damn which later was brought out by the Amer­ fool a piccolo player?" ican Piano Company and is now known as the Ampico. It was a long time before it became evi­ dent that the general public were not musi­ Sometime after the Ampico, came the cians. They loved music, but they did not Duo-Art, which was also entirely automatic. know how to give musical expression. These reproducing instruments were all Realizing this, many inventors in the field of operated by electric motors instead of by the player piano set about to construct foot pedals. various devices which would help the public With the advent of the Ampico, there to give musical expression to those mechan­ came another improvement in the music ically played notes. roll, the development of a means for produc­ In 1891 R M. Hunter of Phila.del.phia ing tonal effects which had been, up to that concelved..Jba idea of putting a wa1LY line an time, regarded by many musicians as not being within the realm of mechanism but tnt IlluSIC roll to denote when the music should be played loudly and wIlen softlv. were rather, as they liked to express it, "A This was the first step m the lonv road manifestation of the soul of the performer." traveled m the development of the marvelous This inve:ltion consisted of arbitrarily ex­ present day players.' From this Important tending the perforations of certain notes in step, tfie evolution of the music roll took a order to carry their tones across from one turn toward producing various effects auto­ harmony to another-thereby obtaining pre­ matically instead of leaving them to the dis­ cisely the effect which the performer did by cretion of the operator of the player piano. his subtle operation of the damper pedal. Numerous patents were applied for and Following Mr. Hunter by nearly ten years~ granted to the American Piano Company F. L. Young of the Aeolian Company con­ on this method of obtaining these subtle ceived the ide'Ulf the M etrostyle, which was tonal effects. also a wavy line running the length of the sheet and a pomter attached to the tempo The next development in the evolution of fever, the index end 01 WhICh reached up to the music roll came in the method of record­ the tr:acker bar If the tempo lever were ing a musician's playing. Mr. Welte's moved so that this index end of the pointer method was secret, so we cannot know how followed the line the various retards and it was done. The method used in the early accelerandos and other tempo effects were days of the A1npico was covered by a patent rendered in musical style. granted about 1912. This consisted of placing electric contacts on the piano key Some five years later the Themodist was which would indicate on a moving sheet the invented simultaneou-Sly by Mr. Crooks and length of time it took the key to be de­ Mr. -skinner. 1'lli£ improvement in the pressed. Vve can readily see that it requires mUSIC roll consIsted of inserting supple- a much longer time to depress the key when inentary verfOlatrorrs on the edge of the playing a soft note than it does when play­ sneer opposite each theme or mefody note. ing a loud note. So a long mark denotes a These pe_rioratians controlled a mechanism soft note and a short mark denotes a loud which aULUII1

AMPICO RECORDING INSTRUMENT

- lOH - The first operation on the note record is also indications which show exactly how a check of each and every single note with fast the dampers were lifted from the the notes on the sheet music to eliminate strings or returned to them, and how deeply wrong notes. We call the checking of each the dampers sunk into the strings. individual note with the sheet music one To solve this troublesome problem of re­ operation, so that in the note check-up of the producing these subtle tonal pedal effects Blue Danube Waltz there were 7,915 oper- with a mechanically operated pedal mechan­ ations. This took one operator about three ism, the Ampico uses a patented process .of days. While the notes are J;>eing ch~cked, extended note perforations. We can readtly there are two operations gomg on m the understand that so long as a note perforation dynamic record, one the identification of the is extended, just so long will the key remain marks and the other the measurement of depressed and the .damper .be held ~ff the them. ' The two sheets are then put on a string, and the stnng contmue. t~ smg. or pantograph table, which makes it very easy vibrate. If the record of the artIst s playmg for the operator to transfer the figures of shows that he "half-pedaled" in a given the dynamic sheet, which show the loudness place, and did not damp out certai~ ton~s with which every note was struck, to the which had been sounded, the perforatIOns m note sheet. This entails another 7,915 oper- the music roll controlling these tones will ations, making a total of 31,660 .operations be extended right through that part w.here to this point. The roll is then gtven to an the mechanical pedaling damps the strmgs. operator who translates the re~ord of .the We must remember that mechanical pedaling pedaling into extended perforatIOns whtch, is not "half pedaling," but complete pedaling. with the automatic damper pedal of the re- The tonal effects obtained by this process of producing piano, control the qua~ity of ton.e. extended note perforations are identical This is one of the most interestmg steps m with those obtained by the artist. the process of editing the roll. Now we I have gone into an explanation of this have a note sheet with a figure at the begin- detail at great length as it is one o! t~e ning of every penciled mark telling exactly peculiarities of the Ampico record whlc.h IS how loud that note was struck. Another d 1 very often misunderstood. Many. tImes operator then takes the roll an trans ~tes in the record there are as many as etghteen these figures into side hole perforatIOns or twentv note perforations being extended which will control the loudness of every J . at the same time. This makes it appear as note, so that the performance t~e Amp'tco if the artist had held down that many notes will render is exactly as the artIst played. . This necessitates 7,915 more operations, and with his fingers, which would be an Im­ on this particular roll required nearly five possibility. What the artist did do was to keep that many strings singing by t~e days of the operator's time. manipulation of his damper pedal, a!1d m The producing of subtle tone shading order to give precisely the same qualtty of through pedaling is a very important part tone as the artist did these perforations are of the playing of every great pianist. There extended as we see them in an Ampico music is full pedaling and half pedaling. Half roll. pedaling is a quick use of the damper p~dal Up to this time no holes have been placed which does not wholly cause the strmgs in the record, but it is now ready for the touched by the dampers to cease sounding. preliminary perforating. This is done by The vibrations of a half-pedaled string con- hand. A perforation about one-fourth of tinue long after the artist's finger has left an inch long is placed at the front end of the key.. Thel2e vibrations mingled with all the penciled lines indicating notes, ex­ those of the notes struck in a harmony im- cept the very shortest, for which a much mediately following create one forni of what shorter perforation is used. A single ro~md is known as tone color. This is one of the hole is placed at the end of each penctled subtle things that makes piano playing so line. With these preforations merely at the wonderful. It is something thoroughly beginning and end of the penciled lines the understood and constantly used by the great record is now ready to go to the automatic artists. stencil making machine. It must be realized Extended marks on the side of the Ampico that it has not yet been put un a player, record show exactly where the damper therefore it has never been heard, although pedals lifted the dampers from the strings more than 71,235 operations have been done and where they were returned. There are on it. - 109 - The automatic stencil machine finishes It is seldom that the artist requests any the stencil completely, and a trial cutting change. I f a change is made, it is not a cor­ with it ready to be heard, in less than an rection. Hearing the record, the artist be­ hour and a half. In the old days much of comes his own critic and if a change is made the work of laying out a stencil like this was it is to meet his wish to alter slightly his done by hand, and the Blue Danube U7 altz own performance. would have taken six boys about three days to complete. The record of the Blue Danube Walt.z contains about five times as many notes as The dynamic figures are copied from the the average record and it required consider­ original note record into this new trial roll ably over 100,000 operations to bring it to which comes from the stencil machine to completion, but the result fully justified the guide the editor in the next operation, which great effort. is a complete inspection of the roll to see that no errors of any kind exist. After all Now we see on looking back that in the corrections are made in this proof roll and beginning the music roll contained only the transferred to the stencil, another cutting notes, and the person owning the player was is made and the piece is now, for the first supposed to put in all of the musical ex­ time, ready to be heard by the artist. pression. The evolution of the music roll has carried it to a highly developed product The record submitted to the artist is a which leaves absolutely nothing for the perfect performance, an exact duplicate of owner of the instrument to do but to insert the one he gave when making the record. the roll and turn on the switch.

THE AMERICAN PIANO CO. The factory of Chickering Bros. here will be taken over by the city of Chicago as a result of condemnation proceedings to make room for the southSide BUYS CHICKERING BROS. boulevard extension. From The MusIc Trade Review, January 31, 1925. Contributed by Mike Acoustigrande to Be Known as Marshall & Wendell Acoustigrande-C. C. Montgomery. Chickering, Chickering & Sons Vice-President.

Chicago, III .. January 23. - Alfred Wagner, vice-president of the American Piano Co., who was in Chicago for a few days thiS week on his way to the AMPICO OFFERS TOUCHING PaCifiC Coast, announced formally the fact that the American Piano Co. had purchased the entire business of Chickering Bros., of this city, manufacturers MEMORIAL TO HERBERT of the Acoustigrande, the purchase including all the good-will, scales, patterns. patents, etc. Provides Means for Impressive Feature in Memory of the late Victor Herbert at the Recent Friars' Frolic in New York. The change has been heralded for some time, but nevertheless much interest was shown in the formal announcement of the purchase and particularly in the The Friars' Frolic, an annual event in New York's theatrical circles, was thiS fact that Clifford C. Chickering, formerly head of Chickering Bros, will year held at the Manhattan Opera House on Sunday evening, March 20. A become affiliated with Chickering & Sons of Boston as vice-president of the feature of the program was an ensemble number entitled "Our Composers," at corporation which there appeared as in former years the follOWing: Irving Berlin, Jerome D. Kern, George Gershwin, George W. Myer, Harry Archer, James V. Monaco, The Acoustigrande in the future will be known as the Marshall & Wendell LOUIS Silvers, M. Ager, Cliff Friend, Henry Santley, Joseph Santley, Isham Acoustigrande, and Mr. Chickering has for some time been making ready for Jones and Dave Stamper. thiS transfer of the Acoustigrande to the Foster-Armstrong Co In addition to several pieces for a group of pianos, each composer played Up to , 890 Clifford C. Chickering had been with Chickering & Sons and then someth,n9 of his own. Since the gathering of the Friars last year one of their became interested in the manufacture of pianos in Chicago. He now becomes group of composers, Victor Herbert, has passed to the great beyond. In the again associated with the old house of Chickering, and returns to the same circle of grand pianos, at which the musicians sat. one remained with an Chickering & Sons factory at 791 Tremont Street, Boston, where he first empty bench. It was in Victor Herbert's accustomed place. When it came his became connected with the piano industry under the tutelage of the eminent turn to play there was an expectant reverential silence and then from the C. Frank Chickering, who had so much to do with the development of the Instrument there came the strains of his "Kiss Me Again," from "Mmle. Chickering & Sons piano and who made a name as an authority on scale Modiste" in the composer's well-known interpretation. It was Victor Herbert's drawing. own recording of this favorite number played by the Ampico. The incident was Mr. Wagner, who is also preSident of Chickering & Sons, when seen in Impressive and touching, his name appearing on the program as of old and Chicago expressed sincere gratification upon Clifford C. Chickering's return under it the line: "He being gone yet speaketh." to Chickering & Sons and stated further that there was nothing more to say From The Music Trade ReView, April 11, 1925. Contributed by Mike than "This is where he always should have been." Montgomery. (Editor's note - ThiS fairly well confirms the version "- presented In the April Bulletin, page 51, by Andrew L. Stone.) -/ '178 Do You Think of a Piano as Your Best Friend? From the San Francisco Chronicle, May 7, 1979. Contributed by Bill Knorp.

B.r Blake Green Pianos, saysthe pian" I learnedt:o play the piano - my,piano teaCher ist Bert Bales, are like might ~k'eUIDbliageat my use IJf 1~ word "play" - 011 women. He strolres"'tbe an oldl1pright that bad bM.o ..JUf 1I1OUl~'s.l1bad Iyory smooth, milky-white keys. keys -wbich WOUld be impossi~lEno fina in a new runs hisfingers up over upright (and most grands) in thiS ag:e of "ivortne" ­ !be curved ebony. SInce and no matter bow often·it was tuned, the middle G each one is different, they always stuck. The last time we saw the tuner, he was constantly surprise you. patient, but firm: "Madam, I have done everything I But there are types, can for this piano. The kindest thing you could do says Bales: To get to know would be to put it out of its IIiiSery." a Steinway, say, "you have Sometimes the pianists take matters into their own to work a lot harder. hands. Harlem-stride pianist Mike Lip&kin learned to they're more sophisticated and a little more on the tune and repair pianos himself ~ause, "contr:ary to brittle side." With a Baldwin, "you can relax more, feel opinion, jazz pianists don't like to play on tacky, tinny, closer to them straight off." ouMf-tune uprights." John Horton Cooper remembers It's all a matter of taste, of course, but, while some jobs whe"n the piaIlQ was 50 bad the musicians "took a of the best pianos Bales has known are Steinways - the whole handful of the hammers with them so nobody one he is fingering is the Yamaha upright at the ever had to play thatpiano again." Washington Square Bar and Grill- if he could have Bobby SbortJs what is called a "Baldwin artist," (:lny piano he wanted (that's not a leer, that's just the buthe prefers to play on a Bechstein (as dO!E!SCoo~)if way Bales always looks when he talks about pianos), one is available (Baldwin doesn't mind - it happeJJ$ to ne'd choose a Baldwin grand. "My favorites have awn the German company.) In his New Yo~k digs, Shwt always been Baldwins." nas "a room of its own" for his Bechstein. (Fats Wan~ You call this sort of thing anthropomorphizing­ frequently traveledwith a Hammond organ, for which the attaching of human traits to inanimate objects. he reserved a separate hotel room, but, to avoid a series Invariably, according to John Steinway, the great­ of double entendres, we'll restrict this piece to pianos.) grandson of the man who founded the piano company The pe~nalrelationship that pianists have with that bears his name, men think of their pianos as their instruments is "why most concert pianists will women and women think of theirs as men. An Israeli schedule themselves to arrive a day ahead: so they can woman remembered by piano tuner Peter Wolford, meet the~piano,get to know, become friendly with it," 'called her black Bechstein 'Bruno.' " Steinway says. Pianist Myra Hess ttJought of her pianos as Unlike instruments such as the Violin, pianos do busbands. "This," says Steinway, "produced a rather not improve with ag~ but stilI some people talk about peculiar telegram: Tm divorcing No 1, l?lease send their pianos as if they were wines. Peter Mintun, who No.2,' she once wired the company. We knew what ::.he plays upon a Grotrian-Steinweg at L'Etoile, has a 1915. JIleant, but I wonder about Western Uoion." Steinway he received from singer Dana Sweese that he It isn't necessarily a sexual thing, however. proudly calls "one of the vintage Steinways." Vladimir HorOWItz referred to his piano as "my dear (The notion that Steinway once produced a . ..nd inseparable friend." After Brazilian pianist superior piano to todilY'S line is something thE/Stemway Guiomar Naval'S spent a little time with her "old pet," people go to great pains to deny. "That's the popular fhe rose and apologized: "Hc's not well today; he has a thing to say about a lot of things - that. the~'re 'not. told." made today like they used to be' - but m thJl$ case, It isn't so," says Eric SChwartz, a vice president or Pianos have been known to bring out the male Sherman Ciay the local Steinway dealer. Spokesmen chauvinistic side of musicians: "The piano," Philippe for the compa~yalso insist that European Steinways, [ntremont insists, "is a mall's instrument - the king of made in the company's Hamburg factory, are no the instruments." different in quality than the ones made in Long Island It isn't just pianists who humanize their in­ C~y.) struments. Violinists do it. Guitarists do it. "The gUitar," like good women (or men), pianos shouldn't be ~id Andre Segovia, "is a difficult instrument for a to!lsed out or traded in when the new models arrive. oerfectionist because of the influence of the girls - the Will] prover care, they can last a long time. aJtfJ.Qugh.as leminine curves - on its nature. Sometimes it can be WOll'Jrd says, tht:people wbohave proudly held ~to "ery sweet and nice, sometimes hysterical." Bassists do their square rosewood pianos that came a~the ;1. "The bass," said Vernon Alley, "is a veI;Y physical Hom don't have much more by'now·tban a pretJy .case. Instrument. The sound that comesout of it fits me, suits my nature." While many pianists think of pianos asindt.d11als with personalities of their own, it is ironically S1Il This isn't ridiculous. People think this way about people on whom the instruments depend. In tbis cars and airplanes and boats, so why not musical rec;pect, nightclub owners and others responsible for instruments? A wood instrument, after all, has been the care and feeding of pianos often do not tare very constructed from a living thing, tuner Hoy Foreman well in the musicians' hierarchy. points out.

- 111 - "They hire som~bodylike Earl (Hines) and a band piano."He'd take the bass out and then slide the case like hisand payout the money, but why would they off." One night when the bassist arrived at the club, the think we were going to sound good with a really bad third leg of the piano was resting atop his bass. piano?" asked Cliff Smalls. "Nobody," says Pastore, "f--around with my Hines, however, says he"raises,cain" only with piano." club owners "who can afford a good piano and have a dog. Most (club owners)," he says, "don't know anything When El Matador closed as a jazz club, "I could about pianos. They th.ink you protect a piano like you have put an ad in the paper and sold her to just any protect a bar- Wipe it off. And some piano players are jerk," Pastore ~ys, but he took the piano back to Val St really hard on a piano." Regis at the Yamaha dealership "and asked him to find her a good horne." Writer/pianist Don Asher recalls being booked for an "elegant Piedmont lawn party" where the hostess Regardless of how eloquently people wax about had brought her spinet outside the night before and the voice and soul of a piano, about its aesthetic color· after all the hours in the damp air, "all the hammers tones and how it can express human emotions and stuck like flies to molasses." The hostess' son "stood sentiments, there is no avoiding the fact that thepiano beside me, hour after hout that night, reaching in and is also a mechanical, scientific instrument. pulling the ~ammersback." In this respect, pianos are much like cars or other Most of the time it is impossible, but there are, appliances. Their buyers comparison shop. Each Asher says, instances of the artist being able to manufacturer has different models. Some instruments overcome the limitations of the instrument. At a Boston are easier to handle, some have a faster pick up. There club, the "piano was a monster." The pianist in the was the Little Old Lady who asked Wolford if he tuned opening act jazz trio was beside himself. George "Harley Davidsons - she meant Hardman Pecks." Shearing followed the group, Asher remembers and, Just as in other areas of commerce, the Japanese "with his sensitive touch, he knew which notes to are giving the rest of the world a run for their money. touch, which to baby. He transformed the instrument "Every third piano sold in the world today," says St. into something beautiful." Regis, "is a Yamaha." Every so often, however; a club owner comes along Boesendorfer has been called "the Rolls·Royce of who turns out to be the best friend a piano could have. pianos" (more like a Mercedes, however, since the Take the case of Walter Pastore, a North Beach night­ cheapest Rolls these days is $70,000 and a super-duper life type who spends his evenings amid the pool tables Boesendorfer costs $46,299) by no less talented pianists and pinball machines at El Matador. than Victor Borge and Garrick Ohlsson. Roger Noteware, a classical·turned-jazz pianist, grew up His establishment ("the Matador," as it is generally playinga Steinway, but, after making the acquaintance known) was once a jazz club, and in that jazz club, of a Boesendorfer (last year he bought a 9-foot-6 model, Pastore had a small Yamaha grand that, he liked to the largest grand the Viennese company brag to people, "was a magic piano, a one-in·l0,OOO manufactures), he "wonders if Steinway ever made a piano - the one when everyone does everything good piano." right." Now owned by the American pianoeompany, Mose Allison picked out Pastore's piano for nim, Kimball In~rnational Inc., Boesendorfer turns out only and the owner had it tuned every week: "At a time some 600 pianos a year (compared to Kimball's (JO-70,000) when the job was done for $10 or $15, I paid $25 to get and has all the custom touches one might expect of the the best" John Lewis of the Modern Jazz Quartet fell in creme de lacreme: ivory keys, more of them in,the love with that piano, Pastore says. So did Bill Evans. Ah· larger, longer models (97 keys in the 9-foot-6 piano vs. 88 mad Jamal looked at the piano, informed Pastore that in the usual9-foot concert grand) and a mirror-like, "those Japanese don't know how to make pianos." high-glossy finish. Then, recalls Pastore, who has a flair for the Since playin~ the piano is, in most cases, not the dramatic, "he gives it a little of this" - Pastore wiggles path to riches, most pianists can only lust after the the fingers of his right hand - "and a little of that" _ model of their drelms. Even when they can afford the the left - "and two and a half hours later, he's still best at home, the nature (size) of the instrument means playing my piano! they still play upon what's available in public. "I had a guitar player once who insisted on putting But even the greats don't always feel that strongly out his cigarets on the back of my piano,"Pastoresays. one way or the other about the makes of pianos. Irving "So one night I puffed up a cigar just as he was wiping Berlin composed "White Christmas" on an old upright. off his gUitar. Wben he Pianists who work from arrangements may require got it all nice and into the instruments that don't vary much in tone, says Hines, case, I put the cigar out on "but I don't play nothing the same way twice. the guitar. He says, 'are you crazy? This is a $500 "What difference does it make that a piano has 97 Spanish guitar!' I say, 'gee, keys?" Hines asked one afternoon after rising from it looked like an ashtray playing an upright he described as "better than some. to me - and a lot cheaper one than my $3000 asb· "Most people in the audience don't even know if tray." you've used allBB." Then there was the bass player who put his case on Pastore's

- 112 - left in the sun to bleach it out to white. It would be quite yellowed if taken from a carcass, as it turned quickly after an !!'1 elephant's death. So, in effect, when we expose this "dead Jlmica Cltorum ivory" to daylight (preferably a North light if you don't want to wreak havoc on your piano's case) it will again go through -.-- this bleaching-out process which seems to take from three to six months. The only requisite from that point on is to see that the fallboard is not left down over the keys for any great PERSONALIZED AUTO PLATE length of time. BY BOBBY CLARK Ivories are best cleaned of dust and grime simply by using a slightly damp cloth or sponge and wiping them dry with a Editor's note; ln response to a request for AM1CAns to clean, dry rag. submit their hobby-related personalized auto plates a few Has anyone else heard of the "dead and/or alive" ivory issues ago, response hasn't been as much as 1 hoped. it is not theory? necessary to send a photo - ;ust drop me a card with the "name" of your plate. The technician who relayed this information to me, by way of qualification, was manager of the Toledo (Ohio) Symphony Orchestra for twenty-five years, played first-chair clarinet in it, and studied under Percy Grainger at Interlochen, Michigan. He does not mess with players and/or reproducers but understands their raison d'etre and respects them.

JAPANESE PIANO ROLL INFORMATION BY VERNON BROWN On page 74 of the \'lay 1979 AMICA Bulletin a few questions are asked about Yamaha Music Rolls. Some years ago I found here in Tokyo a Yamaha player, ordinary foot-pump variety, and three Yamaha rolls. I bought the rolls and still have one of them - having sent the other two to collector friends in the United States. The leader and box label of the ones I found are different from the one you show in the Bulletin -indicating / Bobby Clark writes: Here's another one for your collection. a design change along the way somewhere. As far as I know, AMICA and OliO-ART would still be available in South Carolina. I did not have to get on a waiting I can answer some of your questions-to the best of my list for AMPICO. Apparently these names are not too popular knowledge. As far as I know (1) No rolls are being cut in here. Japan at present, (2) few if any rolls were exported to the United States, (3) no reproducing rolls were produced in Japan, and (4) at least three AMICAns have or once had one Yamaha roll each. Correspondence with Nippon Gakki revealed that "about 80 TICKLlN' THE IVORIES units of player piano" were produced by Nippon Gakki between years 1921 and 1932 and rolls were produced by WON'T MAKE THEM WHITER Nippon Gakki for these pianos. Most of the rolls were BY MOLLY YECKLEY transcriptions of Japanese music, mainly old folksongs. The roll I have is a transcription of Japanese koto (harp) music. Among the many not-well-known facts concerning pianos is The company does not have exact data because all records the one regarding "live" and "dead" ivory. It has been a source were lost or burnt during the last war. of mystery to me why an 1898 Steinway concert grand that is kept in a box built for it, hidden behind curtains on a dark stage, has the most beautiful snow-white ivories of any piano I've ever seen. When we encounter yellowed keys, it usually means the fallboard has been kept down for many years and I always thought it was this simple lack of light to the keys that made them yellow. In a sense, I was right, but not for the reason I had thought. In the bad old days (for the elephants) they were sometimes killed for their ivory tusks, and for that reason only. This is known as "live ivory" because it came from an animal who was wearing them at the time. This sort of ivory was used only on the biggest, best of the line pianos. (it surely must / have cost more.) "Dead ivory" on the other hand, came from elephants that were found dead by natives, and the ivory was article is planned for a later date with drawings) with 16 intensity steps with floating crescendo. It was possible to reduce the intensity steps to 7 when it was necessary to Jnsfrumenfs produce a singing tone and half pedaling. The recordings - were all hand blown and were accurately recorded, using a recording machine which could measure the breath used to playa selection to 1/5000 of a mili-zephyr (one zephyr equals 200 deci-poofs). This was 600 times more sensitive than the THE CURIOUS ROLLMONICA "cn ear could hear. All rolls contained a statement that the rolls BY A. X. PERT were hand blown and that their use was authorized only for the New Rollmonica. These statements were always signed Last February 17, UPS carried a story of a disastrous with the artist's signature printed in Olde English script. warehouse fire on the outskirts of Dismal Seepage, Ohio. The destruction was almost total, and the loss ran into the One feature of the new Rollmonica was a new line of art hundreds. What UPS did not report was that while the front cases. Records show that many ROllmonicas were shipped to part of the warehouse was totally destroyed, the fire was Italy where master Bakelite carvers took the plain Rollmonica stopped before it destroyed the long-closed rear portion of the case and created carved masterpieces. There are photographs building. When this unburned section was examined, it was of wonderful Spanish prime evil, timely Adams modem, all found that the room contained all the remaining instruments, the Louies including the VII, IX, and of course, Mediterranean rolls, blueprints, records, shipping lists, photographs, diaries, done in Bakelite fruit finish. These masterpieces took days to personal letters, etc. of the Rollmonica factory. Now after do, and many owners vied with each other to see who could much investigation, the tragic tale of the world's loss, the loss design and order the most complex and ornate design. of the Rollmonica "C", can be told. Newspaper clippings of the day reported that the Dowager Empress of First Street did indeed have the most elaborate We're sure that everyone is aware of the famous Rollmonica's Rollmonica to be found in Gentle Rumblings, New Jersey. She Model "A" and "B" and there is no need to describe or discuss had vied with her sister-in-law, Amelia di Brettville-Coupe for either model at this time (see AMICA Bulletins Aug. 1953 & years, but all reports confirmed that the Empress had won Sept. 1956). While the "A" and "B" were wonderful when she had a Rollmonica built that had 134 sets of reeds, in, instruments, the Rollmonica "c" was the zenith of technical of course, and art case (with gold highlights), which could be and musical development in the field of automatic musical heard for 3.3 miles on a quiet day. instruments. As we began to sift through all the records, blueprints and diaries contained in this long lost room, we The list of wealthy and prominent owners was very could only wonder what might have happened to the musical impressive indeed. We found names such as Baron Herman world if indeed the Rollmonica "c" had reached world-wide Von Blotlow, Bruce Bennett Brown, Amelia Grace Caladicott, distribution. As we continued to read these records, we felt Clarice Kelly-Kerr, Marchesa Maria V, Senorita Consuelo von that the world should be informed of its great loss, a loss Tacos, and of course, His Holiness the Pope who had three ­ caused by the whims of one person, the Countess Beatrice one in Rome, one on his yacht and one in the country. The list Remildia-Smythe, principle stockholder and president of the of music schools and conservatories endorsing the new long defunct Rollmonica Company - but more on this later. Rollmonica runs six single-spaced pages. A list of Gold Medals won at various fairs and expositions covers three additional The records made it very clear that the Rollmonica "c" was a pages. There are seventy-three pages of testimonials (with total re-design, in fact a design that was technically six years photographs) of the leading musicians of the day, all attesting ahead of its time. We can briefly list some features found in to the quality of the wonderful new Rollmonica. There is also the Rollmonica "c" as noted in its promotional literature: an impressive list of exlusive recording artists. The library of 1. Can produce musical effects equivalent to a 37-piece recorded music includes classical, dance, popular, Sousa dance orchestra or a 28-rank theatre pipe organ; Marches for marching bands and prison wail. There is also a 2. Is capable of playing softer or louder than ever previously large selection of recordings that were blown in Europe, not possible; to mention recordings for Rollmonica and harp, Rollmonica 3. Absolute reproduction of artist playing - "The Master's and tuba and a long playing concerto series designed for Breath in Your Mouthpiece;" Rollmonica and symphony orchestra. 4. New long playing recordings, playing upwards to 124 We are quite sure that the Rollmonica would have swept the minutes allowing complete symphonies to be recorded musical world and would have been designated (by the U.S. without interruption; Government) as one of the 9 musical wonders of the world, 5. New simplicity of body construction, one piece; had it not been for the whims of the Countess. She in her lack 6. Exclusive recording artists; of foresight, decided just before the world-wide introduction 7. Sixteen nuances of blowing; of the new Rollmonica, to drop the line and switch all 8. Perfect recording, plus perfect replaying; manufactors and sales to a self-playing ocarina. Unfortunately 9. Art cases available (hand carved); the ocarina simply did not have the necesary inherent musical 10. Endorsed by leading colleges and conservatories; qualities found in the Rollmonica. The ocarina did not have 11. Artionic rolls available (musical instruction by leading the tonal spectrum nor power that could be obtained with a musicians); well-voiced Rollmonica. It is suspected, from evidence found 13. A simplified reproducing system with reduction of in personal notes, that the Countess switched from the moving parts to zero; Rollmonica to ocarina because of an affair she was having 14. Improved roll drive with even speed provided by breath with a supplier of the varigated plastic used only in the drive rather than hand drive; ocarina. This varigated plastic produced the wrong tonal 15. Large library of recordings in preparation. structure for use in the Rollmonica, and it could not be carved The "c" had a remarkable reproducing system (a technical into beautiful art cases. Thus, the musical world lost the new

- 114- Rollmonica because of a little multicolored plastic. "An Everlasting Love" - The Bee Gees hit the deck again The irony is that shortly after the line was dropped, the Italian with yet another hit. The song is written by Barry Gibb and . carvers sent the Countess a sample of their latest efforts, a recorded on RSO records by Andy Gibb. The song was carveable multicolored plastic that could be used for the copyrighted by Stigw'ood Music Inc. The piano roll is QRS Rollmonica which they called "Primavera in Summer." Alas, it 1110-632 played by Bob Berkman. The writer has listened to was too late. The Countess Beatrice Remildia-Smythe had this roll several times over and could not see anything more -..J switched all her assets to unredeemable ocarina shares. The that could have been done to it. The opinion is that this roll is ultimate irony is that shortly after the switch, the plastic a very good representation of this song. If one wants to judge salesman dropped the Countess for a blonde musical comb Bob Berkman's piano style this is the roll that should be used. saleslady, whom he found in the local Dismal Seepage five The arrangement even ends nicely. Good going to everyone and dime store. responsible for this production at the QRS Company. Hopefully, someday someone will come along who can and will begin again with the Rollmonica "C" and restore this great instrument to its rightful place in the musical world.

aolls and &rusle MIDWEST CHAPTER MEETING BY MOLLY YECKLEY Saturday-Sunday, 21-22 April, 1979 PIANO ROLL REVIEW AMICA has discovered Columbus. Yes, the capital city of Ohio. In a recent conversation with an AMICAn who shall BY DAN TUTTLE BY DAN TUTTLE remain nameless (for his protection!) I mentioned that I had not yet reported on the Columbus meeting. I told him I was 88-NOTE ROLLS waiting for inspiration so that this meeting report will not "When the Red Red Robin Comes Bob Bob Bobbin' Along" seem like others that have gone before. -A foxtrot written by Harry Woods and copyrighted by This person is also a member of ATOS (American Theatre Irving Berlin Music. The piano roll is Playrite 115090 and is Organ Society) and he commented that sometimes when / played by John Porter. Playrite rolls are known for having reading glamorized write-ups he isn't sure that he has attended good arrangements and this is also a good example of good the same meeting the reporter has written about. So, I decided arrangement in an old standard favorite. It jumps right into to let it all hang out, in the vernacular, (bet you didn't know it the song chorus from the first of the roll, then has a sort of hung out there!) and if you will excuse my parenthetical prose count down with chords before going into the verse. This we will proceed. Bear with me and I will write you the bare chord count down is smooth and shows some interesting facts. planning on the part of the pianist. "Moonbeam, Kiss Her for Me" - Another foxtrot written by Harry Woods and copyright by Remick Music Co. in 1927. The piano roll is a US 1144268 played by Fred Parsons. The verse of this song has a very interesting sound due to its melody being minor in sound for the first two measures of music, then for the next two measures it resolves to a major sound melody. The main melody of the song is very simple. Almost too simple for the writer to handle but I am getting used to it. The arrangement of the roll is a plus for this weakness in the chorus. The arrangement makes the interest in the song survive, mostly just to hear the next verse. The words are good but nothing special. "Whose Pretty Baby are You Now" - Alstyne and Kahn are the writers of this slow drag foxtrot song. This song is thought to be fashioned after the song hit "Pretty Baby." The roll is Universal #2003 and is played by George Gershwin and assisted by R.E.O. (Speedwagon?? ... Naaaw). The roll is arranged in the ever popular saxophone style. Those Some of the "kitchen help." L. to r: Bill Griffin, Norm Dolder, interested in George Gershwin's playing style on this roll Bobby Clark, Rob Watts, Gary Shipe. should rest assured at one listening, one can determine that Mr. Gershwin was not allowed within three feet of the piano. The song is good for its type. A good George Gershwin roll? First, I went a day ahead of time because I had rumors of a No. stained glass factory in a section of southern Columbus and because I wanted to personally meet and greet Trudy Maier now, without getting any sort of urge to finish painting who flew down (no comments, please!) from Minneapolis just them-the dishes are much easier to get at with no doors in to attend the chapter meeting. The stained glass factory isall the way ...) and more than I expected-if you need anything done or A Weber Duo-Art took up most of what was once properly beveled, write to me and I will give you the name and ca'lIed a parlor. If the owners hadn't said so, I'm not sure that I address. They are craftsmen of the highest order. would have guessed that this has been a problem piano. The Oh, the meeting ... It began on an unseasonably warm problem is that they seem unable to decide whether it's a 1916 '-...... /, (stinking hot!) day in April with cocktails at 6 p.m. at the model or post-1925. That's some problem! It plays well iIJ L-, home of Norm Dolder, Bill Griffin, and Rob Watts, No, not spite of its inde~rminate age. ,' ; I three homes; three out of four owners. The fourth guy was I ..: _ L .) We had some reatpeople there too, not just our ghostly .guests wisely out of town so he didn't have to work his head off at the pianos, -Cha~re) Lavric is an engineer who has done entertaining picky AMICAns. The buffet said "Chickan drawin~s f~?1 Pr~ss. Divan" which I assumed meant we had to sit on a sofa, couch, publrsnid %_ Y Two. facts I recall: Charles real name IS c..Drago) which he said no one would or davenport to eat. They misspelled "divine," which the' remember, so of course I did, and second, we all "oohed" and entire meal was. (And one of them is a schoolteacherl) "aahed" over a wonderfully detailed set of drawings he had just done and I don't have the foggiest notion of what they were. Ampico "B", I suspect. He was delightfully entertaining and we were all thrilled to be able to see the drawings pre­ publication. The Chickering Ampico "A" in the "other" parlor made a super vehicle for pianist Donald Gren (not Green, Tom B., GREN!). He is a professor at The Ohio State University -see, I remembered the THE; they're fussy about that in Columbus-and he played the Liszt Transcendental Etude "Harmonies du Soir." Boy, did he play it. It is at times like these that I wish all of our piano rolls were live-in pianists. Or at least a technician or a Perfectly Restored Piano in the house would be a treat. The I could point to the pianist and say "see,

Yeckley taking notes. Upper: Prendergast, lower: Snyder, right: Landstrom.

L. to r: Blinn-Minnick (or is it Minnick-Bllnn?) and Bill Griffinat the Moeller.

like that-that's the way it's supposed to be done. And nobody sniffed and said "well, MY piano does that well" either. (Now is the time to get tacky and claim that the rolls played almost Donald Gren, professor of Piano at OSU, performs Chopin on as welL) The unfortunate thing is that I can't say for sure the Chickering. because while you could have heard a pin drop during the live performance, the conversation begins when the rolls do. I The in-process restoration of this area of homes known as think because the conversationees know instinctly that a piano "Victorian Village" doesn't really prepare you for Solid Stately roll is not going to turn around and glare at them. I tried, of Brick with Beveled Glass Doors and Windows. I hope some of course, but couldn't manage to glare at everyone in the room. the glass shows up in the pictures. (They are a Stan Favret­ Another glaring error, sigh. Molly Yeckley effort ... his are the ones in good focus.) The We split up into groups and went either next door to the flaw in the ointment is, of course, that only the street floor of Landstrom residence, down the street to the Shipe residence, the house is redone. As my mother would be the first to say, or to couple-of-blocks-away-by-van to the Bunn-Minnick the upstairs looks like our house on any normal day-a mess. residence. (It's obvious that we were in a residential "­ (I've been looking at kitchen cupboard doors for two months neighborhood.) We heard a - it says here - 1975 Storey and Clark (Yamaha) around 9:30ish precisely. These AMICAns were able to answer _with a Pianocorder Vorsetzer. I remember another elegant that age-old question for us-which came first, the chicken or restored home (I can't vouch for the second and third floors) the egg? We had the chicken on Saturday night and the egg on and everyone being much impressed by the sitter-in-front-of, Sunday morn. The breakfast menu (no choice) was Eggs San which is about as close to "vorsetzer" as you can get in Francisco, which they propably call Eggs Tempura Columbus English. As in many other homes I tried to walk off with piano or somesuch in California. It was delicious, whatever it was, ~- scarves, I was upset with myself for not bringing any glass­ and was welcomed by starving AMICAns (about 50 of them) cutting tools. I want those beveled glass windows! as were the delicacies of the night before ... oh, it was "brunch" not breakfast, I see from my food-spattered notes. Somewhere either before or after we had a technical session given by Ben Wiant (not Giant, Tom B.) and we heard some interesting theories, as we always do when two or more technicians are rubbed together-sparks. No, I just remember the crestfallen look of an AMICAn who had just spent a nominal egg (arm and a leg) to have a new soundboard put in( his piano, and here's Ben telling us that if the piano sounds good before, it'll sound just as good after restoration, assuming the soundboard is sound and has same. What I remember best is something I've been saying forever: assuming you have done all that is necessary and desirable, ALL reproducing pianos should have the same quality of -reproduction. It's like the man says about pumping out your tracker bar - do it, do it! We all know this but don't always think it applies to us. The same goes for regulating mecahnisms in pianos ... don't stop with voicing if you need new hammers and replace the strings if they're tubby. Don't Bill Eicher (l.) presents charter to Bennet Leedy. "make-do" but "re-do." End of Sermon, and thank you Ben Wiant.

The Bunn-Minnick home features a 2/6 mostly Robert Morton pipe organ with a Moller Artiste Reproducing Player. I loved it, and so did Bobby Clark (visiting the midwest from the deep southern state of South Carolina) who played it manually and footally. Do I mean pedally? This home is really in a state of flux! Not to mention plaster, wallboard, a hidden /' staircase with no railing at the top and a library that will include both second and third floors. In this {me, I tried to make off with the greenhouse windows over the kitchen sink, but was clever enough to make it appear that I only wanted a glass of water to drink. Now, I've saved the Gary Shipe dwelling for last. It featured a 5'2" 1932 Stroud Duo-Art equipped with Baldwin hammers (which is what I'm getting for the 1932 Marshall & Wendell Ampico "B" after hearing these!). Talk about sweet-voiced - it was pure honey. And don't you just love this description of a "closet" organ: "0/4 hybrid Scrounger Special composed of 2 ranks and 2 half ranks of a Moeller Artiste Semi-Reproducing Player Organ." (Well, what do you expect of a rank amateur?) I understand that some sort of gizmo board has now been ordered so that everything will play when it's supposed to and the rest won't when it's not. (That's what he said!) Their Stroud has since been sold and replaced (impossible!) with a Weber Duo-Art. There is also a Welte A.B. Chase in the wings and an Ampico somewhere-we're negotiating for another 911 Neil Ave., Columbus, Ohio. Domicile of Dolder, Griffin, Columbus meeting sometime next year, which will come as a complete surprise to those who hosted this year's. :'-lot to & Watts. All the windows have beveled glass. worry, fellas; our next chapter meeting isn't even utitil September, scheduled for Meadowbrook Hall in Michigan. (I Donald Gren played again, too; this time it was three Chopin had to put it in somehere, editor ... ). Etudes. Op. 25 in A-flat (thirds in trills) and Opuses (OPI?) 25 Columbus is really Camelot. It didn't rain 'til after nightfall. It in C Major and the Rev. (That's Revolutionary Etude, not a did serve to cool things off for Sunday, so on Sunday we froze visiting minister, Tom). It sure is amazing to see what fingers by comparison. actually can do, rather than just watching notes go mysteriously up and down. It was very well done and equally Morning came, as it usually does, and we got ourselves well received. ./ together in time to get the Dolder-Griffin-Watts co-op (that's not "coop," Tom; it means cooperative effort) somewhere The kitchen staff was remarkable throughout all of this. It

• H7- consisted of Norm Dolder, Bill Griffin, Jim Fanno, Rob Watts, mean that nobody spilled his/her drink on' the carpeting, of and Bobby Clark with assists from various cocktail waiters course. throughout Saturday evening. The kitchen extends into a Editor's note: From the parenthetical instructions to the editor dining room and on into a full-size, believe-H-or-not in this article one' would think Molly doesn't believe I can greenhouse. Orchids in bloom, more of those beveled glass spell. It's just that Ms. Yeckly's original is filled with so many windows thither and yon and even in the walls. No, the errors that even I don't catch them all. (What can you expect greenhouse was not made of beveled glass, but it wouldn't from a reporter that writes "notes" on h~r own dress! . see -../' have surprised me if it had been. Everything else was so photo #2-no paper in evidence - & referll in article to "food tastefully done! spattered notes';:)

IOWA CHAPTER "A LITTLE BRITT 0' HEAVEN" BY DICK PARKER The most difficult part of being a chapter reporter is trying to L. to 1': Landstrom, Weisenbome, Favret, Eicher, Maier en;oy refrain from too many oooohs and aaaahs and gee wizzes as Sunday brunch outlay. each reporting time comes around. Each meeting really does seem greater than the last though it is illogical to assume that we are just somehow arranging our meetings in ascending order. Like the first whiff of apple blossoms each spring, or for those less poetic, the latest foldout in Playboy, there has never been anything quite like THIS meeting. This time I figured we were in trouble. On the way to the meeting some of us took the opportunity to stop for a couple "­ of hours at Tom's Musical Museum, a large and high quality collection where we not only listened to what we had time for of the dozens of instruments, but also go to talk shop with the man who keeps them working. With his thick (Cockney?) accent and the noise from the machines, I'd best not try to write any technical manuals based on what I understood, however.

L. to r: Alvin Wulfekuhl, Bennet Leedy, Lawrence Frazer at the Chickering "A" Ampico.

Now, I began all of this by saying that it was all going to be told. And I did. And I had a wonderful time. And I always do. And I almost forgot that Bill Eicher, AMICA International Vice-President on behalf of the International presented a formal, framed charter of Midwest AMICA to the President of the chapter, Bennet Leedy. Now let's see if we can loose this one! (I'm sure I remember getting one once before but no one seems to remember who has it or where ... ). The business meeting seemed concerned with two items: where to meet for the rest of the year and who's going to the Philadelphia Convention. L. to r: Terry Goepel, Ai Johnson, Roger Anderson (White shirt), Martin Hubbard, Bob Shimp plus one in the doorway This was our very first meeting in Columbus - I hope none of whose name the mental wiwrd forgot ... us disgraced ourselves (I don't remember seeing any puddles on the rugs) and that we will all be asked back next year. I

- I~.- Well, that is a very hard act to follow, but Terry Goepel must Terry's home is decorated with all the things that went along .have known we were coming and what route we might follow with the player piano era making it almost like being because he had spent the best part of two weeks tuning and transported back in time and really adding to the effect. AI regulating his entire collection and was ready for us. The Johnson had even found a stovepipe hat and was reluctant to Knabe Ampico, the "dumb" Howard Welte Licensee that leave without it. didn't seem to realize it was only 5'2" and couldn't sound like Co-hosting with Terry for this meeting was Ron Olsen who ~that, and the Eberhardt A roll nickelodeon were, to put.it the proved he has talents at the salad bar as well as at the piano. only way I know, fantastic! I don't know rubato from Several members were seen making a number of return trips rhubarb, but (and excuse me for this) I do know what I like to the table, but I won't mention numbers or names, being and I like what we heard. I definitely like ppps and FFFs in personally involved. their proper places, and they were there! Those of you who are William Tell fans would have loved this afternoon in The business meeting consisted mainly of discussion of possible meeting day changes due to the likelihood of Sunday gas station closings in the future. The status of a long proposed rebuilding project for a local museum was brought up again. An ad in a recent Bulletin for parts for this particular instrument brought no results, but since then I have found a gear that is the proper size and an old take-up spool that can be adapted fairly authentically so we may get started soon. Also mentioned was the upcoming family camping outing planned for our August meeting in Northeasy Iowa. It should he a blast.

Terry Goepel (l.) and Roger Anderson hy the Knahe.

particular. The Lone Ranger rode again and again via both the j Ampico and the Welte in what appeared to be a comparison concert between the two pianos, with no winner announced, at least while I was in the room. Which wasn't very often. Terry has rooms filled with things that we never even got to hear that afternoon; probably stuff we didn't even see. A footpumped grand, a Cecilian push-up that looked like it just came from the factory, and a good start on a collection of one The Eberhardt Nickelgrahher. of each of all models of Victor record players ever manufactured are just a few of the things that come to mind. Terry has been collecting since he was 12, originally much to The Lone Ranger having ridden off into the sunset, Terry his father's chagrin-no longer, I suspect. invited us to visit his workshop some blocks away and there he had another pleasant surprise for us. There, tucked away in a small corner was the finest sounding Reproduco piano/pipe organ I have heard anywhere. Perhaps it was the mere fact of being in a small place that made the bass so evident. If so, it should never be moved from the spot-it's· worth it. It also demonstrated the amount of effort put into the preparation for this meeting as Terry says this is one of the hardest instruments to keep pipes and piano in tune with each other. Britt, Iowa is best known for its annual Hobo Convention during which a national Hobo King and Queen are chosen. Permit me, if you will, to say - ready?? - there were no bummers this day. I thank you. WE thank YOU, Terry, for a great day.

LaVern Velau (with smile) and others en;oying themselves.

- 119 - Contributed by Frank Adams.

- 120 - May, 1930. Contributed by fohn Semmens.

... THE ... DUO--ART Pianola Piano

In STEINWAY, STECK, STROUD & W orid·famed WEBER WILHELM BACKHAUS. Grand and Uprie,ht Styles who records exClusively for the Duo-Art.

Like the majority of concert pianists of International renown. Wilhelm Backhaus entrusts his interpretations only to the Duo­ Art Reproducing Piano. And not only Backhaus.. Nearly all of the foremost living pianists now record exclusively for the Duo-Art. including Paderewski, Bauer. Grainger. Hofmann. Friedman and Cortot. These recordings cannot be played on any piano other than the Duo-Art. The following recordings of Wilhelm Backhaus are available: BOHEMIAN DANCE in F Major ...... Smetana LA DANCE D'OLAF, Op, 33, No.2...... MangiagaUi CONCERTO, Op, 25 .. Mendelssohn DEDICATION WIDMUNG " ...... Schumann LIEBESLIED ...... , Kreis/er ROMANCE from CONCERTO, Op. 11 .. .. Chopin SERENADE from DON JUAN ...... Mozart SERENADE (STANDCHEN) ...... Strauss SONATA in C Minor, Op. 13, PATHETIC.. . Beethoven VARIATIONS ON A THEME OF PAGANINI Brahms WALTZ frum BALLET "NAILA" .. .. Delibes WEDDING MARCH AND ELFIN CHORUS Mendelssohn ETUDE DE CONCERT, No.2 .... Lis=t

The DUO ART is available in a wide range of prices and conuenient terMS of payment may be arranged. The Aeolian Cotnpan y (AUST.) LTD. 201-203 COLLINS STREET, MELBOURNE (next R~gent Theatre)

- 121 - London music sessions and brough him international fame. ~io9rapRical Mrs. Elizabeth College invited him to come to the United States in 1924 to. play at the Berkshire Chamber Music Festival. The recitals were so successful he was invited to ~KefcRes appear in a concert of the Beethoven Association in New York, Boston, Yale, Bryn Mawr and Vassar Colleges. "-./ Returning to the United States again for a 1925-26 tour, he gave Bach recitals for six consecutive days in Town Hall, observing the 250th anniversary of Bach's birth. Though he played the works of other composers he held more interest in HAROLD SAMUEL those of Bach. His last recital in the United States was BY EMMETT M. FORD December 9, 1935 in Town Hall. Mr. Samuel returned to England and died on January 16, 1937 at his home in Harold Samuel, pianist, teacher, composer and piano roll artist Hampstead at the age of 57. was born in London, May 23, 1889, a poor boy of Jewish His compositions include an opera, short operettas, incidental extraction, son of Moses and Victoria Mollan Samuel. music for plays, some songs and instrumental works. Late in He entered the Royal Conservatory to study piano with life he wrote an operetta, "Rumpelstilzkin." Edward Danreuther and composition with Sir Charles The Duo-Art rolls are works of Bach and the phonograph Stanford. His debut was in 1898 in St. James' Hall in London. recordings made in the 1930s are excellent and now rarities. He specialized in the music of Bach, becoming a noted and Though a modern piano was used, he created an interest in exceptional interpreter of the composer's works. the compositions. In a 1934 HMV (English) recording, he Mr. Samuel gave recitals and appeared with orchestras joined Isolde Menges to record the six Sonatas for violin and through the British Isles. Choruses for light operas were cembalo by Bach. Mr. Samuel used the piano in place of the trained by Mr. Samuel. He became a faculty member of the cembalo. Royal College as a professor of music. His concert appearances slowed as he could not compete with the digital demons of that era, so he became an accompanist. d'ecRnicalifies

AMPICO B DRAWER PROBLEMS ROBERT W. TAYLOR Several years ago when I restored my first Ampico B, (an early model) I discovered some shortcomings in the drawer. At that time I cautiously considered a minor modification. Not only has my modification proved successful, but I have discovered the factory also identified the same problems and corrected later models in a similar fashion. Problem #1 - Sluggish shift to reroll. All Model B drawers use pedal pressure to operate three drawer components. They are: (1) Tracker, (2) Music Roll Brake, and (3) Reroll Valve/Pneumatic. Pedal vacuum is usually 16"-18". The tracker and the music roll brake both have continuous atmosphere bleeds. The available vacuum is very limited for operation of the reroll valve and pneumatic. As the 8T hole is opened for reroll another atmosphere bleed is opened and the remaining vacuum may be too weak to shift the transmission into reroll. Late Model B drawers solve the problem by running an In 1919 he returned to the concert stage, performing an all­ additional pedal supply line to the drawer. This line is directly Bach program at Wigmore Hall and his repeat performance of connected to the reroll valve. Additionally, the line is isolated Bach made him "an apostle of Bach." In 1921 he gave a series from the tracker and music roll brake. The isolation is of six Bach recitals on successive days, all different programs accomplished by changing the internal windways in the valve and all played without the printed music. His virtuosity made mounting block. My modification does not include the ~ his "Bach Week" a brilliant and popular music event in the isolation and, therefore, the windways need not be changed.

- 122 - Merely ''Tee'' an additional 7/32/1 supply line at the pedal to get a positive but "stripless" shift. regulator. (The factory placed an additional 7/32/1 elbow on the regulator.) Run the new 7/32/1 line at the extreme bass side The Model B drawer is capable of being precisely adjusted. under the stack and to the drawer. Black electric tape can be Unfortunately, little is written about how the adjustments used to secure the new line to drawer harness. Inside the should be made. I plan to share my thoughts on this subject at drawer, "Tee" the new line into the pedal supply line at a a later date. If anyone has noticed anything unusual about ~. point close to the valve block. their model B drawer, I would like to hear about it. All unusual findings will be compiled and submitted to the This modification adds only a line and no component is Bulletin. changed. If the shift to reroll is still sluggish, check the following: 1. Reroll pneumatic is hinge bound or covered with a cloth REPLACEMENT BEARINGS that is too heavy. (Most new motor cloth is too heavy ­ use Bilon or Polylon.) FOR AMPICO PUMPS 2. Reroll valve has ball bleed. The ball bleed should be WITH METAL CONNECTING RODS removed and hole plugged. 3. Tracker ears spaced too far apart. BY RICHARD F. MERRILL 4. Missing constrictions in tracker and/or music roll supply The connecting rod bearings on Ampico pumps with metal line. connecting rods use cone nuts with loose ball bearings. 5. Over center spring on transmission too strong. Sometimes the balls break, or the cones become worn and the Not all early B drawers have the problem of sluggish reroII pump will knock. Exact replacement bearings do not seem to shift. It appears to be a combination of many points of be available. A suitable replacement bearing is a #629, (also friction. The variables will determine actual performance. MRC# 39ZZ or SKF #P9 - 2RS). These bearings are 1.0236 Problem #2 - Sluggish tracker. inch outside diameter, slightly larger than the original bearing This is identified by the tracker not collapsing on both sides races. You will have to bore out the connecting rods to 1.0236 against the shifter block. The additional supply line as in. (26mm). This can easily be done using a 1 inch adjustable mentioned above will help. Also check: reamer. Ream the connecting rods for a press fit, and stake the new bearings in place. The original cone nuts are used to 1. Tracker pneumatic hinge bound or covered with a cloth center and lock the new bearings in place. that is too heavy. (Bilon or Polylon is okay.) 2. Tracker pneumatic is not airtight. Exact fit replacements for the other bearings in the Ampico 3. Tracker ears spaced too wide. pump are: No. 203 (40mm O.D., automobile alternator size) 4. Missing constriction on music roll brake. for the main bearings, and No. 200 (30mm O.D.) for the 5. Clogged constrictions on tracker. spider. Double sealed, pre-lubricated bearings are 6. Pneumatic spring too strong. recommended for all three applications. Always install the bearings by pressing the outer race only. Never pound the ./" Problem #3 - Valve chatter noise during rewind. bearings or press them in a way that puts excessive force on This noise is heard when 5B hole is opened during rewind. the balls. The chain perforation at 5B makes the "c" valve chatter. On late model B drawer the ball bleeds are removed and the hole plugged on the drawer valves A, C, and D. I recommend removing all ball bleeds in these valves as they serve no useful WORK HAS STARTED ON purpose. After the ball bleeds are removed, plug the hole with bees wax or other suitable substance. This will not eliminate GREAT NEW AEOLIAN ORGAN all the noise however. In addition, completely cover the top Duo-Art Aeolian Pipe-Organ for Kindt Theatre Concertorium, Davenport, la., valve seat by placing a tight fitting circle of cardboard in the Now Being Constructed at Garwood, to cost $180,000. valve's top plate. The great $180.000 Duo-Art Aeolian Pipe-Organ planned for the Kindt Theatre Problem #4 - Uneven roll drive speed. Concertorium in Davenport, Iowa, is now under construction in the factories of Frequently the motor resistance (governor) is burned out. This the Aeolian Co at Garwood, N. J. The instrument is to be one of the largest is characterized by jerky motor operation and TV and radio ever built and in resources and perfection of equipment, it is said, will surpass interference. Suspected resistors should be checked and any organ in the world. It is being designed especially for radio broadcasting replaced if necessary. 400 ohms should be used. Mallory from Station WOC, located in Davenport. 2HJ400 will fit in the space provided. A .47 micro farad 200v capacitor may be placed across the resistance to reduce radio­ This particular organ will feature six manuals. Heretofore, the maximum TV interference. number of manuals, even in the largest organs, has been five. The added manual was introduced in order to bring the tremendous resources of the Problem #3 - Grinding gears at end of rewind. organ under perfect control of the performer, and to permit effects that The concept of the brake engaging to stop the take-up spool hitherto have been impossible. just as the transmission shifts to "play" is good, but it does not Frank Taft, head of the organ department of The Aeolian Co., and deSigner of always work. Continuous gear stripping will eventually lead to the organ, has introduced thiS new departure in organ building. He has a costly replacement. Late B drawers improved the brake arranged for the gradual tilting of the fourth, fifth and sixth manuals at varying system but a small modification could benefit all B drawers. degrees toward the performer. This makes it possible for an organist of Place a restriction in the line to the "Play" (Repeat) medium height and reach to play comfortably on any two of the six manuals at pneumatic. The proper constriction size is about 1/16/1. This the same time. The placing of the manuals also permits "thumb" work and can be made by melting solder in a 7/32/1 nipple and drilling a staccato chord playing without interference from the overhang of the keys. 1/16/1 hole in the solder. This nipple is now placed in the line Numerous combination pistons and controls to be introduced in this console close to the repeat pneumatic. Vary the drill size if necessary will be in accord with The Aeolian Co.'s latest equipment. The specifications of this organ include many new and unusual improvements CLASSIFIED in organ bUilding, necessary to cope with the great size. Among them is an open diapason pedal stop of 64-foot pitch, the largest pipe of which will be 64 feet long by four feet square, probably double the size of any pipe in the FOR SALE: 5' 11" Chickering about 1925. Excellent condition, world's biggest organs. Included also will be two new groups of stops, invented Amplco mechanism missing - $2950. Austin - (512) 454-7046. by Mr. Taft and placed for the first time in any organ. They are the orchestral brass organ and the vox humana choir. The former is a close approximation of ------'-..,./ the brass effects in a symphonic orchestra. The latter is an elaboration of the FOR SALE: Player Theater Pipe Organ - Robert Morton 39A, 2 present type. manual 4 ranks, xylophone, chimes. Very compact, will fit almost any residence. Pipes self-contained in cabinet 9' wide, 5' high, 5' The huge instrument is the gift to Davenport of Dr. B. J. Palmer, head of the deep. Base pipes lay down behind cabinet. Duplex roll Palmer School of Chiropractic in that city. Some months ago a Duo-Art mechanism uses standard rolls. In excellent playing condition. Aeolian pipe organ was installed in the home of Dr. Palmer, and by reason of $12,000 or trade part for unrestored coin piano. Ron Bennett, ItS success, he entrusted to the Aeolian Co. the bUilding of his gift organ. The (214) 424-8454. design of the Kindt Theatre Concertorium, which will house the organ, was Inspired by the form of the Mormon Tabernacle in Salt Lake City, Utah. It is 320 feet long, 160 feet wide and 90 feet high, with a seating capacity of over FOR SALE: Weber Duo-Art grand, 5'8", S.N. 78553. Piano in 6,000 excellent restorable condition. Ivories good, original finish mahogany and in poor condition, bench included. STEINWAY XR From The Music Trade Review, March 14, 1925 Contributed by Mike Duo-Art 6', S.N. 274618 (1932), basic piano excellent, Duo-Art in Montgomery. excellent restorable condition, ivories perfect, with bench. Finish Editor's query - can anyone shed more light on this organ? Although the mahogany - good condition. The pianos must be sold - make article refers to the organ as a Duo-Art, which implies it is a reproducing offer. Owner: Charles Paris, Atlanta North Piano Co., 2782 player, nowhere does the article mention the player system. An organ of this Atlanta St., Smyrna, GA 30080. Phone (404) 436-8088, Home magnitude would be way beyond the useful capabilities of the OfA system (404) 435-3527. anyway without some rather substantial coupling or else simply it could have been hooked up to play only a part of the total organ. Anyone in the Iowa FOR SALE: 1927 Marshall & Wendell Ampico A Studio upright Chapter care to give us a follow-up? #108115. 46" high, top loader. New strings, pins & dampers. Good original finish. Mechanism partially restorted (retubed). $4,500. Mark Jones, 11106 Polaris, San Diego, CA 92126.

FOR SALE: World's largest stock of music boxes, nickelodeons, orchestrions, band organs, organettes. Also tremendous selection of rolls and discs. Slot machines, arcade machines, old posters, NEW MEMBERS cash registers, clocks. Large illustrated catalog $5 (subscription Paul & Donna Gloeckner: 41 Clover Lane, Hightstown, NJ $15 for next 6 issues). Or, send for free brochure describing our 08520. stock and services. Complete worldwide shipping facilities. Or, visit us. Just 15 minutes from Disneyland. American International William & Kathryn Kerchner: 1511 Dauphin Ave., Galleries, 17792 Fitch St., Irvine, California 92714 (714) 754­ Wyomissing, PA 19610. 1919 Wurlitzer band org; 1924 Nelson­ 1777. Wiggen nick; 1900 Regina mb. FOR SALE: Two Violano rolls @ $50.00 each. 200 Stoddard A, B William Weissman: 29 Edgemoor Road, Cheltenham, PA (few) Ampico rolls. Original and in excellent condition. Small rolls 19012. 1924 Weber Duo-Art; 1918 Chickering Ampico. @ $3.00 each, Large rolls @ $6.00 each, plus handling. 1924 Referred by Bob Taylor (PA). Aeolian Duo-Art 11 rank residence Pipe Organ, complete with original floor plan, piano adapter, test roll & over 200 rolls. Make offer. Larry Martineau, 461 Calle Yucca, Thousand Oaks, CA James H. Katz: 256 Prince Albert, Westmount, Quebec, 91360. Canada, H32 2NG. Referred by fohn Kelly. FOR SALE: Farrand-Cecilian 65-note player with original 1905 Gail & Anne Burcham: 4150 Meadow Wood Road, Carson factory inspection slip. Bolt-in triple stack. Beautiful Honduras City, NV 89701. 1928 Steinway Duo-Art; 1918 Steinway upr mahogany with carvings. Some interior work needed due to age Duo-Art. Referred by Bill Pixley. but not use. 34 rolls. Make offer. Dan O'Brien, Box 2181, Polson, MT 59860. (406) 883-5042. David B. Clemens: 33421 Spinnaker Drive, Laguna Niguel, CA 92677. 1919 Weber Duo-Art; 1920 Knabe Ampico A. FOR SALE: 1924 Marshall & Wendell 5' Ampico A. Completely restored and refinished 1973. Excellent condition. W/bench and 100 rolls. $8500. Bob Fleming (714) 838-1024. Dr. James T. Fanno: 2915 Croydon Drive N.W., Canton, OH 44718. 1928 Steinway Duo-Art. Referred by Bobby Clark...... WANTED: Urgently want for immediate confidential cash individual music boxes, nickelodeons, orchestrions, as well as Douglas Smith: 8500 Steele St.. Denver, CO 80229. 1924 collections. Immediate decision, immediate payment. And, we Brinkerhoff upr plyr. Referred by Roy Garish. take care of shipping. Send a Polaroid snapshot and brief description of what you have. Thinking of selling? Think of AlGI. Elliot Neufeld: 971 Neil Ave., Columbus, OH 43201. American International Galleries, 17792 Fitch St., Irvine, ...... California 92714 (714) 754-1777. CLASSIFIED STEINWAY grand piano 6'1" Style "M" Duo-Art player, custom made walnut elaborate art case with inlaid marquetry, completely rebuilt and refinished, genuine ivory keys, virtually a new piano. FREE LISTS: All types rolls, cylinder records and machines. With 50 rolls $32,000. Also Stein_y Style "L" grand 6'4", Duo­ Discs, cobs, sheet music, catalogs & literature. Mechanical music Art player completely rebuilt and refinished, walnut case and much more. Our 21 st year ... VI & SI'S ANTIQUES, 8970 $19,000.00 Box 171, Alpine NJ 07620. Telephone (201) 768-2261. Main St., Clarence, NY 14031.

TRADE: Complete Ampico B player action for top-quality Q. R. S. ROLLS: 25-30% discount. Shipped directly to you. monkey organ with familiar tunes. Miscellaneous Ampico A and B Authorized dealer. Write - Baley's, 310 Grandview, Kalamazoo, parts for original copy of "Knabe - The Piano Beautiful." Dick MI 49001. Howe, 9318 Wickford, Houston, TX 77024.

FOR SALE: Mandolin attachments - fit all upright pianos. BUYING: AMPICO, DUO-ART, WELTE & OTHER TYPE OF Easy installation. Tabs pre-cut with metal clips already attached. ROLLS. DESCRIBE AND PRICE. ALTMAN 8970 Main Street, Kit includes necessary hardware. $16 postpaid in U.S. Quantity discount. W. F. Knapp, 2819 53rd St. N., St. Petersburg, FL Clarence, NY 14031. 33710. MONTHLY ROLL AUCTIONS: Reproducing 88/65-note, plus musical miscellany. Specify interests. Mike & Fred Schwimmer, AUCTION: AMPICO, DUO-ART, WELTE & 88 NOTE ROLLS. 241 Harbor, Glencoe IL 60022. SHEET MUSIC: 45 & 78 RPM RECORDS. WRITE FOR LIST. I. L. CORDELL, 2240 LORAIN ROAD, SAN MARINO, CA 91108. FOR SALE: 1920's Ampico "A" model, Franklin, 5'4" reproducing grand piano. Plays beautifully. Tuned November, 1978. Ampico WANTED: Edison Phonograph Doll; Regina & Symphonion rebuilt and wooden shell refinished In 1970. $4,000.00. Musical Savings Banks; Capital Cuff Box style "F"; music boxes Vincennes, IN (812) 882-8303. with vending devices; unusual crank organs; original catalogs for music boxes and crank organs; Regina music box with bells; Symphonion Mantel Clock. Marty Roenigk, 26 Barton Hill, East FOR SALE: Old sheet music auction; Ragtime, Blues, Blacks Hampton, CT 06424. Etc. Markwitz, Box 367, Port Washington, NY 11050.

lI'ited movilg & storage inc ~'IM5 CLEVELANO-COLUMBUS-OAYTON {jjor the ,,(0 .... ."u 513/461-5044 Tuned and untuned percussions WANTED TO BUY for use in all automatic instruments

* Unusual or fancy roll cabinets. Single and duplex spoolframes * Quality reproducing pianos. for A,G,and 0 rolls and all (Please send pictures and prices) wurlitzer scales

Custom fabrication in wood and * Also want classic Welte, Ampico and Duo-Art rolls. metal of one or a thousand parts

OUR VANS ARE IN ALL 48 STATES Piano and orqan supplies and hardware Bill Eicher ~-box-1094 -~7 c/o United Moving & Storage, Inc. .. :-----, 1728 Troy Street _ m &I lubbock, t,exes Daylon, OH 45404 --LiMoN. .~~~~!t'~..L- 79408~' Mechanical Systems, Inc. RECENT NICKELODEON ARRIVALS

CREMONA Keyboard piano with mandolin and new xylophone. Nicely rebuilt and refinished. ENGLEHARDT Quarter-sawn oak case. $9,800. Keyboard nickelodeon with xylophone. Completely restored and refinished. Plays nicely. PEERLESS Quarter-sawn oak case $8,700. Cabinet orchestrion. Contains 8 instruments. Pneumatically partially rebuilt but case needs refinishing and piano work is necessary. Quarter­ SEEBURG sawn oak case. A very rare specimen. $11,500. KT. Magnificently restored and refinished. Features single stroke xylophone and Eagle art WURLITZER glass. Quarter-sawn oak case. $14,000. Model ''1'' nickelodeon. Pneumatically rebuilt, beautifully refinished. $6,500. MechanicalMusic Centet;Inc. 25 Kings Highway North, Box 88, Darien, Connecticut 06820 Telephone (203) 655,9510

Nonprofit Org. Automatic Musical Instrument Collectors'Association u.s. POST P PUBLISHER Tx. Tom Beckett P.O. Box 401807 Dallas, TX 75240 address correction requested return postage guaranteed