AMICA

AUTOtVIATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION 1 THE AMICA NEWS BULLETIN .....------rThe AMICA News Bulletin Published by the Automatic Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls.

Contributions: All subjects of interest to readers of the bulletin are encouraged and invited by the publisher. All articles must be received by the 15th of the preceding month. Every attempt will be made to publish all articles of general interest to AM ICA members at the earliest possible time and at the discretion of the Publisher, in the following areas:

* Letters to the Publisher *Research Findings *Questions and Answers *Biographical Sketches of Artists and Composers *Photographs, Old Advertisements * Technical Information *Anything else of general interest to AMICA

Advertisements: Personal ads are accepted by the AMICA Bulletin Board (address below). Businesses and persons wishing more space use the following guidelines: - Spaces available at the rate of $10 per quarter page or multiple thereof. - Camera ready copy must reach the publisher by the 15th of the preceding month. - Advertiser must pay extra expenses, such as-photographic half-tones and typesetting if required. - All ads will appear on the last pages of the bulletin.

PUBLICATION OF BUSINESS ADVERTISING IN NO WAY IMPLIES AMICA'S ENDORSEMENT OF ANY COMMERCIAL OPERATION. However AMICA reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicating that said business does not serve the best interests of the members of AMICA, according to its goals and by-laws.

I WHO & WHERE AMICA PRESIDENT BULLETIN BOARD Frank Loob Mel Luchetti, Advertising Secretary 219 Montecito Boulevard 3449 Maruicia Avenue Napa, California 94558 Santa Clara, California 95050

AMICA VICE-PRESIDENT AMICA AUCTION Roger Johnson Gar Britten, Auctioneer 6380 Wisteria Way 642 Diamond Street San Jose, California 94129 San Francisco, California AMICA SECRETARY NORTHERN CALIFORNIA REPRESENTATIVE Roberta Cherney Jarod Clark 952 Johnson Street 444 Brannan Street Redwood City, California 94061 San Francisco, California 94107

AMICA BULLETIN TEXAS CHAPTER REPRESENTATIVE Ginny Billings, Publisher Aggie Pate 1428 Liberty Street c/o Pate Museum of Music EI Cerrito, California 94530 P. O. Box 711 Ft. Worth, Texas 76101 NEW MEMBERSHIPS & MAILING PROBLEMS Dick Reutlinger, Membership Secretary AMICA BULLETIN PAST ISSUES 824 Grove Street Mrs. Gladys Jones San Francisco, California 94117 21 Mercedes Way San Francisco, Cal ifornia 94127 MEMBERSHIP DUES & TREASURY Bob Whiteley, Treasurer 175 Reservoir San Rafael, California THE AMICA NEWS BULLETIN 2

SECOND INTERNATIONAL AMICA CONVENTION! by Cecil Do~er, Convention Chairman Where It's At! BOARD MINUTES Roberta Cherney, Secretary Preparations for our Second International Con­ vention are in process.

The big dates are: Friday, June 30 thru Monday, . 824 Grove Street, San Francisco July 3, 1972. . Jan. 16, 1972 Programs related to every aspect of our interest The President, Frank Loob, called the meeting of the are being developed. AMICA Board of Directors to order at 12:45 p.m. at the home of Dick Reutlinger. The minutes 6f the December 11 Also included will be: meeting were read and approved. The Treasurer reported a balance of $1,905.05 in the Visits to outstanding collections, checking account. Roll recutting refunds amounted to Guest artists, and exhibitors. $3,206.00, leaving a balance of $9,310.50 in the roll recutting fund. Bob said Jarod Clark wanted to continue The beautifully restored ''Victorian'' Alexan­ to pay for the' San Francisco Post Office Box which the dria Hotel is our centrally located Convention club is using, but would appreciate being given stamps Headquarters where program activities, formal to forward the club's mail. and informal, will take place. The Membership Secretary reported 268 members had paid their 1972 dues. Dick said the club could get a 3rd class mailing permit which would cost $45.00. The The registration fee of $25. 00 per AMICA Mem­ Bulletins then could be sent by 3rd class mail each ber ($35.00 for Non-members) will include all month. Dick was authori zed to obtain the permit. programs, events and seven all inclusive meals. The Publisher said the January Bulletin was ready for mailing. Ginny also reported she had obtained a Service Deluxe Victorian accommodations are available Contract for the typewriter for $40.00 a year, which at our Convention Hotel; apply directly to: will include parts and labor. Roberta moved the bill be paid, seconded and passed. Ginny relayed the request by Alexandria Hotel Jim Elfers for the return of the type-heads, which he Spring Street at Fifth said were his personal property. This necessitated the Los Angeles, California purchase of four new type-heads whi ch cos t $80.87. Bob (213) 626-7484 moved the bill be paid, seconded and passed. Frank reported receiving a preliminary report of the Be sure to mention "AMICA Convention". If convention plans from the Southern California Chapter, early registration is sufficient the Alexandria so the National Convention will be in Los 'Angeles on the weekend of July 4th. will grant significant discounts. The roll recutting contract will be prepared. Dick reviewed the Honorary Membership list. There Charter bus transportation to events away from are now 28 Honorary Members. Ginny moved that all 28 Headquarters may be arranged at nominal cost continue to be listed as Honorary Members. Seconded and if interest warrants. Be sure to indicate your passed. need on the registration form. Bound Bulletins were discussed. In order to have com­ plete bound copies of the 1971 Bulletins, it will be necessary to reprin t the May issue. Dick moved the May Register NOW: I am looking forward to seeing issue be reprinted at a cost of about $150.00, seconded you at the Convention. and passed. It was decided that this year 1,000 copies a month will be printed. Cecil Dover Ginny appointed Gl~dys Jones to be a member of the Convention Chairman Publications Committee and Gladys will be in charge of Past Bulletins and the Bound Bulletins. She will recei ve all orders for them and mail them out. 1971 BOUND BULLETINS Tile following were elected to serve on the National 1971 Bound Bulletins are now ready, bound in the usual Nominating Committee: Roberta Cherney, Temporary Chair­ spiral format, and with front and back covers, and an man; Roger Johnson; Mel Luchetti; Dick Reutlinger; additional Mylar protective covering. Please send your 13aliJara Wlli teley; Joe Bogle; and Sally Lawrence. orders to Gladys Jones; her address is on the inside Tile meeting was adjourned at 2:50 p.m. Members pre­ front cover of the Bulletin. To save correspondence, ~h.)ll t were: Ginny Billings, Roberta Cherney, Frank Loob, don1t forget to include your check or money order for D.ick Reut1inger and Bob Whiteley. Also present were $15.00, made out to IIAM ICA. II ~dlly Lawrence and Barbara Whi teley. 3 THE AMICA NEWS BULLETIN

TECHNICAL MISCELLANEA by Bob Billings The Technical Committee has had good intentions, but I hope to make the machine capable of being speeded up so far has done nothing of consequence about the roll to maybe 1200-1500 strokes per minute so as to try recutting discussions mentioned in the January Bulletin. direct recording of a master. Hopefully by the time you read this the committee will All of this is pretty much in the future. However, I have gotten together. am now spending about 10 hours a week working on a home­ It has been brought to my attention that my wording made jig-borer to make punches and dies. 1 hope to have was ambiguous when I said that AMICA has no intention this finished in a month, at which time I shall begin of getting into the roll recutting business. What I by making the punch itself. Of course, a punch could be meant was that AMICA does not intend to physically pro­ operated directly from any roll without any logic with duce rolls. We are still as commi tted as ever to trying ~ fair res u1t s • to make available rolls cut by others. And the prospects 1 am having trouble finding a simple old design for are improving. OK? the trip or key that was between the reciprocating bar R. S. Rasmussen sent me an interesting letter on his and the punch. This was usually operated by a pouch. roll ~ecutting efforts. He has built a system which mechanically scans a section of roll, one channel, or I have a comment to add to this letter. Regarding the note, at a time, rather like an autdmated Leabarjan optical sensing of the holes in the roll, it would seem perforator. He, sent two samples of his efforts, and I that a differential reading might solve the problem. A am impressed 1 As he points out in notes on his samples reference photocell could read the light transmission or there is work to be done on bri.dging, but what he's reflection of the paper and change the sensitivity of done so far is quite acceptable. Following is an ex­ the hole-sensing photocells. I prefer the idea of using cerpt from his letter. photocells over the pneumatic approach because optics can sense a hole edge (using fibre optics), giving a In the 1as t 4 yea rs, I have made two simp 1e ro11 precise indication of the original hole position. Unless perforation machines; the fi rst was completely unsuccess­ very carefully adjusted the pneumatic approach can add ful! The second, however, was somewhat successfu1--at or subtract a punching increment to the note hole. least it worked sufficiently well for me to come up with An idea that intrigues me is that of using a laser to firm ideas on which to base my third machine. punch rolls. It would be possible to scan the paper us­ Both of these machines used a single punch covering ing rotating mirrors, pulsing the laser to vaporize the a " ras ter. 1I The punch and the reading device were paper at the appropriate places. The system could even mounted on a 2-dimensiona1 pantograph-like trolley. The be fast enough to make direct recordings of a new per­ reading device (I tried several) and the punch were tied formance. I am investigating the power requirements, together using various forms of computer logic (very cost, and how clean a hole could be made. I suspect this simple) in between. is all 'way out of our reach, but it's a fun thing to Logic in some form is necessary for automatically think about 1 causing the punch to form bridging on long notes. Logic Back to our Technical Committee-- is desirable to prevent the machine, when copying, from What I hope to see us do is direct our efforts toward narrowing the spaces between notes--this is very im­ creating roll masters for use by existing producting per­ portant when fast repeating notes are reproduced. forators. If we're going to satisfy the growing demand (Excuse mel --Logic can take many forms. The holes on for recuts it's going to be by working with those who the edges of a reproducing roll and the mechanisms used are set up for production rather than by spreading our by the "o1d timersll to get them in the right places is energies over many small projects. So let's pool our just as valid as my super electronic computer type resources and get this thing going. Write to the Techni­ gismos. ) cal Committee and give us your thoughts. The rolls made by Mr. Malone are copied using simple logic of this sort to accomplish the bridging. Mr. +x=x+=xx=+x=x+ Malone uses a mercury well with wire fingers as a direct electrical input. You will notice that Malone1s rolls are perhaps the best quality presently made. 1 have tried to use light, both through and bounced, to read hole position, unsuccessfully. 1 might add I am INFORMATION NEEDED ON F. S. 4 AEOLIAN PROJECTOR very versed in Photo-Electronics. Light reading in copying rolls seemed OK until I tried it on several by Frank Holland rolls -- Oh oh! Differing papers, bridging and humidity caused all sorts of problems. For my third machine, I shall use a conventional I have just had a nice letter back from Elmer Brooks tracker bar working small pouch/switch devices. The to whom I put an inquiry as to what was the F.5. 4 reason is this is the only method 1 found 1 could leave Aeolian projector. He thinks it might be a "Visuola" even momentarily unattended. These will feed 102 small which he remembers seeing when his father took him to computer type logic devices (my cost $300-$500 just the Aeolian Hall in New York when he was about 7 in the parts), the output of which will operate reed relays. mid twenties, when players were at their height. That's Each reed relay will in turn 'operate a simple magnetic all he can remember and he suggests that some members actuator (either a telephone type relay or like organ of AMICA may know what i:t is. valve). This motion will cause a trip to allow the punch It is a projector which throws onto a screen a con­ to be depressed by a crank-operated reciprocating bar. tinuous image of a music roll from a film at constant THE AMICA NEWS BULLETIN 4

speed. The film is 3-1/4" wide, running on spools like ft'ORE VOlES FOR -ICA those used in old cameras with the wood core and metal AM end flanges. There are 3 switches on the projector: light, start, and also piano tempo. So, one puts the roll on the piano, and the tempo can be controlled by I seem to have created a controversy! Cast my vote for the projectionist for synchronism. We have two films, AM-ica. both of the Audiographic variety, 0645, Grieg's Bridal --Tom Hawthorn Procession, and 0689, La Cathedral Engloutie--and of course we have the rolls. As requested in the last Bulletin, here's my vote for There are also two slightly smaller projectors which my favored AM-ica pronunciation. People don't say would appear to take a continuous film, which gathers am-PEE-co, do they? So why a-MEE-ca? up underneath and is drawn round rather in the same way --Dave Junchen as a roll in a Link piano. These are perhaps separate ••• I vote for Am-a-ca. from the main job. Perhaps they are arranged for alter­ --Alf Werolin nating for a continuous perfonnance. All of them are driven by motors at 110 volts. They have US plug fittings, and were all originally wrapped in US news­ •• •I'm a "Yankee through and through" but must agree papersl wi th fellow AMICAn Vandiver below the Mason Dixon line. I should be most grateful to fing out any infonnation It has to be pronounced AM-ica. Accent on the first on itl syllable. Art Reblitz agreed with me last evening. I speak only for me, of course, but I keep in close touch with most of theColorado members and Bill Pixley in Kansas and when we get together to talk we rarely talk of anything else and always call it AM-ica. So••• --Dick Barnes

IMPRESSIVE SMITHSONIAN CATALOG MADE AVAILABLE

We recently received the following letter and a very attractive and comprehensive catalog from Mrs. Roland A. Hoover of the Smithsonian Institution. The catalog, per­ fect bound 8-1/2I1xl P', is full of clear photographs, and covers the following subjects: Music Machines, American Style; Music and Machines in the 19th Century; Music Parlors--Public and Private; Music Machines in the Home; :I!I!I~; ii.!~I; Acoustic and Electric Recordings; The Impact of Radio; !111!•• Movies and Music; The Jukebox Craze; Semper Fidelity; ------.. Electronic Music and Instruments; and an interesting introduction and bibl iography. It would be a fine addition to your libraries, AMI CAns! JANUARY FUN AT THE CHERNEYS' "Enclosed is a copy of the catalog for the exhibition by Sally Lawrence, Reporter "Music Machines--American Style." The exhibition, which deals with the impact of science and invention on the performance, reproduction, and dissemination of music in The Founding Chapter met at the home of Bob and in America, is located on the second floor of the Nation­ Roberta Cherney in Redwood City for its January meeting. al Museum of History and Technology. The members heard a program featuring the Duo-Art "Addi tional copies of the catalog may be, obtained for artistry of Honorary AMlCAn Mr. Robert Annbruster. The $2. 75 from the Superintendent of Documents, U.5. Govern­ first selection was "L'Alouette" by Glinka, which Mr. ment Printing Office, Washington, D.C. 20402 or the Annbruster recorded at the age of 16. The second selec­ Museum Book Shops, Smithsonian Institution, Washington, tion, "Naughty Marietta (Selections)," was composed by D.C. 20560 (for Museum Shops, add $.25 for handling and Herbert, and was followed by Verdi's "Aida (Selections)"; mailing) • the fourth selection was "Concert Music at the Waldorf­ " •• •In preparing the exhibit, I became acquainted with Astoria," and the last piece, selections from the your organization' and its impressive news bulletin••• We "Chocolate Soldier," finished the program. The perfonn­ are trying to strengthen our research library and would ances 'were enhanced by the Cherneys' lovely Steinway find your bulletin a welcome addition. grand. Members who were fortunate enough to attend were "Also • •• I became very impressed wi th reproducing delighted with the program. The Cherneys supplied every­ pianos--so much so that my husband and I bought a Steck one with small programs with which they could follow Duo-Art upright ••• " the program in detail. Sincerely, There was a short b\1Siness meetin-q held, with some Mrs. Roland A. Hoover announcements, including the location of the next Associate Curator meeting: at Dale and Sally Lawrence's home in Kensington. Division of Musical Guests w~~e then invited to have_som~refreshments-­ Instruments a variety ofRober~a's famous 'hane-mad~ .. breads, cakes, O!!~~~~!~!~~~~~~!!~O and punch and coffee. ' 5 THE AMICA NEWS BULLETIN I!!.~••i] [!,.,..,*.n

There was much admiration over the Cherneys' wonder­ ful table model cylinder music box with bells. They were kind enough to play it for us. The player reed organ was also put to use by the mernbers ...it was fun to see them EXCERPTS FROM THE SOUTHERN CALIFORNIA NEWSLETTER pumping away on it. Dave Patterson, Editor We all had a great time, and we wish to thank the Cherneys for all the warm hospitality we all receivedl BOARD NOTES: ••• i;;; •••• i;; i; ••• ·;; ii ••• The outgoing Treasurer, Tom Meeder, reported that the club was in a solvent state with over $300 in the bank. Enough votes were received in the mail run-off for FOUNDING CHAPTER MARCH MEETING _Secretary to make it valid. Our new officers are: Presi­ by Alf Werolin, President dent, Bill Mintz; Vice-President, Cecil Dover; Treasurer, Jon Lawson; Secretary, Anita Nickels; Reporter, Karl Petersen. The March meeting of the Parent Chapter wi 11 be Two new temporary committees were formed: Insurance hosted by Al and Marjorie Wero1 in, 2230 Oakdale Road, and Chapter Roster. Hillsborough, on Sunday (March 25th) at 8:00 p.m. It The big news is that AMICA International has accepted is hoped that one of the best known recording artists our convention proposal. We will host the 1972 Inter­ wi 11 honor us by performing at this meeting. However, national Convention in July. More details in our next the date may have to be changed to Sunday, March 19. Newsletter. Members wi 11 be notified if we are successful in per­ Meetings--note the"s." This is the first time to my suading him to be with us. recollection that we've been able to announce two meet­ ings at one time. February 12th we will be at the Larry !! I!!!!! 11!!!!!!!I!I! Keelers' and on March 4 we will have a bonus meeting for members only at the Phil Hills'. By-laws: preparation of Chapter Bylaws is almost complete. They will be submitted to International for approval. --Bill Mintz, President MATILDA LOCUST One of our newest Artist/Members relates that she, too, hasn't heard any of her old recordings and would appreciate anyone having one bringing it to the next meeting that features a Welte. As an aside, she tells how, when Joseph Hofmann would stay with her maestro M'1ICA CO'JVENTIO'J Q-fAIRJ'1AN and would on occasion hear her play, he commented that, 1972 even at age 11, she needed but one year on the continent to be a finished artist. Incidentally, she is available convention Chainnan Cecil Dover at his Mason & Hamlin Ampico A. This photo was taken by Karl Petersen at to accompany singers, coach and rehearse them. If you Cecil's August 1971 meeting. wish, call her at WE 1-2054. Her married name is Matilda Locust Hart.

AMICA AUCTION George Ho, Sam Thompson, Chumley, and I motored to San Francisco for the AMICA auction. It was a very inter­ esting experience. All of us sat around Gar Britten's bidding on rolls we wanted. If you don't already know, your mail bid is really just an authorization for Gar to bid that high for you. The bidding actually starts at the "minimum" or the 2nd highest mail bid, whichever is higher. On the first roll that I personally bid (I had sent in my mai I bid earl ier) I was pushing up the price against Garis "mail bidder" when he looked up, recognized me and told me I was bidding against myself. Fortunately, I was able to get the roll much cheaper than I though t. We should really be thankful that Gar does all that work just to be helpful. I don't think anyone who hasnlt actually participated in the roll auction can realize how much work is involved.

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COADES TREAT AMICANS 10 A GREAT MEETING IN CARLESBAD by Karl Petersen, Reporter

George and Susie Coade of Carlesbad welcomed AMICAns These scaled down versions were the first successful coin pianos and often had and friends to their home in December for a most busy special music composed to fit the available notes, a fact that may explain why so afternoon. Great quantities of rolls were available for few of their tunes are familiar to us today. The present example dates from about 1920 and accommodates rolls up to 12 tunes in length. Only about 30 of trading, varioUs members brought display pieces, and these machines survive in spite of the long span of manufacture, most swept refreshments were taken in an open atmosphere at the aside by the larger 65 note pianos more capable of playing the "pops" of the lower end of the house. 1920's. The subjects of our previous meeting here, the Phillips-Paganini and Steinway Duo-Art were resting quietly at the opposite end of the house while this time .... our attention was directed to the newly completed Piano MILLS VIOLANO-VIRTUOSO: Piano with 44 notes and a "real" tiolin dis­ played prominently within the case and played by metallic fingers and House and the several instruments which had not been celluloid bow wheels. An all electrically operated piano. manufactured by the displayed on our last visit. Mills Novelty Company of Chicago, more famous for their large line of gambling At ,the beginning of the program we were treated to equipment. An eye-catching piano manufactured from 1908 to 1929 when the the news that Cecil Dover, Chapter Vice-President, is present unit was assembled. It plays a 5 tune roll with very extensive range of , music available, both popular and classical songs. Perhaps more Qf these the Chairman of the Second International Convention to machines survive than any other single style of coin piano, saved as much by the be held here this summer. Also, Tom Hawthorne is handing difficulty of stealing the motor for other uses as by the crowd stopping novelty new box and label orders on a postage-free basis from that the machine still possesses. club member Frank Adams, with delivery at meetings. This explained the numbers of label-less boxes we saw under the arms of subscribing members during the trading session. WURLITZER MANDOLIN PIANORCHESTRA STYLE 3'OA: Contains a full And then our own George Coade,the unabashed enthusiast scale 88 note piano with mandolin attachment; 30 piccolos, 37 flutes, 30 violins, and specific historian, introduced the instruments and 19 violas, 30 violoncellos, 30 note xylophone, 13 note chimes, snare drum, bass encouraged them to perform' for us. During a briefre- drum, kettle drum, cymbal, triangle, castanets and tambourine. Has a 6 roll spite when Dr. George dashed to the summons of the tele­ Philipps changer with each roll containing 5 tunes. A WurliTzer import from Philipps in 1909 and sold in 1910 to an upstate New York hotel for use in the phone, Susie (not wanting to up-stage George's musical hotel ballroom in Skaneateles Junction, New York where it fell into disrepair explanations) gave us the run-down on the ex- P. T. and was forgotten. The ballroom itself was boarded up and was not disturbed Barnum genuine Chilean mummy, one of two extant, which until the '50's when a piano collector found some old timers who remembered a reposes in a darkened niche between the Seeburgs. Like­ large piano in the local hotel. The pipes, by that time, had made their way to a loea' church organ loft and lay unused in the corner. Now, many hundreds of wise we will not try to add much to the printed program repair hours later, it stands fully restored to play again exactly as it did when it (following) of extravagant nature which serves to fill left the factory. WurliTzer cut some of its best music for these large Pian­ in not onlyAMICAns, but the many hundreds who have orchestras and they were immensely popular. Records from the company already visited the collection by the busload. suggest nearly' 1,000 Pianorchestras of various styles were imported by WurliTzer but today only 18 can be located, another indication of the terrible toll taken by time. SEEBURG "KT": Often called the "Seeburg Eag!e ". Contains a 65 note piano, mandolin, xylophone, castanets, triangle and tambourine. Uses 10 tune "G" Not mentioned are the further anecdotes by Terry style rolls. Manufactured by J. P. Seeburg Piano Company circa 1922. Cabinet Hathaway on the WurliTzer 30A, which provoked at least style and leaded glass were designed during the First World War to capture the one hurrah and much applause. Nor did the program patriotic fever of the times. Earlier styles often had a rank of flute or violin mention the Weber-Maesto, unquestioned star of the col­ pipes instead of a xylophone. These were more expensive to produce as they re­ quired a pressure pump for the pipes as wen as the standard vacuum pump to lection which plays the masterful rolls by Gustav Bruder, operate the piano. Changing styles of music also caused the swing to the brighter who passed on to greater things only two months before sound of the xylophone and left the Seeburg Company preeminent in the 20's as this program, but who lives on in these masterfUl the largest manufacturer of coin pianos. The company has since maintained its arrangements for the Maesto and its brother and sister position with the coin phonograph field and continues in business today. instruments. This was our program: Seeburg KT "Or Ya Can Ct See Mama At All" Seeburg KT Special "Dizzy Fingers" SEEBURG "KT SPECIAL": Cabinet Style Orchestrion with Persian motif art Mills Violano-Virtuoso " Coun try Hoedowns" glass. Contains a 65 note piano, mandolin, xylophone, castanets, triangle, tam­ WurliTzer 30A "Thoroughly Modern Millie," bourine, snare drum, bass drum, tympani, cymbal and wood block. Uses 10 tune "G" rolIs. Produced only after 1925 in the declining years of the coin piano, it hand-cut wi th a. razor blade on represented a last attempt to produce a large piano sound in a small case. This the living room floor in 100 example was produced in 1926 and was shipped to a Middle Western, piano hours by Art Reblitz distributor. It was used as a display model and was never sold. With the coming Weber-Maesto "Steven Foster Med1ey"--jazz of the Depression the piano was placed in the back room and forgotten. An early collector found it there in the 1950's and rescued it from oblivion and since sold arrangement it to us. Very little has been done to the piano since it left the factory and it may "The Pearl Fishers" be the only one of its kind tosu'rv,ive in playing condition with no restoration in The many members attending for the first time were the past 44 years. Few electronic machines today will ever be able to make any introduced, and then Bill Mintz introduced Karl Petersen such claim in the future. . who introduced Michael G. DuBrow. Mr. DuBrow may have thought that this was a rather unnecessarily imposing way to open for his comments, as, after all, he had no automatic musical instruments and did not play the piano WURLITZER VIOLIN-FLUTE PIANINO:.·Piano with 44 notes and mandolin attachment, flute pipes and violin pipes in the treble register. Manufactured by well eno,ugh to perform, but at any rate, he did tell us Rudolph WurliTzer Company in North Tonawanda, New York. Popular from the a few things about his experiences in these areas. early years of 1900, the Pianino was continuously manufactured into the '20's. Mr. DuBrow had graduated from the University of THE AMICA NEWS BULLETIN

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Pennsylvania and was becoming a writer when he was asked name), and Margueri te Volavy who was usually an editor. to do some promotional material for the story and Clark Adam Carroll came from the Whi teman band to Ampico. piano company. A few blocks down the street was Chicker­ "I first met Rudolf Friml forty-five years ago. Friml ing Hall, and by one means or another he became a floor was unpredictable. There was the 44-note piano he would salesman for the Chickering and the American Piano Com­ have carried around wi th him to practice on, so it never pany. He started when the Ampico was at its height, mattered where he was, but he could practice. He was in remaining with Chickering through the hard years, and the middle of a lengthy recording session when he closing his fifty year career as the Regional Manager of realized he had booked passage on a steamship and left the Everett Piano Company. His calling cards still have in great haste, returning several years later to finish the Everett company I s address engraved opposite his own his recordings. address in Laguna Beach, though he tactfully draws a "In those days piano manufacturers subsidized pianists. line through the business mention. Godowsky, Lhevinne, Rosenthal, dePachmann, Rachmaninoff "I know the Ampico recording laboratories and I was a -... --they went on tour wi th their own tuners, and the rest constant visitor to the labs and studios in the same of the time they stayed in New York r did their own con­ building as the Chickering piano showrooms. The first certs, and taught as I have mentioned. Some artists were four floors were for sales. We had a hostess and three subsidized by Steinway, but disliked the Duo-Art for or fOJ:!.r men, and the fifth floor was for the seven out­ some reason and recorded for the Ampico. One of these side salesmen and canvassers. There were many teaching was Rachmaninoff. He looked rather macabre--like an studios in the Hall and the typical artists toured a few avant-garde Boris Kar1off--and would wear this enormous months for Chiqkering and the Ampico, and spent the rest overcoat which he would undrape, hang up, and make his of the year concertizing, teaching and recording. This recordings. Once when he was through, he took Fairchild was undoubtedly true of the other companies. As you know, aside and asked him if he could hear a good jazz re­ Hupfeld and Wel te were the European pioneers of the re­ cording. producing piano, and in this country there were the "Josef Lhevinne was a very timid man with reddish three giants in the Welte-Mignon, Duo-Art and Ampico. hair, who had to be pushed out on stage when he gave "Charles Fuller Stoddard was a fine man, very modest, concerts at Carnegie Hall. Once day between recording and he took a liking to me. He had previously pioneered sessions, he wandered down to the first floor where he the pneumatic tube delivery systems such as used in the was engaged in conversation by one of the more gregari­ New York City Post Office, then from the Amphion action ous salesmen. I overheard them discussing Lhevinne's he developed the Ampico. pupils, and the salesman assured the retiring artist "The first day I was promoted from the fifth floor that he, the salesman, would send up some likely canvassing crews to the first floor sales group a woman students, not realizing the caliber of this master. came through the front door dressed /in a black and green Lhevinne nervously agreed, and went on. I tried to ex­ outfit, rather ordinary, with a long skirt and a bustle plain this all to the salesman, but he was quite confi­ and a hat. The older salesman in charge asked me if I dent that Lhevinne just wanted some ordinary students would help this woman and made a lame excuse in order and wouldn't be convinced. to get away. I asked her if I might help, and she immed­ "Miss Vo1avy was a short, buxom woman who played very iately said, , Do you have a style 4200 piano here in well and was one of the top edi tors. She had a second­ stock?' I replied that I believed we did, but that it rate upright piano in the recording room at which she was on one of the upper floors. You see it was a very would do some of .the preliminary editing or correcting expensive Knabe grand Ampico in the ebonized finish, and while the artist prepared for the next ntmlber or wandered it appeared obvious that it was quite beyond her means. about the building. Lhevinne had just completed a record­ She then told me that she wanted two of them. At this ing, came down about 4 p.m. to talk to us, and we went point I knew that I was dealing wi th a mentally disturbed back upstairs to find Volavy playing the recording and person. working on the expression on the side. 'Madame," said "She said, 'Could you deliver one to Nyack and one to Lhevinne, 'What are you doing to my recording?' 'I am Tuxedo for my daughter-in-law for garden parties this editing i t--making corrections.' 'But you are punching weekend? Also my Ampico Librarian is coming in from holes in my recording! If I make a mi'stake, that is the Pittsburgh. Could I have the entire library sent with way I have played it. Destroy this recording. I'll do each piano and return what is not needed wi thin a month?' it over again, and I hope I make the mistake again the I assured her that this was a fine arrangement and same way/'" brought out a fine five crest Chickering contract form, knowing that if this were real, and if she signed it, I would make $250 on each invoice. She waved this aside, handing me a card saying to bill it to a Wall Street address. Then she decided to sign a check for it instead. She was the sister of Andrew Mellon. "That weekend I went to the garden party where all went well wi th the piano. The next Monday morning the salesman who had left me with the lady came over to say ,Hichael, I hated to do that to you, you know, those people who come in off the street••• ' 'Well, that's OK,' I said, 'I made a $500 commission on that one.' "Certain people were constantly employed at Ampico. Brockway, Fairchild, Rainger (Reichenthal was his real THE AMICA NEWS BULLETIN 8

WHAT PRICE HARMONY? contributed by George Blau Stravinsky Previsions a New Music March,1925 Russian Composer Extols the Player-Piano and Its Auto Soul

GOR STRAVINSKY, acclaimed as "I was the first to try it. That was in New combinations are there for the whole the most distinguished, if not the 1917, in London. I wrote a study that keyboard. I greatest, of living composers, now was not for the piano but for the player­ sojourning in America after an absence piano and for nothing else-an attempt to In other words, for the better under­ see what could be done with the whole standing of the layman: Take a chord of ten years, ardently advocates and keyboal'd available to one's will." practises the composition of mechani­ that embraces an octave, the highest and the lowest tones making a distance of cal music-of not merely piano music, The etude for the player-piano was eight white keys in all. Now what if that is, which can be played on an no jest, we are assm-ed, but an effort the composer wishes to use a tone four automatic instrument, but music com­ at expression in a new medium of un­ keys still further on? The hand will posed without purpose of performance known resources. It was an experiment not reach. He could change the chord, by hand, designed for the player-piano in a new medium, taking the player­ solely, and intended to take advantage piano on its own merits. M. B. Levick bring the desired unattainable key of characteristics and limitations in­ writes interpretatively in the Times: down to the corresponding tone within herent in an instrument operated by the original octave. But with the a perforated roll of paper. He regards "Stravinsky was moved by no perverse player-piano he need not make the the player-piano as a distinct instru­ flippancy. While others flirt with the change; he can write the music as he ment; not by any quarter-tone scale, conceives it, for the whole in the paper means an instru­ he stands by the can come four keys above, or forty for ment to absorb accepted scale. 'I that matter, as easily as not. his energies, but have plenty now,' in time and in expression. Perhaps he nevertherless a he says; 'I do not is thinking not of the roll itself and its means of making h a veto search.' instrument, but of some hypothetical oper­ legitimate music While others make ator who has mistaken the player-piano bizarre ex per i ­ in a new way. In for a treadmill. The steady tramp of ments, Stravinsky perforated notes would, in itself, hold less the N. Y. Times c a II s the ultra­ than nothing for a serious composer who Magazine he says: modern of contem­ studies jazz in its nocturnal fountain porary music too springs. "There is a new formulated. He "Stravinsky has, none the less, taken a polyphonic truth in goes to eighteenth­ step further in the new form~r toward the player-piano. c en t u r y manu­ this new form~f a music distinct to the There are new pos­ scripts t 0 stu d y player-piano. Stravinsky the pianist can­ sibilities. It i s Bach, that he may not do for Stravinsky the composer what something more. It see what Bach did the player-piano can do for him. is not the sam e before men took to "'There are tone combinations beyond thing as the piano. editing him, and in my ten fingers,' he says. It is these he The player-piano his latest concerto seeks to perpetuate by working over the resembles the pi­ interpretative rolls. 'The rolls such as ano, but it also re­ he writes in the contrapuntal style, Paderewski has made of his splendid work sembles the orches­ are photographs, but I make lithographs. tra. It s h are s like Bach himself. the soul of the But what would automobile. Beside Bach, who had no use even for the pi­ the pia n 0 it is practical. It has a ano, have said of future, yes. It has the player-piano? its utility. Men "As he expounds will write for it. his musical creed But it will create A REVOLUTIONARY COMPOSER discursively, Stra­ new matter for it­ Igor Stravinsky discovers and proclatms a vinsky, in passing, "new polyphonic truth in the plano-player cites a player-pi~ self. Not a new ... for which composers will write manner, no. New dIrectly." ano roll as a hor­ matter.... rible ~xample.

DUO-ART ARTIST FRANK LAFFITTE REMAINS ACTIVE ANOTHER WENDLING TIDBIT from Frank Holland, British Piano Museum by Dick Howe Frank Holland, of the British Piano Museum, has been carrying on a correspondence with Duo-Art recording Dick tells us that a quote which appeared in the artist Frank Laffitte, and we thank him for sharing this January 10, 1920 issue of Music Trades is of interest letter with us. Mr. Laffit~e is obviously very active to Wendling fans. Pete said that Prohibition will have and interested in the reproducing rolls. a positive effect on the roll business, implying that people will be spending more time at home. Dick says Dear Mr. Holland, this reminds him of an SS-note roll he has entitled Many thanks for your long and interesting letter.•. "I Never Knew I Had a Wonderful Wife Until the Town I must thank you again for taking so much trouble to Ivent Dry." get more of my Duo-Art rolls for the Museum, and I am Can anyone out there provide us with a xerox of the also very pleased to know that Mrs. Medcraft is inter­ ested in my suggestion to make a recording of sindi~g~s full article? 00000000000000000000 ++++++++++++++++++++ Rustle of Spring for Duo-Art. It occurs to me that added 00000000000000000000 interest could be given to this ~ecording as I am one of 9 THE AMICA NEWS BULLETIN

the surviving pianists still playing who made Duo-Art the big ones from that show. In 1930, Walter Donaldson's records in the 1926-1929 years of this century. hits included "Lazy Lou'siana Moon," "Little White Also, I actually met and shook hands with Sinding at Lies" and "You're Driving Me Crazy." In the early a musical party in his honour by Norwegian friends in my 'thirties, he, like many of his contemporaries, journey- home town, about 50 years ago, and Iittle did I dream ed to Hollywood to compose music for the early talkie at the time that I would broadcast MacDowell's 2nd Con­ musicals. His film credits incJ.ude the scores for "Hot certo from Oslo with the Norske KringKasting Orchestra for Paris; ....Glorifying the American Girl," an early conducted by H. Krauss not so many years later. Paramount technicolor all-star musical; Eddie Cantor's I have recently obtained a volume of 5 other pieces "Kid Millions"; songs for "The Great Ziegfeld," and a by Sinding, all fine, and well worth playing one of lovely song for a bad picture, "Suzy," which starred these with Rustle of Spring in my future recitals. Franchot Tone, Cary Grant and Jean Harlow. Remember I note that Mr. Ilessays that my recordings do not Cary Grant 'singing' "Did I Remember?" Another fine appear in the list of recordings as yet re-issued, and Walter Donaldson song. In the declining years of popu­ also are not included in the U.S.A. Woods collection. lar music in the 1940's he was heard from less and less But you showed me a catalogue in ~hich my name and often. Walter Donaldson died at 54, in 1947. recordings appear; among these are those you have at the In the midst of his busy songwriting career, Walter Museum, so I suppose this will be yet another catalogue Donaldson found time to visit the Duo-Art recording issue·d by the Aeolian Co.? studios often in 1927-8 and 9. Here is a list of the •••1 play again in Saltdeau, Brighton, on May 8th, Walter Donaldson rolls--all distinguished by a bright and end of June or early July give a recital in aid of style and certainly ideal perfo~ances of the tunes. cancer relief ·fund in Sir F.~ and Lady Cooper's large They are all his own compositions. house ••• 713390 Just the Same Yours very Sincerely, 713401 Sing Me a Baby Song Frank Laffitte 713402 Sa-Lu-Ta @@###@@###@@###@@###@@ 713408 Just Once Again 713414 Someday You'll Say O.K. WALTER DONALDSON 713419 My Connecticut Gal by Bob Pye 0465 A Shady Tree The 1920's are distinguished not only by a uniform 0485 There Must Be a Si1ver Lining excellence of the popular music produced, but by amaz­ 0610 I'm Bringing a Red, Red Rose ingly large outputs of many of the major composers. 7223 Walter Donaldson Popular Song Medley. People like Gus Kahn, DeSylva, Brown and Henderson and My thanks to AMICAn Bill Burkhardt for his assistance the Whitings ••• to name only a few•••turned out dozens in compiling the listing of Walter Donaldson's Duo-Art upon dozens of fine tunes, many more of them forgotten rolls. today than remembered. And one of the finest composers ******************** of popular songs of the twenties was Walter Donaldson. Walter Donaldson was born in Brooklyn, and pursued A 1928 FELIX ARNDT RECORDING? a songwriter's career beginning with the composition of Bob some songs for school plays. Although he was a self­ by Pye taught pianist, he was highly regarded in his time as a Indulging in some of my shrewd trading, I recently style-setter who helped create the golden era of popu­ acqui red a copy of Fe.l ix Arndt's Duo-Art roll of IIA lar music. He also holds an unequaled high mark in Perfect Day.1I I had a copy a couple of years ago but getting a sale of more than eight million copies on his surrendered it in favor of something a little more first three song hits I During the 'twenties Walter intriguing somewhere along the 1ine, so' I decided to Donaldson turned out hit after hit, beginning with "My replace it wi th the present copy. Imagine my surprise Mammy" ••• continuing with "Carolina in the Morning" ••• when the box, with the original number 58025., yielded "My Buddy" (which many think was a first world war song a SONG-ROLL ••• number 103775. This number would place its but in reality was composed in 1922 I) ••• "Beside a issue somewhere in mid-1928. Of course all we loyal Duo­ Babbling Brook" ••• "My Best Girl" ••• "That Certain Party" Arters know that the celebrated Felix was a victim of .•• "Yes Sir That's My Baby" •••"After I say I'm Sorry" ••• the severe 'flu epidemic of 1918, but apparently some­ and a host of Qlarleston-era cuties like "Where'd You one ten years after his death, decided to re-vamp his Get Those Eyes?" ••• "But I Do--You Know I Do" and "That's earlier recording into song-roll form. Unless my memory Why I Love You." But-the songwriting career of Walter deceives me, the coding has been revised. But I may be Donaldson reached its zenith with a string of super­ wrong. However, Song-Roll it is. It bears a manufacture hits in the late 'twenties, beginning with "At Sundown," date of 11-28, but two rolls I have only a few numbers continuing the "coming home at twilight" theme with the earlier were issued in 4-28, so I would guess it comes biggest of them all, "Just Like a Melody fran out of from the late Spring or early Summer of 1928. I wonder the Sky." In between, there were "Sam, the Accordion how many times this kind of revision was granted to Man," "There Ain't No Maybe in My Baby's Eyes," "Because earl ier lIinstrumental ll recordings. Could the IIS pec ia1 11 My Baby Don't Mean Maybe Now," and a lovely tune fran Song-Roll of liLa Paloma ll by Ernesto Berumen, No. 104457 the theme music to a late silent picture Warming !!£-­ --issued in 1930--be a re-working of his earlier roll "Out of the Dawn." In 1929, "Whoopie" was the toast of 6169-711 This presents an interesting variation to my Broadway, with Eddie Cantor and Ruth Etting starring in discovery of a di fferent record ing of IILiebestraumll by a lavish Ziegfeld production, and singing a score of Rudolph Ganz on my Audiographic issue. great Walter Donaldson tunes. "Love Me or Leave Me" ••• "I'm Bringing a Red, Red Rose" and IIMakin , Whoopee" were #################### About Hathaway & Bowers, Inc....

~ '51'~

The showroom ofLudwig Hupfeld A.G., the largest manufacturer ofautomatic musical instruments the world has ever known, circa 1905. Hupfeld products ofyears ago included the DEA reproducing piano, the Phonoliszt semi-reproducing piano, the Violina violin-player in several different forms, the spectacular Helios and Pan orchestrions, and other instruments. While the Hupfeld showrooms have been closed for nearly four decades now, you can still purchase Hupfeld instruments - from Hathaway and Bowers, Inc.

What We've Done For Others ... Anyone can attract one-time buyers by carelessly describing Over the years it has been our pleasure to have handled many of the instruments, offering come-on prices, and so on. But to hold a customer finest collections sold in America and in Europe. If you're an "old takes a bit more skill. At Hathaway and Bowers, Inc. we're proud that timer" with us you remember such stellar offerings as the Cliff House most of our customers are old-timers with us; customers who have and Sutro Museum Collections, the Museum of Music Collection (which ordered from us (perhaps hesitantly at first), who have liked the quality we purchased fpllowing its exhibition at New York's Lincoln Center received, and who have ordered time and time again. Picture in your and the Smithsonian Institution), the Wayne Collection, the Hamilton own mind, if you will, the leading collections among AMICA members. Collection, the Bursens Warehouse Hoard, the Knapp-Longo Collection, The next time you visit one, ask "How do you like doing business with the Marvin Collection, and many others. Hathaway & Bowers?" If you like what you hear then we invite you to: Many prized showpieces now in the collections of AMICA members have passed through our hands. We at Hathaway and Bowers, Inc. are Request Our Illustrated Catalogue! proud of the part we've played in supplying choice automatic We regularly issue illustrated catalogues offering cylinder and disc instruments to collectors and dealers - clients who we consider to be music boxes, electric coin-in-the-slot pianos, orchestrions, photoplayers, the nicest customers any business could possibly have. organs, reproducing pianos, musical clocks, books and records about old-time instruments, and dozens of other things - not to mention WeCan Do For You ... editorial chit-chat and research information. Our current catalogue sells And yet there is the possibility that you haven't yet tried Hathaway for $2, and we consider it to be a good buy if you pay that. But you and Bowers, Inc. We think you're missing the best deals on the market don't have to! Send us your name and address and we'll send you a today. We'd like the chance to prove that we can deliver the quality and copy with our compliments. So, you can't lose a thing (except an value you expect. We think you'll find that there's a real difference 8-cent stamp). You can, however, gain a lot by learning where the best when you do business with Hathaway and Bowers, Inc. buys in the musical instrument business are to be found.

HATHAWAY and BOWERS, INC. 11975 East Florence Avenue Santa Fe Springs, California 90670 Telephone (213) 941--8774

Office hours: Our showroom is usually open Monday-Friday from 2 to 4 p.m. Occasionally we are open Saturdays 2 to 4 p.rn. Our hours are irregular due to our travel schedule, restoration work in progress here, and other considerations, so if you're coming from a distance it is best to write or call in advance for an appointment. The Literary Digest for September 27, 1924

Will your child love or hate practice?

NLESS one thing happens, the little in an Amplco, you have the piano, plus A few of the famous artists the U beginner in music will never like the artist-the combination that must be Ampico brings to you practice-will never be a real musician. effected before music can result. Unless she discovers music for herself she The music of all the world is yours to Erno Dohmlnyi Benno Moiseiwitsch will never put herheart into her practicing. command, through the Ampico. Sonatas, Leopold Godowsky . Miec:lYslaw Miinz Before she can produce music, she must hymns, ballads, dance music-you can Phillip Gordon Leo Ornstein love music and want to create it. To love have any composition you know or want Mischa Levit~ki . Sergei Rachmanino'ff it she must know it-and to know it she to know. Modern concert music is included ] osef Lhevinne Mori~ Rosenthal must hear music, good music, constantly. in the Ampico library almost before the Alfred Mirovitch Henry Souvaine When she learns what music is, when she critics have decided what they think ofit. and Playing Popular Music Adam Carroll Henry Lange grows to listen with her heart as well as The latest dance tunes are recorded for ]. Milton Delcamp Vincent Lope~ with her ears-then she will understand the Ampico even before Yale juniors have Edgar Fairchild Ralph Reichenthal that practice is only a step toward creating learned to whistle the choruses. Then music with her own hands. there are the musical treasures of genera­ Exchange your piano for Think what a difference an Ampico can tions-an inexhaustible store of melody. an Ampico make in the whole musical life ofyour little The Ampico is found exclusively in fine girl. Through the Ampico, the world's pianos. It can be had only with pianos Your present piano will entitle you to an greatest pianists can tell her how beautiful bearing these names of enviable fame­ allowance in buying an .Ampico. The real music may be. Rachmaninoff will names which, for generations, have stood dealer will also be glad to arrange COI1­ play for her-austere melodies of snow­ for instruments of quality: venient terms of monthly payments. Foot­ bound waste lands. Ornstein will charm power models, $795. Electric models: up­ the strings into telling her a joyous story Knabe Chickering rights, $985 to $1800; grands, $1975 to ofsunny lands and laughing children. The Fischer Haines Bros. $5000. With freight added. little girl who hates to practice will dis­ Marshall &' Wendell Franklin cover that music means something! In Canada the Willis also Where will you first hear In a few days practice will seem new Note that the Knabe and the Chic~ering the Ampico? and interesting. She will know what prac­ are two of the four great pianos in general Perhaps you will hear the Ampico for the ticing is for. She will be learning to make use on the American concert stage. first time in your neighbor's home-or at music! your club-or, just as freely, at the store What is the Ampico? of the dealer nearest you. Wherever you hear it-the Ampico will mystify and The Ampico is first of all a fine piano­ delight you. one that any artist would like to play. If you are not near a store where the But the Ampico is much more than a Ampicois sold,orifyou wanttoknowmore fine instrument. Concealed within the about the Ampico before hearing it, write piano is an almost magic device that brings to the address below. You will receive a the great pianists of the world to play for booklet descriptive of the Ampico and you whenever and whatever you like. ,So, information as to where you may hear it.

THE AMPICO COMPANY' 437 FIFTH AVENUE' NEW YOR-K. THE AMICA NEWS BULLETIN 12

COMMENT FROM THE INSTRUMENTS EDITOR by Bob Billings

AMICA has traditionally been heavily oriented toward Bill and Ann Johnson own the beastie described here, the reproducing piano. The piano has been the medium for along with a Hupfeld Helios, a Pianolodeon and miscel­ a lot of important music, the tool of many great laneous other curiosities such as an Eleemosynary MKII artists, and the reproducing piano captured a great electromagnetically operated typewri ter, a Model A, an deal of the playing of pianists whose artistry was indeterminate number of chinchillas, and Zeus knows what otherwise available only in person or through the poor else since I last talked with them. After I twisted recording techniques of the day. For musical history Bill's arm about 3780 he agreed to start the ball roll­ and for just plain enjoyment, the reproducing piano has ing on the Violano' wit:h this article. Hopefully it will been important, and our interests show this. be the start of a series of articles, comments, old ads, rhere are, however, many other punched-paper-operated ~ and so on from all you Violano afficionados. Perhaps i:t musical instruments in our collections, some of which will encourage AMICl!1is to write about the other inter­ deserve more exposure than they've had so far in AMICA. esting musical devices in their collections! The Mills Violano is one of these.

THE MILLS VIOLANO or GOODBYE ROTIING PNEUMATIC CLOTH, HELLO CRUMBLING INSULATION by Bill Johnson

The Violano is an instrument that seems to be in a to other violin playing machines is its unique method group of its own, not just because it is a violin play­ of keeping the instrument in tune. Instead of the wooden ing machine, but because it is one of the very few tuning pins found on the normal violin, the Violano has automatic instruments that is not in some way pneumatic­ the ends of the strings connected to pivoted metal arms ally operated. The only other instruments that I can that support heavy, lead-filled weights. These weights think of that are 100% electrically operated are the provide the tension to pull the string up to proper Electrelle and the Telektra. They were piano playing pitch. Tuning of the instrument is accomplished by turn- mechanisms that were sold to be attached to a normal piano. The basic instrumentation of the Violano consists of one or two "ordinary" violins (depending on the mode!), plus a 44-note piano. The machine is paper roll operated but ins tead of the us ua 1 t racke r ba r, pouches, va 1ves and pneumati cs, there are small wi re "fi ngers" that read the music roll. These fingers read the roll in much the same wayan "I BM" card gas and 1i gbt bill is read by auto­ matic bi lling machines. On the Violano these fingers make electrical contact to operate electromagnets which strike piano notes, do the fingering of the violin, operate the sustaining pedal, etc. The viol in itself is mounted horizontally across the machine. Bowing of the vioiin is accomplished by four 1" diameter celluloid discs, one disc located above each of the violin strings. These discs, or "bow wheels" as Mills called them, are driven by a series of worm gears from a small variabie speed electric motor. Located a short distance above each bow wheel is a spring loaded arm which is connected to the armature of an electro­ magnet. When one of these electromagnets is energized by an appropriate perforation in the music roll it pushes its rotating bow wheel against the string causing it to sound. The intensity of the violin is varied by changing the speed of the bow motor. There are five basic bowing speeds--normal, soft, very soft, loud, and very loud. Speeds other than normal are selected by four individual tracks on the roll. Violins have the well deserved reputation for being just about the most difficult instrument to keep in tune even under th~ most ideal conditions, let alone sitting in the back of some beer hall or next to the steam radiator in a hote"l lobby. Probably one of the reasons for the relative success of the Violano in comparison 13 THE AMICA NEWS BULLETIN

ing knurled nuts which move the weights nearer to or make electrical contact again the motor speeds up. This away from the pivot point of the arm, thus changing the process is repeated continuously throughout the roll. tension on the string. With this scheme detuning of the You might think that this on-again off-again process violin because of moisture and temperature changes is would cause rapid tempo variations in the music, but any markedly reduced. No doubt these machines ran for irregularities in the speed are almost completely elimi­ months or years with very little tuning or attention. nated by a very large flywheel on the roll drive motor. It's really amazing; ! tuned our Violano six months ago One real benefit of this constant paper speed is that and it sounds just as bad now as it did thenl it is a cinch to make repairs, splices, or even add "Fingering" of the viol in is accompl ished by 60 another tune or two wi thout al teri ng the tempo. electromagnetically operated "Vii shaped steel fingers, The piano section of the Violano is similar to those each having its own row of perforations on the music found in other small coin operated instruments, with roll. These steel fingers act much the same as human two minor exceptions. The fi rst of course is that the fingers (they have bad arthritis attacks, for example) piano hammers are operated by electromagnets rather than to adjust the speaking length of the string to the note pneumatics. The other difference is that the piano is cal led for, although they do c~ne up from underneath strung with the bass strings in the center and the tre- the string rather than pushing down on it. -ble on either side. This makes sense from an engineering A~ unusual feature of the roll mechanism is that it point of view, because this tends to distribute the uses a "constant velocity" paper drive system. In this string tension over the whole piano plate. However, I system the paper travels at a constant speed past the doubt whether your piano tuner will appreciate this contact fingers, unlike the normal player mechanism arrangement when he tries to tune it for the first time! which drives the take up spool at a constant speed, and This rather short article was written with the hope consequently puils the paper at an ever increasing rate that it might stimulate some interest in the Violano and as it bui Ids up on the spool. The operation of this possibly generate a few questions or comments. I would system is interesting and also fun to watch. In travel­ be happy to try and answer your questions and if I can't ing from supply reel to take-up spool, the paper passes I may be able to find somone who can. My address is: over a 1.2" diameter ball bearing mounted steel roller, 215 Highland Terrace, Woodside, Cal ifornia 94062. in Violano terminology the contact roller, which is free ps-- to rotate as the paper passes over it. Connected to this Not to be out-done by certain pneumatically operated roller by a series of gears and shafts is a fly-ball printing devices, this article just happens to be com­ governor, quite similar to those used in spring wound posed on our recently restored 1907 Eleemosynary Mk 11 phonographs and old Apollo player actions. However, in­ electro-magnetically operated typewriter. The only power stead of acting as a brake as in spring-wound devices, supply we could find to operate it was the battery from it interrupts a portion of the current flowing to the our '31 Model "A" Ford, which has been "resting" in our small electric motor that drives the take-up spool. As carport for the past two years. However, at great ex­ the paper bui lds up on the take-up spool it causes the pense we have recently imported three teams of trained contact roller to rotate faster, causing the fly-ball chipmunks that will operate a specially constructed governor to rise, and interrupt part of the current treadmill generator. Barring any unforeseen difficulties flowing to the take-up motor, slowing it down. When the (droppings in the commutator?) we hope to have the contact roller slows enough to let the fly-ball governor system up to full power in the near future.

_0_0000000'0 0 0000000. '0'0'0'0'0'0'0'0'0'0' THE AMICA NEWS BULLETIN 14

LLOYD DAVEY--AN INTRODUCTION by Doug Hickling Although the title attached to the articles which on 83 years old, and to record his recollections. follow refers to Lloyd Davey and the Welte-Mignon Corp­ Thereafter, I submitted the first draft of these oration, they in fact relate a number of his articles to him. Much to my surprise, Mr. Davey, who experiences occurring during a fifty year career in the is able to write only with great difficulty due to pipe organ business. He was with Welte for only a little arthritis, responded with numerous corrections and over two years--from 1925 to 1927--but this was the time several more typewritten pages of reminiscences. The during which the company's organs reached their techni­ revised articles which follow have been reviewed and cal and tonal zenith, followed quickly by the firm's approved by him. downfall. He remained, however, in organ work and con­ I am sincerely thankful to Mr. Davey not only for tinued to work on, and otherwise have contact with, contributing to the satisfaction of my own personal numerous Welte organs. - curiosity regarding the postwar American Welte company, Mr. and Mrs. Davey now live in a comfortable retire­ but also for his unfailing gentility, courtesy, and ment center in Glendale, California. A few months ago I kindness. was privileged to interview Mr. Davey, who is now going

LLOYD DAVEY'RECALLS HIS DAYS WITH THE WELTE-MIGNON CORPORATION Part 1 As Retold by Doug Hickling My career in the pipe organ industry began in 1921, but I did develop some talent in the technical end of after the church in North Carolina, of which I was a the business. member, bought a pipe organ from the W. W. Kimball Com­ After World War I, George W. Gittins, the owner of pany. Kimball apparently thought that it was I who the Estey Piano Company, bought the assets of M. Welte convinced the congregation to buy their instrument, and & Sons, Inc., from the eight millionaires who had ac­ they offered me a job. If they thought they could make quired this property from the Alien Property Custodian. me into a first class organ salesman, they were mistaken, He took on the manufacturers of the various reproducing piano actions and convinced them to pay royalties under Lloyd Davey, at the age of 80, inspecting an Aeolian the Welte patents, set up the Estey-Welte Corporation as organ in Victoria, British Columbia, in 1969. a holding company for his business enterprises, sold stock to the public, and built a first-rate organ factory next door to the Estey plant in the Bronx. Ernest M. Skinner, who at that time was active only in the church and concert organ field, invited a couple of the Welte organ technicians to Boston to go through the Skinner factory, advising them that they were free to copy anything they were interested in. George Goll, and the others who built the studio organ at 665 Fifth Avenue, New York, "improved" on Skinner's design and the result was not too successful--particularly the Skinner­ Welte windchests, which were terrible. Thereafter, Mr. Beyer, a son-in-law of Anton Gottfried, the noted pipemaker, voicer, and organ supplier, took over the technical and tonal design of Welte organs and the company changed over from the straight Skinner-Welte windchests to high-quality unified single-rank wind­ chests made up in advance in four styles with only the topboards varying in the number and scale of the pipes to be accomodated. When the organ was assembled, the appropriate chest for each rank of pipes specified would be selected and then several chests would be placed to­ gether side-by-side on a set of supports. The use of these chests not only made for more efficient product­ tion, but helped considerably when it came to finding a place for the organ and installing it in a customer's home. Beyer also instituted a very effective cold-glue process, invo.1.ving the use of a large press. At one time Gittins had an option to buy both Moller and Austin, but he never got around to doing so. Gittins did, however, gain majority control of Hall Organ Com­ pany in 1925, C. B. Floyd, and the other former owners receiving a block of Welte stock in exchange, as well as a role in the Welte management. 15 THE AMICA NEWS BULLETIN

Gittins decided to branch out of the residence organ all of them to use, although we substituted pouch leather ­ business to enter the church, theatre, and concert organ for the zephyr skin which Beyer had used. Some of these field and in 1925, at about the same time as he was ac­ chests were being furnished with new organs until late quiring the Hall Organ Company, he also hired Robert in 1926. The Beyer relays were terrible and not put to Pier Elliot away from the Kimball Company to take charge use, a Kimball-type relay being used instead. One 'of the of his organ business. Elliot brought with him to Welte storerooms contained a whole bunch of Welte orchest- a number of Kimball organ men, including Carl Benson rions left over and unsold from M. Welte & Sons, Inc. We and me. didn't have any use f'Q.r them and I don't know what be­ When we arrived at the Welte organ factory, it came of them. appeared to be an organization without a head--Beyer In the meantime, Elliot designed new unit and straight having left some time previously. Gittins, who didn't windchests virtually identical to those made by Kimball, know anything about the organ business, was relying on except for the magnets. Some Welte organs were equipped Floyd, who made weekly trips from West Haven, for "ex­ with Hall magnets, which can be recognized by their pert" advi·ce, and Floyd was taking the best of the thick wooden caps, but magnets with brown bakelite caps organ contracts to be builtin the Hall factory. At ,.. were developed by Elliot. They were not canpletely Elliot's insistence, Gittins set up a committee consist­ satisfactory and the canpany eventually reverted to the ing of three men from each factory. I was one of the Reisner magnets used by Beyer. Under Elliot, the members and we met every two weeks at alternate plants standard wind pressure for residence organs was raised to look over the incoming orders and to decide which to seven inches and the organ direct current voltage set factory should build each organ. There was considerable at 15, the same high voltage used by Kimball. friction between the members of this committee stemming Carl Benson was dissatisfied with the "bee's knee" from the conflicting views of Elliot and Floyd and the action of the pneumatic reversing stop device as we resentment of the Hall members over Hall no longer being found it in 1925 and redesigned it to operate on the able to build all of the choicest contracts. same principle as the pedal reverse used in the Kimball One point in contention was that Floyd wanted to console. Kick it once and it's on; kick it again and it build and voice all of the pipes at West Haven. Hall turns off. Benson also designed the pneumatic controlled made its wood pipes in pairs, instead of scaling them swell shade control which was used from 1925 until from top to bottom of the rank, Floyd claiming that you Kimball replaced it with the step unit!" couldn't tell the difference after they were voiced. The Welte organs were so similar to those built by Elliot thought otherwise and wanted to make and voice Kimball, that a casual observer could hardly have told his own pipework. them apart. It is no wonder that even experienced organ It was finally decided that Hall would build its men sometimes have difficulty in determining whether order~ and we would build ours. The Hall interests miscellaneous organ parts are from Welte organs or from gradually withdrew from the Welte management and even­ those built by Kimball. Kimball further complicated tually gave up their Welte stock and regained control things, after it acquired the Weli;.e business in 1931, of Hall. by replacing the nameplates on Welte organs which they Elliot proceeded to build his own pipemaking depart­ were called qpon to service or eniarge with their own. ment, enlisting the assistance of James H. Nuttall, then It probably never occured to Elliot that Welte was of Los Angeles, to design and make up various equipment, building a close copy of the Kimball· organ, because it including a complete set of mandrels for reed pipes, and was he and the workmen he had brought to Welte who had to recommend the purchase of additional tools. David designed Kimball's instrument. If anything, both com­ Arthur, the reed voicer who like Nuttall had previously panies were building the Elliot organ and Elliot been with Hope-Jones and Wurlitzer, did not know how to belonged to Welte, much as Hope-Jones had belonged to draw pipe scales, so Elliot had Nuttall do this also. He Wurlitzer. also hired a very fine pipemaker from Wurlitzer. Another problem wnich Elliot straightened out had to do with hiring the persormel in the organ department. This work was being done by the superintendent of the piano factory and he was sending all of the most pro­ mising prospects to his department instead of to ours. *Mr. Davey's recollection on this particular point Elliot quickly had him relieved of this responsibility appears to be questionable. The patent application and took care of his own hiring. on the pneumatic swell control lists Paul Sowada as Elliot made a serious mistake, however, in hiring the inventor and was filed in 1924, a year before Henry Vincent Willis on the strength of his name, Benson was associated with Welte. --D.B. thinking that it would help the reputation of the Welte organ to have a Willis in the organization. He went into the pipe shop and overruled the judgment of the pipemaker in fo~ulating the pipe metal alloys, instructing him to leave out the antimony, normally used to make the metal less soft and yielding. This resulted in pipes falling over Wlless supported and the diapasons forming a ring around the foot where they came through the rack boards. He was a terrible disappointment and Gittins had to let TO BE COOTlNUED him go. We found a large supply of parts for the Beyer-Welte _111111' 111'11111111_ windchests when we joined the company, and we put nearly THE AMICA NEWS BULLETIN

First EXCERPTS FROM PART III Number Trade Mark Used Filed Granted OF COURSE IN AMPICO SALESMANSHIP 1924 contributed by Doug Hickling 44,725 Wm. Knabe & Co. 1838 4/7/05 7/18/05 XI: SELLING AMPICO RECORDINGS Applied for by Ernest J. Knabe, Jr., President, Wm. Knabe & Co., Manufacturing'Company, The Lyric, Maryland Avenue, Baltimore City, Md. Every salesman should be keenly interested in selling recordings to his Ampico customers. The reasons are Third Renewal: Aeolian American Corporation, quite obvious. A satisfied customer is one of the best 584 Fifth Avenue, New York, N.Y. - 3/31/55 means for additional sales; his home is in a sense a demonstration room for the Ampico whenever the instru- ~ 45,057 KNABE (shield) 3/04 4/7/05 8/1/05 ment is played for his friends. And the instrument isn't pZayed unZess the ownep has a satisfactory Zibpary of Information same as for 44,725 peaopdings and keeps on adding new pecopdings at pegu­ Zap inte1!VaZs. 45,058 MIGNON 10/15/02 4/7/05 8/1/05 All dealers' records indicate that the most enthusi­ astic owners--and those most helpfuI in making addition­ Info~tion same as for 44,725 al sales--are ~hose who have the best selections of recordings. (Always use the· word "recordings"; the word 45,853 KNABE 1838 5/25/05 8/29/05 "rolls," is too frequently associated with player­ pianos .) Information same as for 44,725 The easiest time to sell recordings is just after you have won a prospect's decision to buy the instru­ 45,855 Chickering 1867 4/7/05 8/29/05 ment. He is then in a buying frame of mind; it is self­ evident that in order to make use of the Ampico he will Applied for by Charles H. Eddy, Chickering & Sons, have to have recordings; and an additional expenditure Boston, Mass. of $100 or $200 for the music, to enjoy which he has Third Renewal: Aeolian American Corp., 584 Fifth just spent approximately $1000 to $4000, is a natural Ave., New York, N.Y. - 8/18/54 step. The only problem, usually, is to get him to make a selection. -He has spent considerable -time attending to 47,391 Mason & Hamlin 1880 5/3/05 10/31/05 the demonstration and is perhaps tired and in a hurry Pa1man Qui Meruit Ferat to get away. He will buy recordings, however, provided Sui Generis you don't make it too hard for him. Boston

$$$$$$$$$$$$$$$$$$$$ Applied for by RichardW. Gertz, Secretary, Mason & Hamlin Co., 162 Broadway, Cambridge, Mass. Third Renewal: Aeolian American Corp., 584 Fifth Ave., New York, N.Y. - 8/18/54

52,114 E1ectre1le 12/23/05 1/27/06 5/1/06 TRADEMARK INFORMATION by Dick Howe Applied for by J. Stogde1l Stokes, President, Stokes & Smith Company, 1011 Diamond Street, Philadelphia, Pa. During a recent trip to Washington I visited the Trade Mark Division of the U. S. Patent Office. 73,672 CHICKERING 1893 1/20/09 5/11/09 Although my time was quite limited, I was able to (tapered letters) find some data which should be of interest to collectors of reproducing pianos. I concentrated Applied for by Charles H. Eddy, Treasurer, my search on the vari-ous Ampico trade marks and Chickering & Sons, 791 Tremont Street, Boston, the pianos in which the Ampico was installed. I Mass. was also able to locate some information on other reproducing systems. 87,706 Primatone 6/21/11 1/2/12 8/6/12

After considering how to best present the Applied for by Joseph H. Shale, Secretary, information on these trade marks I decided to American Piano Company, 437 Fifth Avenue, New list them in the order in which they were granted. York, N.Y. I don't believe it is possible to order copies of trade marks from the Patent Office; however, essen­ 87,968 RYTHMDDIK 1/5/12 4/30/12 8/20/12 tially all of the information on these trade marks is contained in the following tabulation. The Applied for by Joseph H. Shale, Secretary, flurry of trade mark activity in 1905 was caused American Piano Company, Fifth Avenue, corner of by the Trade Mark Act which was enacted on February 39th Street, New York, N.Y. 20, 1905. 17 THE AMICA NEWS BULLETIN

First First Number Trade Mark Used Filed Granted Number Trade Mark Used Filed Granted

98,304 Mason & Hamlin 1854 3/5/14 7/7/14 112,195 Knabe-Crysto1a 11/1/15 11/29/15 8/22/16

Applied for by H. M. Matteson, Treasurer, Mason & Applied for by Ernest J. Knabe, President, the Hamlin Co., 162 Broadway, Cambridge, Mass. and Knabe Bros. Company, Section and Foraker Streets, 492-494 Boylston Street, Boston, Mass. Norwood, Cincinnati, Ohio Note: This trade mark was used for their 99,826 M. Welte & Sons, 7/1/1865 4/21/14 9/15/14 "talking machine." Inc. 115,051 Haines Bros. 1853 8/3/16 1/23/17 Applied for by Edwin Welte, M. Welte & Sons, Inc., Applied for by Isaiah E. Edgar, American Piano 273 Fifth Avenue, New lork, N.Y. Company, 437 Fifth Avenue, New York, N.Y. Note: Trade mark used in business of its Note: Trade mark was used in the business of its predecessors, M. Welte & Sons. predecessors Napoleon J. Haines and Frank W. Haines. 103,335 Ampico 7/15/12 8/26/12 3/30/15 129,065 Aristo 10/10 6/13/18 1/20/20 Applied for by W. B. Armstrong, Vice-President, American Piano Co., 439 Fifth Avenue, New York, Applied for by C. Alfred Wagner, President, Rythmodik Music Corporation, Belleville, N.J. and N. Y. 23 West 38th Street, New York, N.Y. 104,140 FLEXOTONE 1/4/11 1/7/11 5/4/15 131,399 Franklin 1893 11/13/18 5/18/20 Applied for by Joseph H. Shale, Secretary, American Piano Co., Thirty Ninth Street and Fifth Avenue, Applied for by I. E. Edgar, Treasurer, American New York, N.Y. Piano Company, 437 Fifth Avenue, New York, N.Y. Note: Trade mark was used by predecessor company, Note: I believe this trade mark was used on their Franklin Piano Company. manual three button expression system which was keyed to marks printed on the roll. In December, 137,745 Welte Mignon 1905 4/3/18 11/30/20 1915, American came out with the F1exotone E1ec­ tre11e, an electric-pneumatic system. Applied for by Howard E. Mitchell, President, M. Welte & Sons, Inc., 667 Fifth Avenue, New York, 104,346 APC 8/31/10 1/7/11 5/25/15 N.Y.

Applied for by William Bugbee Armstrong, Vice­ 144,984 Armstrong 1898 5/19/21 7/19/21 President, American Piano Company, 439 Fifth Avenue, New York, N.Y. Applied for by W. B. Armstrong, American Piano Company, Jersey City, N.J. and 439 Fifth Avenue, 105,176 DUO·ART 10/12/13 2/12/15 7/13/15 New York, N.Y. Note: Trade mark was used by predecessor to Applied for by E. S. Votey, Secretary, The company, Foster-Armstrong Company. Aeolian Company, 29 West 42nd Street, New York, N.Y. 148,980 Chickering 1823 4/28/21 12/6/21

105,246 APC-AMERlCAN PIANO 8/31/10 1/7/11 7/13/15 Applied for by W. B. Armstrong, American Piano CONTROL Company, Jersey City, N.J. and 439 Fifth Avenue, New York, N.Y. Applied for by William Bugbee Armstrong, Vice­ President, American Piano Company, Jersey City, 148,981 Knabe 1838 4/28/21 12/6/21 N.J. and 439 Fifth Avenue, New York, N.Y. Information same as for 148,980 110,618 WENDELL Prior to 2/25/16 6/6/16 1875 162,343 RECORDa 2/10/22 4/12/22 12/12/22

Applied for by J. H. Shale, Secretary, American Applied for by George W. Eddy, Secretary, Recordo Piano Company, 437 Fifth Avenue, New York, N.Y. Player Roll Company, 57 East Jackson Street, Note: Trade mark was used in the business of its Chicago, Illinois. predecessors, Marshall &Wendell Piano Company. 245,217 Welte-Mignon 4/25 7/26/26 8/7/28 110,619 Marshall &Wendell Prior to 2/25/16 6/6/16 1875 Applied for by John T. Gibson, Vice-President, Deluxe Reproducing Roll Corporation, 653 West Information same as for 110,618 51st Street, New York, N.Y. Note: This trade mark was used on their monthly bulletin. THE AMICA NEWS BULLETIN ...... ~ ...... ~...... ~...... ~~~~~ ...... ~~~~~~ ...... ---....---.------. ~ 18

First ~t1rst Trade Mark Used Filed Granted Number Trade Mark Used Filed Granted

248,527 Ampico 3/27 4/9/28 10/23/28 436,837 Chickering 1944 6/17/47 2/24/48

Applied for by C. W. Brand, President, The Windlar Applied for by Richard W. Lawrence, Chairman of Company, 722-40 Bolivar Road, Cleveland, Ohio the Board, Aeolian American Corporation, East Note: This trade mark was used by the American Rochester, N.Y. Pickle Company! It was applied to "pickles: Note: This trade mark was used for "radio re­ condiments - namely prepared mustard and horse­ ceiving sets with built-in phonograph attachments." radish; chow-may sandwich spread, salad dressing, sweet relish, sour onions, sweet onions, sweet 436,838 Wm. Knabe & Co. 1944 6/17/47 2/24/48 chowchow, sour chowchow, and 1,000 island dress­ ing." Unfortunately, neither the Windlar Company Information same as for 436,837 nor their Chicago attorneys are in business today so' we won't be able to buy Ampico chowchow. 700,535 AMPICO 10/28/59 11/23/59 7/5/60

255,475 AMPICO 8/31/27 11/12/27 4/23/29 Applied for by Aeolian American Corporation, East Symphonique Rochester, N.Y. Note: This application, which applied to pianos, Applied for by J. Milton Delcamp, Vice-President, is rather puzzling. Aeolian had apparently let The Ampico Corporation, 27 West 57th Street, New the original Ampico trade mark expire and were York, N.Y. therefore obliged to file this application. It would be interesting to know just how they used 263,255 SUPER-WELTE 6/6/27 7/15/27 11/5/29 this name in commerce on November 23, 1959.

Applied for by Geo. W. Gittins, President, Welte­ 700,537 Rythmodik 5/1/59 11/25/59 7/5/60 Mignon Corporation, 665 Fifth Avenue, New York, N.Y. Applied for by Me10digrand Corp., 329 Walnut Ave., New York 54, N.Y. 278,136 WELTE 6/1/05 8/8/30 12/2/30 Note: Melodigrand's new address is 33 West 57th Street, New York, N.Y. 10001. It turns out that Applied for by Otto Kremp, President, We1te­ Melodigrand is a subsidiary of the Aeolian Corpora­ Mignon Piano Corporation, 704 St. Ann's Avenue, tion, 2718 Pershing Avenue, Memphis, Tennessee. Bronx, New York, N.Y. A Mr. Henry R. Heller, Jr. is now president of the Aeolian Corporation. 336,408 Primatone 6/21/11 2/27/36 7/7/36 758,445 DuolArt 3/26/63 5/13/63 10/15/63 Applied for by William Lee White, Treasurer, Aeolian American Corporation, 689 Fifth Avenue, Applied for by Aeolian Corporation, Washington New York, N.Y. and Commercial Streets, East Rochester, N.Y. Note: The application contains the following Note: I believe this is the mark that Aeolian information: "American Piano Company assigned uses on their new 65 or 88 note players. the said mark and the said registration to Foster-Armstrong Company by instrument in writing 759,688 AMPICO 4/2/63 5/27/63 11/5/63 dated July 13, 1927, recorded July 21, 1927, in Liber H-131, page 627. Foster-Armstrong Company Applied for by Aeolian Corporation, Washington became American Piano Corporation by certificate and Commercial Ste., East Rochester, N.Y. of change of name dated November 7, 1931, which said certificate was recorded November 18, 1931, 760,372 Duo/Art 4/2/63 5/29/63 11/19/63 in Liber S-150, page 574. American Piano Corpora­ tion became Aeolian American Corporation by Applied for by Aeolian Corporation, Washington certificate of change of name dated July 26, 1932, and Commercial Sts., East Rochester, N.Y. which said certificate was recorded August 31, 1932 in Liber Y-153, page 427." This information 760,745 Welte. Mignon 3/26/63 5/13/63 11/26/63 indicates that there were some changes in the corporate structure of American of which I was Applied for by Aeolian Corporation, Washington and not previously aware. The Foster-Armstrong Commercial Sts., East Rochester, N.Y. Company was one of the three companies (the other Note: This is indeed a surprise. I wonder just two were Knabe and Chickering) that were merged how Aeolian used the Welte Mignon name in commerce to form the $12 million American Piano Company in 1963. in 1908. Based on the information in this trade­ mark, the Foster-Armstrong Company must have survived the merger, if only as a corporate shell. 19 THE AMICA NEWS BULLETIN

First written to Mr. Hopkins to determine the origin Number Trade Mark Used Filed Granted of the name.

803,406 AMPICO 9/1/58 6/15/65 2/8/66 Unfortunately, I could locate no entries for Arti­ graphic, Ampico-Artigraphic, Stoddard-Ampico, Applied for by William C. N. Hopkins, Ampico Marque Ampico, Soloelle, or Solostyle. Accessories, P. O. Box 551, Walnut Creek, Calif. Note: This trade mark is used for "engine heads, As time permits I plan to do some additional research exhaust pipes, speed change mechanisms, two work in the Trade Mark office. The results of this hitches, and special tools." A letter has been work will be reported in the Bulletin.

THE AEOLIAN PAPERS, FOUND AMONG THE EFFECTS OF WM. H. ALFRING

Contributed and edited by Doug Hickling PART I The Aeolian Company was organized in 1887 as an out­ ism placed inside of the Piano instead of on the out­ growth of the Mechanical Orguinette Company which manu­ side. With the development of this type of instrument factured reed organs operated by a perforated music The Aeolian Company made its original effort to acquire roll. [1] Pianos of known reputation and musical merit. The Weber In recording the history of the Aeolian Company, its Piano was first acquired and later the George Steck, [2] growth and earning record, it must be borne in mind that and for a time an effort was made to market these instru­ the preponderance of the Company's sales, and practically ments as Straight Pianos, as well as Pianos in which the all of its profits, resulted from the sale of automatic­ Pianola was incorporated. ally operated musical instruments, starting with the As public acceptance in the purchase of a Piano is Orguinette, the Aeolian Reed Organ, later the Pianola influenced as much almost on proper exploitation of and its successor, the Reproducing Piano--the Duo-Art. Piano names as on musical m~5tt, a real effort was made The annual sales of the Company expanded to upwards to exploit the Weber Piano. L Paderewski was brought to of $11,000,000 in the years immediately following the this country and a tour financed, in which he used the world war, and as late as 1926 in excess of 85% of its Weber Piano exclusively. Largely as a result of this ex­ total Piano business was in Players and Reproducing ploitation and the threat to Steinway prestige, an Pianos. agreement was entered into with Steinway &Sons in 1909; The falling off in sales and profits began several the substance of which was that The Aeolian Company years before the depression of 1929, when the sales of would withdraw from the active exploitation of Straight Player Pianos and Reproducing Pianos were adversely Pianos, and more particularly the Weber, and were affected through the development of Radios and Combina­ granted the exclusive right by Steinway & Sons to in­ tion Phonographs, and has resulted in almost the exter­ corporate the Pianola in their Piano. Steinway & Sons mination of that product. further agreed not to enter into the Player Piano busi­ The Player Piano reached its peak in 1925 when ness. A further condition of this agreement was that 192,000 were manufactured in the United States with a The Aeolian Company was to buy and pay for a minimum of total sales value in excess of $59,000,000. This dropped 600 new Steinway Pianos a year for the installation of to 88,000 by 1927 with a sales value of $28,000,000 and the Pianola. by 1931 it decreased to 2200 instruments with a total This contract with Steinway & Sons proved to be a sales value of $650,000. Today there are probably fewer valuable asset to The Aeolian Company, as it had no than 250 Player Pianos manufactured in the United States difficulty from the time of making the contract until by the entire industry. 1927, when the Player business began to falloff, in The Aeolian Company is probably best known as the disposing of the required annual number of Steinway inventor and pioneer of the Pianola, a Cabinet Mechani­ Pianolas (which at one time commanded a price as high cal instrument, which was pushed up and attachable to as $4,000 for the smallest size), and further cemented the keyboard of a Straight Piano (the term used in the the relations of The Aeolian Company with its dealer trade to designate the piano playable only by hand), and organization throughout the United States, becaUSe of by the means of ·a roll furnished the performer the opportunity to play the Piano. [2] The Weber piano name was acquired in 1903, along As a development of the Pianola, the Pianola Piano with the names of Wheelock and Stuyvesant, when the came into existence; it was the same mechanical mechan- Weber Piano Company was consolidated into the new Aeolian, Weber Piano & Pia.n'ola Company. Steck was [1] Dolge states that the Mechanical Orguinette Company acquired in 1904. was organized in 1878 and that the first Aeolian [3] Readers will recall from George Gale Foster's organ (presumably a reed organ) was produced in 1883. Sketches of My Life, that he bought the Marshall & When organized in 1887, the future Aeolian Company Wendell piano because he wanted a prestige name and was known as the Aeolian Organ & Music Company. Both doubted that the public would consider the Foster of these concerns were founded by William B. Tremaine, or Armstrong pianos to be quality instruments no the father of Henry B. Tremaine. matter how well, they were built. THE AMICA NEWS BULLETIN 20

the value to the dealer in handling the Steinway Pianola During the years up to 1927 the Company had consis­ Piano in conjunction with the Steinway Piano. The tent growth. In 1916, in order to diversify its Steinway Aeolian dealers constituted the strongest and activities, it entered into a large scale production most progressive dealers in each city. of Phonographs and Records, and while its sales of those Through the strength of this representation it was products flourished for a time, it later proved to be possible for the Aeolian Company to secure a small an unprofitable venture, and in 1925 the Company retired -amount of Straight Piano business in addition to its entirely from that activity. Player Piano business, although, as before stated, the Other efforts were made from time to time to divers­ amount was a small percentage of the total piano busi­ ify its activities by the manufacture of speed boats and ness of the Company--as late as 1928 being less than aeroplane parts, but none of these efforts resulted in 15% of the total. any profit to the Company. (TO BE CONTINUED) 'A f l'l't'A'ATATt'A't'

ACOUSTICAL RECORDINGS OF SERGI RACHMANINOFF by Dennis Ferrara Sergei Rachmaninoff (1873-1943) is one great pianist the phonograph companies paid great pianists to record who really never made a poor recording. This statement the standard piano repertoire. Pianists such as Bachaus, applies to his reproducing rolls issued by Ampico and Bauer, Cortot, DePachmann, Friedheim, Friedman, Gabrilo- his Edison and Victor recordings. As a perfectionist, witsch, Godowsky, Grainger, Hambourg, Hofmann, LaForge, Rachmaninoff would never allow a poor "take" to be is- Levitzki, Ney, Novaes, Paderewski, Samaroff, Scharwenka sued for general consumption. He left his mark of genius and numerous others recorded for the major companies through his compositions and through his recordings. under similar recording situations. This article is concerned with the acoustical record- There were basically two types of acoustical record- ings made by Rachmaninoff. The Ampico rolls will only be ing methods used between 1890-1924. The first was the mentioned as a comparison and contrast of interpretation process known as "vertical" cut recordings. The record- between phonograph recording and reproducing roll. ing needle traveled in an up and down fashion. The The acoustical discography can be divided into three process is known to several record collectors as "hill parts. The first section is concerned with the five and dale." Companies such as Pathe and Edison were published Edison recordings. These recordings were cut examples of this system. These acoustics should be in 1919 at the Edison studios. played on their corresponding machines with proper The second part will be concerned with the published diamond or sapphire needles. The Edison Company, West titles recorded by Rachmaninoff for the Victor Talking Orange, New Jersey, advertised the "exclusive Edison Machine Company (1920-1924). The company was known later Diamond Disc Phonograph with the Edison Diamond." The as RCA Victor. Pathe Company, an early phonograph company issuing Part three will be concerned with the unpublished cylinders as early as 1890, advertised "Play Pathe Re- recordings made for the Victor Company (1920-1924). cordings Only with the Pathe Sapphire." The acoustical method of recording was employed by The more common method of recording was the "lateral" every major phonograph company before 1925. The major process. The needle travels in a rather "back and forth" companies included Pathe, Edison, Victor, Columbia and manner across a recording. RCA Victor, Columbia and Brunswick. The process, in a few words, consisted of a Brunswick were examples of this system. recording horn cutting into a wax "master" the sound Each company spent great sums of money in advertising waves of a performing artist. No microphones or electri- "Great Improvements in Piano Recordings." It can be cal sound devices were used; however, it is interesting found, in this collector's opinion, that the vertical to note that the Columbia Company did experiment with process was far superior to that of the lateral. "electrical" recording as early as 1919. Rachmaninoff arrived in the United States aboard the The process did capture the human voice. Famous Bergensfjord on November 10, .1918. It is shortly after operatic artists such as Enrico Caruso, Amelita Ga1li- his arrival that Frederick Steinway offered the Steinway Curci, John McCormack, Patti, Nellie Melba and hundreds to Rachmaninoff and he accepted the contract. It is also of others visited the recording studios with various de- known that the Edison Company gave Rachmaninoff a re­ grees of success. Piano reproductions were something of cording contract. a different nature. Thomas Alva Edison introduced his new "Diamond Disc" The system never captured the piano. On older acous- in 1913. He was fortunate to have fine artist and reper- tical recordings, one has the idea of listening to a toirepeop1e searching talent to record on the new disc. "bar-room" piano. The upper harmonics are lost and the However, Edison's musical taste was questionable. Art- bass response tends to become rather tubby. Nevertheless iats were required to sing or play "down home" type 21 THE AMICA NEWS BULLETIN·

music such as "My Old Kentucky Home with Variations" or two sides of a twelve inch recording to do the same; "Home Sweet Home with Variations." In checking a 1920 however, Rachmaninoff added his own cadenza and the Edison catalogue, there were several versions of these third side or 82170 (side 1) has this added work. two "corn" ballads. Edison had many idiosyncrasies: one, Rachmaninoff had played the work with the added he alone decided which recording would be published or cadenza on April 27 for the Victory Liberty Loan in "scrapped." Sad to say, there were many fine operatic 1919 with his own arrangement of "The Star Spangled and instrumental compositions which were recorded and Banner." (Ampico roll II 57282F) The recording sounds received the "Ain't got no tune" rejection for the "Old like a "test" and one can find "Flaws?" in it. The Man." old Steinway upright piano which Edison used for all The ten inch Diamond Discs were made of a special Pianoforte solos is evident. He plays the "war horse" material pre-19l5 which made them almost silent; during in the grand manner. the First World War, Edison had to use another type of ~ 82170 Scarlatti-Tausig: Pastorale chemical and the recordings from 1917 until 1922 tend Here is a charming disc and a composition not to be rather scratchy and are called by collectors "war available on either Ampico rolls or any Victor re­ time surfaces." cording. Since the cadenza of the Liszt work takes Rachmaninoff came under contract with Edison in 1919 up side one, a short work was necessary and this during the "war time surfaces." However, his recordings Tausig arrangement fills the requirement. A fine disc remained in the catalogues until 1929. Many copies ap­ with much expression. Again, the old upright piano pear on the "white label" Edison recordings dating from hinders the tonal effect of this work. 1922 on; these recordings are less noisy than the 1919­ 1921 copies. 82187 Rachmaninoff: Prelude in C-Sharp Minor, Ope 3 It was during this time that Edison announced his Polka de W. R. "Tone Tests" acrosss the United States and Canada. Con­ This is the first of four recordings and including certs were given with the Edison Phonograph with the Ampico roll 1157504H of the old warhorse. I have actual artist singing or playing with the phonograph. In rather mixed emotions about it. The piano tone is one part of the program an artist would sing or play a hard. If you must have this "over-done" prelude, try duet with the "recreation" or phonograph recording; then, Rachmaninoff in either 66016 (814) or 1326 (Victor the lights in the auditorium were dimmed and the audience electric). The Ampico roll is OK. Again, it is not a was asked to distinguish between the actual artist and favorite piece. The Polka de W.R. is fine; however, the "recreation." It is interesting to read old New York his later Victor acoustic 74728(6260) (1922) or his Sun articles on Tone Test work. ----- Victor electric 6857 (1928) is far superior to this ---Clarence A. Fergerson, a one time employee of Edison Edison recording. Can anyone find the Ampico roll of (1901-1929), has a large photograph of Rachmaninoff this 'i sitting at an upright Steinway with a large Edison "lab" 82197 Mozart: Sonata IX: Theme and Variations model Diamond Disc Machine and the headline states, Chopin: Valse in A flat, Ope 42, No.3 "Rachmaninoff, an exclusive Edison artist, will make Here is another Edison recording where this disc some Tone Test concerts throughout the United States." is the only available recording of the Mozart work. The photograph was taken in 1919. After some arguments A fine disc and a favorite on Edison recordings by with Edison, Rachmaninoff broke his Edison contract and Rachmaninoff. Too bad Rachmaninoff did not record was signed to an exclusive contract to the Victor Com­ more Mozart, excluding the Turkish March on a later pany in early 1920. Victor Electric 1124 (1925). It is suspected that Rachmaninoff did not give any Rachmaninoff left us with many fine Chopin works Tone Test recitals with the Edison Company. It seems, recorded on record and three fine Ampico rolls (Valse as was usual with Thomas A. Edison, Rachmaninoff was Ope 18, 59743H, Valse, Ope 34, No.3, 633llH, and rather displeased with several takes of the Hungarian Polish Song, No.1, The Maiden's Wish [arr. Liszt], Rhapsody, No.2, by Liszt. Edison disagreed with him 62803H). An excellent recording of the Chopin valse. and issued all the takes. This argument and other The recording is not common and well worth the stories which Mr. Fergerson would not tell me, ended trouble to find it. with Rachmaninoff walking out of the New York studios in November or December, 1919. If there is any member 82202 Chopin: Valse in A flat, Ope 64, No. 3 who knows the "real" story behind the breaking of the Rachmaninoff: Barcarolle, Ope 10 Edison contract, I would appreciate that information. Tais recording of the Chopin work has merit and is The above story has t-oo much of a romantic ending, with fun to compare with the later Victor electric 1245 the great Russian throwing up his hands at Edison and (1927) • stamping out with Russian words under his breath. The Barcarolle is taken from Seven Pieces for The five published Edison recordings are double faced Piano, Opus 10. An excellent recording. There is also and ten inches in diameter. The original price listed a fine Ampico roll numbered 57504H. I have not heard in the Edison catalogue was $2.00 each. it; can someone add any information about it? The following recordings are mint ''war time surface" The Edison recordings are fine collectors' items and recordings and were played on an Edison "lab" model machine: anyone who likes Rachmaninoff should obtain them in their original form or through special re-issuings. It 82169 - 82170 Liszt: Hungarian Rhapsodie, No. 2 is always interesting to hear how Rachmaninoff played This recording is the most unique in the Edison and these earlier Edison recordings show why Etude maga­ catalogue. First of all, it takes Rachmaninoff three zine in 1919 devoted a cover story about him. A true sides to complete the Rhapsodie! It usually took only great artist was Rachmaninoff. THE AMICA NEWS BULLETIN 22 • • • ," ,• .------_.

VICTOR RECORDINGS Composers will be listed first; master numbers will Rachmaninoff signed exclusive contracts with the follow. Victor Company in early 1920. He remained under contract Beethoven:. until his death in 1943. Sonata, Opus 10, No.2 - Presto movement (unpublished The Victor Company was still issuing its Red Seal masters B-2396l-1, Camden, April 16, 1920; B­ artists on the old one-sided 10" and 12" recordings when 23961-4, Camden, May 4, 1920; B-23961-5, Camden, Rachmaninoff started his contract. It seems that Victor May 17, 1920). had started to issue its popular black seal recordings in double form as early as 1908; however, the officials Chopin: at the Victor Company wanted to make more money on their Etudes, Opus 10, No.5, G flat ("Black Keys."); Opus classical division and insisted on the "old fashioned" 25, No.9, G flat ("Butterfly") (unpublished mas­ one-sided recordings. However, in 1922, pressure from ters B-23964-l, Camden, May 3, 1920). the buying public and trouble with the new improving Etudes in, F Minor, F Major (unspecified) (B-24116-1, radio caused officials to meet with a double faced re­ 24116-2, Camden, May 17, 1920). cording. Therefore, Rachmaninoff may appear in both Nocturne, Opus 15, No.1, in F Major (unidentified forms on Victor acoustical recordings. recording). No doubt collectors may find different "takes" of a Prelude, Ope 28, No. 19, in E f~at Major (B-29223-1, particular recording by Rachmaninoff. Measuring the 29223-2, Camden, December 27, 1923). label and recorded surface 'will reveal a different take Scherzo, Ope 39, No.3, in F Major (B-24639-1,Camden, or knowing the Victor number system will also help. October 20, 1920; B-24639-2, Camden, October 21, I will list the single numbers, 10" and 12" first; 1920; B-24639-5, Camden, November 20, 1922). double faced numbers will follow. No comments will be Debussy: made on each disc. You be the judge of your own favorite The Children's Corner: Serenade for the Doll (B-24902 recordings. (* denotes original composition.) -1, New York, January 21, 1921). 64906 (1051) Lilacs (Rachmaninoff)* Liszt: 64919 (812) Le Coucou (Daquin) ~ Born d'une Source (B24649-l, Camden, October 21, 64921 (814) Spinning Song (Mendelssohn) 1920). 64935 (813) Dr. Gradus ad Parnassum (Debussy) La Campanella (C-23986-l, Camden, May 3, 1920). 64963 (812) Prelude in G Sharp Minor, Ope 32, #12* Liebestraum (C-29670-1, 29670-2, 29670-3, Camden, 64971 (815) Waltz in D flat, Ope 64, No.1 (Chopin) March 18, 1924). 64980 (813) Golliwogg's Cake-Walk (Debussy) Spanish Rhapsody (B-29224-1-3, Camden, December 27, 66007 () Waltz in G flat Major (Chopin) 1923; B-29224-4-6, Camden, March 16, 1924). 66016 (814) Prelude in C Sharp Minor, Ope 3, No. 2* Mendelssohn: 66059 (943) Etude in F Minor (Dohnanyi) Rondo Capriccio (B-24ll7-1, 24117-2, Camden, May 17, 66085 (816) L'Arlesienne Suite: Minuet (Bizet) 1920). 66105 (815) Waltz and Elfin Dance (Grieg) Song without Words (unspecified) (B-24636-l, Camden, 66129 (816) Serenade, Ope 3, No. 5* October 20, 1920). 66154 (943) La Jongl~use (Moszkowski) 66138 (972) Waltz in A flat, Ope 40,IS(Tschaikowsky) Rachmaninof f : 66202 (972) Waltz in B Minor, Ope 69, No.2 (Chopin) Opus 33, Eight Etudes-Tableaux, No. 8 in G Minor 66249 (1008) If I Were A Bird (Henselt) (B-24652-1, Camden, October 21, 1920). 66248 (1008) Mazurka in C Sharp Minor, Ope 63,#3(Chopin) Strauss. J.: (1051) Humoresque (Tschaikowsky) Blue Danube Waltz (C-27732-l, Camden, October 21, 74628 (6261) Prelude in G Minor, Ope 23, No. 5* 1920) • 74630 (6260) Troika en Traineaux (Tschaikowsky) 74645 (6261) Prelude in G Major, Ope 32, No. 5* 64679 (6259) Waltz in E flat, Ope 18 (Chopin) 74723 (6259) Liebeslied (Kreisler) WHO CAN IDENTIFY THIS DUO-ART ROLL? 74728 (6260) Polka de-W.R.* Recently I acquired a leaderless Duo-Art roll and would 74807 (6452) Polichine1le * appreciate receiving label data for it. The roll had 74885 (6452) Nocturne in F Sharp Minor, Ope 15,#2(Chopin) the penciled number{s) 5647-2241 on it. The roll is fairly large and seems to be a medley of two or three 89166 (8064)PIANO CONCERTO # 2 - RACHMANINOFF 89167 (8064) light classical pieces. Thank you, 89168 (8065) SECOND AND THIRD MOVEMENTS 89169 (8065) Jeffry Wisnia 89170 (8066) (W. PHILADELPHIA ORCHESTRA) ?????????????????1?? 89171 (8066) CONDUCTOR: STOKOWSKI

UNPUBLISHED RECORDINGS ROLL LIST DELAYED A t'affii The third part of this acoustical discography deals Because of space limitations, there will be no master with some of the known unpublished recordings of Sergei of the QRS word roll s th i s month. The next ins ta 11 ment Rachmaninoff. Technical difficulties or unsatisfactory will appear as usual in the April Bulletin. takes were responsible for them. II111I11111111111111 23 THE AMICA NEWS BULLETIN ~

correct. I have the roll. It is 100599, played by Baxter QRS WORD ROLL LIST UP-DATED and Kortlander. I'm pretty sure 100521 is also a Baxter and Kort1ander; I have the Word Roll showing them as the artists, and most of the 100000s and ear1'1 word rolls of Lee Valencia, who was instrumental in compiling the the same song were cut from the same master." original list, adds the following roll: 1362 Over The Hill (source: 1922 Catalog) NNNNN##N######N##N## He continues, "I suppose that by now you have been made aware of your very small omission in the latest listings WENDLING LIST ERRORS CORRECTED •••Everything's OK up to and including 939 You'd Be Surprised. 940 is incorrectly identified, and from 941 by Elaine Obenchain to 950 are omitted." A quick call to Bill Bonner brought us the correct There is an error in the fourth section of the Jan. tit1es, as well as some late correctio1]S and additions: AMICA Wend1 ing 1ist. There is no such roll as IICanary ~ Cottage. II The correct tit1e for Amp i co #51072C is III 257 My Sweet Egyptian Rose, pb Pep Doyle Never Knew ll which comes from the show, IICanary Cottage. 1I 459 Cotton Pickerls Picnic Day, pb Pep Doyle This is a common error since Ampico often cross-indexed 882 The Woman Thou Gavest Me, pb Ted Baxter show and show tunes without making any attempt to indi­ 940 11 m Always Building Castles in The Air Waltz cate which was which. pb Scott & Watters Finally, I have an addition to your Solosty1e list: 941 Freckles, pb Kortlander C8334 1. Held Push It Along; 2. The Ragtime Dream l-step 942 All The Quakers Are Shoulder Shakers, pb Wendling 943 Let The Rest of The World Go By,pb Roberts and 111111111111111111111111111111111111111' Kortl ander 944 Some Other Girl, pb Arden 945 Tee-Oodle-Um-Bum-Bo, pb Arden & Ohman 946 Now I Know, pb Baxter & Ohman ANOTHER ART-ECHO WENDLING ROLL 947 Whoal January, pb Kortlander oonmbured by Joe DuciBelli 948 Peggy, pb Osborne & Howe 949 Poor Butterfly is A Fly Gal Now, pb Wendling 950 Cinda Lou, pb Pete Wendling R-4097 Last Night On The Back Porch 1109 Evening Brings Memories of You: Osborne & Howe 1829 Dy ing with The Blues: Cook (th isis said to be the first roll he made for QRS) 2302 Railroad Man (not Railway) DON'T FORGET TO UP-DATE YOUR MASTER LISTS! 2584 pb Harold Scott. 2588 As live mentioned before, welre running a working 2589 copy of the QRS roll lists. We know it isnlt entirely 2601 correct, and count on AMICAns to make corrections as we 2604 go along. I know itls confusing, but some of the cor­ 2614 rections above relate to segments of the lists you 2611 havenlt yet received. However, since I have already 2628 printed several months I lists ahead of time, I can't 2717 Sunny Jim make the corrections on the master list. Please 2769 Must Have Company: Straight remember, when you receive later 1ists, to check back 3055 Fascinating Rhythm: Arden & Ohman to these early Bulletins for changes in the list. 3058 Show Me The Way: Cook And, of course, if you find any errors, pass them on 3086 All Alone Waltz: Ohman to us as soon as possible. Bill Bonner, Lee Valencia, 3155 By The Light of the Stars Mike Montgomery, and several others have worked for 3159 Sing Loo (not Lee) many years to come up with the list as it now stands, 3190 Wonder Why I Love You: Scott & Watters and in return for their generosity in sharing it with 3240 Save Your Sorrow: Scott & Watters the rest of us, I hope we can help them fill in remain- 3242 no title ing b1anksl LLL~LLLLLLLLLLL!LLLL 3275 Sugar Plum: Arden 'I! ! ! I! II! !! ! !I II ! !! 3269 Milenberg Joys:- Art Kahn, not Arden & Kort1ander 3366 Spanish Shawl: Cook 3348 Tie Me To Your Apron Strings Again: Arden & Kort lander 3328 If You Leave I 111 never Cry: Parker MORE ON TED BAXTER 3394 Nol : Arden by Art Reblitz 3390 You Flew Away From the Nest: Charlie Ilch Bill continues, "With the 100000 QRS Wendling listing J. Lawrence Cook told me that Ted Baxter was a pseudo­ in the January Bulletin, I doubt very much if these nym used by Max Kortlander. I've heard from other sources first six numbers were played by Wendling. Quite a few also that Baxter never existed. early 100000 rolls were played by Harold Ivers and Walter Redding. 100557 From Here to Shanghai is in- ???????????????????? - THE AMICA NEWS BULLETIN 24

REVIEWING THE REVIEWER! ing, the~ is a touch in it of the b~2arPe. The closinG chord8 are reaZly de!ightful. The whole movement is by Lawrence Jacob Abbott played softly and delicately. contributed by Bill Pixley I enjoyed the novelty of discovering a series of reviews covering new tttttttttttttttttttt piano roll and phonograph record releases in Outlook Magazine. The period covered is March 18, 1925 and the first issue each month through August, 1927. (ApPil 1, 1925) The reviewer is Lawrence Jacob Abbott. ROMANZE, Opu.-.CJ 5 (Tcha:ikO!.cJ8ky). Played by Ignaz Friedman. r.4.pn l 1, 1925) . DUO--4RT. SONATA--FixaI3t ~lovement (Stravinsky). Played by Igor The younger TchaikO"uJsky in his bee t Chopin mood. It Stravinsky. DUO-Al?T. is YLOt the composer at his gr-eatest, but it is fulZ of Anothar Stravinsky, and this time coldly, sever'el:y beauty. There are also heavy, crashing passages in which classical. The movement sounds almost Zike a Bach Fu.gue. the perfonner seems to be actualZy pPesent, so vivid 1:S A. winding... l"Ur;,n.ing bass goes through it z'1:ke a footpath ~ the recordi"'1fJ • through a fo:raes-:=. Yet, 'i.n spite of its C!lass1,~cal feeZ-

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A REVOLUTION IN REBUILDING AUTOMATIC INSTRUMENTS by Robert L. Baker

For as long as synthetic materials have been avai1­ Unfortunately, six months after its introduction, ab1e~ automatic musical instrument restorers and their PERFLEX-E suffered glue-bond failures. In commercial customers have questioned the synthetics l value relative pipe organ production, this was a catastrophe which set to the original "na turaP' supplies. Should one rebuild Allen Miller to finding a fail-safe bonding agent. He a Seeburg stack with pneumatic rubber cloth, or poly­ soon found PVC-E, a synthetic glue used in the furniture urethane-nylon (Po1y10n)? Are pouches better replaced manufacturing trade to bond vinyl to wood. The PERFLEX-E, with natural pouch leather or with polyurethane films? PVC-E, and a simple heat-curing operation resulted in a If Po1y1on is used in a stack, which glue is best? Is boon for automatic musical instrument enthusiasts since hot glue to be preferred over white glue? The entire these materials have proven themselves far superior to area is so fraught with uncertainty that one is easily any others, synthetic, or natural. frightened into inact~vity. Whom can you trust? Whatls However, this new system is not limited to pneumatics. best? The PERFLEX-E--PVC-E combination also lends itself If I were offered a simple solution to this fearful beautifully to the mass-replacement of pouches in valve uncertainty, I would be more skeptical than most. After systems. Where before one had "to laboriously punch out all, what could be worse than proceeding to rebuild a and individually glue leather circles to pouch holes, valued instrument according to an "expertlsl' advice only one may now bond one sheet of PERFLEX-E to a sanded to find oneself several years later with a prematurely pouchboard, let it cure, and then with a heat-gun mass­ deteriorated machine? Now, one has some careful research produce all the pouches rapidly in one sequence. The done by a pipe organ craftsman-technician (who is also heat-gun is directed to a future pouch, and, as the an automatic musical instrument rebui1der) to suggest a PERFLEX-E softens, it is pouched with a simple forming scientific answer to the con~usion. tool. Allen R. Mi 11er, assistant vice-president of Austin By virtue of i ts th inness, .00211 (or 2 mi 1s), PERFLEX Organs, Inc., wondered whether a polyurethane film he -E is far more responsive than stiffer materials like found being used in air-actuators would work in pneumat­ Po1y10n or leather. Thus, PERFLEX-E can be used success­ ics. His goal was a non-deteriorating material for use fully on the smallest pneumatics and pouches with high in pipe organs and other pneumatic instruments which repetition capability and great strength. It has been would withstand atmospheric pollutants and other condi­ used with excellent results on pneumatics as large as tions which prematurely aged natural leathers and even 4" span on wind pressures up to 20", as well as on large Polylon in a few years. pipe organ regulators. The first commercial uses of this polyurethane film Recently, Allen found further use of PERFLEX-E and in pneumatics, PERFLEX-E,* seemed quite good" in that PVC-E on an Ampico suction pump with deteriorated motor pneumatic speed of action, repetition, and life were cloth. He covered the ori gi nal c 10th on each i nd ivi dua 1 far superior to leather. In test actions, leather rup­ pump pneumatic with PVC-E and PERFLEX-E except for a tured at 50,000 cycles, Poly10n at 15 million cycles, 1/211 diameter area surrounding each pneumatic corner while PERFLEX-E was still air-tight and hole-free at 90 point. Re-assembled, the Perflex'd suction pump devel­ 11 million cycles. . oped suctions over 100 , and months later, still had 25 THE AMICA NEWS BULLETIN"

the same capability. maximal bond strength in a week at room temperature. As of this writing, the oldest commercial PERFLEX-E/ A minimum temperature of 70 0 F. is recommended during PVC-E pneumatic is over one year old (its first use was bond curing. The final bond is resistant to heat, water, January, 1970). There has been no commercial failure of solvent, and ultra-violet rays. The liquid glue is any kind using these materials. There has been no PVC-E water soluble. bond failure found nor any PERFLEX-E pinholing of any Be ing .002 11 th i ck, PERFLEX-E is in i ti all y harde r to kind. manipulate than Polylon or leather. If several pneu· It is in considering the other available rebuilding matics of the same size are being re-covered, the materials that PERFLEX-E and PVC-E assume their great PERFLEX-E may be folded into several layers, cut with properties. Allen himself rebuilt an Ampico grand stack scissors or paper cutter, and then peeled from the in Polylon. Three years later, he found pinholes devel­ resulting pad as needed. oping in the corners of the Polylon pneumatics. PVC-E, with a hot-glue consistency, is best applied Worse, the better contact cements used to bond with an artist1s brush or small roller. Any resultant Polylon to wood have decreased creep strength with age. ~ bubbles should be squeezed out from the bond. The That is, these contact cements permit the Polylon to PERFLEX-E can be moved and realigned until the glue sets slide sideways, especially after prolonged exposure to up. It is suggested that initially, one work only one or warmth. By contrast, PVC-E actually has a greater creep two sides of a pneumatic at a time, curing it at that strength than peel strength, and it gets stronger with point, and then finishing the remaining two sides. If age. PVC-E has no noxious solvents, whereas the contact one attempts to bond all four sides, one will find the cements often have a foul-smelling, highly inflammable unanchored PERFLEX-E hard to manage, until one becomes ke tone so1ven t., wh i ch makes indoor use inausea t i ng, if used to working with the thin material. not unhealthy. Many of the hot and cold glues become While the glue is still wet, the pneumatic is cured brittle and flakey with age, and thus lose their adhes­ at a temperature of between 120 0 and 150 0 Fahrenheit for ive qualities. ~VC-E has a slight plastic quality that 15 minutes until the glue has turned clear. The last resists brittleness and thus maintains its holding areas to cure will be 1) The PERFLEX-E to PERFLEX-E ab i 1i ty. overlap bond, and 2) areas of thicker glue application. Before the present level of atmospheric pollution At Austin, the curing is considered satisfactory when with its sulfurous content, leather would usually last 90% of the bond is clear, instead of white, as the glue 40 years or longer. Now aerial contamination and less comes from the container. resistant tanning processes have combined to cut leather Because the PVC-E will set up very quickly on a warm life to 10 years or less in polluted areas. surface, one should not begin applying glue to a pneu­ When subject to moderate wear, pneumatic (rubber) matic freshly removed from curing. Permit the assembly cloth has been found to develop corner pinholes in as to cool for 2 to 3 minutes before resuming work on it. little as six years. Part of this phenomenon may be This is best accomplished by working on six pneumatics attributed to an innately poor quality of cloth, or even at a time and rotating them through the curing process. sharp glue edges. Regardless, rubber cloth is generally The curing process can be quite simple. One may use conceded to be inferior to Polylon in wear a box with the heatlamp, or a 100-watt bulb placed characteri st ics. nearby, or a hair-drier directed into a box containing Polylon, in this writer1s experience, has not been the uncured pneumatics. Placing the assemblies on a found to be satisfactory for the smallest pneumatics. lampshade has been known to work, as has been the use It is too stiff to give fast response on small pneumat­ of an oven with a low heat source. Whichever is used, ics where fine rubber ~loth was originally used years avoid temperatures over 150 0 F. since above this point ago. Then there is the problem mentioned above with the glue will begin to boil and form bubbles in the contact cements, and premature corner pinhol ing. bond. At the Austin factory, small ovens are used with At this point, one should mention a few cautions with top-mounted thermometers to monitor the interior regard to polyurethane films. PERFLEX-E is a Union tempe ra tures. Carbide product. There are other similarly-appearing The curing itself amounts to the removal of water polyurethane films made by other manufacturers. Differ­ from the glue. Since it cannot escape through the ent urethane formulations and additives used in PERFLEX-E, the glue1s moisture enters the pneumatic production result in films having slightly different wood. At the PERFLEX-E overlap joint, the glue moisture surface characteristics. Some of these properties have escapes through the glue-line. Thus, this bond takes been known to cause bonding problems with substitute longer to cure. polyurethane films. The solution is to avoid substitutes, At this time, PERFLEX-E and PVC-E appear to offer and avoid these difficulties. Use only PERFLEX-E strong advantages over any other materials customarily purchased from a reliable source, such as Austin Organ used in pneumatic rebuilding. I, for one, feel that Company (P.O. Box 365, Hartford, Connecticut 06101. One the acceptance of this system will be moderate (if not y:=-rd x 44 11 = $7.50, 2-5 yards = $6.50 per yard, 6-10 slow) because it is hard to believe that a material as yards = $5.75 per yard. PVC-E adhesive may be ordered filmy as Perflex will last and even surpass tougher­ from Austin Organ at $3.00 per quart. For larger quanti­ appearing cloths. Also, the other materials do not de- ties, write to National Casein, P.O. Box 151, Riverton, New Jersey Oa077). Jt PERFLEX-E is a registered trademark of a polyurethane PVC-E used on PERFLEX-E, rubber cloth, or leather to film developed and manufactured by Union Carbide wood is 4 to 11 times stronger than hot glue. If not Corporation, Films-Packaging Division, Chicago, Ill. heat-cured (as described below), PVC-E, if not dis­ The use of PERFLEX-E as a pneumatic covering is a re­ turbed, will cure in 24 hours at room temperature as sult of over a decade of intensive research by Austin well as the heat-cured bond. It will achieve its Organs, Inc. THE AMICA NEWS BULLETIN 26

teriorate overnight, nor do they do so spectacularly. instruments and avoid writing their names in water will And there will always be those purists who believe that seriously consider the long-lived advantages of this restoring with anything other than the original mater­ new system. ials is heresy and communism ... I would like to credit and thank Allen R. Miller for However, if PERFLEX-E and PVC-E survive the passage his extensive assistance in writing this article. of time as well as Allen1s testing has indicated they should, then those who wish to restore automatic musical +=-=++~~~++=-=+ THE AIMS OF THE GROUP Many musicians and music lovers, previously PLAYER uninterested in "automatic pianos", have been astonished by the wayan almost vanished world The Group was formed in 1959 to provide can be evoked by means of the music roll. A PIANO opportunities for all interested in player-pianos, properly restored reproducing piano is an almost player-organs and automatic musical instruments Wellsian device -A Time Machine that conjures up generally, to share their~information, experience GROUP The Invisible Man, perhaps a very great man of the and enthusiasm. Keyboard, to play in the grand manner of, say, LONDON fifty years ago. Meetings are held at intervals during the year at the houses of members who demonstrate and discuss their instruments and activities. Recitals are given on DUO-Art, Ampico and Welte-Mignon reproducing pianosas well as on a variety of personally operated player-pianos. In due course other instruments will, it is hoped, become available.

The Group, through its members, aims to com.­ pile 0 register of information concerning the history, eavelopment, manufacture, operation and main­ tenance of all types of Player-Pianos ('Pianolos1 Membership is open to all interested. The mini­ and Reproducing Pianos for the mutual assistance mum subscriptiOn to cover routine operation of of members. the Group is at present £1. O. 0 per annum. It is hoped that in due course the Group will gain suffi­ cient support to undertake more specific tasks coo­ cerned with the systematic preservation of these Information is constantly collected about rolls SIDNEY HARRISON, F.G.S.M. fascinating instruments themselves .nd with .11 formerly or currently available. Rolls for personal1y Founder : aspects concerning them. F.W. HOLLAND, M.I.M.I. T.. A.I.E.E controlled player pianos are still obtainable from The Artona Music Roll Company which gives the The British Piilno Museum Application for membership may be made to High St,eet Group valu&ble assistance J68 the Founder or any member. Please stamped Brentford,Midd"'ll send. 01 ·560 8101 eddre.-cl envelope.

Immediate Decision! Immediate Payment! PIANO AND ORCHESTRION ROLLS FOR SALE -WANTED-

For a limited time we want to purchase the types of reproduc­ 1928 WEBER DUO-ART Grand! ing piano and orchestrion rolls listed below. If you have rolls of STANDARD WALNUT CASE, IN PLAYING CONDITION this type for sale, advise us of the quantity available and give us a general description of the condition. It is not necessary to list the REBUILT IN 1965 tune titles. We'll then respond with what we consider to be a 930 ROLLS, 600 OF WHICH ARE generous offer. DUO-ARTS IN GOOD CONDITION These purchases are being made on behalf of a valued client ALSO INCLUDED IS A LARGE ROLL CABINET and are for a limited time only. We want to buy the following types of rolls:

*Hupfeld "Dea" reproducing piano. *Hupfeld "Pan" and "Hellos" orchestrion. ¥ ¥ ALSO FOR SALE: LATE MODEL *Hupfeld "I'bonoliszt" and "Phonoliszt-Violina."· .~.:; AMPICO "A" GRAND *Popper & Co. orchestrion rolls of all types. ; REPRODUCING ACTION, COMPLETE FROM *Seeburg "H," "MSR," and "MO" rolls. *Welte orchestrion rolls of all types. _ DRAWER FRONT TO CHESTS AND PUMP, NO MOTOR *Phillpps "Duca," "PM," "Paganini," and "PC" rolls. *Weber "Solea" and "Maesto." :Ie 84-key Mortier book music. We also want to purchase the following reproducing grand pianos, one of each. Philipps Duca; Wurlitzer Apollo (using For more information concerning these items, contact: Apollo, not Recordo, rolls). A finder's fee will be paid for a successful lead on either of the above two pianos. Plus: For our own stock we're always interested in fine col­ CLIFF BATCHELDER COMPANY lections or individual choice music boxes, orchestrions, etc. 977 Sebastopol Road Santa Rosa, California HATHAWAY AND BOWERS, INC. Telephone: (707) 546-2480 11975 East Florence Avenue Santa Fe Springs, Calif. 90670 Tel. (213) 941-8774 Hours: Monday-Friday 9 to noon; 1 to 5. Catalogue available for $1 INDEX - MARCH

INTERNATIONAL AMICA, pp. 1-4 INSTRUMENTS, pp. 10-20

Who & Where...... ••••••••••••••••••••••••• 1 COlllJJent from the Instruments Editor••• •••••••• 12 Board Minutes ••••••••••••••••••••••••••••••••• 2 The Mills Vi01ano••••••••••••••••••••••••••• •• 12 Second International MICA Convention...... 2 Lloyd Davey: an Introduction•••••••••••••••••• 14 1971 Bound Bulletins•••••••••••••••••••••••••• 2 Lloyd Davey Recalls Welte Mignon Days, Part I. 14 Technical Miscellanea••••••••••••••••••••••••• 3 Ampico Salesmanship, Chapter XI••••••••••••••• 16 Information Needed on F.S. 4 Projector...... 3 Trade M~rk Information•••••••••••••••••••••••• 16 Impressive Smithsonian Catalog Made Available. 4 The AEolian Papers, Part I..... •••• •.• ••••• •• •• 19 ' More Votes for AM - ical •••••••••••••••••••••• 4 ROLLS & MUSIC, pp. 20-24 NORTHERN CALIFORNIA, pp. 4-5 Acoustical Recordings of S. Rachmaninoff...... 20 January Fun at the Cherneys'...... 4 Who Can Identify this Duo-Art Roll? •••••••••• 22 Founding Chapter March Meeting•••••••••••••••• 5 Roll Master List Delayed a Month•••••••••••••• 22 QRS Word Roll List Up-Dated••••••••••••••••••• 23 SOUTHERN CALIFORNIA, pp. 5-7 Wendling List Errors Corrected...... 23 Another Art-Echo Wendling Roll •••••••••••••••• 23 1972 Convention Chairman Cecil Dover...... 5 More on Ted Baxter•••••••••••••••••••••••• ~ ••• 23 Excerpts from the So. California Newsletter... 5 Reviewing the Reviewer...... 24 Coades Treat AMICAns to a Great Meeting.. ••••• 6 TECHNICALITIES, pp. 24-26 BIOGRAPHICAL SKETCHES, pp. 8-9 A Revolution in Rebuilding Auto. Instruments •• 24 Stravinsky Previsions' a New Mus1c••••••••••••• 8 Another Wendling Tidbit ••••••••••••••••••••••• 8 Duo-Art Artist Frank Laffitte Remains Active. • 8 Wal ter IJor1aldson...... 9 A 1928 Felix Arndt Recording? •••••••••••••••• 9

BUL LET IN Ginny Billings AMICA Pub 1isher AUTOMATIC MUSICAL INSTRUMENT COLLECTORS· ASSOCIATlmi P. O. Box 77525, San Francisco, Cal ifornia 94107

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