THE AMICA News Bulletin of the AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION
VOLUME 14 I-1AY 1977 NUl-mER 4 '. . PReSIDENT .. NO. CAL.IfORNIA Bob Rosencrans . c~,;;' HQW8rdKoff 36 Hampden Rd. ¥1i.:.. ~tllJ;:Pttii. McCoy Upper Qarby; PA 1'9082 Sitc ...... 'Tre . VICE PRESiDeNT l'Il1Pdt_r: &t Rid\lilrd Drewniak . . 191 fffapen Bllld. AMICA MEMBERSHIP RATES: . ~mh.ut, NY 14226 Contimdng,Members: SIS Dues SE-Q8ETARV' New Members, add $S processing fee Isa(:\Qi.•.Kon f~ 2141\Oeodara Dr. .. Lapsed Members, add $3 processing LOlAltos"CA94022 . '.. TEXAS BULLetlH PI'85,:. Tony Palmer Tom8.ckett \(~fret.; .Jamel Gllinn 6817 CHffbrook Dallas; TX75240
THE AMICANEWS IULlETIN MEMB·ER$H1P$ECRETAflY .' . MJO~T'.-{~':·; y., .. (Newmembersbips and ~ Pr'e$~INlilto" ~opei'man meiling.problel'T\l) . Vice Pres.: Jim Prendergast Anita Nickels JoJ:lnson $ac./Treas.: Jim & Sue Worgull Publish~d by the Automatic M\;I,sleal Instrument . Collectors' P. O. Box 666 Reporter: Molly Yeckley AssociatiOn, a non·ptOfit'club del(Qte~ to' the restoration ,di$tribU~ Gr-and)unc tion, CO 81501 tion and enjoyment of musicaLfnsttuments using. pe'rfqraUldpaper PHH.ADELPHIA AREA music rolls. . . . . - TREASUREA Pres: Donald Wood' Oontr.ill1.ttIOJ1ll: All subjects of interest to r~ader.$ of the bulletin Jack & Mary Riffle Vice PTes.: Lari-y Oor1'l811 are encouraged and invited by the publisher. All arti9t!tHn~t;be 5050 Eastside Catjjel1a Rd. Sec.: Barbara Macamiey received by the toth of the prllcedlngmonth. Every eflit~t·l(Iirl.pe Ukiah, CA 95482 Treas.:Doria Berry made to publish all articles of general interest to AMfCA h1ittilQers Reporter: Diek MerrIll at the earliest possible time and at the discretion of the- publisher; . so~~ga~~~nE:~~:TIVE~ .. · SOWNY fSo.Ol:ttllriO;~·~~).; AI)VEA·TI$rN·~·.. . . ckRi ~i:·:.p~,~~·.~ h.I~~.·~antl·.,~?~ Line ad fate:Bq PItT word, $l,20tmnimum.. ·S,Oef.:t)tT;~··~t"'l'!'Ql:i~1'l':49 '...... ::.•..l:t.·.·". . P8g9 f8te:$f2.SQ~rquarter'~Of.-m¢i'iPleil1ereof. V',-co"n!-it"": Sec.:.~tDreWfliak· '. Ad COpywiHbetvpe~et (atadditlonat cost) only if requested, ;JlmW8i"'lwt i ':"':' t-r~::T!1im·Zorn. . ~~ ~rl 'c. '., " y.,;, ~t*::Jtm;,ar Each photograph or!l~i,tpne,$5.00 . .< .... .' ..•. ,.. ' :;T'on1,tta/"t:'f<··:~~t ih~tisover$ized ori.m(f~~fz~IIv'irt7bfj c'::' '> ..; Camera:relMjly . t;Opy New;Jer ,: Dafi'Sf;hs~ • Changed to Ctyrr,et size:\itwoui eim...... < ..' ." ...'.... Camereiready 'Copy.:.must reach the publisher byttlelOtfi"~H COMMltT-ees the preCeedil'lg month. . .'. . -, ' Tficnnical Cash must aceompilnyorder. Typesetting or S:ize alter~tion Mell.uchetti charges win.be billed sepbr8t'&t¥. P.IIlkechecks payable to 3449 ~t.lri(liaAVa. AMICA- INTERNATlO~t;;...... Santa Crare, CA 95051 .I~ '. NEW JERSey witiapPe8rOrt.th.f~JtPllges'. Pres.: Peter W" Brown .i All ads of the BULLETIN, at the. Vice Pr~s.:F·ranei$ J..'Mavet' discretion of the .-publisher. . '. . .' Honorary Manibers Alf. E. WeroHn sec.• Jeffrey Morttan' .' ". Treas;: Glenn "VV;' Gi'abinsky Publication' of, business. advertising in no way impliesAMICA's .2230 Oakdale Rd. Be.ttY:~chet endorsement of any commercial operation. However, AMICA re·' Hillsborough, ,CA.9401 0 Reporter: serves the (ight to refuse. any ad·thlft is not in keeping with AMICA's 'ti general standards or if oornplain.ts a-rereceived indicating that said h business does not serve the. bMt 'll)terl/sts of the members of ' AMICA, according to itsgoals&.nd by-laWs.
AMIC~ AMICA.ITE·MS AMlcA TECHNICALITIES BOOKS: Volume I Stationery, $3.20 (letter s.itll·), $'1.15 char.Qlls,'i!1~;.c>: (1969·1971), $5.50 postpaid; Volume rt (1912· (note site).' including mailing FOR .. SALE 1~74), $7;60 postpaid; or order both sets,for quality stationery· with' ometeA¥ICAbi>r.iE:i't;;' BouNDt~':'l969, bGn~aim' m~tcflil'1jJ' AMICA BULLETINS, $l2.50 postpaid. Reprints of interesting technic Each packet 2:5 letters and " $9; 1971, $15; 1972, $15; 19-73i ..$l5; 1974' calities' articles which have appeared in the envillopes. Serid$rders tof,\obertl,.lfmon. 4660 .unbound sets, $15; 1974 bOl,/nd·sets, $18; Green Tree Orijte, $parnefl!.o, :CAg-~3. AM1e-A Bulletin, arranged and itl.oe?<.ed into ~_~.<,_ •• _ ,# _ . c_·. • 1975 bQund. $18; 1976 bound, $18, PRICES awropda~cattgoflesj spiral bound 10 lie flat.. INCL'l.JOE POSTAGE AND HA~otING:Spiral. SimdO~lto~dj(c)ff.214lDeoderll Dound to lie Jlat.Str\d,tQ-·Marv Lilien. 4260 t.#i~~~~.~tTM Driire,l;,~s'Alt<>s,CA 94022.' Olympiad Drive, los. Angeles, cA 90043. RO,L,1,LEADERS: DUO-ART, Authentic:f'or AMlCA:SterHIfOSilver Plm, $4.25. inclUding order sheet" seethe April, 1973 Bulletlfl. -Nick ma i1 ing charges. lepld pin or tie tack' WitJ1. Jafflttt, ,36~2 - 21 stStreet, San Francisco, CA AMICA design. Order fromA~~rt.!-emori;· !Ml14. 4560 Green Tree Orive, $acram~htO~-CA~s482J., Jnfernafional JlJ!tJf8Jl
BULLETIN SCHEDULE The following motions were passed: ADVERTISORS TAKE NOTE: There will be no July issue The amount of $250.00 was allocated for the purchase of THE AMICA. Production will resume in August. of 35 wood and plastic frames for Honorary Certificates. Also, because of the Convention in the first week A regular, lifetime membership is to be offered to of September, it is highly likely the October issue the approximately fifteen Charter Members present at will be delayed about one week. the first meeting of AMICA in August, 1963. The .... . Northern California Chapter will handle the action • AMICA International will reinstate the Roll Auction BOARD MEET! NG under the direct supervision of the President of FEBRUARY 19~ 1977 - DALLAS~ TEXAS AMICA, International. The President is empowered to spend up to $300.00 for the auction. The Board Meeting was called to order by President Bob Rosencrans at 1:30 p.m. Plans are to be instituted to set up a permanent home and Museum for AMICA, International in the Bay Area. In attendance were; Dick Barnes, Carole and Tom These plans are to be presented to the Membership at Beckett, Steve Chapman, Bill Eicher, Anita and Steve the Annual Membership Meeting in September, 1977. Johnson, Isadora and Howie Koff, Frank Loob, Becky A committee is to be set up to develop these plans and Wade Newton and Bob Rosencrans. and will have the power to accept donations. The Northern California Chapter, working through the Represented by proxy were: Larry Cornell, Rick AMICA Foundation, will perform this assignment. Drewniak, Dave Gaudieri, Toni Hart, Mary and Jack Riffle, Dick Rigg, Betty Schacher and Jim Weisenborne. Any Chapter interested in undertaking a local project may apply to the International Board for financial The minutes from the Joplin Meeting and the Mail assistance. Board Meeting of November, 1976 were approved. To approve Flora Mora as an Honorary Member. ~ The Treasurer's Report was approved pending correction II' of receipt and disbursement entries for the Movie Frank Loob is to be given up to $100.00 for editing catagory. and preparation of tapes made by Charles Cooper at the 1970 San Francisco Convention. The finished The Membership report was given. As of January 1977, tapes will be heard at the 1977 Convention. AMICA has 960 members. At the discretion of the President, any item can be The publisher's Report was given. Advertising re tabled until it can be presented for discussion at ceipts for 1976 were $2,665.29. The average cost a live Board Meeting. per issue is $984.59 and the average number of pages pe r Bu11e tin is 31.6. The Publisher is allocated $200.00 additional per issue of the Bulletin ($2,000 per year for 10 issues) The Convention Report was given, Plans are firming to cover increased postal, envelope and paper costs. up for the entire schedule of the Convention and registration appl ications will be sent out to the Approximately $75.00 is allocated to bind 100 copies membership shortly. of Technicalities I.
The Audio-Visual Committee is to be given up to $300.00 to film "From Carillon to Ampichron" when it is pre sented at the Convention in September, so that the COVER STORY, This month's cover was created film will be available to members. from a Stieff piano advertisement from the November, 1927 House & Five thousand brochures will be printed (publicity Garden magazine. Contributed by folders for interested potential members) in duo-tone, James Guinn. folded, at a cost of approximately $250.00
INTERNATIONAL AMICA 80 $500.00 seed money is to be sent to Sally Lawrence AMICA FORUM 87 for the Convention. INSTRUMENTS 88 ROLLS & MUSIC 90 The Board Meeting was adjourned at 10:00 p.m. NORTHERN CALIFORNIA 97 PHILADELPHIA 97 We want to take this opportunity to thank the BIOGRAPHICAL SKETCHES 98 Becketts for their very warm welcome, marvelous hos TECHNICALITIES 101 pitality and great food.
Isadora Koff, Secretary
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with your selection for this office right away. For FINANCIAL STATEMENT your general nominating information, I suggest your OF review your Bylaws, Section 4, for more details. AMICA INTERNATIONAL January 1, 1976 through December 31, 1976 Although I remain a volunteer for this post (if so nominated), I will be most happy to explain the Checkbook balance 1-1-76 $7,389.45 particulars of this job (via telephone) to any mem ber who is truly interested in placing his name for CASH RECE IPTS: consideration. No real experience is necessary - a fair amount of time and enthusiasism ~. TB Membership Dues $15,793.00 BULLETIN (sample) 8.68 Bound BULLETINS 394.00 TECHN ICALI TIES 608.50 FIRST MAJOR DONATION KICKS OFF Leaders 13.40 AMICA MUSEUM Pins 50.00 Stationary 29.47 BY HOWIE KOFF Advertising 2,631.48 Other Income 891.65 At the February Board Meeting in Dallas. the Board of Directors approved the establishment of a permanent 20,420.18 home and museum for AMICA in the San Francisco Bay Area. Management of the proposed museum was vested CASH DISBURSEMENTS: in the N1ICA Foundation. The Foundation must develop the plans, execute the program to make the museum a BULLETIN 11,000.00 reality, and subsequently operate the museum. Bound BULLETINS 3.00 Printing and Paper 2,291.86 Telephone 389.53 Stamps and Postage 686.09 Tax 133.24 Suppl ies 137.52 Storage 40.00 "'Other Expenses 6,344.55 20,975.79
Checkbook Balance 12/31/76 (Savings Bank of Mendocino Co.) 6,833.84
Checkbook Balance 1/1/77 1,000.00 (We 11 s-Fa rgo Bank) 7,833.84
7-22-76 - Spring Auction Account closed out by Check 0020 and deposited in Financial Savings & Loan @ 5t% interest. 329.11 Plus AMICA Check 259 4,670.89 5,000.00 Interest Income 117.28 5,117.28
*This figure includes opening a savings account of $4,670.89 and a checking account of $1000.00.
NOMINATING COMMITTEE The Welte changer mechanism. As indicated in the April, 1977 Bulletin, page 54, Concurrent with the approval to start the museum came a nominating committee has been formed to fill the our first major donation; an eight rank, two manual only post that will become vacant at the 1977 Annual Wurlitzer Theatre Organ with a Welte ten-roll multi ~ Meeting. The post is the one of Publisher - a one changer player and three hundred rolls. The organ • year term. was donated by longtime AMICA member, George Patterson of Pacifica, California, and the player was donated Please send a letter or postcard to Anita N. Johnson by Charter member, Mel Luchetti. The combined value
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of the donation is approximately $40,000.00.
Of course, everything had to be done immediatelY. We were informed on the 25th of March that we could be gin the operation and that we had until the 17th of April to complete it. This gave us cnly four week ends. The Foundation called for help from the Northern California Chapter and, as usual, the response was
The Wurlitzer console. great. The crew members have been to date; Founda Frank Loob at work. tion members Mel Luchetti, Dick Reutlinger, Bill John son, Sally and Dale Lawrence, Bea and Frank Loob, store parts and has cut down considerably on the num and Isadora and Howie Koff. Other Northern California ber of shuttle trips, in assorted station wagons, members doing yeoman work have been Barbara and Bob pickups and trailers, hetween Pacifica and Santa Clara. Whiteley, Jim Crank, Phyllis, Phil and Paul McCoy. And' at 100 miles, round trip, it has been very help Also assisting were Peter Lawrence, Niek Koff and, of ful. course, George Patterson. Things are progressing well. As of April 3rd, the only remaining assembly in the organ chamber is the "toy" chest. The console has already been delivered to its separate storage place, the interim AMICA World Headquarters, 824 Grove Street, in San Francisco. It will be on display at the Convention. Removal of other major pieces required the use of chain hoists,
Dale Lawrence about to remove some pipes.
Phil McCoy, Vice President of the No. California chap ter, donate::1 one year of free storage in his office building in Santa Clara. The Lawrence's son, Peter, provided a diesel tractor and borrowed a 27 foot truck Disconnected wind lines with Pacific Ocean in back trailer for a week which has enabled us to load and ground.
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block and tackle arrangements, and mostly backbreaking labor on the part of the crew. All working mechanisms of the organ, the pipes, chests, blower, relay panels, etc., had to be moved across 150 feet of sand (beach variety) right on the edge of a cliff, through a small cypress grove, and around corners with not quite enough room. Wooden concrete forms were used as tracks over the sand. Huge pieces, like the blower and relay panel, had to be moved along the tracks with chain gangs working pulleys while others pushed and still others kept the mammoth pieces on the tracks. Finally, these pieces were transferred to four-wheeled dollies for the last part of their move onto the truck trailer.
Floyd Miles watching Mel Suttor playa well-restored Seeburg E. March 20, 1977. Attendance was high with many coming from out-of-state. Mr. and Mrs Floyd Mi les of Eureka Springs, Arkansas, Mr. and Mrs. Leonard Rai Isback and Leonard's sister and brother-in-law of Hutchinson, Kansas, and Mel Suttor of Tulsa Oklahoma, joined the Jopl in group and had a fun-fi lIed afternoon.
The monster has eaten Mel Luchetti's right hand.
The AMICA Museum is, as the n~me indicates, our museum. Eugene Ebright watching the Wurlitzer style 125 band Any donations to our museum, whether cash to~e forth organ beating out a tune. coming Museum Fund, or instruments, rolls, artifacts, memorabilia, etc., are 100% tax deductable, as AMICA is a recognized educational, non-profit organization. The full museum plan will, hopefully, be done in time Daryl and Ron Bopp hosted the meeting with their nice for presentation at the Convention in September. In array of nickelodeons and Ron's famous dinner - "Home Disc,~ssion the meantime, any members wishing further information made Chilli" (Rolaids supplied free). was should contact Dick Reutlinger at AMICA International held and a motion was made for the Jopl in Amicans to World Headquarters, 824 Grove Street, San Francisco, provide band organ, nickelodeon, and hopefully, cal California 94117. l iope music for the Jopl in 4th of July celebration at t1cCelland Park.
- Ron presented an interesting slide/musical presenta JOPLI N AMI CANS tion on the "Evolution of the Nickelodeon." After wards, a recent rendition of "African Echoes" was t BY RON BOPP played, reminding all of us of Bi 11 Flynt's contribu tion to the full usage of the Ampico, and also of The Joplin Amicans (still active after a successful Ferrante & Teicher's past concert in JopJ in (that mini-convention) held a Sunday afternoon meeting on
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particular piece was their encore of the concert and we all bel ieve that the Ampico and Dr. Flynt gave them good competition).
Amicans getting ready for some of Ron's famous chilli.
Billie Railsback, Shirley Ebright, Billie Pohl, Linda Koehler and Daryl Bopp fixing the chilli AMICA CONVENTION '77 dinner. "FROM CARRILON TO AMPICHRON OR DON'T SHOOT THE PIANO P~AYER IT'S DOING ITS BEST During the 1977 AMICA Convention, which will be held at • the Hotel San Franciscan in San Francisco, September ~ 1-5, guests will be hosted to a remarkable program of music presented by Melvin Luchetti and assisted by Richard Reutlinger, Sally and Dale Lawrence.
Some 35 or more automatic musical instruments will be brought to the Ballroom of the hotel for this presen tation which will be on Friday evening, September 2. Instruments will include a Mason ~ Hamlin Ampico, Steinway Duo-Art, Baldwin Welte, Wurlitzer Photoplayer, ~ills Violano Virtuoso, and assorted music boxes of different types.
The history of the automatic musicaf instrument will be traced from its early beginnings with demonstra tions of the representative instruments.
A similar program was presented by Mel Luchetti and friends in cooperation with the University of Cali fornia, Committee for Arts and Lectures, and was well Mel Suttor and Eugene Ebright trying "African Echos" received. on a Chickering Ampico A. Last month's Bulletin contained a description of the Kilgen Reproducing Organ which participants will also The group then enjoyed the restored nickelodeons experience, as well as other planned events which will (including and "almost" restored Mills Violano) be announced as arrangements become firm. and a recently acquired Wurlitzer 125 Military Trumpet Organ. Start making plans now to attend AI·lICA CONVENTION '77!
Then Daryl served a luscious meal of chilli, salad, Lloyd B. Egenes and home-made apple pie (Daryl claimed some credit for the chill i because few Rolaids were used). All left full and are planning to get together soon.
- 85 - A Passion For Pianos Wed., Feb. 9, 19n By I'tferla Zellerbach "When I put on a roll of Fats Waller playing 'Ain't Misbehavin,' I' Elwood Hansen, left, and Collecting pianos Is something can almost see him bouncing up ian .!'l'l\ncifCO Q;!)",nlclr like collecting elephants. Not every Nick Jarrett, right, are two and down at the keyboard. One of owners of the Rolls-RoycesQt one can do it. my pianos was custom·bullt to sail player pianos Contributed by Nick Jarrett. A surprising number of San aboard the Leviathan. It cost me Franciscans. however, do have the $3000 in 1973, and today it's worth will. the wherewithal and the $20,000." space-and pride themselveS on Piano teachers Paul and Mary owning a beautlful, sometimes rare Handley feature two Baldwins and instrument or two. a Steinway in their Presidio Ter· , race home-his, hers. and whosoev· "I'm partial to reproducing er. pianos." says engineer Nick Jarrett, who has three in his Dolores "They're not lor show, they're Heights living room. "A player in use all the time," says Paul. "If 1 piano oniy plays notes. Reprodu had $35.000 to spare. we'd get a cers were the RoIls-Royces of the fourth one I saw on television. It's line. ,They recreate the pianist's made of Luclte with all the works exact tone and feeling. visible."
Part of the joy of playing, "The rarest Is llke a grandfath according to professional pianist er's clock." I'l'e says. "You set It for a Peter Mintun. Is "knowing the certain time-say. 7 a.m.. and It history of your instrument. plays Westminster chimes and a "Mine,·.·· he says, "is a Sieinway jolly llttle wake-up tune." conceI1 grand that belonged to Piano Roll Ragtime DaDa Suesse, Amerlca's ffuest fe-' Any list of San Francisco's male composer." most prestigious pianos would have to Include writer June Muller's "There's a, great rebirth of rosewood upright' that c'!me tnterest.'tn old pianos." says realtor around ~he horn in 1855, painter Ed A Note' From Past BlII Knorp, owner of an ,antique ZeHnsky's coili-operated models, By TOM UBLENJUlOCK titles as ''Frog 'Legs Rag," "'I'lllit CIioo reproducer. and advertising man Bob Pritlkln's ST. LOUIS lUPI)-''Tbls, II one of Cboo Rag," "Butterfly Down the B0ard "RIght here In San francisco, Iilddenkeyboard that's built Into my favorites,.. says Trebor Jay Tichen· walk," "Vampin' ,Liia Jane" and his desk. or as be slips Scott Joplin's "Maple ,"Henry's Made a Lady ,Out of Lizzie." , In 1963, .we started a worldwide Leaf Rag" into his player piano. 'TidIeaor. mOst VIIlMld:no .. .. organization of people who meet, Beverly Sills was recently IDstanUy the room is filled with tile iiipaaI ilJ_'i"SiJver SwU." talk, trade anI! keep tabs oil who's, asked what ':treasured JlQSSesslon'~ SPritely, bubbling sound of ragtime as "It was listed iii tile catalogues, but who in plano owners." she'd grab If her house' 'were on ,II the ghost of Joplin plinks invisibly at fire. , , the keyboard. IIObody could ever find it,",be said. "I One. vjpp (Very Important "Wouh;ln't r' look ridiculous,' -got a ca1lfrom a coUectcr in Callfor 'Plano Person). Bay View SaVings Tictle8Ws wiIoIe Hme reverlleratel ... and be said be bad it. lie played it the diva laughed. "carrying my wIdI tile .... of mlllJe. for I ,president Elwood Hansen, 'was a Sielnway on my bac'k?" ~way me loIlg-Gistance onr the pboIIe. ~ A grand plano sits in the was pretty excited." . pl,anlst swing band, Today. he the dining is domi inst~u· Ilvin1l room, room '11ebenOr; who teadIes a COlIne OIl owns two museum quality . aatecl by the player piano and IllOUIIdI men1S: and~y r¢lme at W8iIIIngtOD University and ,Of ro1ls, tile kitchen lead· perfoansaeveraJ nights a week on a IDg to the eeuar are dotted with rag Ibowiloat II10Cftd on the MIssissippi, That "worldwide organization of people who meet, time mementos; and the cellar itself II,. ragtime music 'peaked iii tile 19208 COIltainI the world's largest collection ucI dlea in the Depression. " talk, trade and keep tabs on who's who ..... is per of plano rolls. ', ,, "THE DEPRESSION just knoeked haps more easily remembered ----,-' as AMICA. "If you doo't like ragtime, you'd bet Oat piano ro1ls,"1ie said. "They cost ter be deaf in this botJse,.. jokes thero- about. two doIIats a roD, and that was a ' Ticbeaor. '•..A _ * TICHENOR, o>IN'plus-)lOIIIIde!', be- Jo;t of IIlOIIeY theo. Most ef tile stuff ,beeII reeopiIed • a'tnIe miIsIeaI ,.. 'l'{cIIeiIor said St. LoalI II,u. flttini a tbrown away ,and DOW tunis l1li .. ~ It's 'tile came ltiterested in ragtime shottly was dailcaJ pan .. home for a National Ragtime Arcbtve' IiIllItIy iii attial and, old-Darns." ,,~ _IIOW." '.,. because ragtime was centered IDtile after Ile acquired bJII first piayerpiano ~'t' ~ at the age of IS. Now, some U years Be said t8Itlme 8Ilioyed a rejuveoa- .Tlpheuor says be put a dty.Joplln and Tom TurpiD',wrote ~. tlOD iii the19&Os but lfIe .... reviVal, cIaJ value ou his coUection Ud worriti of their classics here, aDd tlIe later, be bas devoted his' life to marked by ~ tn Joplin's lIecause it remaiDs in biI ceDar a' fascinating fonnof mqsic Wbidl interest mOist Start PabIisbingCo., .wiIicII'oriIi iii bas come cloIest to recoplziDg IIirt be says the value is Dot tJIe rolls -= wort. of liieIllf Was forgotten. . ilated many the Classics, stiIloper· "Ipess rve got about 7,000,", TI the Vllue of the music form. '1iIa.t the music eontaiDed on tJaem, atesbere. ~ of -- ".ve '-- - --a...... "The' rolls cali be recat ~ dIeaar saidl pointing. to)lle ,-..: - --- .....- ...,...- <'IuilWinil' the '1lOUIld at aU," be. 'said: rolls JlniIlghis cellar. 1be exuberance .. die pat, IMrt ... dlelHlie' plIIWeN ~'TbenI d like to find a'plaCe to let ..... From: J. LaVan, E. Meeder, of the Gay '90s and Roarin' '20l1, wilen are recopIzIDg ragtime," lie IIW; "T1Ie .,.,.. B. Gerl; D. Schacher. A&tiDJe wu IIot. is eridellt iII'lRICh last, revival Is Importut IieealIIe It ... a ragtime mllSeUD1." - 86 - Jlmica Jorum .to.~.
sponsored tour????? PHOTO QUIZ I have been asked by the Board of Directors to query BY ALF E. WEROLIN the membership regarding interest in tours to in teresting exhibits and/or countries that might be We received no answers to our photo quiz in the April feasible for the membership of the Association sim Bulletin so we'll give everyone another issue's worth ilar to trips sponsored by the 11usical Box Society, of time to see who can supply the names of the mystery International. persons. If any of you have suggestions as to places that you In the meantime, here are two more groups from the feel woulJ be of interest to the membership, please past with some known and others not. See if you can Jirect your correspondence to me for compilation of identify them. the input and interest on this subject. I will try to do my best to answer your correspondence upon receipt and you will be adviseJ if sufficient in terest is generateJ by the membership.
Please direct your correspondence to me at the fol lowing address: Bill Eicher, 465 IVinding Way, Kettering, OH 45429.
TO BREAK THE SEAL OR NOT TO BREAK THE SEAL * THAT IS THE QUESTION I feel fortunate to have acquired over the years several original Ampico rolls with unbroken seals. 41 I have set them apart and guard them zealously. My THESE WE KNOW. wife, however, feels there is no value to a piano roll that cannot be played and she is somewhat an- noyed that this music is still unheard. I would like to hear other Amicans' views on this subject, particularly from those of you who also have original sea1 rolls. I I 11 try to excerpt opi ni ons from all responses for publication in a future BULLETIN. Tom Beckett, 6317 Cliffbrook, Dallas, TX 75240.
CAN SOHEONE HELP?
A friend of mine has recently restored an old cim balum, a table top stringed instrument played with small wooden hammers. Can anyone tell us where to obtain small quantities of solid brass music wire for this instrument? Please contact:
Terry Smythe 71 De Bourmont Bay Winnipeg, Manitoba Canada R2J IK2 THESE WE DON'T. - ADAPTED AI R I~OTOR "AMICA ON THE MOVE" BY JOHN R. GRANT Great Britain, Germany, Switzerland or Timbuktu????? The photo shows what I believe to be the world's most Where in the world would you like to go on an AMICA unusual use for an air motor. My wife has a hobby -87 - J:lmica Jorum Jnsfrumenfs
of making stuffed dolls. One of the most time con suming operations in producing these dolls is hand looping each of the hundreds of strands of yarn which form the hair. I devised a mechanism which takes advantage of the low RPM/high torque character istic of the air motor. Operation of the mechanism may be described in Goldburgese as follows: Front view of "above the keyboard" Duo-Art mechan_;sm. Note electric roll drive and associated spool cone tempo control.
Rear view of Duo-Art mechanism. Only four wood screws and two alignment pins are used to mount the assembly in the piano.
in 1933. Through the kindness of John H. Steinway, I learned that this instrument was shipped to the A source of vacuum connected at point A and controlled Aeolian Company on December 11, 1933, but beyond that by slide valve lever S, is fed through the governor no additional information regarding its history has C, to the air motor D, which turns, causing yarn been found. ~lr. Steinway also informed me that the from skein E, to be wound F, laterally on slotted name (Ostzalos) pencilled on the underside of the plexiglass paddle G, which is removed from jig, placed soundboard corresponds to the man who fitted the under a sewing machine where the loops are stiched soundboard (apparently a practice which reflected down the middle through the slot. After stitching, the pride of the craftsman). the winding is slipped off the left end of the paddle (where the slot is open-ended), producing length of hair loops H. which is then machine stitched to the back of the doll's head I.
Productivity has been increased at least 10:1. Per haps other Amicans have adapted air motors for un usual purposes. Let's hear about them.
Jnsfrumenfs
THE MODEL "B" DUO-ART BY BILL KOENIGSBERG I am currently in the process of restoring a Steinway Duo-Art grand piano which is a bit unusual. There Close-up view of the model "B" Duo-Art spoolbox. Note the control levers and the pneumatic tracking fore, in the interest of exposing other ~lICA mem bers to this late model, several photos are presented ports on the far sides of the bar. t here along with a brief description of each. The Duo-Art mechanism is perhaps best described as By the way of background information, the piano is Model "B" in keeping with the Ampico "nomenclature" a 6' 2" Steinway model ~1 case style in walnut. The for instruments built after 1929. (See August 1974 serial number is 277544 which indicates manufacture AMICA Bulletin, page 7, where Larry Cornell described - 88 - ----'f·e .. Jnsfrumenfs
this type instrument for the first time). down on hinged pivots and is mounted "upside down" (drive wheel is nearer the soundboard). Aside from This Duo-Art has electric roll drive, a spool box these unusual features, the rest of the system is which accommodates jumbo rolls, a movable tracker "normal" Duo-Art, though it lacks the keyslip con bar, no tracking ears (uses a Standard four-hole trol levers. The expression box is standard except tracker), and tubing which fans out around both sides for the fact that almost all of the interior is of the keybed. Tempo control is achieved by means sealed with thick shellac (not the pouch board, of tapered aluminum cones. The main pump swings though) .
GEBR. BRUDER BAND ORGAN IN FLORIDA
BY DAVID BURKE
This lovely organ was probably imported by B.A.B. during the 1920's after the firm converted it to their patented system of a duplex roll mechanism mounted on the right-hand side of the chassis. The rol Is are of 66-key scale, the most popular size de veloped by that firm. The rolls were arranged by J. Lawrence Cook who also cut book music for B.A.B.
Several years ago the organ was restored by Gavin McDonough of East Burke, Vermont. Previous to the restoration, the machine had been sitting in a ware house in New Jersey where it had resided since the 1950's. It has previously been recorded by George and Madeleine Brown on a 12" LP record, "Carousels, View of electric roll drive and transmission assembly. Music Boxes and Hand Organs." Originally, the organ Pneumatic at bottom "engages" the conical spool drive. was used on a merry-go-round on Coney Island. The motor runs at 1500 rpm, is manufactured by Bodine Electric with serial No. 286403. Note the unrestored dust on the transmission frame.
In the early 1970's the Bruder was sold to Circus World and installed in the magnificent three-abreast M.C. III ions carousel which is prominently featured there.
Detailed view of tracking pneumatic and tracker Amicans who should happen to be visiting in central valve block, reroll-replay pneumatic and on-off Florida are urged to visit Circus World and listen pneumatic. to this beautiful organ as very few organs exist which still play B.A.B. rolls.
- 89 - The following stUdy of the early Imperial, D~o-Art, IMPERIAL - DUO-ART - AMPICO and ll.mpico perforators made in December, 1956 is reprinted with the permission of the auth~r, Mr. PERFORATOR STUDY John F. Morse. PART I BY JOHN F, MORSE December 27, 1956 (Introduction by W. E. Flynt) Mr. Max Kortlander Imperial Industrial Company INTRODUCTION 781 East l36th Street. New York 54, Naw York Some years ago, in 1955, Hr. John Morse, president of M(j)rs~.cQntrQls Corporation, Hudson, Ohio, became Dear ~x: interested in the technology of music r9ll perfora tion. He and a friend made a trip to East Rochester On November 2nd and .3rd, 1956, I made a complete to see what information they could glean from the survey of the roll cutting equipment pres$ntly Aeol ian-American Corporation's personnel. Uponar operating in yourplant~ riving there they were told that they would "really have to hurry to see all that old equipment, because As you know., we have recently purchased four Ampico, the junk man is due to pick it up this afternoQn." and two, Duo-Art cutting lriachine~ from the Aeol.ian He quickly ·offered to Pay the price offered by the American Piano Co., which equipment is located here salvage company ($)65 for the lot), and prepared to at our plant. arrange shipping of bis acquisition back to Hupson, Ohio. The "lot" consisted of four Ampico production After returning from New York last month, we have perforators, two Duo-Art product ion perforators,· and completed a similar survey of the Ampico and'Duo-Art the entire stock of Ampico master rolls. It cost machines ~nd feel that, we now have a prettyqood him considerably more than the sum of $165 Just to cross-section of these three types of equipment. ship the machines, but he felt they deserved a fate better than being melted down for scrap. The purpOSe of this letter is to acquaint you with the. various features of the three systems and to sub ~ Due to some pr ior plans, it was severa I months before mit a proposed plan for your consideration in connec he could m~ke arl"engements to pick .uP the Ampico tion with the design and manufacture of new equip masters. By the time 'he could do so, there had been memt for you. a shuffle in top management at Aeol ian-American and the "new management" told him that the Ampico master In addition to the detailed examination of the three rolls were not available to him although they could types of equipment, we have had our attorneys make be borrowed, a few at a time, for use if he needed a complete patent search on piano roll cutting ma them. chines and methods, which disclosed patents going as far back as 1881 and as recently as 1929•• The As a result Of -hds acquisition of the perforating search disclosed over 150 patents covering this art, equipment, Mr. Morse became acquainted with Max which gives a pretty good picture of almost everything Kortlander, who was at the helm of QRS at the time. that was done along that line. All of these patents, Both men recognized the fa~t that the QRS perforating of course, have expired and are now public property. equipment could use some updating in its design, so Mr. Morse offered to do an engineering study for In the following discussion, I will refer to your Kortlander, on a gratis basis, comparing the three type of equipment as "Imperial," the equipment:'used types of perfQrating equipment known to them. These by the Aeolian Co., as "Duo-Art" and the equipment were, of course, the Amplco and Duo-Art equipments used by The American Piano Co., as "Ampico." In storage at Hudson, Ohio, and the QRS equipment ~tllfeh was currently being used at the time (1956). GENERAL HISTORy I The object was to analyze the three systems in all respects, and to I'ncorporate the best features of IMPERIAL - each into a completely new design for use at QRS. However, the estimatedCOlltsof such a program ap Our patent search shows Patent No. 1,148,147 issued p.ered to be prohibitive, even at 1956 prices, and to Ernest G. Clark on July 27, 1915, (application t-IIlesame "Imperial" equipment is still In dally use filed June 8th, 1914) and assigned to The Melville at Q:I\S today. Clark Piano Co., of Chicago, Illinois.
Mr,HC/rse's engineering study Is reprinted in its This patent shows Y9ur equip~nt in detail and would enttrety below. It was retyped from a copy which indioate that the first machines were built. around wClll.I()il.ned ,to me by John Malone of Playrite Music 1914. ~ RoUs, Inc., Turlock, California. It appears to be , a first-generation Xerox. copy of' the original docu DUO-ART - ment. patent 1,085,989 issued to August De Kleist and Frank - gO - ~"llsand cJXusic ! .
L. McCormick. Patent issued February 3rd, 1914, Stoddard and members of The Am~rican Piano Company (application filed April 5th, 1911). This patent was probably developed the original designs. assigned to The Rudolph Wurlitzer Mfg. Co., of North Tonawanda, New York Mr. Hill. President of Aeolian-American and an Ampico man, tells me that they produced around 30,000 rolls This patent shows the Duo-Art machines that I have, per month during the 20's and also that there were pretty much in detail, though the actual patent per a few more machines, besides the four that we got tains to an improvement on the equipment rather than from them, that were never brought to East Rochester. being the basic patent on the machine. This would Indications are that there wer~ six or eight machines indicate that the original design may have been some in their production setup. These machines are single what earlier than 1911. course machines and were normally used in pairs, with one master controlling each pair. The people at East Rochester could give me no detailed information as to the history of the Duo-Art machines, The 30,000 rolls per month would be roughly equal to as they are all mostly Ampico people, but Mr. J. your present production and would represent about 50 Wells Benedict, who was in charge of the Ampico Ser to 60% of capacity of six machines based on an 8 vice Department for many years, said that they had hour day and 5 day week. been taken over from the Aeolian Co., when the com panies merged in the early 1930's and were moved to I assume that the four machines we have were l:sed East Rochester where they were u~d considerably, up mOre or less continuously over ~he period trom 1915 until the end of Duo-Art productipn, in the late 30's. to 1940 arid, particularly, thr'::;h the 1920's. No 'I one at Aeolian-American can reqall any mechanical It is entirely possible that theS~\machines were difficulties with the equipmen~ in f~cc, they all built by wurlitzer, for Aeolian, at the time the Duo said that they were pretty n~~~ machines. Art rolls were first produced. The reason I have gone into this history to such an One of the machines had been converted~ punch Ampico extent is that neither you nor ,we can afford the vast rolls, that is, i.t has all .072 punches'" instead of engineering and developing expense that would be en the two pairs .040 theme punches used by Duo-Art. tailed in the design and development of such equip ment from scratch. 'The only practical solution to This change had been made some time in the early 30's the design and building of such equipment today is ~ after the equipment was moved to East Rochester. to try to pick out the best and most practical fea- • tures of these three remaining 'examples that we N1PICO - have available for inspection.
No specific patents have been found covering the actual punching equipment, but I found two patents; number 1,294,845 and 1,323,614, issued respectively on February 18, 1919, (application filed April 19, 1915) and December 2, 1919, (application filed Au gust 14, 1914), to Mr Charles F. Stoddard of New York City. These patents do not show the Ampico punching equipment that we have here at the plant, but do show a system of controlling the master sheet that is used on this equipment.
I have 'been unable to locate any specific patent showing the mechanical system used in the Ampido equipment, however, Mr. Benedict of Aeolian-American tells me that these Ampico machines were bought new in either 1915 or 1916, at the time that Ampico first started cutting their own rolls. Before that i SCHEHft[lC LAva"" 01" IE.LEMEIVTS they had another company make the rolls for them. OF 120,'-L C:UTTlNq 5;,,'7"41-1 He also advises that these machines were used right on through to the end of Ampico-production..J.n 1939 FIGURE 1 or 1940. ~, Figure 1 is a schematic lay-out of all the elements Nameplates on the Ampico machines show that they were of a roll cutting system. A "section" number is manufactured by the Taft-Pierce Manufacturing Company shown on each element, for identification in the fol of Woonsocket, Long Island. Taft-Pierce is a contract lowing discussion. With each section, I will discuss machinery manufacturer and they are still in business the mechanical features, the history and any other in this type of work. As they are not otherwise pertinent details of each of the three makes of ma connected with the piano roll punching industry, I chines and then follow this with my proposal for the assume that the machines were manufactured by them treatment of that element in the new design. under contract from The American Piano Company. Mr.
- 91 ~offs and c!Kusic
SECTION 1. - PAPER STOCK RACK 13 and with 2 for spares, Figure 3. This system has ------individual hold downs and guides for each sheet at IMPERIAL - Wooden, double rack, 18 rolls each side, the exit end. Two flanged grouping rolls are used (36 total). Sixteen rolls each side used for produc beyond the rack. A lot of unused bearing supports tion with two each for spares. Rolls supported on indicate that originally there were many more group steel spindles with cast iron flanges, set screws for ing rolls used but apparently these had been discar slide adjustment. Spindles turn in cast iron open ded and only two were in use at the time the machines top bearings. were taken out of service.
DUO-ART - unknown (no equipment obtained)
AMPICO - Individual floor stands, two rolls to each stand. Ball bearing spindles, supported from one side only. Each spindle has 10" brake wheel, but apparently brake was not used.
PROPOSAL - Welded steel pipe framework, 1-1/4" LP. S., floor flange mounting with individual, removable, bronze, open-top spindle bearings, adjustable both for spindle end play and position on frame. Spindles would be 5/8" steel wit:h cast iron flanges adjustably positioned on the spindle by means of set screws.
This stock rack would be substantially equal to your present rack except for the steel frame work and adjustable bearings. Individual stock racks would be supplied for each course and would carry 18 spin dles for operation with your conventional number of stock rolls. The reason for a single course system will be explained later in section 4 covering the punch actuating system. FIGURE 3 SECTION 2. - PAPER ASSEMBLY MEANS PROPOSAL - This elaborate system used by Ampico IMPERIAL - Two flanges spools in the end of each appears to be one of those things that was designed stock rack, Figure 2. into the equipment originally as an anticipated re quirement and no one ever tried to use the equipment without this device.
The two flanged spools used in your Imperial system seem to be entirely satisfactory for this purpose as I could determine no difficulty either by obser vation or discussion with your operator. It would appear that two such flanged rolls are all that is actually necessary to accomplish this assembly of the several sheets of stock paper and would represent a considerable saving in cost over the Ampico system.
SECTION 3. - PAPER PULL-OFF MEANS
IMPERIAL -A clamping type of paper conveyor is used to pull the paper off the stock rack. The conveyor is driven from the punching unit and feeds into a slack loop ahead of the punching unit. Manual con trol of speed is used to maintain the slack loop.
DUO-ART - Unknown, (no equipment obtained) . Indica tions are that the paper was pulled directly from the stock rack by the metering conveyor outlined in Sec- FIGURE 2 tion 7.
DUO-ART - Unknown (no equipment obtained) • AMPICO - No pull-off conveyor was used, the paper was apparently pulled directly from the stock rack and AMPICO - Paper aligning rack for 15 courses, using through the punching machine by the metering system of Section 7.
- 92 - ~olls and JJ(us;c
PROPOSAL - It may be entirely possible that the pull off conveyor used on the Imperial machine was another one of those unnecessary items. If so, a consid erable saving can be made by its elimination.
The metering conveyor of Section 7 must be of suf ))/~ ~I.fr Ct>lJIf'~ .~ ficient capacity to advance the paper properly r 11-; bit! S6r Cou'fS4 through the punching machine. With a properly de " signed stock rack, the force required to draw off the 18 courses of paper is small compared to the force required to accurately maintain the paper ad vance through the punching unit. However, I would I-F;l------L------,----.. --~ propose the use of two Neoprene covered assisting rolls, as shown in Figure 4. These rolls would be constantly driven at a speed 5% faster than the max I MPEc-?I/IJ, '/PUNC"" 19.< "PI 7" IA/G, isY "Til I'-J imum intermittent advance speed imparted to the paper by the paper metering conveyor system of Section 7. FIGURE 5
SAC::; L~NGrN connecting rods, adjustment of the ram being obtained by eccentric bushings at the lower ends of the rods "',-~ ~o=- where they connect to the ends of the punch ram. ,,., Connecting rod connections to the punch ram are ~iQ). ~_.~----,,-",';J outboard of the punch ram slides. __ \ ;ol>N 7" /'/""'" ~ - LI"Ilr Stl6
#E()P'ltEAJE COt/etf.E~ l)l>!vlE 5",qI'T eCCi!.Nrma IISSl!1'18.i.,Y "'aLti ilS;"N:~T/Nt$ !?o-t.tS ::-2.("'~, IN ~J.I/) OP STOCK: CoIV.'-1"4Ni S;/, ()'rI.~MIV~ ~ ~*======~~ ca ..... N4c: r lJ\.1i R'"" "P/?OPOSEJ> M lETHal)· Or PI9PE~ 1" ULL - <71' " 17p.zVJ'7"/";
- 93 - aotts and cJf{us;c
PROPOSAL - At this point it must be decided whether course type of equipment, all of these mechanical a single or double course type of machine is to be principles can readily be utilized in a double course used. The purpose, of course, in using the double system if so desired. course machine was to double the output without doubling the machine cost. In doing this, however, The Ampico design of Figure 7 makes an extremely com it becomes necessary to have an extremely heavy pact and simple mechanism and as it is full ball punch ram which adds materially to the vibration of bearing equipped, would require the minimum of main the unit when running. tenance.
FIGURE 8 FIGURE 10 It is my feeling that the saving in machinery cost Included are photographs of the Imperial punching is doubtful as it is more or less offset by the much system, (Figure 8); the Duo-Art punching system, heavier construction required and only a very few (figure 9); and the Ampico punching system, (figure simple parts are actually eliminated. Advantages of 10) . the single course ~ype machine would include easier maintenance, lighter machine units for transportation SECTION 5. - DIE SET and installation, easier operation and much lower engineering cost. ··While I am proposing the single :;i IMPERIAL - Figure 11 is a schematic cross-section of the Imperial die set. Rectangular, bar-type punches are used with a conventional slide latch. A retain ing notch "A" of Figure 11 serves as a punch puller.
tu/~e. ro t"t.7DB. 'PNrl(I'1"1nc.
- /Me£IeI/lL P.I.$ -seT FIGURE 9 FIGURE 11 - 94 - ~t' ~olla and J!(ua;c tt~
There is no positive means to prevent punches from puller is a separate floating bar, as shown in the working up into the notch "B" of the slide latch and drawing at "A." Unlike the Imperial and Duo-Art thereby failing to function. The perforating end systems, however, a positive punch stop "B" is pro "B" of the punch is ground cylindrical for producing vided that laps over about 25% of the punch head to round holes in the music sheet. positively prevent punches from working up and thus failing ,to engage properly with the slide latch. DUO-ART - Figure 12 is a schematic cross-section of Because of the fact that this punch stop overlaps the Duo-Art die set. This system employs a conven 25% of the punch head, the slide latch engages only tional slide latch but uses a cold-headed music wire 75% of the punch head when in operating position. punch 2" long and .072 in diameter. The head of the Connecting linkage to the slide latch is by means of punch is approximately .110 in diameter. The head ball end links to allow for the rocking motion of of the punch, acting against the punch puller block, the ram. provides positive punch withdrawal. In the punch guide, there are clamp bars (a) with a resilient PROPOSAL - The die set of the Imperial machine, facing and clamp screws to provide friction to pre while of yery sturdy construction, appears to be dif vent the punches from working up. ficult to service and extremely expensive to manu facture. The wire 'type of punches of both the Duo Art and Ampico systems lend themselves to relatively low cost die construction.
The matter of positive punch stop deserves consider ation. Apparently both Imperial and Duo-Art got by without this feature, using only frictional drag, and in the case of Duo-Art, the additional drag of the clamping bars at "A" in Figure 12. Theoretically there is a possibility for punches to work up out of engaging positiqn with 1!.he slide, latch, particularly if the punch ~uide, blockbeoomes worn.
In the rectangular type, of ptun,Ch as used by Imperial and shown in Figure 11, they have ample opportunity to use such a punch stop in the notch "A w but have not done so. Such a notch or other projection can not be provided in the wire type of punch as used by Duo-Art and Ampico. Duo-Art has provided friction to partially overcome this tendency by means of the FIGURE 12 clamping bars at "A" - Figure 12. Ampico has pro vided a positive stop at "B" - Figure 13, but does AMPICO - Figure 13 is a schematic cross-section of so at a sacrafice of contact area between the punch the Ampico die set. This system, like the Duo-Art, head and the slide latch. uses a cold-headed music wire punch which is approx imately 1-1/2" long and .080 in diameter. The fact It would appear tl~t the lighter the punch, the more that the press ram is also the connecting rod means need for such a punch stop. For this reason, I have that this ram acts against the punch head with a made a particular effort to determine whether or not pun~h slightly rocking motion and, therefore, the any prOblems resulted from the Ampico method, where CONT!?OL "'-'184 r .. the slide latch engages only a part of the punch 1"7"7"_ :PA/ '-'MATI 'l?,eru~tJ head. No one at Ampico can recall any difficulty $:1'1t./N7 resulting from this feature and a microscopic exam ination of both the punch heads and the corners of the slide latches that engage the punch heads shows only normal wear with no indication whatsoever that -PIVOT the parts were deteriorating rapidly. There is no way of determining whether or not these parts have been replaced recently, but with this equipment, we received several boxes of miscellaneous extra parts both new and used, that had collected through the years and nowhere could I find a single slide latch or punch, either new or used. My guess would be that the slide latches and punches in these machines are .. the original parts. I assume that the arrangement did work satisfactorily and would plan on using this /ip.l"#sP#!i system both because of its lower manufacturing cost FJ"1P/CO ,4)1Jtl>H.S and easier s~rvicing. .:DII!!!. 5e.:r FIGURE 13 To be continued••• - 95 - aotts and cJJ(usic ,t.
PIANO ROLL REVIEW BY DAN TUTTLE
BS-NOTE ROLLS
"Hong Kong" - Once again another oriental jazz one step with words by Richard Pasco and music by Von Holstein and Saunders and played in the key of "F." There are two rolls to be described. The first roll ( and more popular roll) is QRS #146 played by Ted Baxter and Max Kortlander. The sound of this roll, like "Ching Chong." is very hea-vy and has off-tune chords mixed with the melody. The other roll is Imperial Songrecord, also in the. key of "F," played by Art Kahn and assisted by W.H. The sound of this roll is based mostly on the melody and not the off tune chords in the treble and bass sections of the piano. Melody in both rolls is maintained with a rip roaring trilling action. Both rolls are good but the Jazz composer Eubie Blake was filmed recently in the New Orleans 'French writer's favorite is the QRS arrangement. Quarter by Japanese film crews making a documentary, 'Jazz Arou~d the World'- UPI Wirephoto. Far Away In Honolulu" - This is a foxtrot with words he does- gIlest shots when the .mood and music by Burt and Frank Leightons and copyright working in a ..,. what's the polite word takes him. Last week he played a con for it? - Ii hookshop. in' Baltimore, by M. witmark and Sons. The roll is a Jazz Rag Pro cert at the Mayfair Music Hall in Santa when some guy 'Came up to me and said, duction on Imperial #9292 and played by Zema Randale Monica, Calif. .'How much you get a week here?' I tell and assisted by W.H. Another roll with rip-roaring The phenomenon of EuQie Blake, him a doUar a night. He says, 'You don't trilling action with that extra touch of Hawaiian however, is best dealt with at close get room and board, do you? You firid quarters, as it was on a recent evening me four boys that slngs.a'nd dance, and slide. The melody sounds original and the words are In Los Arigeles when a birthday party I'll gi"" you,all ~m and board and bound to bring a smile such as "Down in Honolulu, WIUI thrown for him by Milt Larsen. three dollars a week.' This was for a ~ they I ve got the Tango craze." Since Larsen is aragtime. fan who col· medicine show. lects 78 records and everything conneet~ "WeU, I walked right on the' back of ed with old music and early vaudeviUe, "I Gave You Up Just Before You Threw Me Down" -A that wagon just like I had been there all It was 10gicaI that his home be the gaUl. my life, Most me<\iJ;ine shows were run blues type foxtrot with words and music by Kalmar, ering place for admirers of a living an· by phony doctors, but this man.was a Ruby and Ahlert and copyrighted by Waterson, Berlin tique. Moreover, he is a solvent man horse doctor - what do you. Ca1l it? A and Snyder Company in 1922. The roll is QRS #2061 who could afford the candles necessary veterinarian. Is that the right. word?, and is played by Pete Wendling. The song is not real to light up Blake's birthday cake in the Three days later we're in Fairfield, Pa., maimer to which lie was entitled - all and .there's only one. Negro in the town,' strong in its blues characteristics as compared to 94 of them. and he's deaf and dumb. And the guy many other jazz blues types on the market. However, Eubie Blake is as spry and alert this that .ran the show took his f.amily to what it lacks in the original melody Mr. Wendling year as he was four years ago when, by church and left us alone all day with no picks up with his playing style. way of celebrating his 90th birthday, he money and nothing to eat· but a sand· ~e his first plane trip. Before that, he. wich." had left his Brooklyn home annually to The reminiscences were interrupted "Boogie Woogie Bugle Boy" -A 1940's hit written by come to California by train, aJld at 89 as Blake w8$ called to the stage of Lar Don Raye and Hughie Prince and originally recorded in had taken an 'oceanliner and two trains sen's huge living room. After the cake ~he In .order to get to Berlin 'for a j8zz festi· had been brought on and the 94 candles 40's by the Andrews Sisters. Then in 1973, Bette val. Midler hit the music market with a 45 rpm record of h~~~ duly blown out, Blake obliged with a :AJ." he,shook. :S!1dlessly in Ii reeital that included "Rhapsody'in the song much in the style that the Andrew Sisters roqm packed' with well' Wishers, many fell0'v'pi~ls; Blue" and his own "Charleston Rag," had recorded it. The roll of this song is QRS #10-505 of them Eubie rambled about which he casually noted: "I wrote played by Brian A. Williams. Mr. Williams put a lot on,' from topic'to tj:lpic. "Au you piano this'in 1899." players,u he.'joShed, '''you'l'f' a pain in of care into arranging this roll which is very much the neel!.,;.. Yau're'il .hardaet 'to foUow. I After the ceremony, someone. asked like the recording on the record disc. The sound is juSt le6i.'~noihe,r one in New York ~ Eubie a·tongue-in-cheek question about that fe'll!'r. Di~k':'Hyman, who'~dOhe his plans for the future. . full and powerful throughout the roll. - '\~--'".~. ... . ; music fOr tht!.. ~ll Joplin film: Boy, he . ;'In just live another year," said Eu. can play eye#ihing' . . bie,"I~1 be satisfied." was affair once where they - , "I at iili>. . ·There were 'protests from a fan who had 12 pianos;,iuld 'two fellers at each ihsisted that the ·fates grant him the six piano. It was ASCAF meeting at the an .. more years that will make him the first old Metropoliian'Opera HoUse. Now' the Blake phenomenon centenarian jazz musician. That will in· guy that wro~ Uy Fair Lad'y,' what's deed be a celebration to mark in our his name? LOewe?' He used to be a ron· 1983 date books, and given Eubie's pre cert pianist, but he was all nervous thai sent state of health and indomitable joie continues at ag.e 94 night -:-c..me up to me ana said 'Y'otl de vivre, the odds are not too bad that think I'lhnake it?' . he will make it. By LEONARD FEATHER Ie1'ted in "Bubbling Brown Suiar~' by "I've never had stage frightln my IiIe ~ IOIile of hi~ ~acly songs: "fm Just·Wild ..,. I kid a lot, but I don't really give. a e 19n, The Los Angeles T.imes . ~ • Eubie Blake, the.ragtime pianist ehd, About Harry," "Love WilU'lnd a WaYI~' damn .what anybody. else plays. paI'Q'JMS IOALD, Thlnc!ay; leJliol' member of ASCAP, is lea~' ..EinaHne.... On the screen. he is' seen fourth of July it wiU be 75 years th,Iit· n6ne of the media .untouched theSe pie;ying a night club proprietorln ~: I've been on the siage - if you can Ca1l the back of a' wagon II stage~ I Wall March 3, 1977 days. on. the mUsIcal stage he is ~pre- lla; Mo. In "Scott Joplin." On ~evisio!) - 96 - ;jr.- rBalilornia rBali[ornia -- might arrive. Fortunately, everything seemed to go NORTHERN CALIFORNIA MEETS smoothly and there was enough cake and champagne to go around. The biggest goof of all, I guess, was the IN SAN JOSE fact that the photographer forgot his camera. I was expecting Howie Koff to do the shooting and I guess BY STUART HUNTER that he thought I would do the same. Needless to say, A capacity crowd of over thirty Amicans and guests the pictures accompanying this report are "post party." attended the Founding Chapter's March meeting at the home of this reporter, Stu Hunter. Since this was the After the introduction of prospective members and first time that I had ever hosted such an event, I guests the business meeting got under way. The agenda nearly had an anxiety attack making the preparations covered the recent board meeting in Texas and, of and trying to anticipate the number of guests that course, the coming convention in San Francisco this fall.
The highlight of the musi~al program following the business meeting was my newly refinished 1927 Fischer Ampico grand. I don't want to sound biased, but I think the piano performed admirably for the occasion. A tone comparison with phonographs of the era playing the same compositions as the piano demonstrated what you got in fidelity on a phonograph in comparison with a reproducing piano. Included in the comparison was a Victor VI horn machine, an Edison Diamond-Disc con sole, and a 1929 Victor Radio-Electrola.
I
Tom Lillibridge at the Edison Diamond-Disc.
Guest Carol Bergland listening to the Victor.
OHiladelpHia
LIVE PERFORMANCE HIGHLIGHTS MARCH MEET! NG Doreen Kirkpatrick at the Fischer Ampico. BY DICK MERRILL
In spite of the rainy weather and the famous parking - 97 - ~RiladelpRia
problems of downtown Philadelphia, an overflow crowd turned out for the March 20 meeting at the apartment of chapter president, Don Wood.
Don's fine Steinway XR was given a real workout, but the Duo-Art performances were surpassed by a live con cert by Don Kawash, an outstanding ragtime pianist and a neighbor of Don Wood. Don Kawash plays pro fessionally in the area in addition to teaching music and history. I never knew that Scott Joplin's music could sound so good.
Fay Cressman, John Prinscott, Don Wood and Bob Rosen crans.
Chapter business included discussions of a possible charter flight to the San Francisco Convention and a report by Bob Rosencrans about the AMlCA Board meeting in Dallas.
The next scheduled event is an Organ Concert/Silent Movie at the Colonial Theatre. This will feature organist Lee Erwin at the Kimball Theatre Pipe Organ and the Valentino film "The Eagle," in a benefit for The audience listens•.. AMICA, Saturday, May 21, at 8 p.m. Tickets will be avaliable from Mrs. Doris Berry, 3101 Green Valley Road, Newton Square, Pennsylvania 19073.
The next meeting is at the home of Bob Rosencrans on May 22 and is an opportunity to hear three outstanding instruments - a magnificant Mason & Hamlin A, a Stein way XR, and a Knabe B. - _JJiosrapRicat
RUDOLPH GANZ
•••while Don Kawash plays ragtime. BY EMMETT M, FORD Rudolph Ganz, distinguished pianist, composer, con A ductor, Duo-Art, Welte-Mignon and Ampico recording I think all of us reproducer buffs should oc~asionally artist and phonograph recording artist was born in hear our instruments played by a really good live pian ·Zurich, Switzerland, February 24, 1877. ist, just to realize the limitations of the mechanisms and to have a goal to strive for in our restoration His early studies were at the Zurich Conservatory with efforts. \ Robert Freund in piano and cello with John Hegar. Later he went to Lausanne to receive piano instruc Don's collection of rolls is enough to make most of tion from his uncle, Carl Eschmann-Dumur, and com us a little envious, numbering about 1300 rolls. We position with Charles Blanchet. At the Conservatory would have enjoyed hearing Don's Playotone Welte, but in Strasburg, Alsatia, he was the pupil of Fritz unfortunately it was down for repairs. Blumer. Going to Berlin, he studied piano with Ferruccio Busoni and composition with Heinrich Urban. - 98 - JJioorapRicaf 8,ltefcRes
'I- At the age of ten he appeared in public for the first It was from 1938 to 1949 that he conducted the New time as a cellist in his home town. He turned to York Philharmonic in the series of Young People's the piano as a future choice in instruments and at Concerts, a post formerly held by Ernst (Poppa) the age of twelve made his pianistic debut in 1889 Schelling. During this time Mr. Ganz was also guest in Zurich,,:, Many concerts \~ere made after his Zurich conductor at Lewishon Stadium and the Hollywood Bowl. debut. At his Berlin debut he performed the Beethoven Concerto in E Flat and the Chopin E Minor Concerto. In 1929, Mr. Ganz became artistic director of the Chicago Musical College and its President in 1933, His first appearance as an orchestral conductor was a post in which he remained until 1954, when the in May of 1900 conducting the Berlin Philharmonic college became a part of Roosevelt University. Orchestra in the performance of his first symphony. It was in this year when he composed a piano and Mr. Ganz was one of the twelve famous pianists orchestra composition entitled "Konzertsti.ick." In chosen by Ernst Schelling, Harold Bauer and Ossip July, 1900 he married an American concert singer, Gabrilowitsch to give a benefit concert for the ill Mary Forrest. The couple came to the United States and destitute composer, Moszkowski. The pianists where Mr. Ganz became head of the piano department performed "La Gazza Ladra" by Rossini. The concert of the Chicago Musical College, the post vacated by netted over six thousand dollars and the success of A. Friedheim. Mr. Ganz held this position for five the ?erformance rated a repeat in Philadelphia. years. In his solo recitals, Mr. Ganz performed many modern Successful tours were made in the United States and compositions often playing for the first time the Canada. Returning to Europe in 1908, he gave con works of Busoni, Ravel, Bartok, Debussy, Dohnanyi, certs for three years, performing sixteen different d'Inday, Loeffler, Korngold and other composers of concertos. Again in 1912, tours were made in Europe his time. He also searched for older neglected works and the United States. It was at this time in Berlin to revive them and return the compositions to the where he demonstrated the Clutsam curved piano key public to hear. In his introduction of new composers, board. he urged his audience to complain if they felt so inclined. He said, "Some hissing is downright flat tering."
Once in 1930, When Dr. Ganz (over the years he ~ received four honorary degrees) was asked what he most desired for a Christmas present, he replied, "I'd like to have an hour or two added to the day. I'd like to have more good hours on the radio and I wish Schonberg would write something melodious."
Dr. Ganz composed many works, a Symphony in E and a suite of pieces for piano. He also orchestrated and entitled "Animal Pictures" which premiered in Detroit, January 19, 1933, with the composer conducting. His piano concerto was performed February 20, 1941 by the Chicago Symphony Orchestra with the composer as solo ist. "Variations on a Theme by Brahms" for piano, several chorus for male voices, piano pieces and songs were also among his compositions.
After the death of his first wife in 1956, he mar ried Esther La Berge, a voice professor, in 1959.
lWnOI.PH G:\:'\Z pL.\nx(; AT " PI,\:'\O WITH 1\ CUIlVEU l,t:\'I!OWO. XDr. Ganz's death was August 2, 1972. He is survived by his wife and a son, Anton Roy Ganz, a retired In 1920 he recorded for the Pathe phonograph com Swiss diplomat. pany. One outstanding example of his ability is the recording of Chopin's "Etude in A Flat" and Mozart's ,x Dr. Ganz recorded on piano rolls the works of every "Rondo AlIa Turca." The compositions are examples major composer as well as his own compositions. He of two distinct styles and the playing is a valuable made arrangements for the piano of operas, symphonies record of the pianist's ability. Other Pathe re and operettas which were also recorded on piano cordings were made in 1921. rolls. Accompaniment rolls were made by Dr. Ganz for his songs. He recorded with Ernest Hutcheson, Mr. Ganz became conductor of the St. Louis Symphony the overture to Mozart's "Magic Flute," Sibelius' i< Orchestra in 1921, a position he held for five years. "Finlandia," and the superb Duo-Art roll of Men He also conducted the London Symphony Orchestra and delssohn's "Fingal's Cave Overture." from 1921 to 1937 was guest conductor for various orchestras. The writer suggests two rolls that are favorites,
- 99 - JJiosrapRical ~KefcRe8
his "Melodie Op. 10 No.2" (Duo-Art 116381), and Liszt's used and taught. The Pianist Leopold de Meyer impressed "Mignon's Song" (Duo-Art #6255-5). Dr. Ganz also Mason in his early youth most profoundly. He made a careful gives an excellent performance of his Duo-Art re study of de Meyer's tone production and therefrom formulated cordings of MacDowell's "Sonata Eroica, Op. 50." The two Duo-Art rolls of the "Liebestod" from Wagner's his "devitalized ann" I'rinciple, thus breaking ground for the re opera "Tristan und Isolde," recorded by I. J. Pader laxationists in America.' In Europe Mason studied with Mos chelesj Hauptmann, Richter, Dreyschock, and Liszt. He had ewski and Dr. Ganz have different tempo markings. a keen analytical mind and gathered much of value from his Comparison of the two rolls leaves the listener knowing Dr. Ganz's performance is the more interest period with Liszt. ing and closer to the manner in which the great aria When Mason began to concertize in this country he found has been sung and recorded by Kirsten Flagstad. The the musical situation to be deplorable. The concert pianist was Paderewski roll is excellent. a rare bird and those who succeeded in drawing the crowds usually 'must carry along some sensational or virtuoso tricks in their equip * * * ment. By playing simultaneously Old Hundred with one hand (My appreciation and Thanks to Dean Felix Ganz of and Yanku Doodle with the other, Mason received his greatest the Chicago Musical College of Roosevelt University applause, and thereby devolved upon' him the role of musical for reading and correcting the article. e.m.f.) missionary in his own land where his inftuence in elevating taste was not inconsiderable. He was one of the first to introduce (For more information as to the teaching and person America to the genius of Schumann, Brahms, Liszt, Chopin, and ality of Dr. Ganz, refer to his students, Dorothy his own compatriot, MacDowell. . Packard and Olga Kuehl's articles, "Remembering Mason concertized for a while but eventually settled down Rudolph Ganz" , Clavier, Vol. XI No.7, October, 1972) to teaching. Those who heard him play invariably speak of his beautiful quality of tone. He had a lofty reverence for a mas • •• ter's work and would never sacrifice tone or distort rhythm for effect. It was truly said that Mason was forty years ahead of his time. In fact the piano playing world is still applying some The following is from the M.T.N.A. Proceedings, 1928 of his precepts, notably relaxation and weight, the rotary ann resulting from the 52nd Annual Meeting of the Mu~ principle, and others. Mason deserves a foremost place in the Teachers National Association in Cleveland, Ohio, galaxy of American pianists and teachers. December 27-29, 1928. One of Mason's most notable pupils was William Sherwood, an early American pianist of outstanding attainments who con Contributed by certized with success, founded the school in Chicago bearing his Roger Anderson name, and taught at other schools, maldng a distinguished record for himself as a pianist and teacher. AMERICAN PIANISTS, FAMOUS OR TYPICAL MacDowell died in the same year as Mason, 1908, and al though we think of him chiefty as a composer he also merits at DORON K. ANTRIM tention as a pianist. The severe grind of the Paris Conservatoire Brooklyn, N. Y. gave him a technique which, with the finishing touches' of Carl Heymann, was complete and in some ways unique. His first BEFORE we begin a consideration of "American Pianists appearance in this country was with the Kneisel Quartet, playing Famous or Typical" of the last fifty years it might be well the piano part of a quartet and movements from his first Suite. to qualify a few tenns. An American pianist is construed by some Then he played his Second Concerto with Thomas in New York to mean one born in this country, by others one who has taken and with the Boston Symphony in Boston in the spring of 1889. root here and become an American citizen. If we accepted the These perfonnances stamped his playing as decidedly virtuosic and latter qualification we should indeed find a long and impressive list original. In fact his original ideas freq\lently refused to conform to of artists. I am persuaded to believe that the term is more gen classical tradition. Beethoven, for instance, was sometimes played erally used to imply one who was born here, and we will hold to in a manner decidedly un-Beethovenish. MacDowell hated scales !iuch a designation in this paper. and arpeggi for their own sake and wished to use them chiefty for Then again the word "typical" gives me pause. Is there a creating effects, for building up a part of his tonal picture. His typical American pianist any more than a typical composer or in octave and chord,playing were powerful and sometimes harsh in fact a typical American? Authors such as Sinclair Lewis would fortissimo and in pianissimo no more clear cut than his passage have us believe so, but I cannot feel that in this polyglot land there playing. He was constantly striving for atmosphere and overtone is any such person unless he would be a composite of all that we effects and made repeated use of the half pedal instead of the full consider characteristic. Therefore let us just talk about those pedal in serving this purpose. Then again, extreme contrasts, American pianists of the last fifty years who have left their im frequent use of the "soft" pedal and thundering fortissimi charac press on the art. terized his renditions. So eventually he became the exponent of While Dr. William Mason was born one hundred years ago his own works where his ideas found fitting expression and next year, yet he lived through the greater part of the period we thereby gained his greatest reputation. are considering and deserves to be included. As a musical pioneer, For about ten years MacDowell concertized largely through pianist, and teacher, Mason contributed notably to the progress out the Middle West, playing principally his own compositions of music in America. His father, Lowell Mason, gave him his and endearing them to the hearts of his countrymen. I am in first musical instruction, after which he studied with Henry debted to an article on MacDowell by T. P. Currier in the Schmidt, from whom he learned the" elastic finger touch," This Musical Quarterly of January, 1915, for the following appraisal he later expounQed in his teaching as the same that J. S. Bach of MacDowell, the pianist:
- 100 - JJioorapRical ~llefcRes : .
"At the piano MacDowell was a poct-muSlclan. He was no mere Copeland, Harold Drake, Edward Baxter Perry, Henry Cowell, Dote-player. aDd wa. Dot aDd Dever could have beeD a pianist in the con Guy Maier, Lee Pattison, Bruce Simonds, Dorsey Whittington, veDtional seDse of the term. He was the same teller of exquisite poem., and George Gershwin, the last named setting fonh some distinct the .ame impreo.ioni.tic tone-painter, that he wa. at hi. de.k. He made his pieces .uggeot their title or .tory 80 vividly that note. and manner of ive compositions of modern tendencies. 8OundiD$ them were eDtirely lost .ightof. For the momeDt he wa. aD Among the ladies we find Amy Fay, pupil of Tausig, Kullak, improV11ler. He had a command over technique. pedal.. and e.pecially Deppe and Liszt, Julia Rive-King, Olga Samaroff, Julia Glass, the rubato (which he u.ed with iDfinite .kill). rarely attained. And back Gita Gradova, Dai Buell, Augusta Cottlow, Frances Nash, Olga of all wao hi. musical aDd poetic nature - the real mainspring of hi. Steeb, Leonora Cortez, Marian Nevin MacDowell, Georgia playing. Few piani.t., it i••afe to .ay. have, in this la.t reopect, been Kober. 80 richly endowed." Here is a distinguished group of pianists. They are hardly to It is to be regretted that reproducing instruments were not be classed as an American school since individuality is apparent available in this former day to preserve the playing of the pianists in pronounced manner. The temperaments and interpretations we have considered. The pianists of the present whom we will of these pianists also vary widely and they range from staid tra now take up, have at least that advantage over their forerunners. dition to the tone-clusters of Henry Cowell. As we have seen, During the summers Leschetizky frequently examined reams many of these artists possess creative ability of a high order and of music manuscript, in the hope of bringing to light some flower have invariably sought their inspiration from their native land. that would otherwise blush unseen. One morning he came upon Considering the youth of America and the fact that it has but a work that brightened and colored his whole day. It was writ recently shown a disposition for an, the American pianist of the ten by a young American, one John Powell, whom he later ac· last fifty years has built solidly and written a record of which we cepted as a pupil. Powell stayed with Leschetizky five years, may well feel proud. And the next fifty years are full of bright also taking work in composition with Navnl.til. He made his promise. initial appearance as concen pianist in Berlin in Igo8, toured other European cities and came to the United States in 1912. As with MacDowell, it is difficult to consider Powell the pianist apart from Powell the composer, since he has achieved dis tinction in both fieLds. Descended from a family long resident in Virginia, Powell has turned his hand tonally to his immediate 4ecRnicalifies environment and has immortalized many phases of negro life. His Rhapsodie N eKt'e for piano and orchestra received fifty per formances in three years, a noteworthy record. Other works mer iting mention are Sonata Teuto"ica; In the South, piapo suite; rariations and Double Fugue; Sonata rerginianesque, piano and violin; Sonata Noble for piano; ~t the Fair; Sketches of ~meri G1 Designs Circuit For Elect..Piano can Fun; songs and many smaller pieces. Powell is a pianist of HICKSVILLE. N.Y. - An MOB dr- 'a corresponding volume slgnaI to the distinct and individual attainments and probably as typical as cult for electronic pianos, developed by sound circuitry, 01 said. . General Instrument's MicroeleetrooicB The company claims a plano usJoe the any. division will be available in April at new device could be priced under $200. A wonder child at the age of four and a half was Ernest $6 25 ea'eh in quantities of 1 000. ' 01, whieh does not plan to produce The mlerocircult ~ted AY;1- finished pianos. Is seeking to sell the Schelling, born in Belvedere, N. J., and the promise of his early 1320. detects the sPeee! of depreuloo microcircuit to musical Instrument youth was fulfilled in maturity. Schelling studied with Mathias, applied to each piano key and geDera. manufacturers. (Chopin's pupil), Moszkowsky, Pruckner, Leschetizky, Hans 'lbe miCrocireuIt Is Aid to incorporate 12 3ePUIte frequency generation clr Huber, Banh, and Paderewski. His playing is marked by clar cuits, one for eaeh note in an octave. A ity, taste, and intelligence. Schelling is also distinguished as a five-octave musical blstrument would composer and conductor, his Yictory Ball having achieved an en ELECTRONIC NEWS, MONDAY, require five 4OopIo duaWn-1loe deviceI, GI noted. viable popularity among symphony orchestras in America. For a FEBRUARY 28. 1m According to G1, instruments usJoe number of years Mr. Schelling has been doing a progressive edu the microclrcult ~uld be IIIIfketed in cational work in conducting his popular series of children's con two versions, the basic unit. under $200, for use with bome hi-fi equipment, and certs with the New York Philharmonic. A musician of many a self-ronlained version wbIeh COII1d be parts is Ernest Schelling. Contributed by Dan Schacher. produced at a price lower than Anhur Shattuck, born in Neenah, Wisconsin, qualifies as an sbowroom pianoI. American pianist 'and .one of sensitive refinement. There is an Describing the device's operatioII, GJ IiaId that key Yeloclty or toucb Is S8IIIllll ethereal quality to Shattuck's playing much like Grieg's music. by a swItebin& lIl'I'aIIgeIIIent wbieh coo In fact Shattuck studied with Grieg and won much popularity as nects input' clreuItry to the negative a concen artist throughout Scandinavia. Shattuck's pianistic supply in the rest position and to ground when the key Is fully depressed. menton Were Leschetizky and in America Fannie Bloomfield An on-chip timer Is lnIt1at~ by Zeisler. He has traveled much, concenizing successfully in Eu removal of the. negative supply and rope and America and even in Iceland and Egypt. stopped when the key Is grounded. The tiJne to ehange stile Is Invenely propor Detailed mention of all the notable American pianists now liv tional to the key velOcity and can, be ing would draw out this discussion to undue length so we will used to control output volume. content ourselves with merely naming some of the others. There The output from eadi keying clreuIt Is a square wave of the required fun· are Edwin Hughes, Frank La Forge, Harold Henry, Ashley damenta1 frequeocy;TbIs Is qped by Pettis, Oliver Denton, George Copeland, Beryl Rubinstein, atemaI·voicioI c:lreuits to prtJduce • Ralph Leopold, Victor Wittgenstein, Josef and Clarence Adler, JiiaocHike toile. CbaracteriItIcs of the external voidnc drcidts are deIIned by Roben Ambruster, Howard Brockway, Richard Buhlig, Aaron the piano maoufaeturer. GJ said.
- 101 - • ~ • ~ '~ ~ B~After reIIlOriD.aetIoo, ... 'lIIat tbe _ Otoend-•No. "-- _ Actioa. a ne.... 8et of ~ he aure aaet ~) • obarp tbe _ ~ hole, B. Is free on the plot with DO dtuck or ~-TItIbten 011...... s GO _ ...... of (or .. , that It wDl dear the bad: ' £:1'Nat regulate baIa""" pin -. c., .. It B.-see lllat steInp are well lIpO n 0 ~ :::I J !!l' !"'I ( " I"T-, 0 c -. l·,-eL=:=-'-~~-·-~~~~~~~;~c-=i~j0" E E' E- .4 C I"T ~ u u CD 0- ...... f-" 0" o -< 0 N 0 ~ 01 tbe woocl, N, In the 1mDclde. Set eod lIy of each after the blow- is struek. To test tlds, an ordinary ()perati0ll No. IO.-Ad_ So.tenato. 0 eeetIon correctly and line the rest of them with a playing blow should be struek .nd then the key This must be set in or out so that the sostenuto :::I small steel straight edge. ~ slightly so that the back check releases the ~ D =~1~1~.U;~~s:':~~'r~~bl~:~ ~~m~~~~g~OO::d~el:.r::~?J'erra:.: -f • w~~~:~~~~Io:·:~~ta~::;In; height must be regulated by the nuts on the soste knuckle. Some acllons are made with the fly spring (\) P, wiD just return the fly uuder the knuckle, H. nuto bolt, YY, 80 that when the sostenuto rod, Z. 1lI. D.-Regulate the screw, Q. up or down until the P, and the ~petitionspring. U. in one spring and is up, the lip on it will cateb under the sostenuto ~ others have no regu.lating ~w, T, for the repeti Regulating n hammers come within a strong 1/16 In. of the string. finger, XX, and support all dampen that are raised. tion spring. In these eases the spring Itself has to See that there is no danger of the back cheeks hitting ~ • Opeeatioa No. 4.-Rep1a .. ToadL be bent to get the requIred strength. the sostenuto rod. Q completes 01 AI: Opeeatioa No. 9~ReauIa"Dampen. This the work regulation. a p~D~so~t:~rk;;'~~:%tbeln.fA~~:: precaution all work. should be checked over to be the A.-Press keys dtJWn slowly to see that the SUJ"e is just as intended. must be used for this far aceurate work. WhUe dampers start b) Uft when the hammer Is % In. from It t4 % In. dip to the key is the atandareI. it is neeessary the .atring. Different manufacturers use dlft'erent on many pianos to vary from In. in order ti> get Important MeasuRDlents. % measurements. from % tn. to 1 in.• but % In. is a the eorrect 1% in. hammer travel The general essential measurements for installing Grand Piano and regulation of the grand action are -as followa:' ri;;r~t·d~~sh-:U~be~e:ve~~~set Operation No. 5.-Rep1a .. Bl.... I.-The key to upstan is divided Into three parts, Adjuat~tanscrew. down, on end Ivory =B.-RemMe the actlon, then see that the damper J, up or two in front of the balance and ODe In back. wins, V, clear the strings safely. Then Ilt dampers 2.-Lengtb of hammer shank 6 fn. ~I::::::t~n~l~e}i.':~ Action :=.::down::Ut:::f, to the strings so that they lie 011the strings squarely and both ends lift at the same time. Thia is done a.-Length of treble hammers 2 in., of basa ham ~= th~osn;t~s::~~~::l~ ~ b~~::y e by bending the wire, V. NoW' get all dampers to mers. 2% in. changed somewhat anlthe blow changed to grl as tifting at the same time when the pedal is used. "'-Length of hammer blow 1% in. Hammers near to tbiI: .. possible. Some actions have a regulating ~rew,JJ. In the should strike the string square on, i.e., at 90 degreea. After getting these end hammers of each section damper lift rail, W, to regulate with. With others 6.-Depth of touch, % m. ~sary A Treatise by let properly. the rest of the capstans should be it is to plane 0« the bottom of the damper G.-Hammer should let off 1/16 in. stroDl' frum turned 10 the hammers in each section are in a lever, X, with a special plane and build up under the string, and check % in. from string. CHAIlLES L McHUGH IJ straight line with these trial hammers. damper 11ft rail felt, W, with paper. When the damper Is regulated. test all strings to see that each 'f.-Damper should start to lift when hammer II PresiJmJ SlnJ..,J Adiotl CfnN.p.y % In. from string. CftlinJJ". MfiJ. Operation No. 6.-Adjusting Repetition. string damps well. Then set stop rail, Y, so that Adjust: screw in hammer flange. R, so that the when the: damper is fully lifted there will be a small S.-Weight of touch should be a scant two ounces. ~p~~ay amount of play for the damper. Any and aU these measurements are varied some from string % In. when the ~l To regulate the lift of each Individual damper 10 what by individual makers to meet Individual coo- th.t It will start when the hammer Is % In. from ()peratioa N.... 7~Bocka...b. :~~ioo;ra~::r::~u~~~~r:m~::Iu~~~ueneeof 'W Spaee back cheeks, S, to right or left 80 that they :tri~.b~dn~:J.~:1F~~yh~:e~::.~=; meet the hammers. 'nils 11 done with bending plyera. screws In the ends of the damper leTer. X. for this. Nut bend the baclr: cheeks in or out 80 that when ~ .. even, flrm pressure II put on the Ir:eys.the Test to see that the end or damper lever. X. does not touch an adjoining key. either wben the action t hammers will ebeck or catch % Ia. from the strings. is in normal positlon or when keys are shifted. Opeeatioa No. 8...... aepetition St>rlaaRegulation. C.-I .. pect pedal actIon. See that thore Is • slight Adjost the stteW. T. 80 that the spring, U, will be jDSt atroog enough to Uft lb. IuumIler lip promptly S:°~t~e~;tr,:t~~t;::tS.1:t~:ods~~; Et creoRnloaliflea should be approximately correct. Observe the wobble VIOLANO SERVICE NOTES ring at the back end of the motor shaft (called the "Governor Ring" in the Service Book). This ring PART II I should not quite straighten out at the high speed or "very loud" operation; if so, it will hunt and vi BY CHARLES INNES brate, indicating too much speed. On the other hand 4. VIOLIN STRINGS if the bows drag at the low speed operation the ' motor is too slow. ' There are many different types of violin strings available today and probably as many opinions re- . The Service Book nicely covers two methods for ad garding which is the best type to use on the Violano. justing bow motor speed - page 26 for thos.e 'model~ However, most problems with tone quality are not re equipped with the make~and-break bow motor governor, lated to the particular type of string being used, and/or page 27 for machines with the free clips on but rather to some other factor. For example, harsh field coil #3. For Violanos which are not equipped tone usually reflects the condition of the bows; with the above provisions for speed control, the other problems may be due to incorrect bow pressure following methods may be considered: settings, violin not in exact string line, etc. The following suggestions are. offered with respect to 5.1 Alternate "A" and "L" Connections the selection of strings for the Violano: Refer to the Hattrup wiring diagram (available from Vestal Press, catalog item #B-68), showing alternate connections for the A and L, leads at the top of the Use plain steel, ie., standard Violin E (not super bow motor. The dashed lines (A to BA and L to LL) sensitive). show connections to increase the high speeds. If the motor is running too fast and the leads are connected as shown by the dashed lines, return them Use plain steel .014" diameter (a .014" diameter to the connections as Shown by the solid lines (A to guitar string may be used, cutting off the excess LL and L to L). This should be the first thing to length). Avoid the wound type A strings - the shape check if the motor runs too fast and vibrates at .. of the notches in the A fingers is intended for gut high speed. • or plain steel and tends to cut the winding of a wound string. In this instance the most expensive 5.2 Armature Series Resistance string is not the most suitable. If the A and L motor leads are already on the LL and L terminals respectively as outldnedabove, .but the speed is still too fast, armature series resistance Use aluminum wound-on-gut type. Avoid chrome-nickel may be used. Simply-insert a suitable resistor, in or stainless steel wound strings. These harder series, in the armature circuit. Note this will re windings may last longer, but tend to emphasize fin duce all speed modes - not just the high speeds -.so gering noise and also can abra4e the notches in the it may benecessary to try different values of resis fingers. If the winding loosens or breaks, the tance. The object is to add enough resistance so harder materials are more likely to damage the bows. that the ring does not "straighten out" at the high speed, but not so much that the motor drags or stalls at low speed (or failS to start up). Use pure silver wound-an-gut type. Avoid the harder To insert armature series resistance, detach the lead type winding materials for the same reasons stated at one of the motor armature brushes and add suffi above for D string. cient new lead wire to hook up the resister in ser Note: It is admittedly difficult to obtain good ies. A 100 ohm, 25 watt wirewound power resistor, results from G. The original Mills G string required adjustable type, available from Allied or other elec approximately 15 ounces of weight; G strings available tronics supply houses is suggested. This may be today cannot accept this weight - a new weight mounted in any convenient place in the bottom of the about half that amount must be provided. Some fin cabinet. gering noise and weaker tone volume is unavoidable, but the silver wound-on-gut string seems to produce 5.3 Shunt Field Series Resistance the best results. Be sure the violin is in exact string line and that bow pressure and motor speed. are Resistance in series with the shunt section of field c0i!.,#3 (the lead frolll coil 3 to the "Blank Binding reasonably correct. Finally and most important - the ll bow whe~l itself must be in good condition (see Post - see Service.Book page 27) will increase discussion on Violano Bows). motor speed. Berore considering this, be certain you haVe complied with the instructions on page 10 ~ 5. BOW ~ ~ ADJUSTMENTS of the Service Book under "If Bows Slow Down," ex.... • cept, of course, do not use gasoline for cleaning; For pleasing violin expression, the bow motor speeds and standard SAE electric motor oil replaces "Russian Oil," - 103 - JecRn• .' ica"{ifiea·.1. i Generally spe~ki'ng, with today's higher line voltages the worm gear shaft. If not, it may be that the and well worn'bow motor b~arings, it should never be bow motor has dropped or tilted somewhat due to sag necessary to modify the bow motor circuits to obtain ging of that part of the casting which supports the ,higher speeds. If the motor is running too slow, motor. the probable cause and correction is covered by the Service Book procedure on page 10. To correct this, loosen the two bottom bolts which fasten the motor to the support. 'Strips of paper or 6. BOW MOTOR ALIGNMENT cardboard can then be slipped between the motor base and the support as required to get the coupling Examine the flange which couples the bow motor drive flanges in good alignment; Do not re-tighten the shaft to the worm gear unit. This should be reason bolts so hard as to distort or crack the support ably parallel and in line with its mating flange on casting. VIOLANO TRACKER CONTROL BRUSHES Brush }fo. ' Designation ltemarks I Vanish; Very Soft Slowest speed. Motor post D Note 1 Note 1: See Service Book pages 21, 2 Bow ACUon; Very Loud Fastest speed. Motor post LL Bote 1 8c 2 26, 27. 3 Stacoato Service Book pg. 28 Note 3 Note 2: Alternate Motor post BA 4 Tremolo (old) Service Book pg. 24 see Hattrupwiring diagram. 5 Loud Fast speed. Motor post L Bote 1 8c 4 Note 3: This control is of secon dary importance. It is not 19 Reverse; Rewind - Nate 5 found on some models - or may be disengaged. 20 Soft Motor post S Note 1 Note 4: Alternate motor post LL 44 Hallllllar Ra1l Up Piano Soft see Hattrup Wiring diagram • It . 55 Hallllller Rail Down Piano Loud Note 5: This control gets prac tically no brush wear 74 Tremolo (new) Service Book pg. 24 a worn down brush may be interchanged to this po 75 Auto Out-off lIIote 5 sition. 120 'i"no :Relay (loud) Early resistor & relay device Note 3 121 n-mp Of! Piano sustain - dampers lifted 122 Mute - or - Violin mute & hallllller rail very soft, Piano shunt (soft) - or - early piano shunt resistance. Note 3 123 Damp On Not used on later Violanos where damper rod returns by itself. (useless function. In my opinIon) to allow fast re USING THE TEMPO REGULATOR TO CONTROL wind or to control rewind with the tempo lever. REWIND SPEED ON A~IPICO A 1. Take out pedl'll switch and drlllv~nt l\Iole as BY DONALD BREEN shown In the drawing and reinstall. ,< 2. Put nipple between pedal CU,!:)es so tml!l,t automatic The following alteration is suggested as a method of action will continue. protecting brittl~ rolls from destructing at the fast 3. Pull tube off nipple to pouch in tempo regulator rewind speed but'lt into the plano. This speed is and tie It off. achieved when' the transmlss ion shifts to rewind. 4. Choose a source of vacuum that will not be cut Vacuum is shut off to a pouch in the tempo regulator off on rewind and connect It to the switch. anltsllTlultaneously vents It, thus lifting a valve 5. Connect other nipple on the switch to vacant whlC::h by-passes the sl ide valve, allowing full vacuum nipple on tempo regulator. With switch on, the tempo to 6pe~ate the air motor. ' wi II control rewind. If fast rewind l.s - 104 - NEV(M§(jBf:RS J'e c/{n.i oalifi(1.8. Carolyn Ostrzynski Robert F. Commag~re 145 Rochelle Park 761 Clayniont Dt. Tonowanda, NY 14250 Los Angeles, CA 90049 716 832 0174 213 476 5673 will lift the by-pass valve allowing full vacuum to the air motor. The switch must be in the on position Don Cargile Flora Mora (Honorary) whi Ie the piano is playing. - Rt 2, Box 180 800 NW 13th Ave, Apt 1015 Mt. Pleasant, TX 75455 Miami, Florida 33125 It is, of course, absolutely necessary that the brake 214 572 8075 305 642 7037 on the take-up spool be disconnected and that the (referred by Haden (recording artist for Duo take-up spool turns quite freely. The system is not Vandiver) Art, 1919-1920) a cure-all but if you watch the rewind wi.th your 1911 Stuyvesant upr p~yr hand on the tempo lever. delicate rolls can be pre Chris &Myrna Bushman served. 17866 Hoffman Ave. Aeolian metro/therood!$tj Cerritos, CA 907Ql 193 Wurlitzer jukebox. 213 925 9137 ' MODIFIED PEDAt SWITCH Walter &Maize Peterman 192,SKurtzman 5' grand 31 Rollirigwood Dr. Welte Mignon. San Rafael, CA 94901 ..--J upper (fixed) 415 456 6438 portion. #2 Henry &Eleanore Michelfelder 1903 Whitney grand 314 Pauline Blvd. Recordo; 1916 Grinne1 "ON" links.#2 & #3 Ann Arbor, MI 48103 playtona pianola Aeolian "OFF" links #1 & #2 313 668 6163 metrostyle/themodist. #3 Earle Lee &Cynthia Butler 1918 Hazelton 6' Welte 640 E. Tropical Way Licensee. Ft. Lauderdale. FL 33137 305 791 9707 (referred by Rick Drewniak) coupler channel James &Rosemary Eagleton 1925 Fischer 5'4" Ampico 6333 Glenbrook Court A. Oklahoma City, OK 73161 405 842 0840 (referred by John Morgan) Ms. Bobbe Keefe 1929 Knabe 5'3" Ampico B 5405 Senford Ave. Louis IV art ·case. #1. drill this hole (vent). Los Angeles, CA 90056 #2. tube to pouch in tempo regulator. 213 776 4926 #3. connect to vacuum source. Neii &Jean Stewart 1926 Chas Kohler upr plyr 660 Kendall Rd. std; 1906 Ivers Pond upr NOTE: I have' seen a variety of replacement switches & ~cause Churchville, NY 14428 plyr 65-note. in AMPICO uni.ts on the "swelling" of 716 293 2031 original pot metal parts ,so all pedal switches may not be exactly as above. Check before ' J.R. &Sandra Lind 190(1-08) Steinway upI' drilling any holes. The important point is 147 Marlborough Pl. Aeolian themodist/metro- to wind up with a #1, #2, #3 connection as Toronto, Ontario ( style hetrodyne, 65/88 note. above and with an "on"link of #2 & #3 and an I ,'/ I M5R 3J4 Canada ./;'. .., /. /..(1" 7 "off" link of #1 & #2. TB . 416 924 7919 ~/c: I .e E.C. Philip &Cameron Reed 1935 Monington &Wes CHANGE OF ADDRESS Gulf Oil Co (Nigeria) Ltd. ton UpI' plyr. Private Mailbag 2469 John &Ha~el Inzer Tom Meeder Lagos, Nigeria 3586 Pierce Dr. P.O. Box 6112 Lagos 50589 (phone) Chamblee, GA 30341 Bakersfield, CA 93306 Jerry &Jeanne Cordy Wurlitzer 153 band org; Mr. &Mrs. Alfred Goldspiel Louis Puntenney 3610 Naify St. Ruth band org; Limonaire 709 Bicknell Road 270 Arch street Sacramento,CA 95821 Freres book org 62 key; Los Gatos, CA 95030 Laguna Beach, CA 92651 916 489 2074 Steinway Duo-Art XR; Frati , ,Barrel org; Bacigalupi bar- Evelyn Meeder Leo &Pat Des Biens rel org; Cremona K orches; Mills Violano; Peerless 1206 Miramonte Dr. 911 Greert Park St. coin piano; Weber Duo-Art; Steinway Duo-Art XR ebony~" Santa Barbara, CA 93109 Covina, CA91724 Seeburg syniphonola juke box. ' , • WANTED: A complete Ampico B mechanism or all parts 1927 KNABE Ampico late 'A' with 'B' pump, 5'4" gold except drawer. F. D. McLawhorn, 862 Wilmont Lane, and white Louis IV with original bench and 30 rolls. Newport News, VA 23602. Tel. (804) 877-7010. Ampico mechanism all original but not working. West Coast Piano - $6000.00. (415) 668-5123, (415) 982-380( STECK DUO-ART electric upright reproducing piano. M. Roth, 225 Lake St., San Francisco, CA 94118. Beautifully refinished in hand-rubbed black lacquer. New strings, chrome pins, hammers, dampers, key tops, FOR SALE: Blank reproduction tune cards for Western etc. Duo-Art mechanism meticulously restored and Electric (5/$1.00); Mi lis Violano (4/$1.00) plus regulated. Great expression and tone. Rolls and 25¢ postage. Ronn Bopp, 505 Glenview, Joplin, MO stool included ••• $3850.00 or best offer. Will trade 64801. for unrestored cabinet type nickelodeon, Regina chang I er, or Mills Violano plus or minus cash. Bill 1926 KNABE PARLOR GRAND PIANO for sale including ~ Kavouras (312) 862-5741. bench and 50 rolls, Ampico electric reproducer, ma- t;. hogany finish, choice unrestored, one-family ownership WANTED: MacKinnon Military Band Organ, style 105A, offers considered. James Barber, 1672 East Grand ~~ or similar instrument in good playing condition using River, Apartment 151, East Lansing, MI 48823. Phone~1 Wurlitzer 125 rolls. Robert Steeves, 8 Ministerial (51]) 332-8084. ~ Circle, Bedford, NH 03102. Tel. (603) 472-3712. ROLL AUCTION - Duo-Arts and Ampicos. List 50¢. Art SALE: Stroud upright 88/65 tracker bar, mahogany Faner, 555 Winter St. N.E., Salem, Oregon. finish (new)~ new keyboard, hammers, string.s, nickel pins. Foot pumper. Rebuilt and running well. $2000 FREE LISTS: All Types Rolls, Cylinder Records & Machines, or best offer. Jeff, Box 222, Sumneytown, PA 18084. Discs, Cobs, Sheet Music, Catalogs & Literature. Mechanical Music FOR SALE: '0' style nickelodeon, custom built, in & Much More. Our 20th Year ...... good working condition - with piano, pipes, xylophone, Vi & Si's Antiques 8970 Main St., Clarence, N.Y. 14031 snare drum, bass drum, Indian block, triangle, and tambourine. With art glass in center of three doors. BUYING: AMPICO. DUO-ART, WELTE & OTHER TYPE OF Asking $4200 or best offer. John G. Ravert Srr, Box ROLLS. DESCRIBE AND PRICE. 85, Vicksburg, P,~. Tel. (]1]) 966-1367 after 7 PM except Vlednesdeyli.' ALTMAN, 8970 Main St., Clarence, N.Y. 14031. PLAYER PIANO OWNERS - ',',~',r~ ~}. ~ RE-CUT YOUR STANDARD POPULAR ROLLS 'itI~~:, $20.00 PER TITLE , .i-.!. ADDITIONAL COPIES $4.00 EACH ""." ~ PIJlNDeD~;t!fGt)Enar:4. ~ NO MINIMUM ORD~R OR QUANTITY PLAYER PIAN&'slntl' player piano con That's right! Now you may order just ~ re-eut of version kits - orchestrlon or 88 note start your favorite popular standard roll (20-30 feet). Don't Ing at $595. Fits 90% of all uprights without pay for unwanted copies. Frayed edges are no problem changing the outward ap,~e,arance. Pneu for us. We use a full quality, lint free, 3 pt. dry waxed matically operated and greal' f,ora replace paper for our re-cuts. All old rolls are returned along ment stack. Also coin operatedbtch'ltatrlons your new re-cuts - packaged in new boxes for your pro starting at $1200., made from flnt!.Qld,up tection and storage'. Be certain to include any special rights. Cast aluminum, art style "0" ROLL instructions for multiple copies. Allow 6-8 weeks for spool frame, on sale now thru April 30, delivery. No reproducing rolls at this time, please. 1977, for only $2651 Tracks perfectly and YOU MUST BE SATISFIEDU has solid state tempo control. All ty~••;o' Clip and return with order orchestrion products for sale at wholesale prices. Genuine 24 note Rosewood XYLO· CRAIG'S PIANO SHOPPE 925 SOUTHOVER PHONE only $335., replacement stack only TOLEDO. OHIO 43612 (419) 478-4711 $295! Replaces old player stacks including Name Phone <--) _ Ampico! Ready to Install! Lower prices available with volume purchasing. Old Complete Address _ pianos gladly accepted In trade. Send $2. for catalogue to: Total # Rolls to be Re-Cut_ x $20.00 = $ _ Ragtime Automated MusIc 310 Hackberry Ave., Dept 7a Total Additional Coples_x $ 4.00= $ _ Modesto, Ca. 95354 , Postage & Handling $__$~3:..:.""O""'O__ or Phone (209) 526-1973 '\ TOTAL (Check or Money Order MUST accompany your order) $ _ ".~tA-;~··~ 1;~' SEND YOUR ROLLS INSURED AND SPECIAL {t}t_fi4h &i:.. t 4TH CLASS SOUND RECORDING RATE. 'J ,...__ ~. 0/7~~~ ~~~x~~~~::::;~~~ ad 1tiduJiJduJM! ~ ~ C - WORLD'S LARGEST SELECTION! - j J Looking for a fine reproducing piano? At the moment we have over 20 fine instruments in stock - including restored ~ and unrestored Steinway Duo-Art grands, an elegant Italian art case Steinway Duo-Art, a beautiful Weber Duo-Art, ~ several Welte and Welte Licensee instruments upright and grand, several model A Ampico grands, several model B Ampico grands, and a few Hupfelds. Looking for a fine reproducing piano? Drop us a note with your requirements ~ and we'll send descriptions of what we have. You'll find our prices to be most reasonable and our service to be excel- lent. For many years we have supplied reproducing pianos to members of AMICA, including nearly all of the repro- Our ship has come in! Just arrived from Europe are three containers, each 40 feet long and each crammed to the top with antique music boxes, nickelodeons, clocks, and other treasure. We are now in the process of unpacking, classi fying and sorting these. Planning a trip to Southern California for business or pleasure? Visit our showroom and have first pick of these new purchases. If you are an active collector being on the A.I.G. mailing list is a "must" Skeptical? Send $3 for our latest large ~_ illustrated catalog. Here's our guarantee: If after receiving the catalog you don't agree it's the most interesting, most • ~ value-packed catalog you've ever seen, just let us know and we will refund your $3 without question - and you can keep the catalog absolutely free of charge! So, you see, you can't lose a thing. But, you can gain quite a bit: You can ~ find out where AMICA members over the years have made some really terrific buys. You may wish to do as many AMICA members have done and send us your check for $15 for our next six catalogs. In this way you will receive t them immediately upon publication. Satisfaction guaranteed. Right now we have over 500 antique automatic musical instruments in stock - reproducing pianos, hundreds of disc ~ and cylinder music boxes, dozens of coin-operated nickelodeon pianos with colorful and artistic fronts, several really huge orchestrions, several circus organs, many organettes, and so on. Also dozens of cabinets suitable for storing ~ music rolls, nearly 1,000 antique clocks, and many other items. j Are you an· active buyer? Well, we're certainly an active seller! Do business where business is being done - do business r [ witll American International Galleries. L.t"s get acquainted I ) ~ ~ )( AMERICAN INTERNATIONAL GALLERIES, INC. ~)( 1802-A Ketteri ng Street ~ Irvine, CA 92714 j Tel (714) 754-1777 \ [ )41 )(~ f)~)()(~~)()(~~)()(~ f)~)( "bo~Art rotis. Good Robet;t St~eves;·S ,.' fal Ci rde, 13edford,NH03102. " 472-37'12'~ ". . " J9!t!Slc;' bo."~! Repro,cWcillgtJ\ar'lPs bV ArnJ)ieo,Duo·A.rt, and W.~~' Nick&~odlllOfld ,Orcb!tsttton&leHundteds bfautQmlttic; musicaJin~trurtlllntsf~ saleatWl'rolesalllll'fj_l~nd$$ f<>i< . -our fascirllitinll"AIG '~l!Y~/~. YojJ.~\I&.~ver~h.;an~lle1' " '. C!ltll.log.1ikti it•.$attsf!l(:tlon 9tiarilnteed: ·'Or-~,.nd.$1tlfl)r+•. VANT£J>:Wa Fl"box,f~~ $~~buf9 j,W ~r I i tz e r sUbwjptionto: the n1exUfx issl.les. ' , '. ;~:,: "Western-Etectric ,"othe:r·'"ci~Kelodeons. /1\Iearly1..ooo instrUl'nenlt·. .ten4W·inStock-th.~ptif:t~~ .. .lar~s.t inventory, .Complete (.ci1tfiils.to(IQV(~~sh~/lg: Ron Bopp, 505G lenview,'JopHfi. MO . '.. ,to 'fou. Ournetwo~o:fblJyersinAlMtidaarnfinE.I.rttlPQ 6~SOl. . 'IClaes Friberg in Copenhagen,i-souriurOji)ff!qirectorlgiyes YOu: tM !lest se~ctiQn at lowest pri:ces;".ttler\l a~ 0;0 rnit;l(j'le· men ,oragent5, t(ll'ay. ' , ' , . . OurCalifomia showr90m is CJl)en, Wednesday th.roUIit1Sllt'4ir, ' 'FOR SAlE: .. WlJrlrt~er2-7 Theatre Pipe' lilly 9 A.M. to noon .and 1 tQ 4 P.M. Weare 8 QU\/:'k'1i minllft drIve south of Di$My1and, ilJJt.~wminutftj'f.Om . Organ cp~pl.teV1.i,,·tl:,.t:oy shelf, com-' the nearest frellWay. Visit us the next Hme~YO\!llre in the " . pJ~!l\lJ .nt'1~d;P lusMorton·· 3 man...... LQj ,An9!lles.•rlIlj;'AWon~er.lanltof.utomatiemusicaL iIJStrll" 'O~ "ine~tsawaitS'volll l.niddittonyOU 'can., se.:fablliousordles- . . ,w:ithr.elays for· 13 ranksQf ,.trlpn$. ormil1S,ahdpiallosln otlr.e • ...•.. ,~£ . ' t>UO-ART "~r.$'rr~:J~~~I:I~OA.l~a7 "\·~·.NO.$t~:· ..... ;='. "~;{"'~.~!;~~'!.,,. ;~~tr'lIf'9~'3tcl'i , .. ,.,. ", . : . ·•· ..1 " " . l>ta;tedtlYJ'Hi . '. TH~$EJ:,()()t.IS.~THl"'G$Ii~M~NO!'Ai: bl"".v~J.> :,,~p.tctaG ". . "'/ . ;'i:'kOA'l'O~(l Played by R?bert FMClunar' Pla~ bY RobeitFcAtClUhar " . POMP AN 0 CIRcuMSTANCE ttAMP·I03i . . '., ..ct1'gAtlGS1 P~~yed,bY Kmlta.&Lllmbeft ' PIIlY.d.b)lE~lIIa-ntz "''f(:$OOtto~O&:T~ i~I~T~'MW~ICAL.S*" < 1lt"~H~':~~ '. " ~o' . • o;'U:' , aAO:TH ·..A·.··.··.•...····.·.·:.M·~·······•.. ····· · ."I'.·.·C·A.··.········.·~BUL~·Tometke.t·t·;/..BL ETI~N.·"',.'.'. 'Publisher I . RETURN POSTAGE GUARANTEED ADDRESS CORRECTION REQUE'STED