The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JULY/AUGUST 2002 VOLUME 39, NUMBER 4

Home , George Wright (organist), Kilgen, Leo Ornstein

THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens

VOLUME 39, Number 4 July/August 2002 AMICA BULLETIN

Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher Leo Ornstein — 139 Chapter News Positive Consequences — 145 UPCOMING PUBLICATION DEADLINES The Early Welte Mignon — 150 The ads and articles must be received Edwin Welte’s Steinway Piano — 156 by the Publisher on the 1st of the Odd number months: Mechanical Music — 158 January July March September Street Organ — 157 May November Bulletins will be mailed on the 1st week DEPARTMENTS of the even months. Robin Pratt, Publisher AMICA International — 134 630 East Monroe Street Sandusky, Ohio 44870-3708 President’s Message — 135 Phone: 419-626-1903 e-mail: [email protected] From the Publisher’s Desk — 135 Calendar of Events — 136 Letters — 137 People — 140 MEMBERSHIP SERVICES Chapter News — 163 New Memberships ...... $42.00 They Shall Be Remembered — 175 Renewals ...... $42.00 Classified Ads — 177 Address changes and corrections Front Cover: Atlantic Garden, contributed by Mike Kukral Directory information updates Inside Front: Duo-Art Piano Roll, OOPS! , discovered by Gabe Della Fave Additional copies of Member Directory . . . . $25.00 Back Cover: What AMICA Means To Me was written before the 1978 Dayton Convention. At that time, there was a strong emphasis on pianos and not as much Single copies of back issues interest in the various other instruments that many of us own today. However, the ($6.00 per issue - based upon availability) feelings expressed have not changed so I asked Robin to reprint it. I appreciate the honor of being Convention Coordinator from 1985-2001. When Terry Smythe asked William Chapman (Bill) me to do it, I never dreamed I would be around so long. I will always cherish the 53685 Avenida Bermudas Carrousel Horse that was presented to me at the Arkansas Convention. Besides the La Quinta, CA 92253-3586 Bulletin, conventions are a wonderful way of communicating and getting to know the (760) 564-2951 people that you may only have read about. Many thanks to all the past convention e-mail: [email protected] chairmen and their committees who helped me so much to further our mutual To ensure timely delivery of your interests in all mechanical musical instruments. ~ Liz Barnhart BULLETIN, please allow 6-weeks advance notice of address changes. Inside Back Cover: Apollo Magazine Ad, October 1922, contributed by Robin Pratt

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

INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Dan C. Brown BOSTON AREA NORTHERN LIGHTS N. 4828 Monroe Street Pres. Bill Koenigsburg -(978) 369-8523 Pres: Dave Kemmer Spokane, WA 99205-5354 Vice Pres: Bob Tempest Vice Pres: Phil Baird 509-325-2626 Sec: Ginger Christiansen Sec: Jason E. Beyer - (507) 454-3124 e-mail: [email protected] Treas: Karl Ellison Treas: Howie O’Neil PAST PRESIDENT Linda Bird Reporter: Don Brown Reporter: Dorothy Olds 3300 Robinson Pike Board Rep: Sandy Libman Board Rep: Dorothy Olds Grandview, MO 64030-2275 Phone/Fax 816-767-8246 CHICAGO AREA PACIFIC CAN-AM e-mail: OGM [email protected] Pres: George Wilder - (630) 279-0872 Pres: Kurt Morrison - (253) 952-4725 VICE PRESIDENT Mike Walter Vice Pres: Curt Clifford Vice Pres: Don McLaughlin 65 Running Brook Dr., Sec: Jo Crawford Sec: Halie Dodrill Lancaster, NY 14086-3314 Treas: Joe Pekarek Treas: Bev Spore 716-656-9583 Reporter: Kathy Stone Septon Reporter: Carl Kehret e-mail: [email protected] Board Rep: Marty Persky Board Rep: Carl Dodrill SECRETARY Christy Counterman FOUNDING CHAPTER SIERRA NEVADA 544 Sunset View Drive, Akron, Ohio 44320 Pres: John Motto-Ros - (209) 267-9252 330-864-4864 Pres: Bing Gibbs - (408) 253-1866 Vice Pres: Karen Ann Simons Vice Pres: Sonja Lemon e-mail: [email protected] Sec/Treas: Doug & Vicki Mahr Sec: Lyle Merithew & Sandy Swirsky Reporter: Nadine Motto-Ros TREASURER Wesley Neff Treas: Richard Reutlinger 128 Church Hill Drive, Findlay, Ohio 45840 Board Rep: John Motto-Ros Reporter: Tom McWay Registered agent for legal matters 419-423-4827 e-mail: [email protected] Board Rep: Richard Reutlinger SOWNY (Southern Ontario, Western New York) GATEWAY CHAPTER Pres: Mike Walter - (716) 656-9583 PUBLISHER Robin Pratt Pres: Yousuf Wilson (636) 665-5187 630 E. Monroe Street, Sandusky, Ohio 44870-3708 Vice Pres: Mike Hamann 419-626-1903 Vice Pres: Tom Novak Sec/Mem. Sec: John & Diane Thompson e-mail: [email protected] Sec,/Treas: Jane Novak Treas: Holly Walter Reporter: Mary Wilson Photographer: Garry Lemon MEMBERSHIP SECRETARY William Chapman (Bill) Board Rep: Gary Craig 53685 Avenida Bermudas, La Quinta, CA 92253-3586 Reporter: Frank Warbis 760-564-2951 – Fax 775-923-7117 HEART OF AMERICA Board Rep: Mike Walter e-mail: [email protected] Pres: Ron Bopp - (918) 786-4988 SOUTHERN CALIFORNIA — COMMITTEES — Vice Pres: Tom McAuley Pres: Frank Nix - (818) 884-6849 Sec/Treas: Robbie Tubbs Vice Pres: Richard Ingram AMICA ARCHIVES Stuart Grigg Reporter: Joyce Brite Sec./Reporter. Shirley Nix 20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636 Board Rep: Ron Connor Treas: Ken Hodge Board Rep: Frank Nix AMICA MEMORIAL FUND Judy Chisnell LADY LIBERTY 3945 Mission, Box 145, Rosebush, MI 48878-9718 517-433-2992 Pres: Bill Maguire (631) 261-6799 TEXAS Vice Pres: Keith Bigger AUDIO-VISUAL & TECHNICAL Harold Malakinian Pres: Jerry Bacon - (214) 328-9639 2345 Forest Trail Dr., Troy, MI 48098 Sec: Richard Karlsson Vice Pres: Tony Palmer (817) 261-1334 CONVENTION COORDINATOR Frank Nix Treas: Ira Malek Sec./Treas: Janet Tonnesen 6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849 Reporter:Buzz Rosa Board Rep: Dick Merchant Board Reps: Marvin & Dianne Polan Bulletin Reporter: Bryan Cather HONORARY MEMBERS Jay Albert Newsletter Editor: Bryan Cather 904-A West Victoria Street, Santa Barbara, CA 93101-4745 MIDWEST (OH, MI, IN, KY) (805) 966-9602 - e-mail: [email protected] Pres: Judy Chisnell - (517) 433-2992 SOUTHERN SKIES PUBLICATIONS Robin Pratt Vice Pres: Stuart Grigg Pres: Debra Legg - (727) 734-3353 630 E. Monroe St., Sandusky, OH 44870-3708 Sec: Judy Wulfekuhl Vice Pres: Bill Shrive Treas: Alvin Wulfekuhl WEB MASTER Meta Brown Sec: Howard Wyman (813) 689-6876 400 East Randolph Street, Apt. 3117, Chicago, IL 60601 Reporter: Christy Counterman Treas: Dee Kavouras (352) 527-9390 312-946-8417 — Fax 312-946-8419 Board Rep: Liz Barnhart Reporter: Dick & Dixie Leis Board Rep: Debra Legg AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS INTERNATIONAL PIANO NETHERLANDS MECHANICAL PLAYER PIANO GROUP President - Nelson Page ARCHIVES AT MARYLAND ORGAN SOCIETY - KDV Julian Dyer, Bulletin Editor The Galaxy Theatre Performing Arts Library,University of Maryland A. T. Meijer 5 Richmond Rise, Workingham, 7000 Blvd East, Guttenberg, NJ 07093 2511 Clarice Smith Performing Arts Center Wilgenstraat 24 Berkshire RG41 3XH, United Kingdom Phone: (201) 854-7847 Fax: (201) 854-1477 College Park, MD 20742 NL-4462 VS Goes, Netherlands Phone: 0118 977 1057 E-Mail: [email protected] Phone: (301) 405-9224 Email: [email protected] Editor - Vernon P. Bickel Fax: (301) 314-7170 NORTHWEST PLAYER PIANO 786 Palomino Court E-Mail: [email protected] ASSOCIATION SMITHSONIAN INSTITUTION San Marcos, CA 92069-2102 Everson Whittle, Secretary Division of Musical History Phone: (760) 471-6194 Fax: (760) 471-9194 INT. VINTAGE PHONO & MECH. 11 Smiths Road, Darcy Lever, Washington, D.C. 20560 E-Mail: [email protected] MUSIC SOCIETY Bolton BL3 2PP, Gt. Manchester, England SOCIETY FOR SELF-PLAYING C.G. Nijsen, Secretaire General Home Phone: 01204 529939 AUSTRALIAN COLLECTORS OF MUSICAL INSTRUMENTS 19 Mackaylaan Business Phone: 01772 208003 MECHANICAL MUSICAL INSTRUMENTS Gesellschaft für Selbstspielende 5631 NM Eindhoven 19 Waipori Street Musikinstrumente (GSM) E.V. Netherlands PIANOLA INSTITUTE St. Ives NSW 2075, Australia Clair Cavanagh, Secretary Ralf Smolne DUTCH PIANOLA ASSOC. MUSICAL BOX SOCIETY 43 Great Percy St., London WC1X 9RA Emmastr. 56 Nederlandse Pianola Vereniging INTERNATIONAL England D-45130 Essen, Germany Eikendreef 24 P. O. Box 297 Phone: **49-201-784927 5342 HR Oss, Marietta, OH 45750 Fax:. **49-201-7266240 Netherlands Email: [email protected] 134 President’s Message Thanks to the Heart of America Chapter for putting on a great convention. As you can see in the photo of me in front of the Bopp’s Bruder organ, I did my best to get in the spirit of things. The board meeting was productive and you’ll get the full details in the September/October Bulletin. Some highlights include clarification of who may attend AMICA conventions and the creation of the “Adopt A Piano Campaign”, spearheaded by Richard Reutlinger. This campaign will collect funds from chapters and individuals interested in restoring a player piano which is owned by a non-profit organization and is on public display (the collections in Virginia and Nevada City, Montana were first mentioned as potential sites for our attention). The restored instrument would carry a plaque listing the donors of funds. I also agreed to form an advisory group to help Robin review articles submitted for publication in the Bulletin and to search through vintage Bulletin issues for articles to be republished. Details on this committee should be finalized soon. Congratulations to Ginny and Robert Billings for the Leo Ornstein Literary Award, Janet and Richard Tonneson for the AMICA International Award, and Bill Knorp for the President’s Award. This is a small token of our appreciation for all you’ve done for AMICA. Two jobs remain unfilled, so I thought I’d list some of the duties in hopes that volunteers may be found to assume these duties. Memorial Fund: to receive and deposit donations and send acknowledgment notes to the survivors of the member being recognized. Judy Chisnell currently handles this duty and can provide answers to any of your questions about the position. Technicalities: to select and compile technical articles from Bulletin issues in prepartion for their republication (from issues published after Technicalities Volume VII). Terry Smythe has just completed Volume VII and can answer your questions on the topic. This is a volunteer organization and Judy and Terry have been generous in donating their time. Think about stepping forward and helping AMICA continue these important tasks. I’m already getting excited about Portland, Oregon in 2003. Stay tuned for details. Amicably, Dan Brown From the Publisher’s Desk

Hi There, Well, how often do you see a piano let alone a reproducing piano in a post card?!?! Art Reblitz sent his in some time ago and I have been waiting for a spot to place it. Unfortunately I never could find a really appropriate spot other than this one so here it is!

The original penned message is amusing: “Looking from living room thru hall dining room. “note the canned music.”

Wow, even then (whenever that was since there is no date on this picture)! If anyone has a clue a to where this was taken, please let us know. Or if you have a similar post card or photo, please share it with the other members. Thanks! Robin

135 CALENDAR OF EVENTS AMICA CHAPTER MEETINGS Memorial Fund Donations Founding/Sierra Nevada Chapter Please think of AMICA as a place to Saturday, September 7, 2002 at 1:30 pm at the home of John and remember your friends and family with a Nadine Motto-Ros, 110 Allen Ranch Road, Sutter Creek, CA. donation to the AMICA Memorial Fund. This will be a joint meeting and an afternoon BBQ. Contact John or Nadine at 209-267-9252 or Send to: [email protected] Judith Chisnell Heart of America Chapter 3945 Mission, Box 145 December, 2002 - Barbara and Doug Cusick will host the Rosebush, Michigan 48878-9718 annual Christmas meeting in Leawood, KS. 517-433-2992 May, 2003 - The Tulip Festival will be held in Pella, IA. [email protected] Ideal for monkey organs, but not big organs. Organized by the Railsbacks and Craigs. September, 2003 - Meeting in Branson, MO hosted by Billie & Bill Pohl.

Texas Chapter MBSI Sunbelt/AMICA Texas Chapter Band Organ Rally & Meeting Visit the at the Texas State Fair September 27th, 28th & 29th, 2002

~ AMICA August 20-24, 2003 AMICA Convention, Portland, Oregon Web page at Contact: Carl Dodrill 4488 W. Mercer Way Mercer Island, WA 98040 http://www.amica.org Phone (206) 236-0067 E-mail: [email protected]

DRAWINGS MADE WITH MUSICAL CHARACTERS.

1. The Piano Virtuoso 2. Paganini 3. The Primadonna 4. An Egyptian Musician 5. Scarlatti’s Cat 6. “The Flying Dutchman” 7. The Capellmeister 8. Napoleon

136 Letters…

Dear Editor, I read with keen interest Jeff Morgan’s Tech Tip on page 89 in the most recent issue of the AMICA Bulletin (May/June 2002). Most of his commentary concerns questionable (and inappropriate) technical material contained in the Heebner obituary appearing in the earlier March/April Bulletin. I am quite familiar with the Morgan articles referred to in Jeff’s piece and wish to go on record as being in complete agree- ment with what he says. Jeff’s two articles appearing on pages 81 and 83 in the March/April 2000 AMICA Bulletin are the most plausible and cogent explanation of the early Welte-Mignon recording process. It’s a shame that these two articles don’t enjoy wider circulation. Cordial regards, Larry Givens

CURT MANGEL APPOINTED CURATOR OF THE WANAMAKER ORGAN IN PHILADELPHIA By Robert Ridgeway Curt Mangel was appointed Curator of the famous Wanamaker Organ in the Grand Court at Lord & Taylor in Philadelphia in March 2002. Previous to his appointment, Mr. Mangel served as supervisor of the 8-person restoration facility of Jasper Sanfilippo in Barrington Hills, Illinois, a position he held for 11 years. During that time he used his considerable talents in the restoration of several million dollars worth of pipe organs, orchestrions, steam engines, clocks and arcade machines that constitute the bulk of the famous Sanfilippo Collection. In the early 1970s, Mr. Mangel spearheaded the saving of Shea’s Theatre in Buffalo, New York, and the restoration of its original Wurlitzer, including extensive fund-raising responsibilities. Later he did the same thing for the Paramount Theatre in Denver. He moved to Chicago and applied his knowledge and techniques for the historic Uptown Theatre. He restored the tower clock in the Pullman Building and the Waveland clock and carillon on the Chicago Lakefront. Through these clock and carillon restorations he became known to Jasper Sanfilippo, who hired him to restore several he was including in his museum. There, Mr. Mangel restored the 50 hp Spencer organ blower for the Sanfilippo instrument and the mechanical console lifts and controls. He is recognized as one of the leading organ-blower experts in the Nation. Sanfilippo curator Robert Ridgeway remarked, “A person who possesses all of the skills of a Curt Mangel is a rare individual indeed, and our loss is certainly Philadelphia’s gain. The Wanamaker Grand Court Organ at Lord & Taylor couldn’t be in better hands. Curt’s mechanical and deductive-reasoning skills are the best I have ever encountered.” Also previous to his appointment at Lord & Taylor, Mr. Mangel headed the Friends of the Wanamaker Organ Symposium program, which brings the Nation’s top organ technicians to Philadelphia for a series of workshops on the fine art of historic- organ restoration. This program is continuing during his Lord & Taylor tenure.

Thanks! We extend our thanks to Larry and Jean Williams, hosts for our April Texas Chapter meeting. As usual, we had a wonderful visit and enjoyed music on the Ampico and Larry’s talk about the “Favorite Fifty” Ampico piano rolls. Texas Chapter

Dear Editor, This is to inform you that the hard drive on my computer at Keystone Music Rolls crashed in early July 2002. Because of this sad event, I have lost all emails sent to me from about June 15, 2002 forward. I have contacted my server and they are saving my emails from about July 15, 2002 onward until such time as I can get my computer up and running. Sincerely, Richard Groman, Keystone Music Rolls

137 Letters…

Memorial Fund Donation acknowledgements:

Our condolences to the families and friends of these AMICA members who have recently passed away and been honored with a donation to the Memorial Fund in their name:

Chester Kuharski of Monona, Wisconsin Phil McCoy of Santa Clara, California Jack Riffle of Ukiah, California John Schaller of Santa Barbara, California Bill Ullstrom of Port Orchard, Washington

Judy Chisnell, Memorial Fund Committee Chairman

Sent in by Robert M. Taylor

138 THE ECONOMIST MARCH 16, 2002 LeoLEO OrnsteinORNSTEIN Sent in by Robert M. Taylor

Leo Ornstein, a radical Composer, died on February 24, aged 108 or 109

In the 1920s had you asked a concert-goer who were the “At Twilight” was a typical title. Exactly when he joined the most innovative composers of the time, the names suggested “bad boys” of music, as they were called, is unclear. But within would probably have been Igor Stravinsky, Arnold Schoenberg a year or two his piano was suffering grievous bodily harm and Leo Ornstein. Some would have ranked Mr. Ornstein first. from such numbers as “Wild Men’s Dance”. His “Suicide in an Airplane”, a piano work, dazzled the critics. A biography published when Mr. Ornstein was a mere 26 This was music at the frontier of composition. Beyond it, said sought to suggest that there was something a bit unnatural about Mr. Ornstein threateningly, was chaos. He filled the concert his prodigious talent. halls of the United States, Europe and South America with To many he represents an evil musical genius sounds played with a frenzy that threatened to damage the wandering . . . in a weird no man’s land haunted mechanism of his piano, and left members of the audience in a with tortuous sound, with wails of futuristic state of shock. despair, with cubist shrieks and post-impressionist The 20-year period from say 1912, when Leo Ornstein, crises and crashes. He is the great anarch, the aged 20, began composing in a highly individual style, was iconoclast . . .His gospel is black heresy. perhaps the most creative of the 20th century. Stravinsky’s Such invention brought in the crowds but in fact he was a “Rite of Spring” burst into life in 1913. Schoenberg first used remarkably balanced man, with a stable family life and a his 12-tone technique in an entire work in his suite for piano in marriage that lasted for 67 years. In a memoir his daughter 1923. In the visual arts Marcel Duchamp’s “Fountain”, a urinal, described Mr. Ornstein’s liking for the countryside, how he established in 1917 “readymade” art, which continues to be enjoyed climbing mountains and how the family grew their own practiced, especially in Britain. By the 1920s Picasso’s “Les food. Whether all this contributed to his astonishing longevity Demoiselles d’Avignon” had become the driving force is anyone’s guess. He was healthy with it. Our photograph was behind cubism, although painted much earlier. “Ulysses” was taken shortly after his 103rd birthday; or it might have been his published in Europe in 1922. Painting, literature and music 104th. The year of his birth is in dispute. His wife Pauline, also were seen to belong together. Mr. Ornstein’s furious music was an accomplished pianist, lived to 91. compared to Futurism, the name given to the painting and His decision to abandon the public stage had a rationale writing of an Italian group that aimed to glorify the machine. too. The constant traveling from concert to concert, the In the 1930s Mr. Ornstein ended his public performances relentless need to practice amounted to a kind of tyranny. and was hardly heard of again. A good thing too, some said. Mr. Mr. Ornstein became suspicious of the fragility of fame. If his Ornstein’s music was of “insufferable hideousness”, according music has any value, he told a reporter, it will be picked up and to one critic. The excitement of the previous decades for new played. “If it has no value, it deserves its neglect.” In 1935 he sounds seemed to have died. If the avant-garde was still heard and Pauline founded a school of music in Philadelphia and ran in the concert hall, the programme would be sugared with it for more than 20 years. Mozart and Beethoven. The music-loving public decided that In the 1970s Leo Ornstein was not exactly rediscovered, after all it didn’t really love Mr. Ornstein and his contemporary but he was re-noticed. He received a number of honorary composers, although what they did was undoubtedly clever. doctorates. The early biography was reprinted. The manuscripts ONE OF THE BAD BOYS of some of his compositions were deposited at Yale. It turned Leo Ornstein’s cleverness apparently became evident at the out that he was still composing. Enthusiasts recorded some of age of three when he started to learn the piano. There was his pieces. America was going through one of its periodic bouts music in the family. His father was the cantor in his local of nationalism about its culture. It is not entirely content that it synagogue in St. Petersburg. At ten Leo was admitted to the St. gave birth to jazz and that its magical popular composers, Petersburg Conservatory and became a pupil of Alexander Gershwin, Berlin, Kern, Porter and so on, produced melodies to Glazunov, a much admired composer of the time. But Jews rival Schubert’s. Mr. Ornstein produced a body of work that were suffering in tsarist Russia, partly because they were included a violin sonata, several string quartets and a piano associated with revolutionary forces, and in 1907, when Leo concerto. You may not hear a lot of his music these days, but was 14, the family moved to New York. He gave his first public no one doubts that it is high art. recital at 18. It was a conventional debut, with pieces by Chopin and Bach. His earliest compositions were far from alarming.

139 THE NEW YORK TIMES MAY 12, 2002 PeoplePEOPLE By Daphne Sashin A Tale of Requited Love: A Man and a Pipe Organ

Keith Bigger has been restoring the This is a love story about a man instrument at the Baptist Temple for and a pipe organ. The man, Keith 15 years. To save time, he even sleeps Bigger, 55, has worked for the phone at the church company since he was 22. In warmer weather, his uniform is a short-sleeved the church. One night, he saw a button-down shirt and Sears trousers. mattress propped up against the wall. He carries a beeper and two bundles He realized that he could accomplish of keys, including ones to the Baptist more if he slept there. Mr. Bigger, who Temple in Boerum Hill, Brooklyn. “had some girlfriends way back” but never married, has been living near the In that temple, in 1951, the 5-year organ ever since. old Keith first saw the 2,533-pipe J.W. Steere & Son organ, built in 1918. He Six nights a week, Mr. Bigger had sneaked into the empty sanctuary sleeps on a cot next to one of the during the annual church supper, and organ chambers. On Saturdays, he in the dim light, he saw the brass drives his Buick Le Sabre – license pipes glimmering in the distance. plate JWSTEERE – to his childhood home in Cambria Heights, Queens, It took 36 years for him to return. which he shares with his brother, to do And as it turned out, Mr. Bigger his laundry. ended up rebuilding that organ – the restoration is in its 15th year – and Photographs by Barton Silverman/The New York Times After 15 years, the restoration moving into the church to do it. continues. Into the church, Mr. Bigger has moved a microwave oven and a His love for the instrument goes back to his childhood. bookcase’s worth of organ-building books. He keeps an When he arrived at Thomas Edison Vocational High, he started anteroom stocked with canisters of bow-tie noodles and a taking organ lessons at a nearby church. When he was 22, jumbo-sized bottle of Hershey’s chocolate syrup. He will move he spent two years building his own organ in his family’s out if anyone asks, but no one has suggested it. basement. The organ was in playable condition by 1991, but Mr. In 1987, he met a couple who belonged to the Baptist Bigger continues to do repairs on the instrument and anything Temple, where he had seen those gleaming pipes, and made else that needs fixing. “What’s the sense of fixing the organ if some inquiries. He learned that the congregation had dwindled, the roof leaks?” he said. the roof leaked and only three of the five keyboards were playing. Few current church members had even heard the He patches leaks in the roof. He automated the heating instrument. system. He changed the lights in the chandeliers to long-life fluorescents. Mr. Bigger volunteered to restore the organ – the church would have to pay for parts only – and the longtime church Mr. Bigger says he may go home someday, but for a administrator, Arthur Norregaard, happily agreed. complete restoration, the organ’s pedal board still needs to be restored and every bit of leather must be replaced. “It’s his “We said, ‘Go!’” Mr. Norregaard said. “It’s a beautiful lifework,” said Betsy Mitchell, a church member. “Some people organ, one of the finest-sounding organs around.” never find their lifework.” Two years into the restoration, Mr. Bigger, then on strike from the phone company, was spending more and more time at

140 GRAND VALLEY HISTORY VOLUME 18,2001 PeoplePEOPLE By Lee Barnett Sent in by Bill Burkhart Max Kortlander: King of the Player Piano

Not a film star or a sports figure or a His mother guided Max as he practiced for military hero or a politician, player-piano hours every week on one of the family’s quartet impresario Max Kortlander was nevertheless of instruments. As he progressed, she also a celebrity in Grand Rapids, a local boy who insisted that he write at least two songs a day. made good but never severed his hometown ties. While Max did not particularly care for the long A talented pianist as a child, Kortlander became practice sessions that took him away from more a highly regarded performer and composer. typical boyhood pursuits, he did enjoy music Later, at a time when player pianos were at the composition, a gift that would serve him well as height of their popularity, Kortlander worked an adult. Though he was brought up in an and performed for the QRS Music Company of environment that favored classical music, by the Chicago, the nation’s largest and most successful age of 14 he was playing popular songs player-piano-roll manufacturer. Despite his and performing at an assortment of places success, Kortlander retained his Grand Rapids around town. connections and returned regularly to visit After his graduation from Central High family and friends in his hometown. Today, the School, Kortlander further enhanced his skills Kortlander family residence still stands on by enrolling for a year at the Oberlin College Cherry Street, and the family cottage on Beach Conservatory in Ohio for specialized music Drive in Spring Lake remains in the hands of courses and then attending the American 1 Max Kortlander was, during his Kortlander’s relatives. lifetime, a well-known composer Conservatory in Chicago for advanced piano Maximillian (Max) Kortlander was born in and performer of player-piano lessons. While in Chicago, Max helped to the Kortlander family home at 614 Cherry SE on music who ultimately headed the support himself by entertaining at upscale world’s largest maker and distrib- September 1, 1890. His father, Joseph, was an utor of piano rolls. (Unless other- supper clubs. It may have been in this capacity Indiana native who had relocated to Grand wise noted, all illustrations are that he met the vice president of the QRS Music Rapids in 1864, and his mother, the former courtesy of William Burkhardt.) Company, a major manufacturer of piano rolls Elizabeth M. Boxheimer, was the daughter of founded in 1900 and headquartered in the pioneer Grand Rapids residents. Max was their Windy City. Soon, he was hard at work third child, and first son, in four years of arranging and playing piano-roll recordings. marriage. The Kortlanders were a well-known As historians reflect upon the last century, Grand Rapids family. Joseph initially owned a they will almost surely conclude that one of the barrel factory, and in 1884 he and his three marvels it produced was the player piano. This brothers formed the Kortlander Company, a remarkable device – by the imaginative use of wholesale liquor business operating out of the sprockets, spools, shafts and springs – has Kortlander Building at Fulton Street and astounded and amused the world for a hundred Commerce Avenue. One of the brothers, years and has, literally and figuratively, let the William, was also a local artist of note. good times roll. Prior to the invention of the Max Kortlander showed promising player apparatus, years of lessons and practice musical talent at a very young age. That he were usually required to coax pleasing sounds would manifest such skills is not surprising, from a piano. But with the creation of this since his mother was a leader in the city’s mechanical device, no music education or musical life. She was a singer of recognized formal training was necessary to pump the ability, an active member of the St. Cecilia pedals and produce the music. Society, and she, her three sisters, and an aunt One of the most important elements of the were all piano teachers at various times. With player piano is the piano roll, a cylinder core four Mason & Hamlin grand pianos in the Slots of varying lengths in the roll holding a strip of paper about 11 inches wide Kortlander home, Max was destined by determined the notes and how long and 25 feet long. The paper has holes or slots circumstances if not by inheritance to be a they were were played on a player piano. punched into it, each one corresponding to a keyboard artist.

141 particular note. After the notes from sheet the appropriate background music. But the music or an artist’s performance are debut of talking films in 1927 created a properly translated into the holes or slots on sensation, and many people left their player the strip of paper, the roll can be passed over pianos to enjoy the cinema with sound. the player mechanism by pumping the The third new ruler of recreation was the pedals, and the piano reproduces the song, record player. Gramophones and acoustic making every player-piano owner a maestro reproductions had been around for some in his own home. years, but with cranking required for Initially, piano rolls offered only operation and generally poor sound instrumental music, but the industry soon quality, they remained short of their began featuring the popular songs of potential. When the nicely styled, the day, making listeners want to sing electrically amplified phonograph appeared along while they played. Since not in the mid-1920s – offering full orchestras everyone knew the lyrics to these tunes, the and vocalists on shellac disks – the owners manufacturers began putting the words of player pianos abandoned their solo along the margins of the rolls at the point instruments and listened to someone else do where they were to be sung, much like the singing. words on a TelePrompTer. When the Great Depression began just a Although simple in design and fairly few years later, few people any longer had easy to produce, the first piano rolls were discretionary income for purchasing pianos not cheap. With initial prices set at around a or music rolls. This turn of events was This diagram shows how a player piano dollar apiece, the purchase of a single roll works. When the foot pedals are pumped, a fatal blow to many in the player-piano once consumed half a day’s wages for the the air in the chamber labeled (A) is drawn business and helped finish off the instrument average worker. Currently a roll costs about out, creating a vacuum. When a perforation as a favorite source of listening pleasure or a $11 new, or just one hour’s salary for the in the piano roll passes over the opening in required accessory in any well-appointed typical worker. the tracker bar (B) air rushes into the tube residential parlor. (C) and inflates the leather bag (D). As the There was a time in America when no inflated bag rises it lifts a valve (E) which, Max Kortlander and the QRS Company home could be considered complete without in turn, closes the opening above it (F) and likewise felt the impact of the failing a player piano. In the heyday of this craze, opens a small port (G) that connects a small economy. QRS started out in 1900 as bellows with the vacuum chamber. Vacuum one in four American homes had a player from the chamber collapses the bellows a small, owner-operated enterprise with piano, and the instrument was the supreme causing its lower, moveable side or leaf to a few employees. Over the years, however, form of home entertainment. People all collapse and rise. The leaf is attached to the firm bought up about 25 other across the land gathered around player piano action (J) and the note is played. companies and became the largest piano pianos to listen to the characteristic sounds (QRS Company Diagram) roll factory in the world, with manufacturing that helped add to the English language such plants in the United States, Canada, words as “ricky-tick,” “rinky-tink,” “plinkity-plink,” and Europe, and Australia. “honky-tonk.” From the early 1900s to the closing days of the During its halcyon days, the company employed the Roaring Twenties, 2.5 million player pianos were sold, services of some of the leading pianists in the field of popular with peak sales of 200,000 in 1923. So great was the demand music. In its stable of piano roll artists were such legends as that from approximately 1910 through 1925 an amazing Victor Arden, Zez Confrey, J. Lawrence Cook, Lee S. Roberts, 85 percent of all pianos made in the United States were said to Thomas “Fats” Waller, and Pete Wendling. Together, these and be automated. other talented individuals on the staff turned out 25 to 50 new The popularity of the player piano fell off markedly songs per month, giving hours of listening pleasure to people beginning in 1927. This sudden reversal was due to the around the globe. emergence of three new kings in the world of entertainment. Max Kortlander had begun cutting rolls for QRS in about The first of these upstart lords of leisure was radio, which 1916, and over the next ten years he arranged and performed became available in 1921. By 1926 a plug-in version was more than a thousand different scores for the company. He introduced, radio networks were formed, and people began quickly became one of the hot names in piano roll sales, with flocking to a medium that allowed them to listen to a wider many fans buying his rolls not only for the melodies but for his variety of music and other programs at less cost and without playing style, an energetic and embellished technique that did even pumping pedals. In a sense, the nation turned from the much to define the piano-roll sound for the ensuing decade. bellows in pianos to windbags on the air. Kortlander also released rolls under the pseudonyms of Ted The second of the new sovereigns of spare time was Baxter and Jeff Watters, using the fictitious names when he movies. Motion pictures had been in existence for many years accompanied himself in a mechanically contrived, four-hand as silent films, and piano rolls had even been cut to accompany arrangement and thus needed to list a second performer in the them for those theaters that did not have a live pianist to create duet, or when he produced songs that were considered

142 QRS piano roll box labels increasing interest in the player piano as well as the rolls picture the well-known that made it work. In the 1950s he helped fund the development tunes, performers, and of the player spinet, an instrument that could be played composers who were associated with the either manually or automatically and eventually debuted in company in its New York City in 1957 under the name of the Hardman Duo heyday. Piano. Today, many firms make sophisticated electronic versions of the player piano, and one company – Classic objectionable in some Player Piano of Seneca, Pennsylvania – still manufactures an quarters because old-fashioned, paper-roll-playing model under the famous they were written by brand name of Story & Clark. or associated with With a resurgence in the sales of player pianos and rolls as African Americans. the 1960s began, Max’s prospects looked bright. But his While Max was enjoyment of this revival was cut short on October 11, 1961, turning out large when he died while working in his Bronx office. His wife, who numbers of piano rolls, he was also actively writing songs. inherited the business, hired Max’s brother, Herman, to run the ASCAP listings and other records show that between 1917 and operation. Five years later, she sold the firm, and its operations 1940 he composed about sixty-five melodies, including such were moved to its present location at 1026 Niagara Street in well-received titles as “Any Time, Any Day, Any Where” and Buffalo, New York. Known today as QRS Music, the company “Bebe-D” (dedicated to Bebe Daniels, a Grand Rapids native continues to be the largest of its kind on the planet, with current and former Hollywood musical comedy and film star). His sales of about 300,000 rolls annually. Each year thousands of 1919 fox trot “Tell Me” sold for $100,000, the highest lump people visit the QRS factory to see how piano rolls are made. sum paid for any popular song up to that time. The original roll-cutting machine is still used, and in 1992 the But as Max worked his way up in the QRS Company, his American Society of Mechanical Engineers designated the QRS creative time was sacrificed to his management responsibilities. Music Company a National Historic Mechanical Engineering Shortly after World War I, he was made general manager of the Landmark. 2 firm’s recording laboratories in New York City where the rolls After running his brother’s company successfully until it were cut, and by 1926 his administrative duties had grown to was sold, Herman Kortlander eventually returned to his Grand the point where he personally produced no more rolls. Rapids hometown. His death in July of 1987 brought to a close In 1927, the QRS Music Company sold a reported a long chapter in which a man from Grand Rapids dominated 10 million rolls, its greatest output ever. Not long afterwards the the piano roll industry. bottom fell out of the economy and the firm began edging towards bankruptcy. Seeking to save the enterprise from its About the Author impending demise, Max Kortlander mortgaged his home in 1931 and bought the now-struggling firm, changing its name to Lee Barnett recently Imperial Industrial Corporation because with a name like that retired from his post with he could easily go into some other business if he was unable to the state archives and now continue selling piano rolls. In fact, the company rode out the devotes his time to research long drought in piano roll orders during the depression by also and writing about Michigan making paper rolls for automatic office equipment. history. World War II saw a brief increase in the demand for QRS music products as a flurry of patriotic songs and full employment got people in the singing and spending mood again. But the advent of television shortly after the war saw the market for piano rolls again decline, with the lowest point in sales occurring in 1952. This 1920s QRS Company In part through the efforts of Max Kortlander, this trend advertisement emphasized the was reversed and the firm’s bottom line slowly became healthy stylishness and ease of player- again. Retaining the QRS brand name, Max eventually returned piano entertainment. (QRS the company to profitability. He was careful to produce piano Company photograph) rolls that included contemporary popular tunes along with old-time favorites, thus always having ready for sale the songs and musical styles the public wanted to hear. His success was Notes also attributable to his arranger of many years, J. Lawrence 1. The author wishes to acknowledge the help of player-piano expert Cook, one of America’s great black keyboard technicians and Bill Burkhardt of Grand Rapids in preparing this article. the creator of more piano rolls than any other artist. 2. Anyone seeking additional information about QRS or its products Max knew that his company’s prospects depended upon should call 1-800-24ROLLS or go to its website at www.qrsmusic.com.

143 SONGS COMPOSED BY MAX KORTLANDER (Entirely or in Collaboration With Others)

Ragtime Sailor Man ...... 1917 I Hate to Think What Would Happen to Me ...... 1924 Drop Me Down in Dixieland ...... 1918 I’m a good Gal, But I’m a Thousand Miles From Home .1924 Look Out for the Melody Moon ...... 1918 Rose of Old Madrid ...... 1924 Why Shouldn’t Old King Solomon Get the Blues ...... 1918 Lover’s Waltz ...... 1925 Along the Moonlit Way ...... 1919 Ain’t I Got Rosie ...... 1926 Bigamous Blues ...... 1919 I’ll Look to the West ...... 1926 Some Day You’ll Know ...... 1919 Scatter Your Smiles ...... 1926 Tell Me Why the Nights Are Lonesome ...... 1919 To Be With You ...... 1926 Any Time, Any Day, Any Where ...... 1920 Trying to Keep Away From You ...... 1926 As We Live and Love We Learn ...... 1920 What Cha Call Em Blues ...... 1926 Blue Clover Man ...... 1920 I’m Longing for My Old Gal Sal ...... 1927 Hot Tamale Mollie ...... 1920 Mississippi Flood Song ...... 1927 Like We Used to Be ...... 1920 What Are We Waiting For ...... 1927 Bebe-D ...... 1921 Whatever You Say ...... 1927 In Santa Barbara ...... 1921 Always in My Dreams, Never in My Arms ...... 1928 I’ve Lost My Heart to the Meanest Gal in Town ...... 1921 Felix the Cat ...... 1928 Sleepy Eyes ...... 1921 When You Give Your Smile to Someone Else ...... 1928 Bygones ...... 1922 She’s My Girl (Oh What a Difference That Makes) . . . . .1929 Eeny Meeny Chinee Mo ...... 1922 Why Do You Give Your Smiles to Someone Else ...... 1929 Hunting the Ball Rag ...... 1922 I Thank You Mr. Moon ...... 1931 Pleasant Dreams ...... 1922 Lullaby Lady ...... 1933 The Sun Will Soon Be Shining ...... 1922 Moonlight Down in Lover’s Lane ...... 1933 Too Many Kisses Mean Too Many Tears ...... 1922 If You Love Me, Say So ...... 1934 Whenever You’re Lonesome Just Telephone Me ...... 1922 I’m the One Who Loves You ...... 1937 Deuces Wild ...... 1923 Something to Live For ...... 1940 Gee, I’ll Miss You When You’re Gone ...... 1923 Papa’s Blues ...... 1923 Undated Red Clover ...... 1923 Funeral Rag Red Moon ...... 1923 Let’s Try It Shimmie Shoes ...... 1923 Li’l Joe Some Winter’s Night ...... 1923 Tantalizin’ Mamma ...... 1923

Butterfingers ...... 1924 Max Kortlander’s best-known composition, “Tell Me,” was a Home for the Rest of My Life ...... 1924 popular piano roll and sold Hottentot Trot ...... 1924 well as sheet music.

144 THEATRE ORGAN MAGAZINE JANUARY/FEBRUARY 2002 POSITIVEEnormousCONSEQUENCES By Robert Ridgeway

February 4, 2002

Enclosed is a copy of the January/February 2002 issue of Theatre Organ Magazine for you. There is, beginning on page 46, an article I wrote about the Symphonic Organ Society Symposium and the work they have accomplished on the Grand Court Organ at Lord and Taylor in Philadelphia. Since this was all the brainchild of my most worthy col- league, Curt Mangel, I wanted to make sure he got proper acknowledgement for his hard work. I hope you will enjoy having this magazine to chronicle how this all began and to reflect upon how far the instrument has come in the past few years. The best years of this magnificent pipe organ are yet to come. Daniel Burnam designed organ case in the Grand Court of Lord & Warmest personal regards, Taylor with the three string chamber shutter openings above Robert (shades have been reinstalled).

How A Small Event Can Have Enormous Positive Consequences

Several years ago the Joliet Area Theatre Organ Enthusiasts week of their time toward working on the Wanamaker organ at (JATOE) www.jatoe.org sponsored an organ trip, as they do Lord and Taylor. He got only positive responses from these men every couple of years, so the participants could see and hear who realized that this national treasure must not be allowed to pipe organs in other parts of the country. This particular year it deteriorate. Curt then dispatched a letter to the New York main was to the East Coast, taking in the Wanamaker Grand Court offices of Lord and Taylor outlining this offer of free help Organ at Lord and Taylor in Philadelphia, Longwood Gardens for one week on the organ. Lord and Taylor immediately in Kennett Square, and Dickinson High School in Wilmington, recognized the value of this offer and agreed wholeheartedly. Delaware. Among the group was Jim Stemke, the JATOE The fine organization, The Friends of the Wanamaker President (a long-time ATOS member and an ATOS Director) Organ, www.wanamakerorgan.com was able to raise donations and Curt Mangel, the Supervisor of the Sanfilippo Restoration of hotel rooms and meals so no technician would be Shop and co-curator of the Sanfilippo 5/80 Wurlitzer. Curt has out-of-pocket except for their travel. The group was devised as been involved in ATOS since he personally spearheaded the The Symphonic Organ Society, a symposium where all these saving of the Shea’s Buffalo Theatre www.sheas.org and the various men could show their special skills to each other and restoration of its magnificent 4/28 Wurlitzer as well as his enhance each other’s knowledge while performing essential subsequent efforts in behalf of the Denver Paramount and its tasks to restore large portions of the organ that had begun to twin-consoled Wurlitzer. fail. The symposium idea was so successful that it was repeated This trip would radically change the course of their lives for a week the following year and now is restructured to at least and of the musical scene of America. They discovered that the one long weekend every month. Organ men from all around this Grand Court Organ was in a dire state of repairs. Even though country (and even from France) have gathered to releather the store has had two full-time curators for years, the scale of pouches, replace armatures, repair broken pipework, regulate the instrument and the fact that, because of its age, nearly all of ranks that have been out of service for years, and steadily bring the replaceable components were wearing out at the same time. enormous portions of the instrument back to full voice. The This would make it difficult for even veteran pipe organ Symposium has been a daunting proposition to coordinate and technicians to stay ahead of the maintenance. organize but Curt Mangel and Jim Stemke have been on track When Curt Mangel returned to Barrington Hills, he with this effort since the beginning. Lord and Taylor is the first formulated in his mind a wonderful solution to this problem. He owner of the store in years and years to recognize what a contacted many fine professional organ technicians around the treasure they have and they are more than willing to expend the country and asked them if they would be willing to donate a funds necessary to get major tasks accomplished. Curt is their

145 First year Symposium participants in front of the center swell openings on the fourth-floor string division. With all the shutters removed for servicing you can see the scale of this chamber which contains 88 ranks of Kimball strings restoration consultant, working closely with Patrick Hamilton, L & T Head of engineering, and Arthur Snoznick, L & T Vice President of Planning and Development, from New York. Curt travels to Philadelphia one weekend a month and consults with the Grand Court Organist, Peter Richard Conte, about what problems need attention. He then meets with the curatorial staff to make sure everyone is working toward these same goals. The first Symposium concentrated on the famous String Division. All 48 swell shades were removed and new bushings and bearings installed top and bottom throughout. Also patching plates were mounted on the interior sides of the shades where major splitting had developed over the years. Where necessary, swell motors and bumper pneumatics were recovered in the organ shop on professional progress on the organ immeasurably; these include the second floor of the store. The armatures for the magnets people such as: Sam Hughes, Peter Bachelder, John Adams, were all cleaned and recovered with a thin punching of leather and Bill Czelusniak (an ATOS member), among others. The on one side and a slightly heavier punching on the other. This interchange of ideas and techniques among these individuals is allowed the chest magnets to seal properly and not be held exciting and informative at all times. Every work session on by residual magnetism. The participants for this first increases everyone’s knowledge and the organ keeps getting Symposium read like a who’s-who in the pipe organ craft. Ohio better and better. organbuilder Charles Kegg (ATOS member and restorer of the For those of you who may not have been in the Grand Kilgen theatre organ in the Canton Palace Theatre) and veteran Court and heard the organ in many years, the new acoustic will Pennsylvania organ expert Brantley Duddy (former ATOS be a revelation to you. Because the actual Wanamaker building National Board member) were involved. Terry Kleven and Bob is now owned by an outside company and Lord & Taylor only Swaney (long-time ATOS members) came from Minneapolis. lease the first three floors (and the entire Grand Court), the From the Chicago area Robert Ridgeway, Curt Mangel, Jim upper four floors have been converted to office space and Gruber, and Jim Stemke donated their time and efforts. Nelson double plate glass windows have been installed which look Barden and Sean O’Donnell came from the Boston area. By the down into this vast space. The result is an unexpected benefit to end of this first Symposium the entire String Division worked the organ in the form of a 3.5-second reverberation time. flawlessly. For those who may have forgotten the statistics on that particular division, it was built for the Wanamaker Organ One of the major problems plaguing the Wanamaker Organ by Kimball and contains in one chamber 88 ranks of string, since its installation has been the dryness of the store in the including two 32’ stops. Included with this article is a winter months, which render whole sections unplayable. This photograph of the Symposium group and the Grand Court was caused by two major factors: one, the chest bottom boards Organ curators sitting on the front ledge of the fourth floor just fasten directly to the chests with machine screws and washers outside the String Division while all the swell shades have been and never had any compression springs to adjust the tightness removed for the bearing work. You can get some perspective on during humidity changes, and second, there was no decent way the scale of this endeavor from that photograph. to humidify the entire instrument in the winter. The second Symposium solved the first problem by installing nearly The second (and last) week-long Symposium featured 15,000 new (and longer) machine screws and washers with some new additions to the group including Olivier Glandaz compression springs on the chest bottom boards. The second from France, Mike Rider, Michael Madeira, Timothy Patterson, problem was solved by careful analysis by Curt Mangel. Up John Mussina, Larry Trupiano, Patrick Murphy, Carl Loeser, until this time, seven organ blowers had spray nozzles forcing Bard Wickkiser, Bob Lockridge, and Wayne Becker. Providing streams of water directly into their intakes. This was additional assistance were several valuable Friends of the unsatisfactory for several reasons. First it only supplied moist- Wanamaker Organ including Ray Biswanger, Wally McLean, ened air to the organ while it was playing and second it was Stephen Ross, Ben Epstein, and Rudy Lucente. Since the beginning to rust the blower fans and cage. Curt had been second Symposium many august names in the organ field have friends with Mike Coup of Wichita for many years and knew been added to the monthly efforts and this has increased the that he humidified his pipe organ with a swamp cooler, which is

146 basically a large box with evaporative period of months with Larry pads on all sides which water flows Kerecman and Curt Mangel working down all the time. A fan in the together. The scope of the lighting for swamp cooler sends this massively this animated show is staggering . . . it humidified air into the various blower requires 2600 amperes of three-phase rooms as it is called for. The solution electricity to power the entire that Curt arrived at for the program. At the same time, the curtain humidification of the organ all the backdrop was designed not to block time was even more ingenious. Since the famous Daniel Burnham-designed the organ has a mixture of ventil and organ case of the organ. Then Lord Pittman chests, wherein the air is cut and Taylor further engaged Larry off to the various ranks except when Kerecman to design and install they are being called for, there was no Symposium participants in the center of the world’s permanent programmable spotlights largest string division. Kneeling in front is Curt Mangel, way to have air flow through all the Symposium Organizer and Lord & Taylor Restoration for the entire façade that can be chests. The problem was solved by Consultant. Back row from left: Peter VanderSpek ( changed in color and intensity constructing a 1” valve similar to a former Grand Court Organ Curator), Sean O’Donnell, automatically or from the organ Reisner or Wicks chest magnet Brant Duddy, Robert Ridgeway, Jim Stemke, Charles console by the organist. The final without the coil and drilling a Kegg, Bob Swaney, Sam Whitcraft (assistant Curator), touch to the package was the and Terry Kleven. 3/4”hole on the bottom boards of all revamping of this computerized show the chests where these Pittman with its pre-recorded music and actions are located. The spring on this valve is light enough that narrative soundtrack. Now, instead of the finale being an when the organ is turned off it falls open. When the organ anemic rendition of a Christmas Carol through small blowers are started the pressure of the air in the manifolds is loudspeakers while the illuminated figures flash, the entire more-than-sufficient to close these valves. The second organ is played at a volume never ordinarily used during store requirement was achieved with the co-operation of the hours with the crowds jumping to their feet in approval. The management of Lord and Taylor who was willing to make the incorporation of the organ into this Philadelphia holiday expenditure for all new solid-state variable frequency drives for tradition now absolutely insures that hundreds of thousands of ALL the blowers (including the enormous 60 hp Spencer). people are exposed to this greatest musical marvel throughout There are humidity sensors in all the chambers sending the season. With shows every hour on the hour, people who information back to their respective blower rooms. If the chests have never experienced the excitement of the Grand Court need humidity the system turns on the swamp cooler and starts Organ are now able to appreciate what all the fuss is about. An up the blower at only 100 r.p.m. This is hardly perceptible but entirely new generation of audience members is being exposed quite sufficient to send this moist air throughout all the chests to organ music and that can only be good news for the and chambers. This past winter was the first time that the entire instrument and our hobby. Who would have thought that operable parts of the organ could be played even when the an innocent field trip would lead to such an important humidity in the store was quite low. Various organ builders transformation? from around the country are now looking at Curt’s solution for The most recent exciting news to emerge from Philadelphia some of their more problematic organ installations. is the spectacular recording project undertaken this past June. The next giant challenge was to revamp the entire Peter Richard Conte is the finest Grand Court Organist to grace Christmas Show that has been a Grand Court tradition in the bench in the history of the store. His transcriptions and Philadelphia for decades. The original show was suspended musicianship are of the highest standards. There has been no from a catwalk on the sixth floor and secured in front of a high quality professional recording made of this instrument heavy velour curtain that obscured the entire organ. Since the since the famous Virgil Fox Command Records release in 1964. organ is played twice each and every day (11:15 to noon and Dorian Records of Troy, New York (www.dorian.com) changed 5:15 to 6 p.m.), the muffling of the organ for the two months that significantly with their efforts for three weeks in June. The that this show was in place was a disaster. Fortunately, Lord and Dorian recording session is certain to make history, in that two Taylor wanted to replace all the lighting and sequencing separate high-resolution formats were recorded simultaneously. controls for this elaborate light show and asked Curt if he could The PCM recording was mastered in four channels of 24-bit, suggest someone. He immediately contacted Larry Kerecman in 176.4khz, and the Sony DSD (Direct Stream Digital) format Colorado, who is an engineer specializing in computerized that produces the SACD (Super Audio Compact Disc) was also lighting and control systems AND is a long-time organ mastered in four channels. This now allows Dorian the supporter beginning with his days at Cornell, and thus sensitive flexibility to release this recording in various formats. Curt to the dual requirements of the Christmas Show and the organ Mangel handled the rigging of thousands of feet of aircraft being heard. The decision was made to replace all the rigging cable for the microphones in the nearly 150’ high Grand Court and the entire front curtain that forms the backdrop for the to permit the capture of the true sonic beauty of the instrument show. A new acoustically transparent fabric curtain was in the best position possible. Jim Stemke, a nationally known installed and the new Christmas Show was created over a recording engineer in his own right, assisted in the nightly recording sessions. Custom built microphone electronics,

147 Pacific Microsonics HDCD converters, and custom fiber optic and tinkerers because they will have to equipment was used to send the signals back to the third floor take up the burden when we are gone. in-store studio over 500’ away. The anticipated release date for Look around your community and this new recording is November 2001. Watch for this new see how your efforts can make a recording, called MAGIC, featuring Peter Richard Conte in a difference. All it takes is a vision and spectacular sound never heard before. I had the privilege of persistence and all of us can make a hearing some of the session playback through Dorian’s positive change in our world. multi-thousands of dollars worth of equipment and I was stunned by the quality and I have been recording organ music professionally for over 35 years and I can recognize the *Robert Ridgeway has been a member of ATOS (American Theatre Grand Court Organist, fantastic from the merely good. The fact that this material was Peter Richard Conte, recorded in the two major up-and-coming formats bodes well Organ Society) [then ATOE] since at the six-manual because no matter what eventually wins out in the marketplace, 1962. He founded the Central Ohio Wanamaker console. Dorian will be ready for it. The listening public, eager for Chapter of ATOS and was involved impressive material to play on their new home theatre and with the removal and initial restoration surround systems will buy this disc for its sonic impact and of the RKO Albee 3/19 Wurlitzer in quite possibly become converts to the world of organ music, Cincinnati. He has been a recording and sound engineer since much as the world of stereo was transformed through the early the late ‘60s and has dozens of albums to his credit. He was recordings by George Wright. We shall never know how many part of the installation and restoration team for the Sanfilippo people were influenced into our hobby as a result of hearing project and personally wired the entire Sanfilippo 5/80 Wurl- excellent organ albums. itzer. He has been the Curator of the Sanfilippo Collection in Barrington Hills, Illinois for nearly ten years, overseeing not This article was written to enlighten the readers to another only the largest theatre organ in the world but one of the largest world beyond theatre organ. The Wanamaker Grand Court collections of automatic musical instruments in the world. Organ at Lord and Taylor in Philadelphia is the largest and most Because of the large number of charity events that are held at magnificent musical machine ever built and deserves the the Sanfilippo Estate throughout each and every year, the the- attention and respect of our members. It was further written to atre organ is exposed to thousands of new listeners all the time emphasize how any of us may contribute to our musical world and hopefully ensuring an audience for generations to come. and effect great changes in it if we are observant and focused. We certainly do not want this to be the last generation to enjoy the theatre organ. We have to encourage our younger players

Sent in by Jeffrey Morgan

148 149 THEWelte-MignonEARLY WELTE-MIGNON

By Jeffrey Morgan The Early Welte-Mignon Recording Process Q & A

In my two previous articles (AMICA Bulletin, March/April undersides of the piano keys is a certainty if this early system 2000, pp. 81 & 83) about the early Welte-Mignon recording was to yield acceptable readings of dynamics. process, I critiqued Ben Hall’s faulty description of it, In fact, the choice of a carbon-rod-mercury-trough contact which was first published in a booklet accompanying the system gives yet another clue as to how this seemingly “Welte Legacy of Piano Treasures” recordings. More recently, primitive apparatus could give reasonably good indication of Hall’s description was reprinted in Bowers’ Encyclopedia dynamic intensity. Remember that such a contact system would (p. 327). While much of his presentation of this process is be quite cumbersome and expensive as opposed to a simple problematic and most likely stems from his imperfect phosphor-bronze contact system commonly available ca. 1904. understanding of technology, some of what he relates should be taken as true. What follows is a slightly different approach to the veracity of the early Welte-Mignon recording process and how it could, One aspect he describes that can be taken at face value is indeed, have worked – but not the way Hall says it did. the carbon-rod-mercury-trough contact system. Presumably, this contact system was described to Hall by the late Richard C. Simonton who, in turn, had it explained to him by both Edwin Q. What could the cumbersome, elegant and expensive Welte and Karl Bockisch. Moreover, surviving photographs of carbon-rod-mercury-trough contact system (as utilized by the early Welte-Mignon recording equipment strongly support the early Welte-Mignon recording process) accomplish that the existence of a mercury trough. simple phosphor-bronze contacts couldn’t? Almost as soon as Hall’s dubious presentation appeared A. Handle LARGE amounts of current continuously with (ca. 1963), the need to paper over the more glaring weak spots near-ideal heat dissipation. (e.g., “The harder the artist hit the key of the piano, the deeper the carbon rod would plunge into the mercury . . .”) became apparent. Various hypotheses were concocted. Two unlikely Q. Why would a large amount of current be needed to record theories usually revolve around carbon rods that were either notes (only) played by an artist? spring-coupled or free-floating. Thus, the carbon rods would A. It wouldn’t. ostensibly be free to plunge deeper into the mercury in conformity with Hall’s description. Quoting from the first of my two articles “Anyone familiar Q. Well, then, why would you want large current-handling with piano construction will know that the depression (dip) of a capability when recording the playing of an artist? piano key is constant, fixed by the height of the regulating A. You would want large current-handling capability if you punchings on the front rail of the keyframe. Therefore, Hall’s were doing more than just recording notes. statement that the harder the artist hit the key, the deeper the carbon rod would plunge into the mercury, is quite impossible.” Such spring-coupled and free-floating carbon-rod Q. More? Like what? hypotheses are based upon an imperfect understanding A. Like recording dynamics. of physics, mechanics and electromechanical devices. Nevertheless, they are often advanced as some form of validation whenever Hall’s faulty description is questioned. Q. How so? As I pointed out in the latter of my two articles mentioned A. Large amounts of current would clarify and augment above, spring-coupled or free-floating carbon rods would resistance rate-of-change readings given the right actually impede the accurate registering of dynamic resistance value of the carbon rods. information. That the carbon rods were firmly attached to the

150 Q. Why are sizable amounts of current needed to accomplish perforator. However, the resulting first cut was quite rough with this? only the most rudimentary of expression perforations. To get from it to an aesthetically pleasing finished roll required A. It takes a significant amount of current to scrunch soft extensive editing, a laborious and time-consuming process. rubber wheels enough to yield clearly discernible rate-of-change readings. In the film, de Pachmann has just finished making a recording when, magically, an editor appears from stage right with a finished roll (already spooled and perforated) which is Q. Why do you need clearly discernible rate-of-change then played back. De Pachmann suggests a change which readings? is dutifully made; and, then, the roll is re-presented for De Pachmann’s enthusiastic approval. Only the most naïve of A. Such readings can be more easily interpolated into velocity latter-day viewers would believe it. values or, more likely, directly into dynamic intensity (loudness) values. I contend that most of the hype regarding the electrical instant-replay capability of the early Welte-Mignon recording process dates from post World War II! I believe that myths such Q. What phenomenon makes possible the rate-of-change as electrical instant replay (among others) were cooked up in readings? the effort to promote and validate Welte-Mignon recordings and A. Velocity. Vorsetzers to the audiophile mentality of the 1950s and 60s. Repeated allusions to modern audio gear strongly bear this out. For example: “… when the roll was ready to play back, it Q. Velocity of what? was put into a master reproducing Welte Mignon (sic) piano* A. Velocity of the piano key. which ‘read’ the markings in much the same manner that the magnetic ink on bank checks is ‘read’ by automated banking equipment today.” (Similar to audiophiles’ tape recorders – but Q. Why would you want to record the velocity of the key? not so similar as to invite further scrutiny! – J.M.) And, “… as different from the then-current player piano mechanism . . . as A. Because key velocity times five gives a rough today’s stereo recordings are different from Edison cylinders.” approximation of hammer velocity. And, “In its way it seems more remarkable than the electronic wonders of today . . .”

Q. Why would you want to know hammer velocity? Instant-replay myths and others such as: “… specially- aged(sic), thin paper …” (why specially aged?! – J.M.) and; “… A. Because hammer velocity is directly indicative of dynamic run through a chemical bath (just like Ampico’s spark intensity (loudness)! chronograph developing solution – what a coincidence! – J.M.) to fix the colloidal graphite ink …” have caused immeasurable Finally, as to one of the more far-fetched claims Hall harm to the reputation of the Welte-Mignon in particular and attempts to sanctify in his description – that of electrical instant the reproducing piano in general. Such bogus nonsense strains replay prior to perforation – no similar claim seems to have the credulity of the more sophisticated minds of today’s been directly made by M. Welte & Sons ca. 1904-1918! A scan legitimate researchers and undermines the believability of this of literature of the period turns up no such claim. early musical medium’s genuine capabilities. It’s time that this exploitative promotional hyperbole be exposed! In fact, a 1905 announcement for the Mignon (the name under which the Welte-Mignon was first marketed in Europe) translated by the late Claes O. Friberg in Bowers’ Encyclopedia *It’s been stated that there were two of these mythical (see p. 323) states clearly that newly made recordings had to be carbon-track-reading machines and that one survived WWII in “perforated” before they were “thoroughly tested.” a “safe place” according to the late Richard C. Simonton. If one The most amusing evidence presented implying instant of these elusive pianos evaded destruction, why hasn’t it replay capability has to be a promotional early 1920s silent film surfaced?! And, even more mysterious, why haven’t any of the made by the Aeolian Co. Ltd. for the Duo-Art reproducing legendary “specially-aged (sic) … colloidal-graphite-ink … system. It stars Vladimir de Pachmann. And, even this scenario electrically conductive” masters surfaced? implies perforation prior to playback. Unlike most other reproducing piano recording processes which employed some Editor’s Note: Evidently someone else thought there was a bit too much hype associated with 1950’s phonograph recordings of sort of marking system, Duo-Art actually possessed a recording the Welte-Mignon -- see page 152 - 154

151 The Dumesnil Answers By Richard J. Howe

Editor’s Note: This excellent piece first appeared in the May/June 1989 Bulletin.

In 1960 Larry Givens of Wexford, Pennsylvania contacted Maurice Dumesnil, an Ampico (15 rolls) and Due-Art (3 rolls) recording artist, who was living in Michigan at that time. In a letter dated January 20, 1960, Givens asked Mr. Dumesnil, who was then 73 years old, a series of five questions. What follows are transcriptions of Larry’s letter and Dumesnil’s two responses.

January 20, 1960-

Mr. Maurice Dumesnil 167 Elmhurst Avenue Highland park 3, Michigan Dear Mr. Dumesnil, I received your note in yesterday’s mail, and I am delighted that you will help me in my search for information about the history of the reproducing piano. I am most interested in uncovering information about what actually took place while the recording was being played in the recording studio. So far, about all I know is that the pianist sat at a piano and played the selection on it! Therefore, I have a couple of questions on that subject: 1. Was there necessarily any difference between the pianist’s playing while making a recording and his normal playing? In other words, did the pianist have to play in any special manner, or be especially careful of any technical aspect of his playing, when he made a recording – or could he just play as if he were giving a concert performance and not concern himself with the recording which was being made? 2. What was the mechanism like which recorded the pianist’s performance? I believe there was a grand piano in the recording studio on which the pianist played – but how was this connected to the recording mechanism? Were there electrical switches attached to the piano, and if so, where were they attached? I understand that there was a moving piece of paper onto which pencil STYLI were pressed as the notes were played, and this recorded the keys which the pianist depressed – but how was the VOLUME of the pianist’s playing recorded? Did they have an electrical microphone record the volume – or what sort of apparatus did this? I am VERY interested to learn this information about the recording of the volume of the artist’s playing. 3. After the recording procedure was completed, did the pianists return to the recording studio at a later date to listen to the recordings and approve them or “veto” them? Or did the company just issue the recording without consulting the artist after it was made? 4. Were the various pianists who made recordings hired on a “per recording” basis, or was there a contract arrangement for a certain number of recordings? How did the company go about selecting pianists? Did they try to find artists who specialized in the music of the composer whom they were to record, or did they choose artists on a random basis? 5. If you would not consider this question too prying or too personal, I would greatly appreciate your giving me some idea of the fee which an artist was paid per recording. I realize that the fee varied according to the eminence of the artist, but if you could give me just a general idea it would be fine. You do not necessarily need to give me any information regarding your own fees, although if you wish to do so it would be appreciated. If you know the fees which any other artists received, you could mention those instead. Or, if you do not wish to answer this question for personal reasons, I will understand. If there is any other important information which you think would be of interest to me, I would appreciate your mentioning it, even if only briefly. As I mentioned in my last letter, I am accumulating information on the reproducing piano with the idea in mind of writing a book on the subject in a year or two. I have been interested in reproducing pianos for quite a while, and think they are the finest thing ever to have been sold on the musical market. I am a special fan of the Ampico (although I also have a Duo-Art and a Welte-Mignon) – somehow the Ampico seems to be a little better than the other two. I have about three thousand Ampico rolls, and among my special favorites for the Ampico is your recording of “La Campanella” – a beautiful composition and beautifully played by you! Since you played for both the Duo-Art and the Ampico, I would appreciate hearing your own ideas as to the relative merits of the two reproducing mechanisms. I cannot tell you how grateful I will be for your assistance in my search for information about reproducing pianos. Only from a person such as yourself, who was intimately associated with reproducing pianos when they were at the zenith of their popularity, can I obtain the information I seek. I will always be in your debt for the help which you give me. Warmest regards, Austin Givens

152 The Dumesnil Answers continued –

Editor’s note: See highlighted paragraph for Mr. Dumesnil’s unsolicited opinion of 1950s phonograph recordings of Welte-Mignon rolls. Mr. Dumesnil, a noted authority on Debussy, was personally acquainted with the composer.

February 7, 1960

Mr. Austin L. Givens Wexford Pennsylvania Dear Mr. Givens: 1. There was absolutely no difference between playing in one’s studio, or in public, and for recording purposes. 2. The recording piano was a concert grand. There were some cables going from the piano to the outside and if I remember correctly they were attached underneath on the right side. The styli (or any similar device) cut the paper roll and took care of the actual notes. The most important part – the volume – including dynamics, P, PP, MF, F, FF, etc., crescendos and decrescendos, was secured through another apparatus. Once its inventor, Mr. Stoddard, tried to explain to me what it was. But I could not understand the technical aspect beyond remembering that it was done “through a bath of mercury.” He was very proud of this particular point and claimed THAT was the reason why the Ampico was superior to all other reproducing pianos. 3. After the recording was completed, we came back later on to listen to the recording. We found that any wrong note or slip of a finger had been corrected (they do the same now with the wax records, and often pianists go back and make one passage over and over again until it comes out perfect, then the fragment of tape is inserted). This makes it plain that even what we now hear on long playing is NOT the actual playing of the pianist such as one hears it in concert where there can be no corrections. After listening we could either approve, or ask for softer or louder tone coloring, or anything connected with the reproduction of tone, and they did it. Sometimes we went two or three times until this tone reproduction was perfect. 4. Sometimes the recording was on a “per” basis. I received two hundred dollars for each record from the Duo-Art (Aeolian Co.). For the Ampico my recordings were part of a global contract which included playing the Chickering piano (American Piano Co.) and some appearances in comparison with the Ampico. So I am unable to say exactly how much it was each record made, but I imagine it was calculated to be on about the same basis as the Duo-Art. That fee was an average for concert pianists; popular and jazz pianists received less. The recording pianists were selected at random. 5. Answered in the preceding paragraph. 6. When the Ampico was in perfect shape the reproduction was really astounding. But here was the weak point: I said “when it was in perfect shape”. It needed constant attention from a trained specialist. How could such a man be available in smaller cities or in the country? And without that attention the Ampico – as well as the Welte-Mignon and the Duo-Art – became inaccurate. I can give you a typical example: In May 1928 the presentation of the Gaveau-Ampico took place in Paris. It was a big artistic social affair, invitational. Monsieur Gaveau had done all things well. The Lamoureux orchestra conducted by Paul Paray took part. The Salle Gaveau was filled with social and musical luminaries. The program included an overture. Then I played the first movement of Grieg’s Concerto, and later the Chopin Nocturne No. 1, and the first movement of Mozart’s D major Sonata myself. When the Grieg cadenza came, I got up from the piano and started talking with Paray, both of us standing on the side and commenting with admiring looks. Then I took over again for the last “allegro molto”. We went farther (in showmanship) for the Chopin Nocturne. I played the first part, then the lights were gradually put out and it was pitch dark. I got up and quickly went back stage. The lights came on again, progressively. There was a wave of “oh!’s” and “ah!’s” from the audience. Then when the first motive came again we did it in reverse: as the hall was pitch dark again I came back to the piano, the lights were turned on . . . and there I was. It was really stunning. As for the Mozart Sonata, it was stunning too. But concerning the “weak point,” here it is: we had rehearsed the whole thing most carefully during the day. At that time – in the early spring – there was very little electricity used because the day was bright and clear. But at night it was different. Result: the Ampico played a little SLOWER than at the rehearsal, and that was enough to make me feel disappointed. The Mozart lacked vivacity and sparkle. Before I finish, I want to add a few lines about the Welte Mignon. If you heard the Debussy record put out by Columbia, it is an eloquent example of what I say above. That record is an outrage and gives no idea of Debussy’s playing at all, because the Welte-Mignon was an old one abandoned in a cellar and damaged during the war. Someone tried to put it in shape but did not succeed. Therefore the tempi are all wrong, the dynamics are explosive, and the whole interpretation is not even a faint shadow of Debussy’s exquisite playing. The production of such a record advertising the name of Debussy and the fact that one could hear HIM, is a fraud and a deceit that ought to have been stopped by law . . . I hope the above will satisfy you. If there are other points, do not hesitate to write to me. I will be glad to help you with whatever I know. Yours sincerely, Maurice Dumesnil

153 The Dumesnil Answers continued –

February 20, 1960

Mr. Austin L. Givens R.D. No. 1, Wexford, Pennsylvania Dear Mr. Givens: I remember another instance of a big presentation of the Ampico, and that was in the Fall of 1917 at Carnegie Hall in New York. I had just arrived for the first time from South America and was a guest in the box of Mr. And Mrs. Berthold B. Neuer. Mr. Neuer was the manager of Knabe. There was also Mrs. Godowsky and daughter Dagmar. Godowsky was on the program, and so was Leo Ornstein and another pianist whose name I forget. It was a big affair and Carnegie Hall was filled to overflowing (as was the Salle Gaveau in Paris ten years later). But it did not turn out so well. Godowsky came on, sat at the piano (incidentally it WAS a concert grand, as was the Gaveau in Paris; this answers your question concerning size) and played an ENTIRE Chopin number (there was no stunt like the one we did in Paris, of having the lights turned off, my leaving the piano which went on by itself, etc., etc.). Then he moved his chair some fifteen feet away, sat down, took on a pensive attitude with crossed arms and his right hand to his chin and waited. He waited, waited . . and NOTHING happened! Then he turned his head toward backstage, looking so dismayed, and . . . nothing happened. The poor man didn’t know what to do. Finally a tuner rushed on stage, gave a quick examination, and . . crawled under the piano where he laid on his back with his legs up and started to tinker with the mechanics. At that time there was an outburst of giggling all over the hall . . you should have seen B.B. Neuer’s face, in our box. It was a picture of gloom and disappointment. Later on the demonstration resumed and no mishap occurred again, but that was enough and the whole affair was ruined! Most Ampicos and Duo-Arts were of the smaller grand type, and I believe the only concert grands manufactured were only for public demonstration purposes. There was a reason: the installation of an Ampico raised the price exactly 100 percent (for ALL pianos, big or small), so you can imagine how much a concert grand would have come to, probably much too much for the average music lover to afford, unless he was Mr. Rockefeller or Mr. Harriman. I imagine it was the same in England and Germany. (Editor’s Note: Based on available brochures, ads, etc., this was not generally the case, at least as applied to The Ampico. An article on the list prices for many types of player pianos and reproducing pianos manufactured in the United States and Europe will appear in a later issue.) I did not do any promotion for the Duo-Art. But the great French Pianist, Alfred Cortot, did in this country. I remember being in Davenport, Iowa, once when he had been there the week before and I said “Isn’t it too bad, I would have liked so much to see him.” In Europe, the Paris affair was the only one I ever took part in. I never heard of any rolls being made in Europe, except for the Welte-Mignon. Duo-Art or Ampico were undoubtedly shipped from America. Maybe some Duo-Art rolls were made in London, but I am positive there were NO Ampico records made in Europe. In England the Ampico was available in the Marshall and Rose piano. It is likely that the player action was shipped from New York and installed in London, as was the case for the Gaveau-Ampico in Paris. Regarding WHO played for the Welte-Mignon, most of them certainly have passed away. Perhaps one remains: Lucien Wurmser, of Paris. I do not have his address, but he was still alive last summer when I was in France, and I talked about him with friends. He must now be in his eighties. As for the Ampico studios, artists, etc., I have some very precise recollections, and here they are: The studios were way up in the “Chickering Building” at 20 West 57th Street. When you turned the corner from Fifth Avenue you could see the Chickering “Cross of the Legion of Honor” painted in a huge Chickering ad on the wall facing east. Behind the sales rooms there was a very small recital hall. The other half of the main floor (West side) was occupied by the Sohmer Piano Co. Of course I went many times to the recording studios, and here are the names of “the boys”, as they called them or they called themselves, who were there most of the time and had to do with recording, correcting, etc.: Ferdie Grofe, Henry Souvaine, Milton Delcamp, Adam Carroll, and Milton Susskind. As you see, I have quite a memory of names. They were young then, so they must be alive, though I believe Henry Souvaine died some ten years ago. It should not be too difficult for you to investigate and find out about them all. I understand fully what you say about the paper drying and cracking, etc. So it will be a blessing if you succeed in your attempt to find a way of reproducing the rolls. I wish you the best of luck. You certainly know that some time in the late twenties or early thirties the American Piano Company merged with the Aeolian. So I believe you could get a lot of information from the Aeolian Co. regarding both. But . . . does the Aeolian Co. still exist? This I do not know. That was thirty years ago, and things change so fast . . but here again, you can investigate. Yours very sincerely, Maurice Dumesnil

P.S. Another recollection, though a faint one: I believe there was another New York affair, with orchestra, at Carnegie Hall, at which Rudolph Ganz conducted a performance by the Duo-Art of the Liszt E flat concerto recorded by himself. That would have been later by several years than the Godowsky affair. Ganz is now 83 and still teaching actively at the Chicago Musical College of the Roosevelt University in Chicago.

154 Editor’s Note: These two articles first appeared in the September/October 1988 Bulletin

155 SHerrTEINWAY Welte’sPIANO

By Jerry Biasella Edwin Welte’s Steinway Piano On a recent trip to the Black Forest region of Germany to Gerhard told us all about the restoration of the instrument attend an organ fest, Sandy and Marty Persky and I took a side and how Hans Schmitz from Stuttgart (a Welte expert) took trip to Freiburg. Freiburg is the largest city in the southern great pains with this particular piano. Later on in the week we Black Forest and is the center of culture and art in the high went to visit Hans. While there, we were treated to seeing and Black Forest. This might have been the reason for Michael hearing his collection. What a delight! Welte’s move there in the 19th century. Well, to say those two days were the best days in a Welte The side trip took us to The collector’s life like mine would be like saying I died and went Augustina Museum in the city center to the big red roll closet in the sky! I hope some day you too to see and hear Edwin Welte’s will travel to the Black Forest and see this great art treasure. personal piano, a 6’8” Steinway Style “O” red roll, T-100 scale piano. We were met and greeted by the museum’s curator, Gerhard D. Reese who treated us like long lost relatives. The piano was in another building the museum owns right across from the At right, slots in a paper Freiburger Munster (its 12th century strip recall the fingers of Photographed shortly cathedral). Gerhard, a very outgoing Edward Grieg before his death, Edwin person with a great knowledge of the Welte listens to one of city and of the Welte history began to Below, his daughter his recorded rolls. show us the Welte piano. Edwin’s rummages through the library. widow left the piano in her will to the city of Freiburg with the guidance of Gerhard to insure it would be saved. Along with the piano went a collection of over 400 red rolls of the highest artistic and historic caliber, many of them signed by the composer or artist. When we were allowed to select and to play ourselves the rolls we wanted to hear from the roll closet, I was literally shaking. When I saw so many rare rolls, some maybe only one or two known copies, I was having a very hard time picking just the few we would be able to hear that day. The first roll that Gerhard played was Paul Hindemith’s “Toccata”, a mechanically arranged roll for the Mignon. It was recorded in 1926 and was considered very modern for the time. I noticed that on the roll was Hindemith’s signature and it was written in BALL POINT PEN! I found this extremely unusual until I saw that it was signed in 1959 some thirty-four years after the recording had been made. He had signed the roll after Edwin’s death in 1958. I wanted to find a roll played by Rudolph Serkin and soon spotted #4188 of him playing three Roll Closet etudes. Recorded in 1928, this is an extremely rare roll and was a pleasure to hear. We played and enjoyed several other rolls such as Ravel and Schumann. The roll library was so great we could have stayed and played for a month! The piano is a very unusual case of cherry wood and black oak legs and trim. It is in the Hofmanesque school style that was a very popular furniture style in Europe right after the turn of the twentieth century. As you can see from the photos, the piano is a massive 6’8” style “O”, 6’8”. The sound is also massive. The piano is housed in a room with a two-story rotunda with a curricular stairway above it and it really resounds throughout the space. Roll signed by Paul Hindemith in 1959 - 34 years after he recorded it.

156 Gehardt D. Reese on left, Jerry Biassella on right. Jerry left, Marty & Sandy Persky on right.

6’8” Steinway “O” Red Welte.

THE ARGUS LEADER SIOUX FALLS, SOUTH DAKOTA Street Organ STREET ORGAN By Gloria Bauske Sent in by Linda Bird Orange City, Iowa – Street organ, a tulip fest tradition Dutch phenomenon takes three people to produce music show

Visitors can experience a A couple of men in town built a touch of Holland during the replica of the original cart, and it is 62nd annual Orange City Tulip stored at the Sioux County Historical Festival starting Thursday and Museum and travels a few blocks to running through Saturday. the Straatmarkt for the festival. “If you haven’t seen it The closest repairman is located in before, it’s a lot of fun; and Minneapolis, and the older the organ there are going to be some new gets the harder it is to transport floats and other things planned it there and home again to charm this year,” said Mary Wichers, festival goers. secretary for Orange City. The organ was brought to the Along with displays of Holland Trade Fair in 1950 when it spring flowers and traditional was held in Philadelphia and was later Dutch events, other themes will sold to the Orange City Chamber of be included. Commerce. “This year, we are trying to It has 67 keys, 288 pipes, a large and incorporate a little bit of the A historic Dutch street organ is a featured attraction at the small drum and registers for harmony, patriotic theme because of annual Orange City Tulip Festival, drawing people from melody, accompaniment and bass. September 11, and we are going miles away to the northwest Iowa town. The book organ plays by means of to honor the Fire Department pages made of heavy shellacked and Police Department in the parade,” said Rachel Meekma, cardboard with holes in them. The stiff sections go through a coordinator for this year’s festival. player mechanism as the operator turns a wheel that works a Year after year, volunteers see people returning to hear the bellows and forces air into the organ. street organ, one of the icons of the festival. Producing a show was a three-man job. One person “When you see it all the time, you kind of take it for operated it and the other two collected donations. It took the granted, but it really draws a lot of listeners just to see it,” said efforts of all three men to transport the music machine to the Ray Raak, chairman of the festival. next spot. For years, the organ was moved back and forth between Most of the early organs were imported to the Netherlands Pella, Iowa, and Orange City for tulip festivals held a week from Belgium and France, but street organs are considered to be apart, but eventually it became too fragile to make the trip. a Dutch phenomenon that peaked in popularity in Holland “It is so hard to move because it is very old,” Raak said. during the 1920s and 30s.

157 NAPLES DAILY NEWS MARCH 16, 2002

MechanicalMECHANICAL MMusicUSIC By Michael A. Barnhart Mechanical Music Instrument Computer Interface (MMICI Not MIDI) – Part I

INTRODUCTION model Seeburg MO Mortuary Organ. (Photograph 0) The This article should have been written 15 years ago. It all Seeburg MO is a very nice late model instrument with piano, a started back in 1978 when I was ready to add that Mortier Organ to my collection. Unfortunately, the value of a Mortier had increased well beyond my financial means and I had to settle for a Wurlitzer theater organ instead. Musically, the Wurlitzer is much more capable than a Mortier. But, the Wurlitzer had two major drawbacks: There was no means for automatic playing and the electrical/pneumatic (relay) control (a design marvel for Hope Jones in his day) was a restoration and cabling nightmare. As an electronic engineer, it was obvious to me that an electronic relay system was the solution to both problems. Considering many factors and being somewhat egotistical I determined that I could design and build my own electronic relay system. Over the years there were many false starts that were overcome by advancing technologies and intervening responsibilities that left the Wurlitzer organ restoration at a complete standstill. Recently, through the efforts of other mechanical music hobbyists there has become available a quantity of digitized mechanical instrument music. Notably Wayne Stahnke for full five octave rank of bourdon and flute pipes and a three player and reproducing piano rolls, Peter Phillips (Australian) octave rank of gedeckt pipes. Musically the Seeburg MO for reproducing piano rolls, Tim Westman for Weber Maesto deserved better than the one roll that came with the instrument (Gustav Bruder arrangements) rolls, and Mike Ames for a (Nearer My God To Thee). I considered various options for variety of organ music formats. The availability of mechanical over a year before coming to a decision as to a course of action music in digital form provides an opportunity for playing a for restoration: To convert the system to play from standard 9 wide variety of music on instruments that have a limited holes to the inch, 11 1/4 inch wide piano rolls and incorporate a availability of music in traditional forms (roll, book, even computer interface control. The original Seeburg MO spool barrel). Once the mechanical music is in digital form regardless frame, air motor, and air motor regulator was replaced by an of format it can be transformed to be compatible to a given Amphion Artecho spool frame, air motor, air motor regulator, instrument system. The acquisition of the digitized mechanical and primary valve stack. (Photograph 1) The restoration music is currently expensive. But, relatively cheap compared to included extending the 61 note piano stack to 80 notes. The acquiring music in traditional roll or book form. From the standpoint of aesthetics and preservation, the configuration of an original instrument should be maintained. However, if the instrument stands silent for lack of music or the hobbyist wishes to experiment with instrumentation, registration, and music arrangement a computer interface to simulate the traditional book, roll, or barrel is a viable option. Hopefully as more hobbyists opt for computer controlled instruments, the laws of supply and demand will bring down the cost and increase availability of digitized music. My interest in computer controlled music was renewed with the acquisition (at a price that I could not refuse) of a late

158 stack was also split and provided with separate base and treble vacuum pressure controls (a possible subject of another article). I dusted off my old organ electronic relay concepts and dug out boxes of electronic parts I had originally intended to use on the Wurlitzer organ. After several months restoration work and electronic experimentation and design and computer programming I successfully demonstrated a simple computer interface that simulates standard player piano, a Weber orchestrion, and to some extent the Duo-Art reproducing piano. Needless to say I am ecstatic over my accomplishment. Art Reblitz once told me that even an exact copy of an original instrument will not sound the same. For me to build an exact copy is out of the question. I would use material and parts at hand and make design improvements as I went along. Art is right. But, that does not mean that a newly constructed SOFTWARE: An Operating System (DOS is sufficient). A instrument, especially built by my hand, cannot sound terrific!!! library of digital music data files (MIDI Type 0 format or Who knows, I may even get back to working on the Wurlitzer. equivalent). A MMICI Sequencer to format the digital music The purpose of this article is to document what I files in a MMICI compatible digital output to a parallel printer accomplished, convey how a working mechanical musical port. instrument computer interface can be achieved, to provide an understanding of my experiences of what is involved, and to INTERFACE: Hard wired logic for sensing and distribution of remove some of the “mystique” of commercially available the parallel port digital data. The interface includes an optional systems. The reader may at times think that my attempted external clock for time sequencing the music data. descriptions are overly detailed or simplistic. I must apologize. It is a habit I have developed over the years in attempting to DRIVERS: To lock, and hold the digital data into individual convey my thought processes. At other times I will be in error notes and register data and amplify the data to electrical analog or the reader may be totally confused. Again I must apologize. I signals to operate solenoids. have done the best that I can. If this article was to be perfect you would not be reading it now. SOLENOIDS: An assembly of electrical solenoids that The approach is relatively simple using noncomplex mechanically actuates the musical instrument’s individual notes components, techniques, and computer programming (even and registers. archaic by today’s standards) consistent with my technical knowledge that was gained a generation ago. I cannot claim to POWER SUPPLIES: For operation of the Solenoids and the be totally knowledgeable or up-to-date in current technologies Interface and Driver digital logic. involved. The design approach I present is an option to be considered. Accordingly, I will not present pros and cons of my SOLENOIDS approach verses other systems that may exist. That is for the The solenoid is the primary component used for reader to do to fit his specific circumstances. Some may know transferring between the electrical world to the physical world. of a better way to accomplish the same objective. If so, let it be The solenoid comes in many shapes, sizes, and ratings to known to all so that all may consider its applicability. It will perform a multitude of functions. (Photograph 2) The operation take the skills of a competent electronics technician, mechanical technician, and computer programmer to design, build, and test a working system. I would not expect exact copies of the prototype system which I assembled would be made for the reason of availability of components, materials, and processes. The component types and values are provided as a design starting point. Experiments and tests must be performed to assure proper operation for specific design and components involved.

SYSTEM The complete Mechanical Musical Instrument Computer Interface (MMICI)(pronounced Mickey as in Mickey Mouse) system consist of the following components (Figure 0):

COMPUTER: A PC built within the last 6 years. A clock rate of 100 MHz or greater would be desirable.

159 applied to the solenoid at turn off) that oscillates between the coil inductance and the inter winding capacitance of the coil. of mechanical music instruments with solenoids can be The spark observed on opened switch contacts is the high accomplished in several different ways: (1) As a primary voltage and high frequency wild animal leaping to freedom. electro-pneumatic valve unit developed almost 100 years ago In the case of the Mills Violano, this wild animal can leap into by Hope Jones and used in the Wurlitzer Unit Orchestra Theater a nearby TV set causing interference in the video picture Organ. (2) As a valve actuator that replicates or replaces the and sound. function of a roll (or keyless organ book) on a tracker bar. (3) The force available from the solenoid armature for a given (Photographs 3, 4, & 5) As a key lever actuator used on barrel current flow is weakest at its extended or open position and and book organs. (4) (Photograph 6) As a direct pipe pallet strongest at its closed position. With the possible exception of valve actuator as used in Wicks organs. (5) As a direct striker the direct striking application this is generally the direct actuator or piano action actuator as used in the Mills Violano opposite of that required by the mechanical musical instrument piano or several of the recent cassette or disk played pianos. application. Mechanically for maximum force from a solenoid, The design installation of a solenoid assembly into an instrument should minimize modifications to the instrument to maintain its integrity and aesthetics. Physically, the direct current (DC) solenoid is a very simple device. (Alternating current solenoids are of a special design that are not required for the applications addressed by this article) The DC solenoid consists of a coil of wire in a soft iron core structure that provides a path for a magnetic field caused by an electrical current flowing through the wire coil. The structure is shaped to form the poles of a magnet with a gap or space that is closed by a movable soft iron armature that can be attached to an object that requires movement by an applied force. The force is applied when the current is switched on causing the magnetic field to attract the armature to close the gap between the armature and field structure. The force is released when the current is turned off. The purpose of the soft iron is to avoid the polarization of the core and armature into permanent magnets that would continue to attract each other to close the gap when the current is switched off. Electrically the DC solenoid is more complicated and its performance can be affected by several factors: When the solenoid is initially turned on it is a highly reactive inductive device that resists the change of current as the magnetic field is built up. Thus the full available force is not immediately applied to the armature when power is applied. The magnetic field once built up becomes a form of stored energy sustained by the constant current flow. When the current flow is turned off this stored energy (sometimes referred to as back electromagnetic force, back electromotive force or back EMF) becomes a caged wild animal that must escape. If an escape path is not provided, the stored magnetic energy is converted into a high voltage (much higher than the voltage

160 it is best to keep the armature stroke or distance traveled as dissipation characteristic can be used by virtue of operating the short as possible and close to the fully closed position. When transistor at its two extreme states. One is cut off (the OFF searching for a suitable solenoid for my Seeburg MO project, I state) where very little current is allowed to flow and the full found a likely candidate at a very reasonable price in a surplus voltage (Vs) of the power supply is dropped across the electronics catalog. I ordered a few solenoids for a sample test. transistor. The other state is full or maximum current The samples worked perfectly and I ordered a lot of 100 for my conduction (the ON state) where the full voltage (Vs) of the project. When the time came for test of the operation of my power supply is applied across the solenoid load. The operating complete system I discovered that the solenoids would hang up point of the transistor established by the base input voltage and in the fully closed position when the current was turned off. base bias resistor (In my case 1000 ohms) is such that in either The problem was caused by a weak residual magnetism in the state of near zero current or near zero voltage the power solenoid core that prevented the armature from returning to its dissipation (Watts = Voltage X Current) required by the open position. I disassembled solenoids from my sample test transistor component is very low. In the case of the 2N2222 purchase and the lot of 100 and discovered that the lot of 100 much less than 1.8 watts. The transition between the two solenoids were missing a thin plastic disk that maintained a operating states must be very fast to avoid generation of heat in small gap between the core and armature. I spent two days the transistor. The ON/OFF input states of the 2N2222 are inserting plastic sequins into the lot of 100 solenoids that compatible with standard output of TTL integrated circuits. enabled them to release properly. Integrated linear (as opposed to digital) circuits of octal The primary limitation on the force performance of a transistor arrays may be used in place of individual discrete solenoid is the I squared R heat dissipation generated by the transistors provided the ratings of the integrated circuit current flow through the coil wire resistance. This rating is transistor is not exceeded. generally expressed as maximum voltage for continuous Electronic switching of a solenoid inductive load requires a operation of the solenoid. Take for example, a hypothetical 10 small diode to provide a return path for the “back EMF” current volt solenoid with a coil resistance “Rs” of 20 ohms can operate of the collapsing magnetic field upon shut off. (Figure 1c) The continuously in a normal room temperature environment at 0.5 diode is required for two reasons, one is that it minimizes the amp. This equates to a continuous average heat dissipation of 5 inverse voltage stress on the transistor and the other is that it watts. By its very nature of relatively massive coil and core the prevents a high voltage/high frequency spike from wreaking solenoid has the capacity to absorb and store heat. This allows havoc in low voltage logic circuitry. As long as the inverse the intermittent operation of the solenoid at higher currents for voltage rating of the diode exceeds the power supply voltage, greater force as long as the average continuous heat dissipation the forward current rating of the diode can be relatively small to limit is not exceeded. For example, assuming that the heat handle the very short current spike. In my case a 1N914 rated at capacity of the example solenoid allows its operation at 20 volts 75 peak reverse volts and 500 ma peak surge current. The for 10 seconds or less (technically referred to as the smoke test) banded end of the diode should be toward the Positive terminal it can be operated for one second out of every four seconds of the power supply (as determined by extensive testing). (25% duty cycle) at a current of 1.0 amp. (Note that the heat Otherwise the diode will never work again. generation goes up as the square of the current.) Due to the There are major limiting factors in selection of a solenoid indeterminate length and duty cycle of notes played by with sufficient force to operate a mechanical music instrument. mechanical musical instruments it is not recommended that One is the size of available physical space to mount multiple solenoids be operated at average currents exceeding the solenoids. The other is the size of your wallet to purchase continuous operating ratings. multiple solenoids. As a result the selected solenoids may have The term “Vs” (typically 10 volts or greater) is used to marginal or insufficient force to actuate a note or register. This designate the power supply voltage used to operate solenoids to is the most common problem brought to me. To solve these differentiate from the integrated circuit power supply voltage problems two options may be considered. “Vcc” (+5.0 volts for TTL) required to operate integrated In the case of marginal response, a higher power supply digital circuits. From experience, if “Vs” ever gets mixed up voltage (Vs) with a ballast resistor in series with the solenoid with “Vcc” there will be no smoke to show that there is a problem. But, the integrated circuits will never function again.

SOLENOID DRIVERS

The traditional or usual way of activating a solenoid is by completing a circuit with a voltage power supply (Vs) with the mechanical closure of a switch contact. (Figure 1a) The operation of solenoids through mechanical switch contacts was employed by the Wurlitzer Theater Organ and the Mills Violano Virtuoso. In the electronic world, the mechanical switch is replaced by a driver or switching transistor. In my case a 2N2222 NPN. (Figure 1b) A transistor device with a relatively poor heat

161 (Figure 1d) may solve the problem. Using the previous turn on, the bypass capacitor charges from a discharged state example, a solenoid with twice the power supply voltage (Vs), resulting in the application of the full supply voltage (Vs), 20 20 volts, and a (5 watt) ballast resistor “Rbal” equal to the volts, on the solenoid. With the ballast resistor effectively solenoid resistance, 20 ohms, the current through the solenoid is shorted out by the conducting capacitor, the current through the limited to a continuous duty level of 0.5 amps. The benefit of solenoid can build up to 1 amp (twice the continuous duty this may be difficult for a non-electrical person to understand. rating) during closure. The higher supply voltage and the At the instant of turn on the reactance (inductive resistance) of doubling of the solenoid current can effectively double the the solenoid coil is very high and the current is low. This results effective solenoid force during closure. As the solenoid reaches in the application of the full supply voltage (Vs), 20 volts, to its closed position and the bypass capacitor reaches a fully the solenoid. The higher supply voltage (Vs) provides a boost to charged non conducting state, the ballast resistance and the build up rate of the solenoid magnetic field and current thus solenoid coil resistance should limit the solenoid current to well an increase in the initial force of the solenoid to the closed below its average heat dissipation rating. position. As the solenoid reaches its closed position and the Another important consideration for reliable solenoid magnetic field and current reaches steady state maximum operation is the power supply (Vs). The maximum power values, the reactance of the solenoid coil drops to zero leaving supply voltage (Vs) should not exceed the voltage necessary to the supply voltage (Vs) divided in half across the solenoid coil operate a single solenoid at the average current for continuous resistance, 10 volts, and the ballast resistance, 10 volts. duty operation. The power supply voltage (Vs) should not In the case of insufficient force, the operation of the exceed the driver switching transistor rating. If the power solenoid in its intermittent range can solve the problem. This supply is unregulated, its voltage may be sufficient for the can be accomplished as in the previous case with a higher operation of one or two solenoids. However, as additional power supply voltage (Vs) with a ballast resistor bypassed with solenoids are activated, the added current load may cause the large value electrolytic capacitor (Figure 1e). Using the power supply voltage (Vs) to drop below the voltage necessary previous example solenoid with the power supply voltage (Vs) for reliable operation of additional solenoids. This problem can of 20 volts, and a (5 watt) ballast resistor “Rbal” equal to four be solved by using a constant voltage regulated power supply times the solenoid resistance, 80 ohms, the steady state current with a current rating that exceeds the current load of the through the solenoid is limited to 0.2 amps. The value of the maximum number of energized solenoids expected. Operating ballast resistor is selected to limit the current through the solenoids in the intermittent mode reduces the current load solenoid to a value sufficient to hold it in the closed position. demands on the power supply. In the case of large pipe organs The value of the bypass capacitor “Cb” is selected at a using a large number of low current solenoids, the use of ballast convenient size and cost at a value of 100 uf (micro farads). Be resistors and bypass capacitors may not be practical from the careful to observe the polarity markings of the electrolytic standpoint of mounting space and component cost. capacitor. For some strange reason these modern components Part II of this epic treatise covering Driver Board logic have the arrow pointing to the negative lead. The complexities design and operation will be presented in the next issue of the of this circuit may be difficult to understand. At the instant of AMICA Bulletin.

162 around people who appreciate music and good times together. It seems like every three months Mark Pope is buying another player piano for his Victorian home. Last count was over 10 now. News Richard Reutlinger talked about our strong financial situation. He suggested a meeting at the Cliff House this summer. In the ground floor of the Cliff House are several From different types of player pianos. Richard said he inspected these and most are in poor condition due to being next to the Pacific Ocean where they get a lot of salt water mist which is The Chapters not good for any musical instrument. The Founding Chapter may buy one of these player pianos and have it restored. More on this at our next meeting. Richard also talked about a player piano in Montana that may be purchased and put at some public park. After discussing other things Bing Gibbs brought the meeting to a close. Sometime in June all Founding Chapter members will be sent an updated schedule on our meeting at the Cliff House. This was another nice meeting where everyone was relaxed and had a wonderful time together. Our next get together at the Cliff House should be better. See you then.

FOUNDING CHAPTER Natasha the cat Reporter: Thomas McWay President: Bing Gibbs

The Founding Chapter had its first meeting this year at the home of our secretary Lyle Merithew and Sandy Swirsky. This was on May 19 from 1-5 p.m. on a nice Sunday afternoon in San Jose, California. About 12 AMICA Natasha, the cat, meeting members showed up today. with AMICA members. Everyone brought some finger foods including pizza and lots of soft drinks. This was our first meeting since our Christmas Party on December 16, 2001. The first two hours most everyone spent time talking to each other and eating and relaxing. Our President Bing Gibbs started our meeting about 3:30 p.m. Bing talked about future meetings this year at the Cliff House in San Francisco in July, a joint meeting with the Sierra and Founding Chapters in September at Sutter Creek and a Christmas Party probably again at Richard Reutlinger’s Victorian Home. We now have a new Vice President who is Karen Ann Simons who is replacing Mark Pope. There was talk on having meetings at other member’s homes. Roy Powlan has a meeting once a year at his home. He has several player pianos and restores and sells them. Usually he will have David Thomas Roberts play Ragtime music at this get together. Its like a Ragtime Music concert and an AMICA meeting put together. A great combination. Also Mark Pope had several meetings at his Victorian home but now has music concerts every weekend called the Englander House Victorian Parlor Concerts. The Email list is [email protected]. Several AMICA members go to these concerts often even though this is not an AMICA meeting. Rock-Ola Juke Box This is a great place to see and hear American Music and be plays 78 RPM’s.

163 88 note upright player piano. Ampico Grand Piano

Lyle, friend, and Bing.

Tom McWay at Piano-Mandolin Player. AMICA officers taking a break.

Richard Reutlinger talks about Player Pianos at the Cliff House in San Francisco, California. Pianos are being removed. The most popular room in the house.

Sandy Swirsky talks about AMICA.

Enjoying some of the finger food and beverages.

164 President Bing Mel Septon’s interest in ragtime which led to his 30-year Gibbs talks career as a player piano restorer and to his later becoming about future president of AMICA. Thanks, Max!] and theatrical meetings this year 2002. productions focusing on ragtime music and the ragtime era. Considered to be one of America’s foremost ragtime pianists, Mr. Morath entertained us with a selection of tunes from Scott Joplin, George and Ira Gershwin, Irving Berlin, Hoagy Carmichael and others up to more contemporary times including Billy Joel’s “Piano Man”. Several groups of members met earlier to go antiquing and to dine in one of the many quaint restaurants in the charming village of Woodstock which is located 50 miles northwest of Chicago and is the town where the movie “Groundhog Day” was filmed. We gathered in a meeting room at the Opera House before the performance for a short business meeting. Meta Brown updated us on the revisions that she has made to the national AMICA website. We all thanked her for her efforts. We gathered again in the community room at the conclusions of the concert to meet Mr. Morath and to socialize. Many people took advantage of the opportunity to have their picture taken with him. He is one of the most cordial and obliging entertainers and most deserving of the title of “Honorary AMICAn”. As we attempted to leave Founding Chapter officers planning meetings the Opera House, a torrential rainstorm that prolonged the for the year 2002. evening to no ones dismay greeted us. Finally, the rain let up and we bravely adjourned. Our sincere thanks to Max Morath for providing such a wonderful evening’s entertainment.

Lyle Merithew and Sandy Swirsky’s Home

Chapter President George Wilder and Vice President Curt Cliford conduct the business meeting.

CHICAGO CHAPTER Reporter: Kathy Stone President: George Wilder (630) 279-0872

The second meeting of the year for the Chicago Chapter of AMICA was held at the Woodstock Opera House in Woodstock, Illinois. The featured performer that evening was Honorary AMICAn Max Morath who performed his one-man ragtime piano show. From a career that began as a broadcaster, actor and jazz musician, Max Morath’s interest in turn-of-the-century Americana led to a series of television Woodstock Opera House [It was a television show featuring Max Morath that sparked

165 Woodstock Opera House

Members await the start of the Max Morath concert.

Ed Lisauskas, Joe and Elsa Pekarek, George Wilder GATEWAY CHAPTER and Jo Crawford Reporter: Mary Wilson President: Yousuf Wilson

On June 1, 2002, Gateway Chapter of AMICA members helped St. Louis celebrate 150 years of Layfayette Park by Max talks with playing Monkey organs and street organs around the grounds AMICAn Mel Septon of the park. Members also enjoyed the many attractions. House and Garden tours were given in the old historic houses in the neighborhood. Many antique booths were set up on the perimeter of the park. Carriage rides were given throughout the park. An antique car show and a book signing were features also available. The “1904 Barbershop Quartet” strolled the grounds, singing the old songs of the era. Chapter members enjoyed lunch together at a local restaurant, and, after holding a brief meeting, headed for home.

Joe Pekarek, Richard VanMetre and Mel Septon

AMICA Honorary Max Morath discusses ragtime with an admirer while Yousuf Wilson and the George Wilder listens recently completed attentively. “Mary’s Go Round” built especially for his wife, Mary.

166 up in a major Philadelphia newspaper. Bill does not confine Mary Wilson with organ built by husband, Yousuf. the organ to his backyard only. This organ is well traveled. The band organ does fairs, carnivals and other major public events across the Mid Atlantic and Northeast regions on a regular basis. Bill hands out his own brochures and those of AMICA as well. The band organ did its rendition of entrance of the Gladiators. I can’t describe the experience and also do it justice, you just have to experience it first hand. The DeKleist organ originally played from a folding book but was converted by someone else to play Wurlitzer 125 rolls. Always a hit with children – Cynthia Craig and her monkey. Bill gave us the history behind the company that made this machine. Due to high import duties, European band organs were expensive. There was no American alterna- tive until DeKleist opened up his factory in North Tonawanda, New York On a hot June day, Gary Craig (Buffalo area) with the provides his own shade in Layfayette Park. backing of Wurlitzer. DeKleist brought over talented European crafts- man to help him in his endeavor. At first, quality was great but later it suffered as DeKleist took a more hands off approach to management. DeKleist would only visit the factory two to three times per year. Wurlitzer gave DeKleist an ultimatum and wound up buying him out. For years Bill ran a business called “Mr. Fix It”. Bill could and did fix most anything. Bill’s work indicates that he is an expert woodworker and no slouch when it comes to metal work and machining. Bill is also a “master scavenger” full of creativity and resourcefulness. It was only a matter of time before an Automatic Musical Instrument would come Bill’s way. Bill was “up to” the many challenges restoring automatic musical instruments present. Pictured is the “Kromer Organ Co.” band organ made by Bill from scratch. LADY LIBERTY CHAPTER The Kromer organ has great sounding wooden pipes made Reporter: Bill Maguire from oak pallets. Bill fashioned brass trumpet pipes out of bugles that were cut President: Bill Maguire and neatly bent at 90 degrees. He got that Our typical meetings have us inside with the instruments, neat bend by pouring which is more than fine with us. It was sure nice to be molten lead inside the outdoors on a nice day with great entertainment as we were bells of the bugles for this meeting. The outdoor entertainment came in the form letting it harden before of an 1899 DeKleist Military band organ. The music was so bending them. Bill loud and wonderful, it attracted the attention of a local makes gears and casts reporter who interviewed us with the intention of writing us many metals in his machine shop. I know 167 from my more humble Vince Morgan lets us know about two new experience of restoring these books of interest to many of our members. instruments that it is one of constantly being presented with challenges and having to come up with solutions and being able to do the work or get the work done.

Bill Kromer is demonstrating how to tune a wooden pipe. Bill discussed player systems he thought were good and those he thought should be avoided. The group discussions about such things as pneumatics, bellows, and valves were quality and went into great depth. Those not as interested in the mechanical enjoyed the music, the great day, the food, the socializing. This was a really good meeting, and we thank Ruth and Bill Kromer.

As the train rumbles through Bill and Ruth’s backyard, May Meeting blaring its horn, the band organ can still be heard both loud Reporter: Buzz Rosa and clear. On May 19, 2002 The Lady Liberty Chapter held it’s Spring Meeting at the fine home of Marvin and Dianne Polan in Melville, NY. Our President Bill Maguire conducted the meeting after Marvin greeted the members and guests and entertained them with his collection of cylinder boxes, Edison phonographs, and a Story and Clark reproducing piano fitted with a concealed Power Roll midi adaptor. A job well done by Marvin. Our treasurer Ira Malek reported on the club finances. Under Current Events it was noted that our member Keith Bigger appeared in the Sunday May 12th edition of The New York Times. He has restored and maintained the 2,533 J.W. We got everyone to pose around the organ. It was real Steere Pipe organ in the Baptist Temple in Boerum Hill, nice to see many members of the former Philadelphia Chapter Brooklyn for the last 15 years. A fabulous volunteer job and a in attendance. Ruth and Bill’s dog even knows you look right great article on his dedication. into the camera. Also under Current Events - Buzz Rosa reported on his I may be Lady Liberty’s tour of the Steinway Piano factory in Long Island City, New president but Keith Bigger York. All tours are by appointment only, call 718-721-2600. is our “fearless leader” The tour shows all the craftsmanship that goes into a guiding us through these last Steinway and reviews the 150 year history of Steinway. 11 years. During our business After the business meeting Keith Bigger presented a meeting, people made valuable workshop on how to restore and adjust the expression system announcements. of an Ampico A. He demonstrated what parts deteriorate with age and what can be reused in the restoration. 168 After the workshop Dianne presented the membership Marvin plays a with a hot buffet which was followed by requests to hear more Kaliope with bells music from their collection. for Bob Stuhmer Near the end of the meeting Bill Maguire brought in a bed plate and spring motor mechanism and asked if anyone could identify it. It was identified as a Mira. Dave Palter, Eugene Saboda, Vincent Morgan examined this “basket case” and unjammed the mechanism to the point of getting it to run slowly. A discussion followed on what would be needed to restore the Mira and the safe handling of a spring motor. You never know what may show up at an AMICA meeting and all the expertise that is available in your own chapter. Marvin plays a 78 on Another View of Bill’s a Columbia BI to basketcase demonstrate the sound of a wooden horn

Bill Maguire, Gene Saboda, Dave Palter, Vince Morgan and Marvin examine Bill’s “basketcase” Mira Guests Carl and Pat Diminio enjoy a few serenades by Marvin’s Greisbaum Whistlers

MIDWEST CHAPTER Reporter: Christy Counterman President: Judy Chisnell

Keith Bigger explains the operation of the Expression Regulator The spring meeting of the Midwest Chapter of AMICA from an AMPICO “A” and how to restore it began at the new home of Vince and Pat Aveni. Upon arriving, Vince took us on a musical tour of their collection, which started with a 1920 J.P. Seeburg Nickelodeon with a limed oak finish. Next we were entertained by one of 36 Ira Malek (left) and Vince Morgan films on the Scopitone, an early version of music video enjoy a tune on presentation. The 1922 Link Orchestrion AX featured a a Tournaphone marimbaphone, mandolin, triangle, woodblock, tambourine and tom-tom, all played by an “A” roll. A Las Vegas saloon was the original home of the 1904 Wurlitzer Pianino, containing a 44-note piano with flute and violin. One wall of the main music room was lined with large band organs. Among them were an Arthur Bursens model delivered in time

169 for Christmas, decorated with poinsettias and holly berries. (left to right) The Mortier was from a dance hall beer garden in Germany, Don Dunifon, and features an accordion on top. Brad McClincy, David Graber, The centerpiece of the room was their 4 manual 60 rank Ted Fitch, and Wurlitzer theater pipe organ, one of the largest in the world! It Robin Pratt enjoying took 15 months to disassemble, move and install it in their all of the beautiful pieces. home, actually the first part of the house to be completed. We were treated to a mini concert medley of songs including Chattanooga Choo-Choo and Across the Field, familiar to those of us who are Ohio State fans. As the songs were playing, we were allowed to tour the chambers behind the organ to see just how amazing the instrument is. The afternoon ended too quickly, but we had to leave to make our dinner reservation at the Silver Pheasant in Stow. After dinner, we took a short drive to Dennis and Cindy Eiland’s home, where dessert and more music were waiting. Upstairs, we took turns listening to their 1927 Haines Bros. Detail of the Street Ampico Model A grand, and the Story and Clark Nickelodeon Organ built by Arthur Bursens in the adjoining room. Dennis demonstrated the recording process for the CDs he performs for QRS, so we could see the procedure from playing the notes to final CD product. Downstairs, we listened to the jukebox, their latest acquisition, and pumped roll after roll on the H.C. Bay upright player piano. The Welte upright got a good workout too. Hostess Pat Aveni The next morning, we returned to the Eiland’s for brunch explains the use of and a roll sale. I don’t know which commanded more weights to regulate sound in the organ attention, as the food was delicious and a lot of rolls were chamber to Don bought and sold. We had a hard time getting people to come Junglas. inside for the business meeting. After the meeting, it was on to Canton, Ohio, to the National First Ladies’ Historic Site. They are renovating an 1895 bank building to serve as a museum, library and theatre, and our Chapter was anxious to see where our project Reproduco organ will be installed. It is similar to the one that was purchased circa 1909 for the 1898 Tipp City, Ohio, Opera House. Dave Reichart, who located the machine, consulted with Ken Vinen, who heads our restoration committee, on the location of the instrument in the now empty building. Dr. Sheila Fisher, vice president of the board of directors, is coordinating the project. She led the tour a short block away to the renovated Ida Saxton McKinley home, wife of President William McKinley. The beautifully and accurately restored home contained many artifacts showing how United States’ First Ladies contributed to American history. You can find out more about the museum at www.firstladies.org. We’d like to thank our hosts, the Avenis, the Eilands and Playing “Across the Field” on Dr. Sylvia Fisher of the the organ shows Vince Aveni’s museum for sharing allegiance to Ohio State. their collections with our chapter. We plan on visiting Michigan in the fall. The Hupfeld Phonolizst violina has a round A large Regina disk music horsehair bow that box with accompanying revolves around the advertising 3 violins.

170 Our group enjoys the Don Stinson Band Organ. Mike Barnhart picks out the next roll for Wes Neff to play on the H.C. Bay.

The Scopitone features Vince explains the January Jones singing percussion on the “Up A Lazy River” oak 1918 Coinola X Orchestrion.

Dave Caldwell (right) Our younger visitors were fascinated by the endless presides over the Mini- paper roll on the 1922 Link Orchestrion. Mart at the Eiland’s!

PACIFIC CAN-AM CHAPTER Reporter: Carl & Peg Kehret President: Kurt Morrison

Wes Neff, Mike Barnhart and Rol Chisnell survey the Pacific Can-Am Chapter Organ Rally progress in the theatre of the First Ladies’ Library. Reporters: Carl and Peg Kehret Photos by Jerry Yorioka and Peg Kehret The Pacific Can-Am Chapter held its second annual Organ Rally in Ocean Shores, Washington, on June 1-2. A kite festival that weekend added colorful skies and food Warren Merchant vendors to the festivities. listens to our An open house at the home of Sally and Norm Gibson costumed guide in the McKinley on Friday evening gave everyone a chance to enjoy some ice Home. cream, watch a movie in the Gibson’s home theater, or catch up on the news of friends. Shirley Cavanaugh said, “The organ rally is starting to seem like a family reunion – we visit with people whom we see just once a year.” 171 The rally was at the Ocean Shores Convention Center, Norm Gibson shows with band organs, street organs, and a calliope in the parking off “The Scotsman.” lot. Mike Wallace’s magnificent Link coin-operated piano wowed everyone who stepped inside. Two rooms, one for a pumper player piano and one for an assortment of smaller instruments such as organettes and music boxes, were open to the public. Both of these rooms proved popular with visitors. Carl and Peg Kehret and Fran Willyard staffed the pumper room while Ron Tyler, Pat Cavanaugh, and Maury Willyard demonstrated the smaller instruments. Highlights of the pumper room were a rousing version of “YMCA”, complete with hand motions by the audience, and the many older folks who enthusiastically showed their grandkids a player piano for the first time. The Saturday night banquet was a Mexican food buffet. Trophies were awarded in several categories and the lucky winners received small organ pipes, handcrafted by Dave Rufus Parker greeted Wassen and mounted by Norm Gibson on a matching base. visitors with his Nearly everyone present went home with a great door prize, crank organ. including Ina Spady who won the $125 Oriental Vase. No wonder we all had so much fun!

Bill and Anita Masterman’s Wurlitzer band organ and miniature carousel were crowd favorites.

John Isles (left) was a passer-by at last year’s rally. Now he’s building a band organ! He brought parts to show Dave Wassen and get Dave’s expert advice.

Bruce Miller and the Wurlitzer 153

Mary Lou and Jack Becvar tour the Gibson home with host, Norm.

Carl Kehret explains to rally visitors how a player piano works.

John Reynolds brought his Dutch Orchestro-phone from Canada.

172 Organ, complete, of course, with monkey. Brooke made some gorgeous covers, and it really adds to the looks. New members Peter Breede and Bill Klinger made their own monkey organs, and we’re happy to have them come out. Both have nice-sounding organs which look good as well. Of course, Dave Wasson was there with “Trudy”, which just sounds better every time we see it. Charlie and Jackie Porter bring “Spirit of San Diego” to every rally. Both of these wonderful organs are always big hits with the public. Frank and Shirley Nix bought their Hofbauer Monkey Organ. Frank had his second hip done in April, so Shirley wouldn’t let him bring the larger organs this time. Banquet goers hoping to be one of the lucky winners. Roy Beltz was there to help wherever needed, as always. He’s our constant supporter, always available and never missing an outing. A special and very welcome surprise was when Jerry Doring came out with his son, Chris. We were all glad to see Jerry looking so well. Our next event will be a meeting in Escondido, near San Diego, with Charlie and Jackie Porter hosting. Charlie will give a talk on tuning and making pipes for the organs. This is something the men have been looking forward to, and had to be postponed due to a family emergency last month. SOUTHERN CALIFORNIA CHAPTER Reporter: Shirley Nix President: Frank Nix

July 6 found us at Sierra Madre for the annual Fourth of July Weekend Organ Rally in Memorial Park. The weather cooperated more than usual, with a cool breeze blowing through all day, making for a really pleasant day. This year, with the 4th being on a Thursday, we didn’t have large crowds. But those who did come were there because they knew we were going to be there, and they wanted to see our show, so they were an appreciative audience. Richard (left?) Ingram with his twin brother Dennis and A few mentioned that they had seen the organs on the wife Beverly with the red, white and blue player piano. Huell Howser Show and were very impressed that the same organs were right there in their community. We added a couple of displays this year, with our vice-president Richard Ingram and his twin brother Dennis bringing their “Patriotic Piano”, all painted red, white and blue, with hats and vests to match . . . they set up quite a nice display on the stage and had rolls of every kind imaginable for people to listen to. That was a big hit. We also had access to the Senior Center Room, and Bill Blair brought some music boxes, automata, and a bird cage. He set up his organs outside the room and demonstrated the instruments inside when requested. That kept him busy most of the day. Jack Conway had his usual great display with his calliope on his Model A Ford pickup. Lloyd Osmundson always manages to set up an attractive site with his Hofbauer Frank Nix with visiting Jerry Doring (right) and Jerry’s son Chris.

173 Lloyd Osmundson and “friend”, playing his Hofbauer

Dave Wasson being serenaded by his organ “Trudy”

Jackie Porter, Frank Nix and Roy Beltz

New member Bill Klinger caught taking pictures of his Jean Hurley and Bill Blair with Bill’s Wurlitzer organ. monkey organs, which he made himself.

Jack Conway plays his Perlee.

174 Simon Zivin M.D. 1918-2002 By Marty Persky

AMICA Chicago Chapter member, Simon, a former President and Trustee of Simon Zivin died on May 2, 2002, at the age the MBSI with wife, Mabel were mainstays of 84. Since his wife Mabel took ill over at the AMICA Blackberry Farm Band Organ three years ago, Simon continued his Rallies. Each with their own monkey organ practice during the day and assisted with her and in costume, they entertained the crowds, home care in the evening. This February, independent of weather. Simon often helped Simon was diagnosed with lung cancer. By the Chicago Area Chapter business meetings early April, he was admitted to the very focus on the important issues as Secretary hospital he had served for 46 years. Here he Mabel recorded the minutes. received the best of care and was treated as a The Zivin home and collection was VIP. He passed peacefully. always open for Chapter and National meets The son of Russian immigrants, Simon in Chicago. Before Mabel could play and his twin brother Israel were the any roll on their Chickering, Simon youngest of five children who grew up on provided myriad historical tidbits about Chicago’s near North Side. Along with his brother, Simon did both artist and composer. his undergraduate studies at Northwestern University. It was The Zivin’s were ardent supporters of many charitable during this time that he met Mabel. They married in June 1942. groups throughout the years. They routinely gave tours of their Upon graduation from the University of Illinois Medical collection to raise money for charity. Since the end of WWII, School, Simon was called to serve in World War II. He left his Simon had been an active member and officer of the Jewish young wife and newly born child, to serve in the U.S. Army War Veterans, a group that his family designated for receiving Medical Corp in Europe. While abroad, their child, a daughter, memorials. He had a passion for life, learning and music, which died. After the war, Simon returned to serve his residency and he shared with his family, patients, and many, many friends. His begin a practice. He served once again during the Korean devotion to medicine endured almost until his last day; retiring conflict. from practice on April 1, 2002. We will miss Simon’s engaging After working at the Veterans Administration Hospital, quizzes and quips and most of all, his friendship. Simon entered private practice and worked on staff at several Simon is survived by Mabel, sons Marty and Justin, NW Chicago hospitals, specializing in Cardiology where he daughter Linda, and four grandchildren. (Mabel now resides earned high esteem. He had a special rapport with his patients in a local nursing home.) and staff. His encyclopedic knowledge of history, language, and classical music made him a most interesting conversationalist. Many lifelong friendships grew from his practice.

175 AMICA and MBSI Members Wayne and Nancy Fisher Couple killed on wedding anniversary From Florida Times Union, July 21, 2002 By Jim Schoettler, Times-Union staff writer Sent in by Marvin Polan

Thirty-nine years ago, Wayne and “It’s a crying shame that courts let Nancy Fisher took a vow to love and these people back on the street,” said cherish each other for however long Charles Johnson, who lives a few they lived. doors down. By all accounts, they fulfilled that “To have their life snuffed away at promise. The pair were inseparable, a moment’s notice, it’s not fair,” said whether it was traveling to Europe, Ray, a neighbor who asked that his last teaching their grandkids to ride name not be used for his protection. tricycles or shopping together. “The man should be held for two On Saturday, they took one final counts of murder.” journey. They had been to a flea market, and were heading Wayne Fisher Sr. enjoyed collecting music boxes and was home. an avid scuba diver. He recently retired from St. Vincent’s. The couple stepped off the sidewalk and began to cross Nancy Fisher was past director of the Diocesan Center for Blanding Boulevard on Jacksonville’s Westside. They were Family Life, a family planning facility operated by St. Vincent’s killed instantly when hit by a car that police said was being and the Diocese of St. Augustine. driven by a man with a suspended license and possibly alcohol “These people were the nicest people you’d want to meet,” in his body. said Charlie Walch, who worked with Wayne Fisher as a It was the Fisher’s 39th wedding anniversary. biomedical technician at St. Vincent’s Medical Center. “They’re going to be missed dearly by a lot of people in this community.” Friends and family said news of the deaths, brought by a state trooper or somber phone calls, left them stunned. Mary Alice Phelan, director of community relations at St. Vincent’s, said the Fishers shared a special relationship together “We’re all really almost numb,” said Wayne Fisher Jr., the and with others. couple’s son. “We’re just so sad.” “You could see how much they loved each other because The accident occurred outside The Bargain House of Fleas, they were so tender with each other,” Phelan said. “These were a popular flea market. Fisher, 63, and his wife, 61, were two vibrant people who already had given so much to their heading to their car when they were struck. community and family and were prepared to give more.” Police said the driver, Jay Kafka, 47, had his license The loss was even felt yesterday at the accident scene, suspended July 4 for a driving under the influence arrest and where someone stuck a cardboard sign in the median of was released from jail a week later to await trial. Blanding Boulevard to remind passers-by of what happened. Police said Kafka smelled of alcohol and had at least one Lilac and yellow plastic flowers were placed beside the empty beer can in his car. A blood-alcohol test had not been stakes. completed. Speed may also have contributed, police said. Kafka was charged with driving with a suspended license and was “In memory of the two lives that were taken here . . .” the being held on $250,000 bond. sign read. “They will never be forgotten and will be in our prayers.” Neighbors of the Fishers near Ortega Farms described them as a wholesome couple who greeted everyone with a smile and The final words echoed what many people ask for along a wave. The neighbors were angry about how the couple died. that busy stretch of road. “Please slow down.”

176 FOR SALE ADVERTISING 1927 STECK DUO-ART GRAND, 5’8”, Mahogany, completely GENERAL INFORMATION ABOUT rebuilt with new pinblock and restrung in 1992. Refinished with bench, ALL ADVERTISING IN THE AMICA BULLETIN rolls and cabinet in 1992. Asking $12,000. Jody Sagsetter, Columbus, All advertising should be directed to: Ohio, 614-459-2604. (4-02) Robin Pratt Five hundred original Ampico plus Duo-Art, Welte rolls. 14 Welte 630 East Monroe Street rolls factory sealed, never played. Chickering and Marshall and Sandusky, Ohio 44870-3708 Wendell reproducers, Welte upright. Oak 6 ft. double Bank Estey Phone (419) 626-1903 Reed church organ. Ethnic rolls Russian, German, Italian, Polish, e-mail: [email protected] Slovak, etc. Kimball Ornate Hutch rebuilt Reed organ, Melodian Ad copy must contain text directly related to the product/service Reed organ rebuilt, Traveling Preachers’ collapsible Reed organ, being offered. Extraneous text will be deleted at the Publisher’s Haines Upright Ampico, Floor Model Edison Phonograph and discretion. All advertising must be accompanied by payment in U.S. funds. No telephone ads or written ads without payment will 170 records. John Babey, Cleveland Piano Service, 216-383-8420, be accepted. This policy was established by a unanimous vote of 216-531-9255. (4-02) the AMICA Board at the 1991 Board Meeting and reaffirmed at AMPICO SYMPHONIQUE – w/bench, mahogany. Completely the 1992 meeting. AMICA reserves the right to edit or to rebuilt in 2000. Includes 200+ rolls. Must Sell, $6,000.00 OBO plus reject any ad deemed inappropriate or not in keeping with moving. Debra Legg, 327 RowenaSOLD Lane, Dunedin, Florida 34698, (727) AMICA’s objectives. 734-3353, [email protected]. (5-02) The BULLETIN accepts advertising without endorsement, 1925 STEINWAY DUO-ART Reproducing Piano, Model OR (6’5”). implied or otherwise, of the products or services being offered. Mahogany case with original matching bench and ivory keys. The Publication of business advertising in no way implies AMICA’s Rebuilt Aeolian player system has all new gaskets, pneumatic cloth, endorsement of any commercial operation. valve leather and pouches, new hoses and tubing. Further work includes AMICA PUBLICATIONS RESERVES THE RIGHT TO a rebuilt action, new pinblock and strings. The work has been completed ACCEPT, REJECT, OR EDIT ANY AND ALL within the last 3 years. It embodies the spirit of Paderewski! $25,000. SUBMITTED ARTICLES AND ADVERTISING. The Immortal Piano Company, Portland, OR 503-233-2234. (4-02) All items for publication must be submitted directly to the KNABE 5’8” mahogany Ampico A, restrung, partially restored and Publisher for consideration. assembled, bench, asking $2250 OBO. 1000+ piano rolls, band organ CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum rolls, 16 assorted upright player pianos $1500 all, OBO, husband’s for AMICA members. Non-members may advertise double the Player Piano Workshop contents, tools, machinery and supplies. member rates ($10.00 minimum). Because of the low cost of Must sell, gotta go! 317-856-6174 (IN) (4-02) advertising, we are unable to provide proof copies or “tear sheets”. ORANGE COAST PIANO 17 A-100 series Link Orchestrion rolls call DISPLAY ADVERTISING for a list of titles and make-n-offer various music box shells call for sizes Full Page — 71/2 " x 10" ...... $150.00 & prices, 2 Marshall & Wendells both built in 1927 5’ 4” AMPICO Half Page — 71/2 " x 43/4" ...... $ 80.00 Grands, one completely restored and the second 100% unrestored. Quarter Page —35/8 " x 43/4" ...... $ 45.00 Franklin AMPICO Upright built in 1926 100% unrestored make offer! Business Card — 31/2 " x 2" ...... $ 30.00 Steinway Duo-Art 6’ OR fully restored! Ebony satin with matching Non-member rates are double for all advertising. bench and a 40 roll Library $17,850.00 or near offer. Weber Duo-Art Special 6 for 5 Ad Offer - Place any ad, with no changes, for a 5’ 8” unrestored — make offer! English built vertical George Steck full year (6 issues), and pay for only 5 issues. Payable in advance. Duo-Art expression pumper unrestored — make offer! Imhof & Mukle Photographs or halftones $15.00 each Barrel Orchestrion 50 key 114” high with nickel plated trumpets very Loose Sheet or Insert Advertising: Inquire impressive instrument. A similar model can be seen on page 466 right We recommend that display advertisers supply camera-ready side lower part of page in Bower’s Encyclopedia. Comes with 12 tune copy. Copy that is oversized or undersized will be changed to barrels. Call now for more details. Pierre Eich “Super Violin” correct size at your cost. We can prepare advertisements from Orchestrion. This instrument is now restored and sounds great! your suggested layout at cost. make-n-offer. Weber “Unica” excellent condition with beautiful PAYMENT: U.S. funds must accompany ad order. Make check beaded lamp shades. This is a wonderful mechanical musical instrument, payable to AMICA INTERNATIONAL. Typesetting and 1893 very rare North Tonawanda 25-key with tremolo Monkey Organ layout size alterations charges will be billed. 9-tune barrel. Late Model 1929 Mills Violano-Virtuoso mahogany case DEADLINES: Submissions must be received no later than the works great with 4 incredible rolls 2 recuts and 2 original also with first of the odd months (January, March, May, July, September, service manuals make-n-offer! 3 Nickelodeon’s from “Knott’s Berry November). The Bulletin will be mailed the first week of the Farm”, Englehardt style “A” tiger oak with 3 original art glass panels even months. (Rev. 6-98) $4,750.00. Link “2E” keyboardless needs new spoolframe. Seeburg model A with violin pipes. Call for more information and prices at (714) 432-7426 ask for Kim. We also carry a very large collection of Music Box Disks (sizes rounded off): Britannia: 9’s & 11’s Celesta: 15’s “ It is often better to remain a chat room Criterion: 15’s Harmonia: 16’s Kalliope: 5’s, 7’s, 9’s & 13’s Komet: 8’s, 13’s & 20’s Mira: 15’s & 18’s Orphenion: 16’s Olympia: 11’s, 15’s & 20’s Polyphon: 6’s, 8’s, 11’s, 14’s, 15’s, 19’s, 22’s & 24’s Regina: lurker and be thought a fool than to 11’s, 15’s & 20’s Symphonion: 5’s, 8’s, 9’s, 10’s, 11’s, 13’s, 15’s, 21’s & 27’s Stella: 13’s & 17’s. We are now America’s largest used player join in and remove all doubt ” piano roll dealer. We carry Ampico, Welte, Duo-Art, Recordo and 88 note player piano rolls by the 1,000’s. You now can see a lot of this ~ 21st century Adaptation stuff and even buy it through (Paypal) on our website at (http//www.playerpianos.com) We now ship Worldwide! (714) 432-7426 ask for Kim (4-02)

177 NEW PIANO ROLL BOXES - 2 sizes available for 88 note: Large REPRODUCO, Operators Piano Co., complete with all pipes and (fits 2 3/4” Flange)covered with Black Alligator Paper(Top), Black many rolls, good condition, $5200. Jukebox AMI D-80, very good Leather (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. condition, $1150. Jerry Cuda, 417-753-2063, e-mail: [email protected] + Shipping. Small (fits 2” Flange) Covered with Black or Tan Leather (5-02) Paper (Top), White Litho (Bottom)$1.20 ea. + Shipping. 65 Note AMPICO, DUO-ART & WELTE Rolls, great selection of popular, Roll Boxes Maroon Paper (Top), White Litho (Bottom) $2.25 ea. classical and medleys. Also, 88-Note Piano Rolls, hundreds of used + Shipping. A 10% Discount will be given on orders over $10.00, rolls, - $3.00 each plus shipping. Also New Old Stock QRS Rolls, and a 20% Discount on orders over $100.00. Many other Repair $5.00 each. Will furnish lists on request. Dave Caldwell, 400 Lincoln Supplies available (Parchment Leaders, Flanges,Tubes, Tabs, Lake Road NE, Lowell, Michigan 49331; (616) 897-5609 (6-02) Repair Tissue) California Player Roll Co. www.calroll.com (760) 244-ROLL (7655) (6-02) WANTED PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut Spoolbox suitable for a 10-tune music roll. Thank you. Don. “Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat” 262-965-2627. (4-02) 88 note roll. Original and other re-cut rolls; program rolls for AMPICO and DUO-ART. All in excellent condition. Write or call for listings. ARTRIO-ANGELUS reproducing rolls and catalogs wanted. David Krall, 4218 Torrence Ave., Hammond, IN 46327, 219-932-2322 (4-02) Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, call 270-343-2061. (6-02) AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I’ll TANGLEY CALLIAPHONE, Model CA-43 (Miner Mfg. Co.) buy small or large collections. Now is the time to clean out duplicates automatic/hand play, great condition, with trailer, Honda generator and and unwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell, MI 49331, phone 1-616-897-5609, E-mail: 8 rolls, $6500 firm, fob Houston. Call for info and photos. Dick Howe, SOLD [email protected] (2-03) 713-680-9945. (4-02) MASON & HAMLIN, KNABE OR CHICKERING AMPICO MARSHALL & WENDELL 5’4” Spanish Art Case, good working GRAND PIANO in unrestored condition for my personal family use. condition, matching bench, Ampico A, roll collection included. Asking Mike Krumenacker, phone 1-610-489-7394, E-mail: $10,000. (217) 877-7066 Decatur, IL (5-02) [email protected] (4-02) CHICKERING AMPICA A CENTENNIAL MODEL, 5’4” with RED WELTE MIGNON piano rolls (T-100). Paying top dollar. matching bench. Mahogany with nic ivories. All original and Mike Kukral 812-238-9656 or [email protected] (6-03) untouched. $2500. OBO (419) 626-1903 [email protected] (4-02)

178 John Wrasse Piano Moving Specializing in: Player Grands, Nickelodeons, & Orchestrions Anywhere in Continental US & Canada ¥ ¥ ¥ ¥ ¥ Phone: 574-234-8990 25 years experience Fax: 574-234-9880 Knowledgeable Rebuilder and Collector Well-known ¥ References Available Insured ¥ ¥ ¥ ¥ ¥ Your instrument is wrapped, padded and layer Piano S secured for transport in an insulated and n’s P er vic clean custom-built heavy-duty trailer. Be A Complete Restoration Service e Professional and personal service. For The Pneumatic Piano Complete pianos and player systems restored using factory John P.Wrasse original techniques by an experienced professional. Complete or partial systems can be sent to my shop for restorations. Phone: 563-872-3495 - Cell: 563-580-2472 I supply special UPS cartons for this unique service. E-mail: [email protected] Ben Gottfried 31449 216th St., Bellevue, IA 52031 (6-02) 464 Dugan Rd. • Richfield Springs, NY 13439 315-858-2164 (6-02)

The Heart of America Chapter of AMICA is going to have their 2nd Band Organ Rally here in Eureka Springs, on the grounds of the Historic 1886 Crescent Hotel (with smaller organs downtown), on August 23 & 24. Interested people can get details by contacting me. Host hotel will be the Crescent Hotel, 479-253-9766.

Martin Roenigk 75 Prospect Avenue Eureka Springs, Arkansas 72632 Phone: 479-253-0405 • Fax: 479-253-0406 Cell: 443-831-6211

179 The Golden Age of Automatic Musical Instruments By Arthur A. Reblitz

For a preview of this important new book, please visit our website: www.mechanicalmusicpress.com

“This new book is without a doubt the finest book on automatic musical instruments that will be published in our lifetime... I dare say it is every bit as essential as Bowers’ Encyclopedia. Don’t miss it!” Rob DeLand, BluesTone Music Rolls, Grayslake, IL.

Only $120 each, plus $5 postage and handling for single copy USA ground shipment. For payment information, shipping rates on multiple copies, air mail, insurance, and outside the U.S., contact: Mail To: Mechanical Music Press-A • 70 Wild Ammonoosuc Road • Woodsville, NH 03785 603-747-2636 (Voice/Fax) or 877-760-8243 • E-mail: [email protected]

WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com • [email protected]

(6-02)

180 YOUR ADISWANTED!

For the NEW 2002 AMICA Membership Directory

The 2002 AMICA Membership Directory is being organized as you read this. Now is the time to send in an advertisement for your business, your collecting wants, services or related items for sale or simply a “Best Wishes AMICA!”, we want your ad. Including your ad in the new 2002 Directory will give you years of visibility as well as reference for yourself and other members. Plus, your paid ad will help AMICA directly by offsetting some of the production costs. Many AMICA Members refer to their Directory regularly for ads, products, services, telephone numbers and addresses. Finding others who might own a similar instrument and getting help becomes a simple task with the instrument listing! Travel, locating and visiting other members becomes a breeze! The AMICA Directory is an excellent resource!

THE AD RATES FOR THE 2002 AMICA DIRECTORY ARE: FULL PAGE – 7 1/2’ x 10”...... $200 HALF PAGE – 7 1/2” x 4 3/4” ...... $110 QUARTER PAGE – 3 5/8” x 4 3/4”...... $65 Photo/s included in ad @ $20 each (unless ad is complete and camera ready.)

Make your check out to AMICA and mail it with your camera ready copy to: AMICA Publications – Directory Robin Pratt, Publisher 630 East Monroe Street Sandusky, Ohio 44870-3708 You may submit your ad in a simple written form and we will do the composition for you and dress it up. What could be easier? If you have any questions about your ad, its composition or cost, contact the Publisher directly at: (419) 626-1903 or email: [email protected]

Thanks, AMICA really appreciates your help!

181 “The Rose City” PORTLAND, OREGON AMICA 2003

Pacific Can-Am Chapter solicits ideas for workshops and presenters for the 2003 Convention August 20-24, 2003

If you would like to be a presenter or have suggestions for workshop topics, please contact:

Carl Dodrill 4488 W. Mercer Way Mercer Island, WA 98040

Phone: (206) 236-0067 Fax: (425) 696-0082

E-mail: [email protected]

182 AMICA ITEMS FOR SALE

Get the Whole Story ! Shipped Immediately ! In Stock Now The AMICA Bulletin remains the single source of complete information about the technical and social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound volumes, collections of technical articles written and con- 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol 1 - 1969 to 1971 ...... $10.00 $24.00 (U.S. Dollars) per year postage paid Vol 2 - 1972 to 1974 ...... 8.00 Vol 3 - 1975 to 1977 ...... 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 ...... 7.00 Send Orders to: Stuart Grigg Vol 5 - 1981 to 1988 ...... 20.00 Vol 6 - 1989 to 1993 ...... 20.00 Grigg Graphic Services, Inc. Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, MI 48034 temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments. e-mail: [email protected]

Attention Chapters!

AMICA AMICA Brochure Holders STATIONERY are now available and for $3.00 each. ENVELOPES They are clear plastic This is a reduced with AMICA Logo imprinted sample of the small letterheads on a gold label. which can be purchased. Included will be as many AMICA New Member Info Brochures as you wish at no charge. Make checks payable to AMICA International. AMICA STATIONERY & ENVELOPES For Quantities and Pricing contact: Order from: Stuart Grigg Grigg Graphic Services, Inc. Robin Pratt 20982 Bridge Street AMICA Publications Southfield, MI 48034 630 East Monroe Street Fax: (248) 356-5636 Sandusky, OH 44870-3708 e-mail: [email protected] [email protected]

183 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American)

Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.

E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)

Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from for- Minimum Order: $10.00 A ______And send to: eign countries B ______must be drawn C ______BRIAN K. MEEDER on U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______

184

AMICA is: Working together to further our common interests in mechanical music Looking forward to the Bulletin and trying to read every article Hoping items on your wanted list can be found in the for sale column Scraping together enough money to buy a piano that still needs many hours and lots of dollars ...... to repair Trying to borrow a library book about repairing player pianos, then finally buying it since it is ...... always checked out Becoming so attached to your collection that it’s hard to part with any of it Collecting, collecting, collecting and trying to avoid selling, selling, selling Trying to be happy when a friend finds just the style piano you were looking for Getting a call from someone passing through your area who would like to hear your pianos Having a friend lay under your grand to see how it works Forgetting you wanted a dining room set because your grand needs that space Hoping your children will empty their bedrooms when they leave home so that extra piano can ...... be moved in Driving for hours to get to a meeting that probably won’t last as long as your trip did Causing traffic jams in residential sections because there aren’t enough places to park Knowing you will be welcome in a stranger’s home because you are both AMICA’ns Moving out tables and other accessories to make room for everyone Realizing that your home is wall to wall pianos and hoping your guests don’t mind ...... standing Providing enough food for an army because AMICA’ns like to eat while they listen Corresponding for years with another member and finally meeting them at a National ...... Convention Planning a convention on the phone after 11 PM so you can get a cheaper phone rate Hoping your bid at an auction is the highest so you can get that favorite roll without it costing ...... an arm and a leg Clapping after a moving piano roll performance on a reproducing piano Enjoying a comparison concert when you can’t tell who or what is playing when Marveling at the performances of our honoraries and knowing how wonderful it is to have ...... them with us Pretending you understand what you were told at a technical session, but knowing you will never ...... be able to do it Knowing many things about composers and their music, but having no idea how to fix the piano when ...... it doesn’t sound right Knowing just what needs rebuilding and how to do it, but you can’t find middle C on the piano Helping others become interested in our hobby Most of all, AMICA is fun, fellowship and appreciation of our fabulous musical marvels .from the past.

WHAT AMICAby Liz MEANSBarnhart TO ME CALENDAR OF EVENTS AMICA CHAPTER MEETINGS Memorial Fund Donations Founding/Sierra Nevada Chapter Please think of AMICA as a place to Saturday, September 7, 2002 at [:30 pm at the home of John and remember your friends and family with a Nadine Motto-Ros, 110 Allen Ranch Road, Sutter Creek, CA. donation to the AMICA Memorial Fund. This will be a joint meeting and an afternoon BBQ. Contact John or Nadine at 209-267-9252 or Send to: [email protected] Judith Chisnell Heart of America Chapter 3945 Mission, Box 145 December, 2002 - Barbara and Doug Cusick will host the Rosebush, Michigan 48878-9718 annual Christmas meeting in Leawood, KS. 517-433-2992 May, 2003 - The Tulip Festival will be held in Pella, lAo [email protected] Ideal for monkey organs, but not big organs. Organized by the Railsbaclcs and Craigs. September, 2003 - Meeting in Branson, MO • hosted by Billie & Bill Pohl. Texas Chapter MRSI SunbeitiAMICA Texas Chapter Band Organ Rally & Meeting at the Texas State Fair September 27th, 28th & 29th, 2002

August 20·24, 2003 AMICA Convention, Portland, Oregon Contact: Carl Dodrill 4488 W. Mercer Way Mercer Island, WA98040 Phone (206) 236-0067 E-mail: [email protected]

DRAWINGS MADE WITH MUSICAL CHARACTERS.

1. The Piano Virtuoso 2. Paganini 3. The Primadonna 4. An Egyptian Musician 5. Scarlatti's Cat 6. "The Flying Dutchman" 7. The Capellmeister 8. Napoleon

136 Letters ...

Mark Your Calendars Today For The: &I- 'ItTIVAI 0, PUllADllPUIA «:OMPOtllt' ~ Six exciting, affordable concerts in November, 2002, featuring works ofmajor impact by Philadelphia composers. At the Independence Seaport Museum, Penn~ Landino

WMoosmSI George Crumb Lukas Foss ~;QLeo Ornste~n . George Rochberg RichardWernick Stephen Albert Jacob Druckman Aaron Jay Kernis cen PerslChetti Ralph Shapey Stefan Wolpe Samuel Barber D

rae.dap, Novemlle. I, 1••• pm F.lda", November'S, •••• p'~ Frida", November zz, ••00 pm 'andap, Novemlte. '.,. .... pm 'and.", Novemller 17, I••• pm ''!Ind.", Novemlter 34, 1.00 pm

Presented by the PHILA:)ELPHIA CHAMBER MUSIC SOCIETY, INDEPENDENCE SEAPORT MUSEUM, NETWORK FOR NEW MUSIC, ORt HESTRA 2001, SETTLEMENT CONTEMPORARY PLAYERS, and MUSICAL FUND SOCIETY. "'.11. p.n'.'. "" •••••"11' .,..tI..m fit. ""ne, ,..."II"tI.". TICKETS ONLY $12.50 EACH BY SUBSCRIPTION • $15 FOR ANY SINGLETICKET "':"f...", ~ CALL PCMS 21 S•S69' 8080 OR VISIT: WWW,PCMSNET,ORG .

Sent in by Ro'bel1 M. Taylor

138 particular note. After the notes from sheet the appropriate background music. But the music or an artist's performance are PIANO debut of talking films in 1927 created a properly translated into the holes or slots on ROLL sensation, and many people left their Playerc the strip of paper, the roll can be passed over ~-t--TRACKER pianos to enjoy the cinema with sound. . the player mechanism by pumping the BAR The third new ruler of recreation was the pedals, and the piano reproduces the song, record player. Gramophones and acoustic making every player-piano owner a maestro reproductions had been around for some in his own home. B years, but with cranking required for Initially, piano rolls offered only J operation and generally poor sound instrumental music, but the industry soon quality, they remained short of their began featuring the popular songs of G potential. When the nicely styled, the day, making listeners want to sing electrically amplified phonograph appeared along while they played. Since not A in the mid-1920s - offering full orchestras everyone knew the lyrics to these tunes, the and vocalists on shellac disks - the owners manufacturers began putting the words of player pianos abandoned their solo along the margins of the rolls at the point instruments and listened to someone else do where they were to be sung, much like D the singing. words on a TelePrompTer. When the Great Depression began just a Although simple in design and fairly few years later, few people any longer had easy to produce, the first piano rolls were discretionary income for purchasing pianos not cheap. With initial prices set at around a or music rolls. This turn of events was This diagram shows how a player piano dollar apiece, the purchase of a single roll works. When the foot pedals are pumped, a fatal blow to many in the player-piano once consumed half a day's wages for the the air in the chamber labeled (A) is drawn business and helped finish off the instrument average worker. Currently a roll costs about out, creating a vacuum. When a perforation as a favorite source of listening pleasure or a $ll new, or just one hour's salary for the in the piano roll passes over the opening in required accessory in any well-appointed typical worker. the tracker bar (B) air rushes into the tube residential parlor. (C) and inflates the leather bag (D). As the There was a time in America when no inflated bag rises it lifts a valve (E) which, Max Kortlander and the QRS Company home could be considered complete without in turn, closes the opening above it (F) and likewise felt the impact of the failin~'lI!"'''-':;. a player piano. In the heyday of this craze, opens a small port (G) that connects a small economy. QRS started out in 1900 as\.../ bellows with the vacuum chamber. Vacuum a small, owner-operated enterprise with one in four American homes had a player from the chamber collapses the bellows piano, and the instrument was the supreme causing its lower, moveable side or leaf to a few employees. Over the years, however, form of home entertainment. People all collapse and rise. The leaf is attached to the firm bought up about 25 other across the land gathered around player piano action (J) and the note is played. companies and became the largest piano pianos to listen to the characteristic sounds (QRS Company Diagram) roll factory in the world, with manufacturing that helped add to the English language such plants in the United States, Canada, words as "ricky-tick," "rinky-tink," "plinkity-plink," and Europe, and Australia. "honky-tonk." From the early 1900s to the closing days of the During its halcyon days, the company employed the Roaring Twenties, 2.5 million player pianos were sold, services of some of the leading pianists in the field of popular with peak sales of 200,000 in 1923. So great was the demand music. In its stable of piano roll artists were such legends as that from approximately 1910 through 1925 an amazing Victor Arden, Zez Confrey, J. Lawrence Cook, Lee S. Roberts, 85 percent of all pianos made in the United States were said to Thomas "Fats" Waller, and Pete Wendling. Together, these and be automated. other talented individuals on the staff turned out 25 to 50 new The popularity of the player piano fell off markedly songs per month, giving hours of listening pleasure to people beginning in 1927. This sudden reversal was due to the around the globe. emergence of three new kings in the world of entertainment. Max Kortlander had begun cutting rolls for QRS in about The first of these upstart lords of leisure was radio, which 1916, and over the next ten years he arranged and performed became available in 1921. By 1926 a plug-in version was more than a thousand different scores for the company. He introduced, radio networks were formed, and people began quickly became one of the hot names in piano roll sales, with flocking to a medium that allowed them to listen to a wider many fans buying his rolls not only for the melodies but for his variety of music and other programs at less cost and without playing style, an energetic and embellished technique that did even pumping pedals. In a sense, the nation turned from the much to define the piano-roll sound for the ensuing decade. bellows in pianos to windbags on the air. Kortlander also released rolls under the pseudonyms of Ted The second of the new sovereigns of spare time was Baxter and Jeff Watters, using the fictitious names when he '---·c movies. Motion pictures had been in existence for many years accompanied himself in a mechanically contrived, four-hanet"\..,..; as silent films, and piano rolls had even been cut to accompany arrangement and thus needed to list a second performer in the them for those theaters that did not have a live pianist to create duet, or when he produced songs that were considered

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COM P LETELV RENOVATED "'8!!1 .Qtre~t an~ 515 ~ benul" UNDER NEW MANAGEMENT .... ~ ~ _

PHONE 5470 MADISON SQ_ ~l"\v 1!et*lt· / /J . . ~e·/gHJ-Yl-1

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149 (Figure Id) may solve the problem. Using the previous tum on, the bypass capacitor charges from a discharged state example, a solenoid with twice the power supply voltage (Vs), resulting in the application of the full supply voltage (Vs), 20 20 volts, and a (5 watt) ballast resistor "Rbal" equal to the volts, on the solenoid. With the ballast resistor effectively solenoid resistance, 20 ohms, the current through the solenoid is shorted out by the conducting capacitor, the current through the r---J limited to a continuous duty level of 0.5 amps. The benefit of solenoid can build up to I amp (twice the continuous duty --./ this may be difficult for a non-electrical person to understand. rating) during closure. The higher supply voltage and the At the instant of tum on the reactance (inductive resistance) of doubling of the solenoid current can effectively double the the solenoid coil is very high and the current is low. This results effective solenoid force during closure. As the solenoid reaches in the application of the full supply voltage (Vs), 20 volts, to its closed position and the bypass capacitor reaches a fully the solenoid. The higher supply voltage (Vs) provides a boost to charged non conducting state, the ballast resistance and the build up rate of the solenoid magnetic field and current thus solenoid coil resistance should limit the solenoid current to well an increase in the initial force of the solenoid to the closed below its average heat dissipation rating. position. As the solenoid reaches its closed position and the Another important consideration for reliable solenoid magnetic field and current reaches steady state maximum operation is the power supply (Vs). The maximum power values, the reactance of the solenoid coil drops to zero leaving supply voltage (Vs) should not exceed the voltage necessary to the supply voltage (Vs) divided in half across the solenoid coil operate a single solenoid at the average current for continuous resistance, 10 volts, and the ballast resistance, 10 volts. duty operation. The power supply voltage (Vs) should not In the case of insufficient force, the operation of the exceed the driver switching transistor rating. If the power solenoid in its intermittent range can solve the problem. This supply is unregulated, its voltage may be sufficient for the can be accomplished as in the previous case with a higher operation of one or two solenoids. However, as additional power supply voltage (Vs) with a ballast resistor bypassed with solenoids are activated, the added current load may cause the large value electrolytic capacitor (Figure Ie). Using the power supply voltage (Vs) to drop below the voltage necessary previous example solenoid with the power supply voltage (Vs) for reliable operation of additional solenoids. This problem can of 20 volts, and a (5 watt) ballast resistor "Rbal" equal to four be solved by using a constant voltage regulated power supply times the solenoid resistance, 80 ohms, the steady state current with a current rating that exceeds the current load of the through the solenoid is limited to 0.2 amps. The value of the maximum number of energized solenoids expected. Operating ballast resistor is selected to limit the current through the solenoids in the intermittent mode reduces the current load solenoid to a value sufficient to hold it in the closed position. demands on the power supply. In the case of large pipe organs The value of the bypass capacitor "Cb" is selected at a using a large number of low current solenoids, the use of ballast r--. convenient size and cost at a value of 100 uf (micro farads). Be resistors and bypass capacitors may not be practical from the' ~ careful to observe the polarity markings of the electrolytic standpoint of mounting space and component cost. capacitor. For some strange reason these modem components Part II of this epic treatise covering Driver Board logic have the arrow pointing to the negative lead. The complexities design and operation will be presented in the next issue of the of this circuit may be difficult to understand. At the instant of AMICA Bulletin.

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MARY JONES' HIGH ue"-AND ITS STARTLING EFFECT I ~

162 NEWPIANO ROLL BOXES - 2 sizes available for 88 note: Large REPRODUCO, Operators Piano Co., complete with aU pipes and (fits 2 3/4" Flange)covered with Black Alligator Paper(Top), Black . many rolls, good condition, $5200. Jukebox AMI D-80, very good Leather (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. 'condition, $1150. Jerry Cuda, 417-753-2063, e-mail: [email protected] + Shipping. Small (fits 2" Flange) Covered with Black or Tan Leather (5-02) Paper (Top), White Litho (Bottom)$1.20 ea. + Shipping. 65 Note AMPICO, DUO-ART & WELTE Rolls, great selection of popular, Roll Boxes Maroon Paper (Top), White Litho (Bottom) $2.25 ea. classical and medleys. Also, 88-Note Piano Rolls, hundreds of used ~ + Shipping. A 10% Discount will be given on orders over $10.00, rolls, - $3.00 each plus shipping. Also New Old Stock QRS Rolls, and a 20% Discount on orders over $100.00. Many other Repair $5.00 each. Will furnish lists on request. Dave Caldwell, 400 Lincoln Supplies available (Parchment Leaders, Flanges,Tubes, Tabs, Lake Road NE, Lowell, Michigan 49331; (616) 897-5609 (6-02) Repair Tissue) California Player Roll Co. www.calroll.com (760) 244·ROLL (7655) (6-02) WANTED PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut Spoolbox suitable for a lO-tune music roll. Thank you. Don. "Magic Melodies" DUO-ART and AMPICO rolls and new "Top Hat" 262-965-2627. (4-02) 88 note roll. Original and other re-cut rolls; program rolls for AMPICO ARTRIO-ANGELUS reproducing rolls and catalogs wanted. David and DUO-ART. All in excellent condition. Write or call for listings. Krall, 4218 Torrence Ave., Hammond, IN 46327, 219-932-2322 (4-02) Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, call 270-343-2061. (6-02) AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I'll buy small or large collections. Now is the time to clean out duplicates and unwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. Lowell, MI 49331, phone 1-616-897-5609, E-mail: [email protected] (2-03) MASON & HAMLIN, KNABE OR CHICKERING AMPICO MARSHALL & WENDELL 5'4" Spanish Art Case, good working GRAND PIANO in unrestored condition for my personal family use. condition, malching bench, Ampico A, roll collection included. Asking Mike Krumenacker, phone 1-610-489-7394, E-mail: $10,000. (217) 877-7066 Decatur, IL (5-02) [email protected] (4-02) CHICKERING AMPICA A CENTENNIAL MODEL, 5'4" with RED WELTE MIGNON piano rolls (T-lOO). Paying top dollar. matching bench. Mahogany with nic ivories. All original and Mike KukraI812-238-9656 or [email protected] (6-03) untouched. $2500. OB() (419) 626-1903 [email protected](4-02)

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~~in~~ An?nVU1t'c:€r.:~-:- "';'J\{'(}w! faJ1{,s't jtts:tpicture to YQt-.tTselves this cool, mcwnlit ~9~e,-" .~: tli~t4UJ.h¢tnds9m~e prirt.f;;e his to be~autiful l : slr}gs. of love the 'millde,n,r

178 Ii ••

LEATHER SUPPLY HOUSE ..~. John Wrasse QUALITY LEATHERS Q.- Piano Moving for Musical Instruments-Clocks-Organs Specializing in: Marilyn - Owner/Pres. 412 W. Marion St. Player Grands, Nickelodeons, & Orchestrions South Bend, IN 4660 I Anywhere in Continental US & Canada ••••• Phone: 574-234-8990 25 years experience Fax: 574-234-9880 Knowledgeable Rebuilder and Collector www.leathersupplyhouse.com Well-known • References Available Insured ••••• Your instrument is wrapped, padded and ~\\~\ l)\ayer Vianc secured for transport in an insulated and ~ fen-j° clean custom-built heavy-duty trailer. A Complete Restoration Service ICe For The PneumatU: Piano Professional and personal service. Complete pianos and player systems restored using factory John P. Wrasse original techniques by an experienced professional. Complete or partial systems can be sent to my shop for restorations. Phone: 563-872-3495 - Cell: 563·580·2472 I supply special UPS cartons for this unique service. E-mail: [email protected] Ben Gottfried 31449 216th St., Bellevue, IA 52031 (6-02) 464 Dugan Rd. • Richfield Springs, NY 13439 • 315-858-2164 (6-02)

;pl{"7:~,~ . The Heart of America Chapter of AMICA is ··~Pe;ry going to have their 2nd Band Organ Piano Restoration Rally SPECIALIZING IN: . :1 it here in Eureka Springs, 'I!i {QIeltl'r'ffiignon' DUONART 'AMPICO 1·111,.:" on the grounds of the ARTRlO""ANGELVS Historic 1886 Crescent Hotel (with smaller organs downtown), on OVER 20 YEARS' We Do Everything In-House August 23 & 24. Pin Blocks . &finishing • 7bniU VOicitw • Obscure Player Systems Interested people can get details ~ ASK Us ABOUT PIANOMATION ~ by contacting me. ~ We Are a ONE STOP Piano Shop ~ Host hotel will be the Crescent Hotel, 479-253-9766. ~eferences r Available J Martin Roenigk ~ l Proudly Given 75 Prospect Avenue Eureka Springs, Arkansas 72632 1-888-701-0221 Phone: 479-253-0405 • Fax: 479-253-0406 [email protected] Cell: 443-831-6211

179 !So

AMICA is: - Working together to further our common interests in mechanical music ,r--. Looking forward to the Bulletin and trying to read every article \_- Hoping items on your wanted list can be found in the for sale column Scraping together enough money to buy a piano that still needs many hours and lots of dollars ...... to repair Trying to borrow a library book about repairing player pianos, then finally buying it since it is ...... always checked out Becoming so attached to your collection that it's hard to part with any of it ,.'" Collecting, collecting, collecting and trying to avoid selling, selling, selling Trying to be happy when a friend finds just the style piano you were looking for -• Getting a call from someone passing through your area who would like to hear your pianos Having a friend lay under your grand to see how it works Forgetting you wanted a dining room set because your grand needs that space Hoping your children will empty their bedrooms when they leave home so that extra piano can •...... be moved in Driving for hours to get to a meeting that probably won't last as long as your trip did Causing traffic jams in residential sections because there aren't enough places to park _ Knowing you will be welcome in a stranger's home because you are both AMICA'ns -.-Moving out tables and other accessories to make room for everyone - Realizing that your home is wall to wall pianos and hoping your guests don't mind ...... standing --- Providing enough food for an army because AMICA'ns like to eat while they listen ~--... Corresponding for years with another member and finally meeting them at a National c ...... Convention - Planning a convention on the phone after 11 PM so you can get a cheaper phone rate Hoping your bid at an auction is the highest so you can get that favorite roll without it costing ...... an arm and a leg Clapping after a moving piano roll performance on a reproducing piano Enjoying a comparison concert when you can't tell who or what is playing when Marveling at the performances of our honoraries and knowing how wonderful it is to have _ them with us Pretending you understand what you were told at a technical session, but knowing you will never ...... be able to do it Knowing many things about composers and their music, but having no idea how to fix the piano when ...... it doesn't sound right _ Knowing just what needs rebuilding and how to do it, but you can't find middle C on the piano - Helping others become interested in our hobby • ~ ...... -.- Most of all, AMICA is fun, fellowship and appreciation of our fabulous musical marvels _. ~~~ . , WHAT AMICA MEANS TO ME __ ~ by Liz Barnhart - ~ ~-~ , ---- ~ ~ ~..,-.~-