WELTE-MIGNON CENTENNIAL BULLETIN ------1904-2004------//~ :-,- ~. I '~ ) ,..------..------If you are plan ning to build the Readers' OCTOBER, 19°7 COUNTRY LI FE IN AMERICA Servia can give you helpful suggestions 735

·gnon plays as Paderewski plays, as Lhevinne plays,as Grieg, Hofmann The Welte-Ml Pugno, Sauer and other recognized mastersof the -forte play These artists have themselves made and signed the records by means of which their playing is reproduced. You will recognize their individual touch, their phrasing, their accenting, their pedaling, their powerful forte and the various degrees of their caressing pianissimo.

ALfRE,D GRUENfE,LD says JOSEPH HOfMANN says " Now that I have had an opportunity "The incomparable Welte-Mignon has of personally hearing the reproduction of opened an eventful future for the musical world. Henceforth the piano-player will the pieces played by me for the "Mignon" be on a level with the productive artists piano-forte-player, I cannot refrain from in regard to the imperi shability of his work. givingexpress ion to the great pleasure and since he will live for all time in his work. admiration with whi ch these really ex­ What a loss it means to us not to have had traordinarily successful renderings have the Welte-Mignon long ago! But what a filled me. The pieces I had played were blessing it will prove to future generations!" reproduced with such deceptive accuracy, with all the shades of expr ession intro­ VLADIMIR de PACHMANN says duced by me, that my friends who were "The Welte-Mignon reproduces the present received the impression that I living soul of the artist. It is unequ aled." myself was at the piano."

Paderewski Playing for the Welte-Mignon Recorder

To und erstand how well this wonderful instrument plays, you must eliminate from your mind absolutely every impression which every self-acting piano or piano player has ever given you. Only by hearing the instrument can you realize that it embodies a truly wonderful achievement-the recording of so intangible a thing as a pianist's touch, and the possibility of its reproduction at will. Go to any of our stu d ios and hear the classics played b y y o ur favorite virtuoso. ON EXHIBITION AT Messrs, E . F. Droop & Sons Pian o Co.,Washington , D.C. The S. Hami lto n Company . Pi ttsbu rg, Pa . Messrs. J . T. Wam elink & Sons Piano Co., Cleveland, . Messrs. Ei lers Music Co.. , Californ ia. Messrs. Lyon & Healy. . Ill. Th e Whitney & Currier Co.. To ledo, Ohio. Messrs. Eil ers Piano House, Portland. Oregon. Sm ith & Nix on, Loui sville. Ky. Mr. Edward Gram. . Wi s. Messrs. N. Stetson & Comp any. Philad elphia. Pa , The Rudolph Co.. , Ohio.

Booklets and F u11 Opposite Information from WELTE-MIGNON ARTISTIC CO.,398 Fifth Avenue, Ne'w York Tiffany's

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,1 f '.' ' v-- - '-.-,:...... -~ THE AMICA BULLETIN AUTOMATIC COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens

VOLUME 41, Number 3 July/August 2004 AMICA BULLETIN

Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher Sayings We’d Like — 200 Chapter News CD’s, DVD’s Not So Immortal — 201 UPCOMING PUBLICATION The Case of the Missing Bottom Bellows — 202 DEADLINES The ads and articles must be received Reproduces Playing of World’s Noted Pianists — 203 by the Publisher on the 1st of the Autogramme Beruhmter Meister Der Tonkunst — Odd number months: 205 January July Favorite Daughter — 211 March September May November News From the Netherlands — 212 Bulletins will be mailed on the 1st week Adopt-A-Piano Campaign Letter — 213 of the even months. An American Instrument - The Banjo — Dr. Michael A. Kukral, Publisher 215 216 Madison Blvd. Ampico History in a Nutshell — 219 Terre Haute, 47803-1912 Phone: 812-238-9656 Some Welte-Mignon Recordings on CD — 219 e-mail: [email protected] Excerpts from The Welte-Mignon: Its Music and Musicians — 225 Welte-Mignon: Patentiert in Allen Culturstaaten — 242 The Welte Musicale — 258 MEMBERSHIP SERVICES New Memberships ...... $42.00 DEPARTMENTS Renewals ...... $42.00 Additional $5.00 due if renewed AMICA International — 198 past the Jan. 31 deadline President’s Message — 199 Address changes and corrections From the Publisher’s Desk — 199 Directory information updates Letters —200 Additional copies of Member Directory . . . . $25.00 He Shall Be Remembered —242 Single copies of back issues New Piano Rolls & Recuts —270 ($10.00 per issue - based upon availability) Chapter News — 271 William Chapman (Bill) Classified Ads — 277 53685 Avenida Bermudas La Quinta, CA 92253-3586 Front Cover: From The Welte-Mignon: It’s Music and Musicians (760) 564-2951 e-mail: [email protected] Inside Front: Ad From The Country Life In America, October 1907 To ensure timely delivery of your Back Cover: Welte-Mignon Ad BULLETIN, please allow 6-weeks Inside Back Cover: Max Reger Photo advance notice of address changes.

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

Entire contents © 2004 AMICA International Printed by Engler Printing Co., Fremont, OH ¥ [email protected] 197 AMICA INTERNATIONAL

INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Dan C. Brown BOSTON AREA NORTHERN LIGHTS N. 4828 Monroe Street Pres. Bill Koenigsburg -(978) 369-8523 Pres: Phil Baird Spokane, WA 99205-5354 Vice Pres: Bob Tempest Vice Pres: 509-325-2626 Sec: Ginger Christiansen Sec: Jason E. Beyer - (507) 454-3124 e-mail: [email protected] Treas: Karl Ellison Treas: Howie O’Neill PAST PRESIDENT Linda Bird Reporter: Don Brown Reporter: Dorothy Olds 3300 Robinson Pike Board Rep: Karl Ellison Board Rep: Dorothy Olds Grandview, MO 64030-2275 CHICAGO AREA PACIFIC CAN-AM Phone/Fax 816-767-8246 Pres: Carl Kehret - (360) 892-3161 e-mail: OGM [email protected] Pres: Curt Clifford - (630) 279-0872 Vice Pres: John Mueller Vice Pres: Peg Kehret VICE PRESIDENT Mike Walter Sec: Thad Kochanny Sec: Halie Dodrill 65 Running Brook Dr., Treas: Bev Spore Treas: Joe Pekarek Lancaster, NY 14086-3314 Reporter: Mark Smithberg Reporter: Kathy Stone 716-656-9583 Board Rep: Carl Dodrill e-mail: [email protected] Board Rep: George Wilder SIERRA NEVADA SECRETARY Christy Counterman FOUNDING CHAPTER Pres: John Motto-Ros - (209) 267-9252 544 Sunset View Drive, Akron, Ohio 44320 Pres: Bing Gibbs - (408) 253-1866 Vice Pres: Sonja Lemon 330-864-4864 Vice Pres: Karen Ann Simons Sec/Treas: Doug & Vicki Mahr e-mail: [email protected] Sec: Lyle Merithew & Sandy Swirsky Reporter: Nadine Motto-Ros TREASURER Wesley Neff Treas: Richard Reutlinger Board Rep: John Motto-Ros Reporter: Tom McWay 128 Church Hill Drive, Findlay, Ohio 45840 SOWNY (Southern Ontario, Board Rep: Richard Reutlinger 419-423-4827 Western New York) e-mail: [email protected] GATEWAY CHAPTER Pres: Mike Walter - (716) 656-9583 PUBLISHER Dr. Michael A. Kukral Pres: Tom Novak - Vice Pres: Stan Aldridge 216 Madison Blvd., Terre Haute, IN 47803-1912 Vice Pres: Bob Crowley Sec/Mem. Sec: Gary & Anne Lemon 812-238-9656 Sec,/Treas: Jane Novak Treas: Holly Walter e-mail: [email protected] Reporter: Mary Wilson Reporter: Frank Warbis MEMBERSHIP SECRETARY William Chapman (Bill) Board Rep: Gary Craig Board Rep: 53685 Avenida Bermudas, La Quinta, CA 92253-3586 760-564-2951 – Fax 775-923-7117 HEART OF AMERICA SOUTHERN CALIFORNIA e-mail: [email protected] Pres: Tom McAuley Pres: Frank Nix - (818) 884-6849 Vice Pres: Robbie Tubbs Vice Pres: Richard Ingram — COMMITTEES — Sec/Treas: Kay Bode Sec./Reporter. Shirley Nix AMICA ARCHIVES Stuart Grigg Board Rep: Ron Connor Treas: Ken Hodge Board Rep: Frank Nix 20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636 LADY LIBERTY AMICA MEMORIAL FUND John Motto-Ros Pres: Vincent Morgan (718) 479-2562 TEXAS P.O. Box 908, Sutter Creek, CA 95685-0908 209-267-9252 Vice Pres: Keith Bigger Pres: Jerry Bacon - (214) 328-9369 Reporting Sec: Maureen Saboda Vice Pres: Bill Boruff AUDIO-VISUAL & TECHNICAL Harold Malakinian Treas: Vicki Brady 2345 Forest Trail Dr., Troy, MI 48098 Corresponding Sec: Richard Karlsson Treas: Ira Malek Sec: Janet Tonnesen CONVENTION COORDINATOR Frank Nix Reporter:Marty Rosa Board Rep: Dick Merchant 6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849 Board Reps: Marvin & Dianne Polan Bulletin Reporter: Haden Vandiver HONORARY MEMBERS Jay Albert Newsletter Editor: Bill Maguire 904-A West Victoria Street, Santa Barbara, CA 93101-4745 MIDWEST (OH, MI, IN, KY) (805) 966-9602 - e-mail: [email protected] Pres: Stuart Grigg - (248) 356-5005 WEB MASTER Meta Brown Vice Pres: Liz Barnhart 400 East Randolph Street, Apt. 3117, Chicago, IL 60601 Sec: Sharon Neff 312-946-8417 — Fax 312-946-8419 Treas: Alvin Wulfekuhl Reporter: Christy Counterman Board Rep: Liz Barnhart AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS website: http//stlouis.missouri.org/fsjoplin MUSICAL BOX SOCIETY 43 Great Percy St., WC1X 9RA President - Fr. Gus Franklin [email protected] INTERNATIONAL England 6508 Willow Springs Road INTERNATIONAL PIANO Rosanna Harris, Editor PLAYER PIANO GROUP Springfield, IL 62707-9500 ARCHIVES AT MARYLAND 5815 West 52nd Avenue Julian Dyer, Bulletin Editor Phone: (217) 585-1770 Fax: (217) 585-0835 Performing Arts Library,University of Maryland , CO 80212 5 Richmond Rise, Workingham, E-Mail: [email protected] 2511 Clarice Smith Performing Arts Center Phone: (303) 431-9033 Fax: (303) 431-6978 Berkshire RG41 3XH, United Kingdom Editor - Dale Baker E-Mail: [email protected] P. O. Box 51450 College Park, MD 20742 Phone: 0118 977 1057 Indianapolis, IN 46251-0450 Phone: (301) 405-9224 NETHERLANDS MECHANICAL Email: [email protected] Phone: (317) 838-9345 Fax: (301) 314-7170 ORGAN SOCIETY - KDV E-Mail: [email protected] SMITHSONIAN INSTITUTION E-Mail: [email protected] A. T. Meijer Division of Musical History AUSTRALIAN COLLECTORS OF INT. VINTAGE PHONO & MECH. Wilgenstraat 24 Washington, D.C. 20560 MECHANICAL MUSICAL INSTRUMENTS MUSIC SOCIETY NL-4462 VS Goes, Netherlands SOCIETY FOR SELF-PLAYING 19 Waipori Street C.G. Nijsen, Secretaire General NORTHWEST PLAYER PIANO MUSICAL INSTRUMENTS St. Ives NSW 2075, Australia 19 Mackaylaan ASSOCIATION Gesellschaft für Selbstspielende 5631 NM Eindhoven, Netherlands DUTCH PIANOLA ASSOC. Everson Whittle, Secretary Musikinstrumente (GSM) E.V. Nederlandse Pianola Vereniging MUSICAL BOX SOCIETY OF GREAT 11 Smiths Road, Darcy Lever, Ralf Smolne Eikendreef 24 BRITAIN Bolton BL3 2PP, Gt. Manchester, England Emmastr. 56 5342 HR Oss, Netherlands Alan Pratt, Editor Home Phone: 01204 529939 D-45130 Essen, FRIENDS OF SCOTT JOPLIN P. O. Box 299 Business Phone: 01772 208003 Phone:**49-201-784927 1217 St. Croix Ct. Waterbeach, Cambridge CB4 4PJ Fax:**49-201-7266240 PIANOLA INSTITUTE Email: [email protected] Kirkwood, MO 63122-2326 England Clair Cavanagh, Secretary 198 President’s Message As my term in office as AMICA President draws to a close, I remain a defender of the player piano (maybe not quite as dramatically as in the photo). Since my last message, I've received a number of responses from members with suggestions about building membership and strengthening the organization. This will be a major topic for the Board at the convention this year. It's clear that the strength and growth of the organization is directly dependent on the chapters and that those which make efforts to welcome and involve new International members as well as the general public produce interested and involved new AMICAns. Reminiscent of the performances by our late President Molly Yeckley, the Pacific Can-Am Chapter and member Dick Spady recently supported a live performance/Ampico performance at the recital hall at 's Benaroya Hall, where the Seattle Symphony performs. Nathan Bello, who became known to us at last year's convention, was the concert pianist. The enchantment of the public with the abilities of the Ampico was obvious and I was again reminded that those instruments which are so familiar to AMICA members are quite unknown and exotic to the general public. Watch for details of the concert in a future Bulletin. Thanks for all of the support during my term of office. Overall, it's been a lot of fun and I look forward to continuing my active involvement with this great organization. Dan Brown AMICA President From the Publisher’s Desk

“Your publisher and Edwin Welte’s personal Steinway in the Augustiner Museum, Freiburg, Germany.”

199 ETTERS

mentioned in your President's letter that brochures could be passed out at the sometimes people are looking to give schools for the kids to take home and their instruments away. Depending on perhaps some of the parents would be Hi Dan, what they are.... please consider me!) I'm interested as well. At least for me, my I especially enjoyed the most recent not sure how to resolve the gaps because love of automated instruments started in AMICA Bulletin (March/April 2004). I would like to be more involved in the childhood - my aunt had an antiques It was very informative and especially future. I have had the player piano for business and she had a variety of entertaining. I particularly enjoyed several years and I joined AMICA after I nickelodeons in her home over the years. the article about you and the tongue-in- happened to catch an organ rally in LA at I loved going to her house to visit her and cheek article about the Reproducing Descanso Gardens a couple of years ago. see her instruments. Rollmonica. I saw a bunch of wonderful instruments, Anyway, I love getting the Bulletin I have been a member for about 2 was handed a brochure, and the rest is and hope that eventually I can get more years and am among your "new" target history. The ad for the Castlewood organ involved in AMICA. demographic - I am in my mid-30s and kit was in my first AMICA bulletin. Karen Hefter have a foot pedaled player piano and a On the positive side, I recently played [email protected] Rollmonica. I also completed building a my monkey organ in my daughter's Castlewood busker organ kit about a year kindergarten class and did a demo of how ago. I am very interested in automated it worked. A buddy had made me an extra Hi Mike musical instruments and would love to demo bellows and a pipe that opened up I really enjoyed the article on keep them "alive" but I am finding it so you could see inside. The kids were Musical Boxes for New Collectors difficult to get very involved in AMICA. fascinated by the fact that the monkey in the March/April 2004 issue of I have small children and the meetings organ required no batteries or a CD! The THE BULLETIN. Authors Ron Bopp & (Founding Chapter) are not generally kids LOVED it and told their parents all Angelo Rulli are to be commended very close to my house and it is difficult about it. (I heard from several parents for their simple straight-forward talk to get child care for meetings that are after the fact). I also played at a school about music boxes. What a great article. 2-4 hours away plus meeting time. carnival last weekend. It was a huge That same issue also had an article on Similarly, conventions are difficult. I hit there as well. Maybe people with one of my favorites--Busby Berkeley. am also finding it to be financially portable instruments could volunteer We have a Laser Disc with shorts from prohibitive to acquire additional to share their instruments in school many of his Warner Bros. productions. It instruments since instruments that classrooms or assemblies and get another was great to see his piano. are beyond the standard player piano generation interested so that the love of Keep up the good work, appear to be quite costly. (However, you automated instruments continues. Maybe John Motto-Ros

Sent in By Robin Pratt AYINGS WE’D LIKE To See On Those Office Inspiration Posters

Rome did not create a great empire by Artificial Intelligence is no match for The beatings will continue until morale having meetings; they did it by killing Natural Stupidity improves. all those who opposed them. A person who smiles in the face of adver- Never underestimate the power of very If you can stay calm, while all around sity... probably has a scapegoat. stupid people in large groups. you is chaos... then you probably haven't completely understood the Plagiarism saves time. We waste time, so you don't have to. seriousness of the situation. If at first you don't succeed, try manage- Hang in there; retirement is only thirty ment. years away! Doing a job RIGHT the first time gets the job done. Doing the job WRONG Never put off until tomorrow what you Go the extra mile. It makes your boss fourteen times gives you job security. can avoid altogether. look like an incompetent slacker. Eagles may soar, but weasels don't get TEAMWORK... means never having to A snooze button is a poor substitute for sucked into jet engines. take all the blame yourself. no alarm clock at all. continue. . . 200 continued. . .

When the going gets tough, the tough Never test the depth of the water with Good judgment comes from bad take a coffee break. both feet. experience, and a lot of that comes from bad judgment. INDECISION is the key to If you think nobody cares whether you're FLEXIBILITY. dead or alive, try missing a couple of The quickest way to double your money mortgage payments is to fold it in half and put it back in Succeed in spite of management. your pocket. Before you judge someone, you should Aim Low; Reach Your Goals, Avoid walk a mile in their shoes. That way, A closed mouth gathers no feet. Disappointment. when you do judge them, you're a There are two theories about how to win Maharishi Fattifatbastards Guide to Zen mile away and you have their shoes. an argument with a woman. Neither The journey of a thousand miles begins If at first you don't succeed, avoid sky- one works. with a broken fan belt and a flat tire. diving. Generally speaking, you aren't learning The darkest hours come just before the Give a man a fish and he will eat for a much if your lips are moving. day. Teach him how to fish, and he dawn. So if you're going to steal your Never miss a good chance to shut up. neighbor's milk and newspaper, that's will sit in a boat and drink beer all the time to do it. day. Experience is something you don't get until just after you need it. Sex is like air. It only becomes really Have you ever lent someone $20 and important when you aren't getting any. never seen that person again? It was When we are born we are naked, wet, probably worth it. hungry, and we get smacked on our Don't aspire to become irreplaceable. If ass. From there on in, life gets worse you can't be replaced, you can't be If you tell the truth, you don't have to promoted. remember anything. The most wasted day of all is one in which we have not laughed. Remember, no one is listening until you Some days we are the flies; some days fart. we are the windshield. Remember not to forget that which you do not need to know. Never forget that like everyone else, you Don't worry; it only seems kinky the first are unique. time.

Sent in By Karl Ellison D’S, DVD’S Associated Press Release, NOT SO IMMORTAL May 6, 2004.

(AP) -- Dan Koster was unpacking “We were all told that CDs were But in Hartke's view, it’s more some of his more than 2,000 CDs after a well-nigh indestructible when they were common that discs are rendered move when he noticed something introduced in the mid ‘80s,” Koster says. unreadable by poor handling by the strange. Some of the discs, which he “Companies used that in part to justify owner. always took good care of, wouldn't play the higher price of CDs as well.” “If people treat these discs rather properly. He went through his collection and harshly, or stack them, or allow them to Koster, a Web and graphic designer found that 15 percent to 20 percent of the rub against each other, this very fragile for Queens University of Charlotte, discs, most of which were produced in protective layer can be disturbed, North Carolina, took one that was the ‘80s, were “rotted” to some extent. allowing the atmosphere to interact with skipping pretty badly and held it up to the The rotting can be due to poor that aluminum,” he says. light. manufacturing, according to Jerry Part of the problem is that most “I was kind of shocked to see a Hartke, who runs Media Sciences Inc., a people believe that it's the clear underside constellation of pinpricks, little points Marlborough, Massachusetts, laboratory of the CD that is fragile, when in fact where the light was coming through the that tests CDs. it’s the side with the label. Scratches aluminum layer,” he says. The aluminum layer that reflects the on the underside have to be fairly His collection was suffering from light of the player's laser is separated deep to cause skipping, while scratches “CD rot,” a gradual deterioration of the from the CD label by a thin layer of on the top can easily penetrate to the data-carrying layer. It's not known for lacquer. If the manufacturer applied the aluminum layer. Even the pressure of sure how common the blight is, but lacquer improperly, air can penetrate to a pen on the label side can dent the it’s just one of a number of reasons that oxidize the aluminum, eating it up much aluminum, rendering the CD unreadable. optical discs, including DVDs, may be a like iron rusts in air. lot less long-lived than first thought. continue. . . 201 continued. . .

Koster has taken to copying his CDs and brand six months later, it can be very For maximum longevity, discs should on his computer to extend the life of the different.” be stored vertically and only be handled recordings. Unfortunately, it’s not easy to This renders the frequently heard by the edges. Don’t stick labels on them, figure out how long those recordable advice to buy name-brand discs for and in the case of write-once CDs, don’t CDs will work. maximum longevity fairly moot, he says. write on them with anything but soft Fred Byers, an information technology DVDs are a bit tougher than CDs in water-based or alcohol-based markers. specialist at the National Institute of the sense that the data layer (or layers -- Also, like wine, discs should be stored Standards and Technology, has looked at some discs have two) is sandwiched in a cool, dry place. Koster’s friend writeable CDs on behalf of government in the middle of the disc between two Mark Irons, of Corvallis, Ore., stored agencies, including the Library of layers of plastic. But this structure causes his CD collection in a cabin heated by a Congress, that need to know how long problems of its own, especially in early wood-burning stove. The temperature their discs will last. DVDs. The glue that holds the layers would range between 40 degrees and 70 Manufacturers cite lifespans up to 100 together can lose its grip, making the disc degrees in the space of a few hours. Now, years, but without a standardized test, it’s unreadable at least in parts. the data layer of some of his CDs looks very hard to evaluate their claims, Byers Users that bend a DVD to remove it as if it's being eaten from the outside. says. The worst part is that manufacturers from a hard-gripping case are practically Irons is still pretty happy with CD frequently change the materials and begging for this problem, because technology, since it beats vinyl LPs and manufacturing methods without notifying flexing the disc puts strain on the glue. tape for longevity. Now that he's moved users. Rewriteable CDs and DVDs, as his discs to an apartment with a more “When you go to a store and buy a opposed to write-once discs, should not stable temperature, he's noticed that the DVD-R, and this goes for CD-R as well, be used for long-term storage because decay has slowed. you really don’t know what you’re they contain a heat-sensitive layer that “I’m hoping they’ll hold out till that getting,” he says. “If you buy a particular decays much faster than the metal layers next medium gets popular, and everyone brand of disc, and then get the same disc of other discs. gets to buy everything over again,” he says.

By Donald Barton RPT DPS

HE CASE OF THE Owner of Barton Player MISSING BOTTOM BELLOWS Piano Co. Mpls. MN

I have been in the player piano 20 years. It pumped quite nicely, but the out the linkage, spacing, etc. Much to rebuilding business for over 30 years, so piano action needed some work, so the my dismay, THERE WERE NO I assumed I was familiar with almost all piano was temporarily set aside. BOTTOM BELLOWS, RESERVOIRS, the available systems. NOT! One day a customer came in looking TEMPO REGULATOR... NOTHING! A local piano tuner recently sent in a for a player piano and I mentioned that I was certain that I had just played the piano on a consignment basis. It was this nice walnut Bush & Lane would be piano the previous day. What was 1928 Bush and Lane player. I gave it a available soon. She asked if it could be going on here? I tried to hide my very brief once-over evaluation. Lifting retrofitted with automatic rewind and disbelief from the customer and the top lid I could ascertain that the shut-off. I told her that I probably could, replied, “Suuuure, it can be automated... airmotor had been rebuilt within the last so I pulled off the bottom board to check no problem”. After the customer had left, I took off the rest of the panels to see how this magic piano worked. I found that the two pumpers and reservoirs were attached to the underneath of the top player action, with connectors going through the key bed to the pumping pedals. I then removed the player action and took off one of the pneumatic/valve units. There was a single row of pneumatics. The pneumatics were a very narrow accordion style with a surprisingly tiny valve.

continue. . . 202 continued. . .

Dean Randall refers to this type of to this remarkable, small, and action in his article ‘Farrand, Cecilian simply designed Unitype system. and Bush & Lane Player Actions.... As with the AMPICO “B”, very few Comparison’ He refers to this action of these systems were manufactured as the “the very late and very scarce due to the fact that by the time ‘Unitype’ action, a single-tier stack in these systems were refined and which the valves work on an entirely perfected, the player piano lost different principle from the norm”. favor to competing forms of I was awe struck when comparing the home entertainment, the radio Cable Carrola Inner Player ( which takes and . up every square inch of available space)

Submitted By Mike Kukral EPRODUCES PLAYING From Musical OF WORLD’S NOTED PIANISTS America, 1912 M. E. Burnham conducts Unique the contrasting characteristics of the Demonstrations at Welte-Mignon greatest pianists in the world. Studios-1912 The liveliest interest has been evinced Interesting programs of piano music by the discriminating audiences that are given semi-weekly at the studios gather at this studio, in listening to the of the Welte Artistic Player Piano Co., at differing interpretations of the same No. 273 Fifth Avenue, New York, being compositions, as played by several artists presented on the Welte-Mignon, a type of and reproduced through the medium of automatic piano which reproduces actual the Welte-Mignon; and the variations in interpretations by contemporary masters touch, phrasing and pedal effects thus of the pianoforte. shown in the work of the virtuosi are These recitals are invariably well noted appreciatively. attended and are conducted by M. E. Through the medium of this Burnham, a protégé of Bertha Baur, instrument the characteristics of the art directress of the Cincinnati Conservatory of a Paderewski, a Hofmann or a Carreno of Music. Mr. Burnham was a are preserved and reproduced with scholarship pupil of that institution and absolute accuracy. M. E. Burnham, a Graduate of the studied pianoforte under Theodore The entire scheme for the season’s Cincinnati Conservatory of Music. Bohlmann. series of recitals at this studio has been The programs for these recitals are worked out by Mr. Burnham with great Welte-Mignon is used in such famous carefully arranged, much thought being care and with particular reference to schools as the London Conservatory, the given to the formation of a series of presenting well-balanced programs that Imperial Conservatory of Music, , recitals revealing in chronological order shall have distinct educational value. The the Royal Conservatory, Budapesth, and other large educational institutions. 203 ~ • ..1 - c: ~

Oli8inal . " \ '.J 2nd Hasler Roll This roll was

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Sent in By Stan Aldridge ASHER r- ~ Tom bought the for me. 1~ S19.95 at Software Shack.

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204 ~ 2 ~ 1 Sent in By Ken Caswell

205 ~ 4 ~ 3

206 ~ 6 ~ 5

207 ~ 8 ~ 7

208 ~ 10 ~ 9

209 ~1 2 ~ ~ 11

210 ~ 13

Submitted By Clara Wingfield AVORITE DAUGHTER From “Wichita Eagle” Sunday March 14, 2004

Leavenworth, Kansas years, was ecstatic last week when years, until a group member suggested the check for the band organ arrived. contacting Etheridge. The town of Leavenworth can now He said people restoring a small When Reinhardt learned she would buy a $15,000 band organ, thanks to 1913 that will be on display pay for the organ, he offered to rocker Melissa Etheridge. during the Taste of Leavenworth engrave a brass plate, as she wished. Etheridge, who grew up in next month had been wanting a band The plate, which will be on display Leavenworth, donated the $15,000 organ to go with the carousel. at the Feb. 28 event, will say: “Given needed to buy an organ the town “But we also knew we did not have to the Great People of Leavenworth, had its eye on for a long time. enough money to buy one,” he said. with much appreciation. From Melissa Jerry Reinhardt, a carousel aficionado The one they wanted was in the Etheridge.” who’s worked with the Leavenworth Kansas City area. They expected to Historical Museum Association for have to scrounge for money for several

211 By Hendrik Strengers

EWSFROMTHE Musical Box Society International News Bulletin NETHERLANDS May/June 2004

No Connection Welte - Titanic No one from the more than 2200 with Welte and with his passengers and crew of the Titanic brother-in-law, Edwin. could ever have thought that after 86 The above mentioned letter years, the film of the sinking of this from Ilse Bockisch is undated. The ship would produce such gigantic translated text of the letter is: “This profits. But that is another story. organ was saved from the sinking of The English Oceanic Steam the Titanic! How was that possible? Navigation Co., Ltd-the White Star The firm Michael Welte & Sohne in Line-had ordered the largest Freiburg im Breisgau had built the passenger steamer in the world to be instrument by order of the White built. It became a ship of 46.328 Star Line on behalf of the Titanic. gross register tons and everyone Several delays caused the organ not was convinced that is was to arrive timely in England. Karl unsinkable because of its watertight Bockisch, who was already in compartments. Therefore, the name Southhampton, was, however, Titanic was chosen in relation invited for the maiden voyage of to its size and strength. The maiden the Titanic. By a happy (unhappy) voyage was planned as a sailing coincidence he eluded fate. He from Southhampton in the south of received a telegram calling him back England to New York. But the home because a close relative was seagod, Poseidon did not like such a perilously ill.” So, both survived-the large ship in his imperium. So, he organ and its builder. The disaster sent an iceberg to intersect with the and the outbreak of World War I also Titanic just off the coast of New frustrated the plan to place the organ Foundland. The collision with the on later ship on order from the White iceberg took place at 41 degrees Star Line. 46’ latitude north and 50 degrees Such a remarkable letter-does it The Welte Philharmonic Organ in the Castle of Bruchsal 14’ longitude west. There was match the facts? The Dutch insufficient life-saving equipment by an electro-pneumatic system and at pressman, Edward P. deGroot has and after about three hours the ship some time it came into the hands of a written a lot of articles and also a leading sank on April 14, 1912. 1503 people manufacturer in Aalen (Wurtemberg). book about the Titanic. In l980-81, he lost their lives from a total of 2206 Ultimately it was bought by Jan Brauers, conducted a detailed correspondence passengers and crew. In peace-time, this whose magnificent collection is with Jan Brauers who could not produce number has never been surpassed in any displayed in the Castle at Bruchsal. Jan any clear proof that the organ which he shipping disaster. Brauers wrote about the organ in had acquired was really the organ In the well known museum of his book, Von der Aolsharfe zum ordered for the Titanic. One the contrary, mechanical musical instruments in Digitalspieler (Klinkhardt & Biermann, in reference to the matter, Mr. deGroot the splendid Castle of Bruchsal (near Munich, 1984). On pages 218-219 he wrote to Mr. Jacques Gerssen the Karlsruhe in Germany) you can see and wrote that this organ was ordered on following on April 26, 1987: “Mr. hear a Welte organ. The claim is that it behalf of the Titanic. To add weight Brauers could only show a small letter was saved from destruction because it to this statement he reprinted a letter written by Ilse Bockisch. From this letter, was not delivered in time to be installed from Ilse Bockisch, the wife of Karl it is apparent that Mr. Brauers was led by on the Titanic. This Welte philharmonic Bockisch (1876-1952). She was the only the nose by her and a clever salesman to organ (see illustration) plays from paper daughter of Berthold Welte (1843-1928). get a substantially higher sum for the rolls with 100 holes. There are 260 pipes. Berthold also had a son, Edwin. Karl organ. Neither in the building plans of It has 7 stops. The dimensions are: 232 Bockisch was a technically gifted man the ship nor in the specifications of the cm (7’7”) side, 125 cm (4’1”) deep and who was involved extensively with the ship-builder in Belfast can anything be 302 cm (9’11”) tall. The instrument creation of the reproducing piano. In found about plans for an organ (e.g. in cannot be played by hand. It is powered the year 1900, he became co-partner continue. . . 212 continued. . . the third –class day-residence, because an later on August 1, 1914. So there would books and articles without any real organ would be unthinkable in the first have been sufficient time to place the research on their part. But it is, as you or second class). A similar organ was organ on another ship, e.g. the Olympic. know, fairy-tales last forever! never placed on the sister ship, Olympic, Would not the Welte firm have The author has stated the following: and it was still in service until 1935! The claimed the deposit money and final In regard to the White Star Line Welte organ should have been installed payment (or at least a good part of it) had never having ordered an organ for on the Olympic had it been ordered.” the White Star Line refused to place the any passenger steamer-Mr. Edward P. In the available archives, nothing can organ on a sister ship? deGroot has made extensive research be found concerning any correspondence In conclusion the White Star Line into the archives and he could not find or contact between the White Star Line never ordered an organ for any passenger any trace of an order for an organ or and the Welte firm! But there are more steamer. It is quite clear, then, that in the . questions. Castle in Bruchsal you can see and hear a The letter from Ilse Bockisch-Mr. In the letter of Ilse Bockisch, it is magnificent Welte organ. But it is not Brauers could not prove that this undated mentioned that her husband stayed in clear for whom the organ was originally letter was authentic. Southhampton. The question is, why? built. It is not even clear how it was The conclusions arrived at in the If the organ was not finished in time acquired by the manufacturer in Aalen. article are the opinions of the author for installation, he had no reason for The story mentioned by Jan Brauers in after doing extensive research into the remaining in Southhampton. his book has to be consigned to the realm subject. Ilse writes that the organ was built in of fancy. Unfortunately many serious 1911/1912. World War I started two years authors have quoted this fairy-tale in

DOPT-A-PIANO CAMPAIGN LETTERS Hi Mike, early days of AMICA. Dale Lawrence City, Montana. At one point they asked I am enclosing some updated was a house guest here for a week when if AMICA would be interested in information for the Bulletin re: his daughter was in the hospital here in establishing an endowment fund Adopt-a-Piano campaign. Also the S.F. so we had some good times talking for present and future restoration following info about two of our Founding about how he and Sally got involved with of instruments but under their Chapter members: the hobby and helped found AMICA. administration. I declined for two In the past year two of our Founding Keep up the good work. Hope to see reasons: (1) that AMICA is not a large Chapter members passed away. Both you at the convention in Denver. enough organization to establish a were long-time members who were sizeable endowment fund, and (2) we Richard D. Reutlinger active some years ago. Dr. Luis Chardon would not be inclined to fund something had a charming, rambling 1920’s home not under our direct control. Too often down the peninsula from San Francisco money in such a fund can be siphoned and was noted for the spirited local off for administration costs. meetings he hosted. Elmer Klein also AN UPDATE ON THE Because of this inquiry, I produced was active with the chapter assisting ADOPT-A-PIANO PROJECT our actual proposal to the Commission. his wife Lou who was our local With the publication of the article Jeff Tiberi, Executive Director of the treasurer for a number of years. We will “Adopt-a-Piano” in the AMICA bulletin Commission, had accepted our proposal miss both of these individuals. I have had several inquiries from by letter (copy included). I am going to I am enjoying the bulletin and chapters wishing to take part. The Found- Virginia City in late July on my way have had a couple of very enthusiastic ing Chapter voted at our March meeting to the Denver convention to meet comments from local members. One is to pledge $3,000 toward the fund and at personally with Jeff and other a neighbor across the street who is a this point I am suggesting that chapters representatives of the Montana Heritage relatively new member, has just had his wishing to participate make a pledge to Commission. I will report to the Board J. & C. Fischer restrung and thoroughly Wes Neff who will establish a separate at the Denver meeting. restored and can’t say enough good fund for this project. Once we have a list of instruments things about the Bulletin. So, cheers I have been in touch with the Montana needing restoration I will make it to you. Heritage Commission which oversees the available so that individual chapters If things ever quiet down a bit around preservation and restoration of structures may choose one to fund or perhaps join here I will get something down about the and artifacts in Virginia City and Nevada continue. . . 213 continued. . . with another chapter to fund a more This is a modest, grass-roots proposal Reutlinger, proposed an “Adopt-a-Piano” expensive instrument. from the Automatic Musical Instrument campaign to help finance restoration Collectors’ Assn. (AMICA) to the of instruments in the Nevada City NOTE: If members attempted to contact me via e-mail, the e-mail address in the new Montana Heritage Commission. One of Music Hall. He introduced the idea at Directory is incorrect. My correct e-mail is the primary goals of AMICA as stated last year’s National Board Meeting and [email protected] in our Bylaws is “to encourage the received an enthusiastic response. He restoration of automatic musical then put an article in the National Richard D. Reutlinger instruments to a condition consistent AMICA Bulletin to inform the general with the original intent of their membership about this campaign. To manufacturers”. With this in mind, one date, he has received favorable comments of our Founding Members, Richard from several chapters.

OUR PROPOSAL To establish a separate fund administered by our national treasurer to fund restoration of one or more instruments in the Bovey Collection. Individual chapters could contribute funds to restore a particular instrument or band together to fund restoration of more complex, larger instruments. Art Reblitz of Reblitz Restorations would handle the actual restoration work as he is very familiar with the collection and has the trust of the Montana Heritage Commission from past involvement. Once restoration work is completed, AMICA would pay Reblitz Restorations directly including costs of transport and insurance. This keeps the focus on the work and minimizes any administration costs. Instruments to be considered would first be chosen by John Ellingsen, Curator of History, Jeff Tiberi, Executive Director of the Montana Heritage Commission, and Art Reblitz. Once candidates for restoration are chosen AMICA chapters could choose which instruments to “Adopt”. Art Reblitz, early on, had proposed that the restoration of these instruments be solid mechanical work so that the instruments can remain in good playing condition for the general public to play with their own coins. We are not concerned here with expensive “cos- metic” restorations where the finish is flawless and every screw is replated. Your collection is displayed in an environment not unlike their original locations. One of the goals of this program is also to make the public aware of AMICA and it’s involvement in this restoration program. We expect some recognition in the form of a plaque or sign stating this. We (AMICA) hope that this proposal meets with the approval of the Montana Heritage Commission.

20th April 2004

Richard D. Reutlinger 824 Grove Street San Francisco, California 94117

Dear Richard, Thank you for your letter of 14th April 2004 concerning the music machines. It is always a pleasure to hear from you and I look forward to working with you on this project. The endowment idea represents the ideal situation for us, but it sounds like this approach is off the table at this point. There are options that I believe could address your concerns and hopefully we can continue the discussion this summer. Nonetheless, we want to move forward with your proposal. Jim Carpita, our Site Manager, and I will meet with John and other staff to discuss the first candidates for the program. We will prepare a list in the next few weeks and send it to you. Hopefully Art will have time to doctor our first patient sometime this summer. It gives us great pleasure to know that this partnership is underway and that we are setting up a program that will protect these unique machines well into the future. Hopefully this program will last for years, and both organizations will be able to take pride in the respective roles we play to look out for the future by taking care of the past. Future generations will appreciate the work that we are able to accomplish today. Thank you for your kind and generous offer. We look forward to working with you on this exciting project. Best regards, Jeffrey Tiberi Executive Director Montana Heritage Commission 214 Written By Yousuf Wilson N AMERICAN INSTRUMENT THE BANJO

Figure 2- Picking Mechanism – PART TWO – (not to scale) 1. Path the pick follows The choice of building a custom 2. Path the picking arm follows due to the crank (See Figure 1). instrument over a replica was a personal 3. Path followed by the point where spring A and the picking arm decision. To me, either choice would pre- are connected (Bearing point). sent equal difficulties, but the challenge The picking mechanism is shown at rest, with the crank held down slightly of building something unique is some- past dead center by Spring A. As the collapsing Pneumatic D starts the what offset by the flexibility afforded in picking cycle, the crank forces the parts to follow paths 1, 2, and 3. Note that throughout the downward power stroke of the pneumatic, the angle the design, layout, and parts that could be of Arm B and Spring A change, (dashed lines), with Spring A applying used. increasing upward force to the picking arm. However, until the crank has completed half of its circle, the picking arm cannot move upward. When the PARTS THAT WERE power stroke is completed and the Pneumatic D is allowed to open, Spring ADAPTED INCLUDE: C, which was put under tension by the collapsing pneumatic, forces the pneumatic to open rapidly. Spring A has enough tension to overcome gravity and the picking arm and pick lifts 1. A restored Duo Art pump and up past dead center and over the string. By the end of the return stroke, the angle of Arm B and motor for the vacuum supply. Spring A again exerts enough downward pressure to hold the crank slightly past dead center. The 2. Valve plates, stems, bleeds, etc. Pneumatic D and Spring C along with Arm B would tend to hold the crank at dead center, either locking the mechanism or allowing it to move in the wrong direction. Although not shown in the from discarded player stacks. drawing, spring tension along with the position of the crank are adjustable. 3. Transmission and spool box parts from an upright player action. When adjusted properly, the mechanism 4. spools. works flawlessly. Solving the mechanical operation did CUSTOM-MADE not solve the speed problem. As shown OR CUSTOMIZED PARTS in Part 1, Figure 2A, the roll limits the 1. Walnut case. repetition to 6.4 notes per second. To 2. Customized banjo. gain more speed in the rolls I cut, I used 3. Walnut spoolbox and tracker bar. an oval brass insert in the four tracker 4. Drive train from the pump to the bar holes for the picks, reducing the transmission. heights of the holes from 1/8” to less 5. All valve and pouch boards. than 3/32”. I also made a special oval Figure 1- Experimental picking mechanism 6. All pneumatics with various punch for the pick perforation under mounted on an old banjo. With very little fittings. 3/32” in height. This raises the roll limit modification, this system is used on my 7. And the most difficult, the picking to 8 notes per second, but getting the instrument. Seen on the banjo head are two mechanism with all its parts. pouch, bleed, valve and pneumatic train cranks made from brass stock and silver soldered. Between the cranks is a reworked to operate this fast presented the real banjo pick, which I preferred over metal for From the beginning I thought the challenge. its softer sound. picking mechanism would pose the The demands on the picker pneumatic biggest challenge, and indeed it did. are different from those of a player piano, individual adjustments did each My first thought was to use ramps or demanding more of the time allotted picker reach test speed. cams; but a few sketches revealed too per note be devoted to keeping the valve 2. The use of double valves (not a many complications. My next idea, the in play position. primary and secondary)-the need use of a race, was rejected because for the least possible resistance in it would require machine shop work, TO ACHIEVE MAXIMUM transferring vacuum/atmospheric and I had decided to fabricate PERFORMANCE REQUIRED pressure between valve and everything myself. (A race is a groove THE FOLLOWING: pneumatic required a large valve or channel that forces moving parts 1. Adjustable bleeds-setting the or two smaller valves. I opted for to follow a prescribed course.) bleeds identical (as far as possible) two valves. My third attempt made use of a crank on the bench did not result in 3. Valve return springs-the slowest and was successful. (See Figures 1 & 2). satisfactory performance, only by continue. . . 215 continued. . .

action in the complete cycle from availability of only 1 tracker bar hole for The pouch, valve, pneumatic work the opening to closing of a port bass and 1 hole for treble presented the for the finger buttons was fairly straight (in this case, the tracker bar hole) main problem. Using chain perforations forward with the exception of the close is the return of the valve from the that could possibly be several feet long spacing needed. This spacing is governed outer seat, where the pouch has close to the roll edge was not an option. by the spacing of the frets. An forced it, to the inner seat. The Changing vacuum pressure was also not explanation of various parts will be vacuum/atmospheric pressure that an option. found in the Captions 1 through 12. returns the valve is not as efficient After some thought, I came up with as the pouch, so a return spring this solution, the use of 2 pneumatics, a OTHER REFINEMENTS helps this operation. fast acting pneumatic and a slower acting INCLUDE: 4. Efficient pouches-pouches are adjustable pneumatic, both working from 1. Soft, medium and loud playing by governed by the same laws that the same valve. With one tracker hole, positioning the curved glass lid. loud, medium and soft are possible. (See govern pneumatics, so the least 2. A switch in the spool box for single Figure 3) possible pouch dish along with or multiple tune selection. the largest practical pouch disks The banjo I selected for my project 3. A clutch using the off perforations are used. was a six-string tenor banjo tuned and fingered the same as a guitar. The wide between tunes to tighten the paper 5. Sufficient vacuum pressure and neck allowed the correct spacing for the on the take-up spool avoiding volume-although I hoped for a 4 strings and 40 finger buttons needed for annoying tempo hesitation. mechanism that would work at 10 my instrument. (See Figures 4 & 5) The 4. An area for roll storage. or 12 inch pressure and assure quiet normal narrow neck of the 4 or 5 string operation, the energy requirement 5. For the child in all of us, a view of banjo would not work without building of the mechanism as I designed it the spoolbox and transmission/roll up the width of the neck. requires between 18 and 20 inches tracking system and planned Particular care was needed in the vacuum so sound baffles were used moving figures. drilling of the 40 holes through the when possible. The Duo Art pump neck, and the guide block (center, supplies adequate volume and Figure 4) was clamped behind each pressure. fret in succession for this purpose. In preparation for this operation, the neck The expression mechanism also posed was removed from the banjo head, a challenge. The Encore roll is of the the nut knocked off (that’s the piece endless variety with 5 to the inch that spaces the strings) and the tuning spacing. By eliminating double OFF pegs removed. The neck also had a metal perforations (one on each edge), tensioning rod imbedded, which had to approximately 1/2 inch of blank paper be hacksawed apart before it could be per edge was available for use. Each 1/2 removed. The last operation before the inch edge was used for 3 perforations drilling could be done was to band saw (8 to the inch), the resulting 6 tracker the rounded bottom portion off the neck, bar holes are used for off, rewind, providing a flat area needed to hold the wood block, jingles, bass neck stable. This work, of course, was expression and treble expression. done on a new banjo that had never Having separate base and treble sounded a note! expression was desirable; and with bass and treble pickers already separate, the

Figure 3-Expression Mechanism The banjo normally plays loud. A single perforation causes the fast-acting pneumatic (A) to lock the system in medium by moving the picking mechanism (B) slightly to a spring-loaded catch (C). The Figure 4 - The neck after it was drilled slower acting unlocking pneumatic (D) does not close enough for and bushed. After the glue has dried, the the unlocking action, so the system stays at medium. A 1/4” or longer bushing cloth will be cut flush with the perforation causes the fast-acting pneumatic to close whether the system neck. The fabricated piece at bottom will be is on loud or medium, and gives the slower pneumatic time to glued and screwed to the bottom of the neck unlock the catch, and the system returns to loud. A to keep the neck rigid and to provide an longer than 1/4” perforation causes the fast area to attach the pneumatic boards. pneumatic to raise and hold the picking mechanism slightly past the notch in the spring-loaded catch, causing soft playing, and again, the system returns to loud. continue. . . 216 continued. . .

The months spent on this project were Figures 11 & 12 - Cutting my some of the most enjoyable and produc- own rolls did not present the insurmountable problem I thought tive I’ve ever spent. The advice I would it would, even not reading music give anyone contemplating a project- wasn’t an excuse! Figure 11 is a large or small-is to do it now! No time to photo of the marking/punching jig. spare is not a valid excuse. TV screens, The paper, which has been slit to computers, cell phones, pagers all use up roll size, is a snug fit between the fence guides, as is the marking precious time but leave little tangible guide #1. The sheet music is results. This is not the case when time is enlarged, then cut into strips; and spent on a musical instrument. Enjoyable by placing panels #2 and #3 to results are immediate and enduring. cover all but one measure, mistakes are almost eliminated. The marking guide #1 slides up and down between the fences and is marked with the music staff (the 5 horizontal lines); and with notes and letters in their appropriate places. As can be seen in Figure 12, the note D, circled on the sheet music strip, can be found on the marking guide (2 circles) in two places. The note D can be transferred to the by placing a pencil point in the hole directly below either of the circled notes, and scribing a line by moving the marking guide #1 up or down. This procedure can be done without 12 knowing the note is a D; but since the notes are all lettered below the staff, Figure 5 - The finger button pneumatics shown it isn’t long before the notes on the sheet mounted beneath the finger board. Another tier music are known by letter. of pneumatics are below those visible for a Before note marking, the roll paper is total of 40 pneumatics. Careful alignment marked in sub-divided measures (horizontal allows the finger button wire to go through the lines), and vertical lines for the 4 pickers, bushed hole and screw through a dowel in the the latter made with the marking guide #1. pneumatic finger, allowing easy adjustment to The lines made by using the marking guide the string and each other (Figure 6) are used as centers for the hand punch. Before using a hand punch or exacto knife, a punching surface, (in my case scrap 1/8” birch plywood), is placed between the 11 paper and marking jig.

Figure 8 - The customized pneumatic boards ready for assembly. As some have probably guessed, the dark wood used for all pneumatics and many other Figure 6 - As seen in the photo, the pneumatic fingers components inside the case is were made in groups, bushed, then sawn apart. At left is walnut. After re-sawing a large seen how the holes for the threaded wire were drilled. At amount of 1” thick stock into right the assembly complete except for the leather punch- various thicknesses for several ing glued to the bottom of the finger button. projects, I used the excess of remaining thin stock wherever practical.

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Figure 7A & 7B - Figure 7A shows the 2-pouch boards, one face up and one face down. The small brass nipples are tubed to a junction block, then to the tracker bar. Figure 7B shows the 2 valve boards, one face up, one face down. The aluminum nipples are tubed to the finger button pneumatics.

Figures 9 and 10 1. Motor mound and motor 2. Vacuum Pump 3. Transmission drive pulley 4. Belt tension arm 5. Cone-shaped pulley 6. Belt guide shaft 7. Tubing junction box 8. Valve chest for off, rewind, etc. 9. Finger button valve chest 7A 10. Roll storage compartment 7B 11. Governor 12. Valve chest with picker and expression components Figures 9 and 10 are photos taken from the right and rear. The sides and back can be removed from the banjo case for easy access to various components. The complicated-looking drive chain (3, 4, 5, and 6) deserves an explanation. The Encore uses an endless roll and has no problem with the tempo, which is fixed. My instrument uses spooled rolls, and I thought the 5 tunes on each roll could pose a built-up problem on the take-up spool (causing objectionable tempo speed up.) The drive train (3, 4, 5, 6) was designed to solve this problem and would work thus: The shaft at #6 has a pulley (not seen) that guides the belt to a position on the cone #5. The cone shaft has a sprocket and chain (visible to left of cone) that drives the transmission. Using the off signal that occurs after each tune, shaft #6 would ratchet slightly moving the belt up the cone, causing each tune to start at 80 tempo. The rewind signal would cause shaft #6 to return to start, and the first tune on the next roll would start at 80 tempo. I have held off attaching the ratcheting mechanism until I get more 5 tune rolls to see if it is needed at all. I have limited my hand-cut rolls to two tunes per spool. 910

218 By Jeffrey Morgan MPICO HISTORY Printed in IN A NUTSHELL May/June 2004, page 145 Addenda December 9th (1913) application Stoddard’s lawyers had countered (#805,488, for the Ampico Type 1A, earlier that the Welte legal team was presented in evidence as Stoddard hypocritical in making such an assertion Additional paragraphs to be inserted in Exhibit #4) could not function (“is (that the Type 1A could not function) in sequence directly under the existing inoperative”). This allegation was light of the fact that the invention (i.e., subheading – “Resolution Of Interference quashed by Stoddard himself when, cheek’s clone) depicted in the ‘Welte’ #40,391” on page 149 during his testimony, he personally application (#840,912) is, in actuality, demonstrated a Chickering piano itself non-operative (i.e., phony). Clearly, equipped with a Type 1A Ampico the Welte side was using the timeworn One major bone of contention in (presented in evidence as Stoddard ploy of falsely accusing an opponent Interference #40,391 revolved around the Exhibit #2). Thereby, Stoddard proved of the very trick they (Welte) were guilty Welte legal team’s assertion that the that the Type 1A did, indeed, work quite of themselves. invention depicted in Stoddard’s well!

OME WELTE-MIGNON RECORDINGS ON CD

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continue. . . 223 This interesting Welte letter contributed by Jeffrey Morgan.

224 By Charles Davis Smith & Richard James Howe XCERPTS FROM THE WELTE-MIGNON: ITS MUSIC AND MUSICIANS

these creations, offered in a growing and exhibited in Frankfurt and 3. Michael Welte and the 19th number of sizes and in finely carved Karlsruhe, 1848-1849, received the Century Beginnings cases, to be called “.” Princes highest reward, the gold medal. and kings, including the Sultan of [This was by far the largest The Black Forest area of Baden in Turkey, ordered instruments, and over Orchestrion at that time, and it southwest Germany was a center time the Welte orchestrions won prizes took Michael Welte three years to of mechanical clock making when and awards at industrial and world complete. It was operated by three Michael Welte was born in the town of expositions wherever they were shown. cylinders.] Voehrenbach in 1807. Regarding Many of the quotes in this historical “3. A small, a medium, and the family name, there continue to be overview are from letters written a large size orchestrion with differences in its pronunciation. The in the later 1940s and early 1950s paper-music rolls (1887). The three German manner is approximately by Edwin Welte, Michael’s grandson, brothers, Emil, Berthold (my “VELteh,” with accent on the first to the late Richard C. Simonton of father) and Michael (Jr.) Welte syllable. There are German-Swiss North Hollywood, California. Richard developed the Orchestrion playable colonies which spell the name Welty. Simonton became acquainted with and a by paper music rolls. They were a As the name spread into the English- friend of Edwin Welte after World War II. great success.” speaking world, the pronunciation which The following description of the early evolved may be expressed phonetically instruments was made to Dick Simonton After thirty years in Voehrenbach and as “WELLtea,” again, with the accent on in a letter from Edwin dated August 20, the business having gone so well, it the first syllable. 1947. It and others herein included are was prudent to consider other markets. The making of clocks in Baden edited on occasion only to give flow to Therefore in 1865, Michael’s eldest son, progressed from a simple striking of Edwin’s sometime awkward ability with Emil Welte, moved to the U.S. to found a hours or quarter hours to the playing of the English language. branch of the firm. Other than visits to little tunes on the chimes. Pipes were Germany, Emil stayed in the States added in time, and this type of clock was “Before 1914, I had the for the rest of his life, becoming a capable of playing more sophisticated intention to get a collection naturalized U.S. citizen. melodies operated by a cylinder or barrel together of the most characteristic It is said he opened a “wareroom” with pins. In 1827, at the age of twenty, automatic musical instruments on East 14th Street in Michael Welte became an apprentice my grandfather, my father and opposite Steinway Hall; also in July of to Johann Blessing in Unter-Kirnach. uncles and myself built . . . that year, 1865, he registered the firm in Blessing was a noted maker of musical I intended to exhibit in our music New York State as M. Welte & Sons. The clocks. During the next five years, hall in Freiburg the following first orchestrion was imported that same Michael learned his trade well from instruments of Welte make. year; it was sold to William Kramer and Blessing and from an uncle, also a “1. A Blackforest ‘Spieluhr’, a the Atlantic Garden, the Bowery, New mechanical clock maker. Michael then clock containing a small set of York City. left Unter-Kirnach and opened his own pipes which would by means of a Before long a showroom was opened, business in Voehrenbach, his birthplace. wooden cylinder play at certain located per one report at 557 Fifth This move in 1832 marked the beginning times little dances (about 1800- Avenue, and soon the Welte orchestrions of the future firm of M. Welte & Soehne. 1840). . . . The letter of apprentice were as well accepted in America as in A talented inventor as well as a between Johann Blessing, . Emil’s son, Carl Welte, was born craftsman, Michael began adding more Unter-Kirnach Schwarzwald, and in August of 1871, four years before pipes and instruments to his clocks. He my Grandfather to learn how to Edwin. Cousin Carl, who through his increased interest in these creations to the make ‘Spieluhren,’ is still hanging inheritance later became part owner of point where people were purchasing at the wall of my smoking room the original firm as well as the New York the mechanisms for their musical (1827). branch, visited Germany on occasion. performances, not for their time keeping. “2. An Orchestrion playable But he remained in New York City until He began dropping the clocks entirely with wooden cylinders. With the the outbreak of the Great War. At some and built larger units, though the music musical part of the Spieluhr more point he retired with his father to was still triggered by wooden cylinders and more completed, the clock was Norwichtown, Connecticut, and into a and their pins. Filled with more left off, and the instrument called home on East Town Street which had imitations of the , the units grew Orchestrion. A large instrument of been built in 1770. to include various and percussion this kind built by my grandfather instruments. It was a simple step for continue. . . 225 continued. . .

The town of Voehrenbach, Germany, Again quoting Edwin Welte: huge Concert orchestrion style No. 10. was somewhat isolated. In 1872, Michael There is no reason to believe that Welte moved his business to Freiburg, “In 1887 we originated, the Alhambra Court orchestrion was a prosperous hub city in the lower patented and built the first organs fabricated in the States, but this source southwest of Germany near the borders and orchestrions on the pneumatic also points to the paper roll pneumatic of and . Michael system with paper music rolls valve control accomplishment as Emil’s, selected a location across from the and, being protected by patents, and that it was created for a specific railway station. This gave his factory remained sole manufacturers customer in the . This was access to the world at large. Although the thereof for years.” (Note: Actually typical Welte procedure for decades. Freiburg location of M. Welte & Soehne patented in the United States in They placed demonstrators in their is usually cited as being older, the Fifth 1883. U.S. Patent No. 287,559 was warerooms but did not stock large Avenue site of the firm and its showroom granted to Emil Welte of New inventories. Quite often they built their established by Emil Welte pre-dated the York, New York on October 30, instruments on order in accordance with Freiburg factory by some seven years. 1883. The application for this a particular customer’s wishes as to In 1880, eight years after moving his patent was filed January 2, 1883.) instrumentation and case style. With business to Freiburg and when grandson increased interest in their product, they Edwin was just four years old, Michael Some sources, Edwin included, issued illustrated brochures which in Welte died. Now the firm was vested in attributed the “we” above to all three time presented ten styles of cottage the hands of Michael’s three sons, Emil of Michael’s sons, while others gave and concert orchestrions. Even then, (father of Carl and residing in the United credit for the paper roll invention, “Die individual product variations could be States), Berthold (father of Edwin), and Papiermusikrolle mit Pneumatischen requested and supplied. Michael, Jr. there were other children as System,” to Emil Welte. This may seem Later information from an Estey- well; Carl Welte wrote in a letter of strange with manufacture said to be in Welte Corporation brochure issued about pleasant visits with his aunts, his father’s Freiburg and Emil busy in the States. But 1923 added that there was “an exact married sisters. But this was an era when the possibility of his sole contribution duplicate [of the instrument] which women were home-bound and rarely exists. He was a talented inventor as was he installed a few years later in Patti’s inherited or managed property. The his son, Carl. They applied over the years residence, ‘Craig y Nos.’” Adelina Patti sisters are not known to have played a for several U.S. patents covering (1843-1919) was a famous soprano role in the business. and orchestrion soloist who retired in 1906: “When By the late 1880s, the three inventions. The last known application Adelina Patti was the world’s ‘Queen of owner-brothers had reportedly invented was in 1913 about the time Emil wrote Song’ every audience demanded this of and patented new uses for the paper roll. that he retired. An undated company her [the song, “Home, Sweet Home”] as Punched cardboard was already in use in brochure gave credit to Emil. one of her encores.” Freiburg literature weaving mills, and there are suggestions also spoke proudly of Emil’s instrument, that the paper roll was already used with “In 1887, a patent of Mr. Emil the “Welte-Orgel im Schlosse der reed organs. If so, the use was little Welte startled the world, and Soengerin Adelina Patti in Craig y Nos noted. It is not questioned that the Weltes this invention, the use of paper Castle.” were the first to promote and exploit the music-rolls in connection with a Before the century ended, many musical paper roll. Whether or not they pneumatic action, revolutionized hundreds of Welte instruments of various knew of earlier experiments, there was the trade, as it did away with sizes were purchased by the rich and the an application which could be patented. the expensive, bulky wooden famous around the world. These No protests are known against their music cylinders, and gave to orchestrions, at times all but one of a claim and thus it stands as a first. This the instrument an unlimited kind, found homes in town houses and on landmark use of the paper roll by a major repertoire.” estates, in castles and aboard yachts, in firm signaled its importance to the entire the best of hotels, in large entertainment mechanical musical instrument industry. From Baker’s Biographical Dictionary areas and even aboard steamships. Welte Perforated paper thereafter was used of Musicians: brochures began to include for publicity to perform the functions of the older purposes lengthy, impressive lists of the wooden cylinders, and by the 1890s had [Emil Welte] improved the then noble and rich – kings, queens, sultans, entered its most widespread and lasting newly invented paper roll (taking tycoons, opera stars, etc. – who owned use: first in paper rolls for push-up piano the place of the earlier wooden the Freiburg factory’s instruments. players, then for interior-action cylinders), and was the first to use In some sources, Emil is credited with player-. Indicative of the growth: it, in connection with a pneumatic the invention of the paper roll two years as of October, 1904, Pianola catalogs, action, in a large orchestrion built earlier, or in 1885. Whichever date, it bulletins and supplements promoted for Theiss’Alhambra Court (N.Y.) occurred about twenty years after Emil’s 12,978 selections as available on paper arrival in America. This accomplishment rolls. This orchestrion was later said to have brought additional recognition of, and been the equivalent of the Welte firm’s continue. . . 226 continued. . . prominence to, the Weltes in the field Edwin’s new factory in Poughkeepsie, cars, home appliances, oil, the radio, of mechanical musical instruments. New York. Whether by purchase or aircraft, movies, records, television, This major position in the mechanical through his brother, Karl, Heinrich electronics, waste disposal and instrument field of organs, orchestrions, secured an interest in the firm. During sophisticated defense, the music industry and then in the reproducing piano, gave the Great War years he served as reigned supreme in overall industrial the company an overall presence in president of the company, then factory size, and in its contribution to personal Europe and North America that was manager, then was interned by the U.S. entertainment and pleasure. The Welte rarely surpassed for another thirty years. government. After World War I he position may not have been primary in It allowed the Weltes to establish and created inventions which were quantity, but its product quality and hold to prices that were premiere as well. assigned to the successor Welte-Mignon its market share with the upper classes Then, a victim of the Great War and the Corporation. placed it high among international U.S. Alien Property Custodian, the In 1950, Carl Welte, Edwin’s cousin, musical firms. branch in the U.S. disappeared into a who along with his father had been Edwin commented on his life with the new American firm, the Welte-Mignon a director and stock owner of the company when he was some nineteen Corporation, in 1920. The Freiburg New York branch, M. Welte & Sons, years old: factory remained in business into the Incorporated, wrote briefly about Welte , but M. Welte & and Bockisch family history to Richard [In] 1895 in fall I had to place Soehne never again held the presence, on Simonton: and tune an orchestrion . . . in both sides of the Atlantic, which it held Louisville, [Kentucky, USA]. I for over fifty years, from 1865 to 1918. In 1901, the grandsons, Edwin stayed a day longer to make a trip and Carl [himself], were admitted to the Mammoth Cave. 4. Karl Bockisch, into the firm plus Karl M. Bockisch Edwin’s Brother-in-law who had married Edwin’s sister. Whether this was his first trip to the Karl Bockisch was born in 1878, United States (probably it was) it was far Michael’s second son, Berthold, Edwin 1876, and Carl [again, from his last. He said that for some time, fathered a son, Edwin Welte, in 1876. himself], 1871, so I am the oldest “I did travel in America every fall and There was also a sister, who seemingly survivor of this firm. spring.” And to other places as well. In was adored by Edwin. 1948 he wrote about his life when He evidently later could not bear to Carl explained not too clearly the twenty-two: say her name and it has never been found ownership arrangements made in 1901 in his letters. In time she married a Karl as follows: the preferred shares were 50 years ago, I was in the Isle of Bockisch, which various sources divided amongst the “older Weltes.” Carl Crete (Greece) just after the long also spell Bokisch and Bockish. The did not list this distribution, neither the fight between the Turks and the following is quoted from Q. David specific amounts nor to whom they were Greeks for independence . . . I had Bowers’ definitive Encyclopedia of given. The “surplus,” explained as that to place an orchestrion in the Automatic Musical Instruments: “after the 5% for preferred shares,” was residence of Prince George of divided as follows: three-twelfths to Karl Greece, the nominated governor of Karl Bockisch, son of a family Bockisch, four-twelfths to Edwin Welte, the island. I liked such interesting of Alsace vintners, spent his and five-twelfths to Carl M. Welte as the trips. childhood in Anaheim, California, eldest grandson. a community founded by German In the above quotes, Edwin used the immigrant farmers. Success eluded 5. Edwin Welte, phrase that he “had to place” an the Bockisch family in California, and the Welte-Mignon orchestrion, both regarding the work in so Karl and his parents returned to Louisville and that in Greece. He always Germany. Bockisch married Edwin A work published in 1903 helps place spoke with great love about his Mignon Welte’s sister, thereby gaining the music industry at the turn of the but referred to organ and orchestrion a foothold in the Welte firm. century in perspective. “Paul de Wit’s endeavors more as a job. Possibly for this Bockisch quickly demonstrated his Welt Adressbuch der Musikinstrumenten reason, Karl Bockisch in Germany, business and technical abilities. Industrie” covered the world (“Welt”) together with Emil and Carl in America, and contained an impressive 796 pages. more often saw to those phases of the The Alsace region lay just west of Items within are short, and the type business. His reproducing Mignon would Baden and the Black Forest. Perhaps the average, with space unwasted and tightly remain Edwin’s active interest for some Bockisch family returned here and lived filled, so that an estimate is that this thirty years, and then an icon in his near Freiburg. However, a brother, catalog listed names and addresses of memory. Heinrich Bockisch, listed himself as a a minimum of 25,000 concerns and In the 1890s, the Freiburg firm resident of -Hungary. Heinrich individuals. This display of musical developed one of the earliest piano moved to the U.S. by 1913 and joined instruments, firms and people as of 1903 players using the paper roll, but like M.Welte & Sons, Incorporated at is astonishing. It illustrates that before continue. . . 227 continued. . . the orchestrions and organs of the time, it Encyclopedia: “Together with Edwin reproducing concept. By 1904 played a mechanically-produced product. Welte, Bockisch worked on the a successful instrument was These instruments lacked the subtleties reproducing piano.” And also: “It was produced. Most of the inventive and dynamics, the effects of someone Hugo Popper who furnished ideas were Bockisch’s, but credit actually playing the instrument. There encouragement to Bockisch during the was officially given to Karl was a growing conviction within Edwin development of the Welte reproducing Bockisch and Edwin Welte on an and others that the public would purchase piano.” At this point Bowers gave no equal basis. and enjoy a piano instrument totally credit to Edwin. What should the instrument be reproducing the artist. At a date However, Carl Welte spoke of named? Edwin Welte proposed that unknown, but about the turn of the Edwin’s early participation. He observed it be called the Welte Mignon. Karl century when he was some twenty-five his cousin “working on the device” three Bockisch, long resentful that his years old, Edwin and his brother-in-law, years before the first public display name was virtually unknown to the Karl Bockisch (himself all of which occurred in 1904. In Edwin’s public, objected vigorously – and a twenty-three years), began the co- letters, one can note his great pride in the heated argument resulted between invention of an automatic artist- Mignon, almost as if it were his own the two men. reproducing, piano-playing mechanism. child. He was probably an equal in the The Welte-Bockisch argument Who contributed what and how much invention, and perhaps even more. produced a stalemate in 1904. As a will remain a mystery. Edwin’s cousin, Though others had an initial input, they compromise the instrument was Carl Welte, wrote to Dick Simonton: also had other demands on their time. offered simply as the Mignon – Edwin’s interest remained particularly without the Welte prefix. Whenever I visited Freiburg, my strong. Over the years he continued to visits lasted several months at a think of changes and improvements. He The concept involved two creations: a time, enjoying the hospitality of the applied for a number of U.S. patents, all mechanism, the recording piano, which Weltes, among them my father’s in his own name and no other. Some would record the live playing of an artist, married sisters. The surrounding of these important patents were a from which a master could be made; and countryside is very beautiful. . . . foundation for the future American another invention, later called the Welte- I was in Freiburg in 1901 [at the 11 1/4 inch Welte Mignon systems. There Mignon, which would operate the piano time when he became one of the must be a reservation regarding views action, recreating the performer’s art by owners of the firm, as described which tend to dismiss Edwin’s role way of a copy of the master. above] when Edwin was working and omit mention of his continuing The completed inventions resulted in on the device, later known as the inventiveness over the next ten years. an “autograph” performance, a musical Welte-Mignon, which reproduced The Welte-Mignon was not a one-time signature of the artist as individual as the the exact interpretation of the thing but under Edwin, and especially performer’s written signature. Indeed, in pianist when his playing was in America, continued to evolve. the US, “Autograph” would become over recorded. Illustration through a single quote is not time one name for Welte-Mignon possible, but Edwin’s letters to Dick product. There will always be a doubt as to Simonton and Simonton’s contacts with The following is from Musik who initiated the idea of a reproducing Edwin and Karl after World War II can Instrument Zeitung, July 11, 1905, in a piano, Edwin or Karl. Or, Hugo Popper. cause a growing conviction that Karl’s purposefully literal rather than literary An Austrian by birth, Popper had moved primary interest was in organs, not in the translation from the German as made by to by 1891. This city was reproducing piano or its masters. Karl collector Mark Reinhart. The Feurich, a an important hub of art, science and Bockisch attempted to re-establish an well-known instrument of quality, is here industry. With a partner, he founded organ business in the late 1940s, but the in 1905 tied to the Mignon apparatus. In Popper & Company. At first dealing production of the Welte-Mignon had a letter by Hugo Popper of November, in the exporting of general merchandise, ceased in 1932. As the Depression 1906, he appears to use “Feurich,” the the firm gradually turned to the field deepened, and with Edwin’s retirement, name of a popular piano, as a synonym of music, especially mechanical what was left of the firm after bankruptcy for the Mignon. The first version of the instruments. By the turn of the century, became Karl’s and his son’s, for Karl to Mignon was as a cabinet piano without Popper & Company was a distributor of manage as he pleased. keyboard, with the piano encased inside, music boxes, and distributed a growing The following is also from Mr. invisible and unnamed. The two variety of orchestrions and violin-playing Bowers: references indicate that in 1905-06, most instruments of their own manufacture. or all interior pianos were supplied by the Popper also held major distribution rights Sometime around the turn of the Feurich firm of Leipzig. The year 1905 to Welte organs and orchestrions. century Bockisch conceived the was one of Mignon recording in a quantity The association of the three men adds idea of what was to later become probably never surpassed. It was also, as difficulty in saying who decided what in the Welte-Mignon reproducing this mid-year release shows, a year of the development of the reproducing piano. Together with Edwin introduction probably more than sales. piano. David Bowers stated in his Welte, Bockisch worked on the continue. . . 228 continued. . .

Mignon-Reproducing-Piano. the name “Mignon” was held by another. Artistic Player Piano. Whether or not This from the firm of M. Welte & Wm. Knabe & Company, “of Baltimore there was an argument with Karl Soehne in Freiburg in Baden and city,” earlier applied for, then received Bockisch, in America the name Welte Popper & Company in Leipzig and registry for the trademark “Mignon” as of was prominent from the beginning. now on the market. The “Mignon” August 1, 1905. Edwin could not use the The 1904 exhibition of an original reproducing piano reported term in America. Thus, from 1906, the Welte-Mignon cabinet piano in America in [Musik Instrument Zeitung] instrument was titled in full in the States, was indicative of Edwin’s early and number 17 contains a description “The Welte Artistic Player Piano – In continued interest in the U.S. Edwin with a picture. At all places where Europe, the Mignon.” This was only one found his niche in America as early as his the music loving public and music of numerous names applied over time in teens when he “placed and tuned” critics have become acquainted, the United States to the Welte-Mignon orchestrions in the U.S. In the States, acclaim and excitement for this apparatus with instrument, “Artistic away from Freiburg and Bockisch, great invention has developed. Player Piano” being the earliest. Edwin created his own firm, his own Weeks of invitations from the The ongoing problem of a name rested Fifth Avenue studio in which to sell, and impresario Ludwig Gruenfeld in in the fact that the Welte-Mignon was the then his own Poughkeepsie factory in Vienna to about 400 persons reproducing mechanism. It was not which to manufacture the Welte-Mignon. including music critics, professors the total instrument in its various With owners Edwin, Emil, Carl, and for a from the conservatories and manifestations. When Edwin’s Mignon time even Berthold Welte active in the numerous faculty from smaller was combined in whatever manner U.S., Karl Bockisch probably assumed music salons have as a whole found with a piano of some make, be it the more and more of the decision making at a practical guide in this medium. keyboardless cabinet, upright piano, the the Freiburg factory. The top piano manufacturer in push-up type or a grand, the naming And, it would seem, this decision Leipzig, Julius Feurich, is building became difficult and inconsistent. The making and its ramifications were not pianos for the ‘Mignon.’ The Welte-Mignon was a specific unit, a simple. A letter appearing on stationery production of this medium has keyboardless cabinet piano. Over time, of “Popper & Company, Leipzig – without oral commentary become a this became a generic term covering all Orchestrionfabrfik,” was sent from Hugo portrait of the regal right of concert versions. Edwin, in his late writings, used Popper “by courier” to a Herm. C. for whom a series of known Welte-Mignon, Welte Mignon without Moehle on November 27, 1906. Because pianists have become acquainted. hyphen, or, the Mignon interchangeably. it opens a door wherein we can see into The result that is forthcoming The term to be avoided is that which the ordinary business of the firms and the is praise worthy of a star refers to piano instruments as a “Welte,” Mignon in its early stages, it is quoted acknowledged from all sides. We as done in more contemporary circles. almost entirely, again in translation have learned that the firm of Albert This can be meaningless, since “I have courtesy of Mark Reinhart. The position Gutmann of Vienna is to be the a Welte” defines nothing. Welte of Herr Moehle is not known, whether a representative of the “Mignon” for Orchestrion, Welte Philharmonic Organ, member of the firm or an interceding Austria. Welte-Mignon, or Mignon, does properly representative on Popper’s behalf. The differentiate the subjects. term “Welte” is used but it is unclear in The earliest known publicity about In 1904, people had long known of the which cases it refers to the firm and, if the invention had come in March of the Welte orchestrions, as well as the larger and when, to an individual unnamed. previous year, 1904. A pictorial mechanical pipe organs, both of which announcement and description of its the firm would continue to build. This This afternoon we received a display at a Leipzig trade fair was new invention was aptly named the letter from Welt in which they published. It was also shown at this time Mignon, the little, petite or small Welte, inform us that everything is in the U.S. Carl Welte wrote in a letter to distinguish it from the larger becoming so expensive that that his cousin, Edwin, “brought the first instruments. In Europe, the various essentially a surcharge on Feurich [!] Welte-Mignon to New York City in versions were sometimes called as a of M 30 is required, and on the 1904 where it was exhibited in our New group, “Welte-Mignon Reproduktions – rest they are consulting. The Welte York Studio and later in the same year, at Piano und Flugel” (reproducing upright firm will thence increase the the St. Louis World’s Fair [or, The and grand). In America, among various manufacture price for the Mignon Louisiana Purchase Exposition]. Edwin’s names in use before the Great War, in by 10 percent, and would like us to simple comment in later years: “We had addition to Artistic, was that of Welte- agree to this price rise. a large exhibit in St. Louis [Missouri, Mignon Autograph-Piano. Welte wrote that they earn USA].” This exhibit included Welte The American public tended to call absolutely nothing on the Mignon. organs and orchestrions, the primary every mechanical piano a player-piano. You will find enclosed a copy of interests of Emil and Carl Welte. Edwin stressed that his Mignon was not a the whole letter. In any event, I In 1906 when Edwin moved to player-piano, and yet named his early proposed that both Herr Bockisch the U.S. to direct the marketing of the U.S. firm The Welte Artistic Player Piano and Welte reduce their enormously invention in the States, the copyright to Company and the instrument, The Welte continue. . . 229 continued. . .

high licensing fee of M 139, that is percent and retailing at that price selling for $15.00 and more. But the U.S. only painful to Welte that it does will reduce a steady seller. We must selling price of the Welte-Mignon itself is not earn. You know very well that on the whole grant compensation impressive. Yet, Popper used the phrase the customers positively scream of outside jobbers. Obviously when “for only” $1,500.00 as though this over the price of the Mignon and we agreed to the Welte framework was a bargain. This American price for that when the manufacture price of a 10 percent commission all the original cabinet piano version in increases by 10 percent then must other prices were to be maintained. today’s value of the dollar would be in the sales and retail prices become Hupfeld and Pianola are cases excess of $25,000. Add to that a motor to higher. I will first wait for your full where I gave agreement in the fit the varying local electrical systems, report on the matter before easiest of terms. perhaps a transformer or in areas a responding in case I am agreeable In any case we will not be storage battery, plus roll selections, and to the price increase, so that we do handling their goods in the future the Welte-Mignon was indeed intended not intercede at the same time. In as I foresee enormous difficulty for a select clientele. Nevertheless, summary, the customers will with our customers. I should repay Popper’s statement is somewhat puzzling promptly inform us of what must Welte, like with like, and could because the exchange rate at that time come. simply send a telegram of the first was 4.2 Reichmarks per Dollar. Thus, the Of interest to you, the senior result of a return to the lower $1,500 in New York would have been manager of the REGINA-BOX prices, free to the Peru-Nachricht equivalent to M 6,300, very close to the [sic] Company was here, and [Peru-News]. Would you also M 6,000 figure. would like to be our general please see if they could be In 1950, Karl Bockisch wrote to Dick [Popper] representative in the more energetic and hurry up with Simonton, evidently in answer to a USA. Their company could sell our new music rolls. Last time they question from North Hollywood: orchestrions. We have time for were so slow in coming. Perhaps “Brahms has never been recorded by us. reflection to decide. The manager you can call on them . . . I must He died already in 1897 in Vienna and also had some interesting facts to leave now so the courier can our first records has [sic] been made tell with regard to other matters. deliver this to you. . . . My very 1904.” This probably dates the first of The Mignon is sold in New York best greetings. . . . the Freiburg experimental recordings. from Welte for only $1500, not for January, 1905, is the earliest date so far M 6000. The extreme calculation The above is a leap forward to some located on collector roll labels. Known of freight and duty charges come to matters which will be discussed shortly. issues with this month’s dating present M 700. So you know you are right Edwin probably left for America as early performances by Gruenfeld, Roessel, in calculation, and that the Mignon as the spring of 1906. Concurrent with Krah, Reinecke, and Friedheim. does not cause the Welte firm his departure, there was a break in new The recording system which Edwin to grow poor. This is all a very recordings lasting from April through and Karl created was evidently built into confidential communication. most of the year. It was probably very a Steinway grand, and quite possibly into As our orchestrion sales broaden true that new music was slow in coming, a Feurich grand. Surviving pictures of I need not mention that we and it didn’t much improve. It was 1909 artists performing at recording pianos suffer with our own manufacturing before the quantity of artists and releases show a straight leg grand, which is problems. We recently had a whole came anywhere near approaching the perhaps a Steinway. In other photographs pack of salesmen here who told recording levels accomplished during the the grand has a turned leg, possibly a tales of competition having lower first sixteen months. Feurich. prices and that the end is coming. Other complaints sound typical of During a recording performance, the Basically, we have an IDUNA a distributor or dealer. A rise in price motion of the piano keys played by the [large orchestrion] promised for usually causes an automatic reaction: It artist was sensed by a carbon rod delivery in February. Feurich just just can’t be – nothing will sell. Perhaps attached to the underside of each key. sold a Mignon to Bielefeld and it wasn’t the Mignon price increase that When a key was depressed, its rod we wrote the order to Welte this upset Popper as much as the prospect that plunged into a bath of mercury making morning. “on the rest they are consulting.” He an electrical contact which in turn When you read the main probably wished to lodge his protest energized an electromagnet. This contract with Welte you will see before increases were announced for all electromagnet pushed one of a series of that Welte has obligated us to take Welte products. It was undoubtedly an inked soft rubber rollers, one for each delivery without the motor untruth on Welte’s part to say that the key, onto a moving paper roll. Each note and music rolls at M 1390. With Mignon earned nothing. It was wrong of played was registered in this manner; as transportation the difference Popper to assume Welte’s profit was his long as the key was depressed, the roller between wholesale and respective business. Neither position is unusual. remained on the moving paper. retail price becomes a very small Comment will come later about the The velocity at which the key was share indeed. Under the retail price fact that Welte-Mignon rolls in the depressed was similarly recorded by the the discount is only 25 to 33 1/3 United States were very expensive, continue. . . 230 continued. . . same rod. As the rod submerged deeper automatic and did not ask for the Luxe in the 1920s using seismograph into the liquid metal, the resistance in the services of the pianist in the later principles. Roll companies put varying electrical circuit it made steadily stages of preparation of the master amounts of time into roll coding, with the decreased until the key became fully roll. It seems that the recording popular selections overall receiving the depressed. At this point the resistance in piano had a trough of mercury least care, for they were expected to the circuit became constant, providing beneath the keyboard. Each key be saleable only for months, not years. maximum current flow to the appropriate had a light carbon prong suspended Popular product from all reproducing roll electromagnet. from its lower side which dipped companies often was inconsistent in When a key was swiftly depressed, as into the mercury when that note quality of both arrangements and editing. in a loud blow, its circuit resistance was played. This was said to have The measuring of hammer velocity quickly dropped to its low constant, enabled the recording of the exact came late in the era of reproducing rapidly energizing its electromagnet force and duration of the note. This recording, often when classical and forcefully driving its roller onto the does, however, seem unlikely, but performance totals were minor in moving paper. When a key was more Mr. , who comparison to the many popular new slowly depressed, as in a soft blow, its befriended Edwin Welte during his releases. Even after later methods such circuit resistance took longer to drop to later years, told John Farmer that as the Ampico spark chronograph came its low constant. Hence, its electromagnet the carbon prongs were in fact into being they weren’t always used. was energized less abruptly and drove its suspended form the key by a fine Works of only passing interest, especially roller onto the paper more languidly. coil spring and consequently the popular titles, might still be subject to The corresponding differences in depth of penetration of the carbon “drawing board” production as the 1930s slope between initial and final widths of rod in the mercury would have hand-cuttings by the prolific Frank Milne the ink markings gave indication of the varied with the force with which bear witness. dynamics of the notes struck. These the key was depressed. From this, As for the “limited knowledge” dynamics were then encoded into it would follow that the resistance of electrical measurement, and the punched holes placed at the edges to the flow of current would statement that John Farmer “rightly of the master roll and any subsequent vary lightly with this depth of asserts” electrical measurements were copies. These holes in turn controlled penetration and if this could be primitive, and the Welte-Mignon the expression devices within the traced against each note, a fairly recording system for this reason a “little reperforming Welte-Mignon action. good idea of the pianist’s doubtful”: surprising capabilities in the There has been talk over the years of a dynamics would be obtained. But, measurement of electrical current were “secret process” involved, although the as John Farmer rightly asserts, well advanced by the first decade of the mechanics of the inventions as well as the techniques of electrical twentieth century. Moreover, the Welte- their patents were general knowledge. measurement with the limited Mignon recording system did not rely Perhaps the mystery element resided in knowledge available at the time upon the precise measurement of electri- the ability to interpret correctly the makes this a little doubtful. cal current. ink markings. A careful reading of all Undoubtedly this is not as reliable The electric components and uses recordings is thought to have been done a recording system as one which within the Welte-Mignon recording in the early years by Edwin and Karl directly measures hammer velocity system, and in the reperforming themselves. Edwin mentioned that great and Farmer suggests that this instruments, were relatively simplistic in care had to be spent in translating the may be one reason why some of comparison to industrial uses, rapidly images. It has been said that a Lydia the passages in Welte rolls tend to expanding in what some think a primitive Reinbolde was the noted master dynamic sound a little rough. era. The marvel of the Welte-Mignon was editor at Freiburg over many later years. not in its use of electricity, but in the total Since so much discussion and even Other collectors occasionally mention invention, in recording and reproducing doubt has been cast on this subject, the that Welte-Mignon rolls can at times artists to the satisfaction of performers, following view is quoted from Player- seem a little “rough.” With questioning, critics and public. What the two men did Piano – the History of the Mechanical the recordings to which they refer include while still in their early twenties seemed Piano and How to Repair It (Arthur W. either Poughkeepsie war-time issues impossible then and to some even now. J.G. Ord-Hume, 1970). or Freiburg 5500 series popular rolls. But it happened, and their invention The latter were often performed by remained a match for all later reproducing The methods by which Welte classically-trained European artists not systems, which never managed to bypass rolls were recorded are shrouded in in tune with the American ragtime or the basic Welte-Mignon patents. mystery. In an article contained in jazz styles they were playing. Any noted Perhaps in part the problem was that the Journal of the British Institute “rough” selections seldom encompass the inventors were young, too young to of Recorded Sound, John Farmer parts of the early classical recordings create something of that magnitude. All states that, unlike Aeolian and created under the responsible supervision eras have mistrusted youth. It is an Ampico, Welte always insisted that of Edwin Welte and Karl Bockisch. They accepted canard that greatness is a result their recording system was fully also rarely include the recordings by De continue. . . 231 continued. . . of suffering and age, and musicians are signatures on roll labels, in catalogs and establish an admired Freiburg studio and often pictured in the histories as aged and in literature. Many of the comments, with trusting new relations with performers. gray. It is refreshing to look through pictures and signatures, were published Less than two dozen artists made Welte-Mignon catalogs and see so many in catalogs, promotional booklets and in recordings in that two-and-a-half years, young faces, to read biographies of complete books devoted to the same. 1906 and into 1909, with some of these people already recognized in their teens. Ever stressing accuracy, Edwin made names seemingly “in-house” and of Still, an Edwin Welte in his twenties was a clear distinction in a letter that the dubious stature. not likely to be trusted in the musical testimonials were “written to Mr. Edwin world of the time. It was fortunate Welte and Karl Bockisch, the inventors, 6. Instruments, Four Choices that Hugo Popper was interested, a man and not to M. Welte and Soehne.” There is little disagreement regarding nearing fifty years, whose age and status Though not easy to state flatly, there the initial instrument. It consisted of in Leipzig undoubtedly helped to secure are indications in Edwin’s own words, the Welte-Mignon action built within the interest of the great classical artists of such as the above, that Edwin considered a keyboardless cabinet piano. This the day. Most of the performers would himself and the Welte-Mignon apart instrument was sold in Europe from 1905 have been senior to young Edwin, and from the parent firm and its multiple and by 1906 in the United States, when probably superior in attitude, with artistic ownership. Edwin was an inventor and Edwin arrived in America to launch its temperaments difficult for one so young an entrepreneur, who worked best not sale. Feurich supplied most of these to handle. Popper had the age and hamstrung by corporate structure. pianos. Steinway also made some. experience to enlist the greatest names. Ever protective of his rights, This initial cabinet model without The quantity of issues recorded in the Edwin later recalled an “8-day patent keyboard was first called the “Mignon,” first sixteen months, titles long investigation I made in Washington in then gradually the “Welte-Mignon.” recognized as having excellent coding, 1904.” Stressing the strength of his At some point, perhaps by 1907, the would seem to belie laborious hand patents, Edwin wrote the following. Welte-Mignon apparatus was adapted to editing. No names other than Edwin and Whether his memory was wrong about fit rather awkwardly within an upright Karl have been mentioned as involved at the royalties, or whether Aeolian paid for piano case with keyboard. This appeared this time in the secretive “holy of holies.” a time and then ceased is not clear. It is in a tall-case model with the reproducing If all dynamic editing had been done by known that they were finally forced to action above the keybed. Somewhat later, hand without any guidance, without the pay fees to the new American owners, the certainly by 1912, it appeared in a assistance of a recording system, the Welte-Mignon Corporation, in the 1920s. standard-height upright with part of the intrinsic artistic merit of these records reproducing action placed in front of the would have required the full time efforts In 1905 my uncle, Emil Welte, piano action above the keyboard and and more of these two men. But during who successfully managed our the rest below the keybed. When these this time they were not only managing branch in New York since 1865, self-contained uprights with keyboards an international business, as well as came to Freiburg and explained appeared they were called the organizing and supervising the recording that he did not want to have “Welte-Piano.” in Freiburg, Leipzig and perhaps anything to do with the selling of An early U.S. catalog appeared about elsewhere, but traveling and the Welte-Mignon in America. He 1907 titled a “List of Music for the demonstrating their product as well. The declared that no competition Welte-Mignon-Piano.” The July, 1908, capability of dynamic recording helps against such firms like the Aeolian supplement was more simply titled: account for the beginning record quantity Company was possible . . . Aeolian “The Welte-Mignon Piano.” These titles and quality. More than 1,000 titles were tried to bluff me. I turned around were not limiting, but offered rolls for recorded in the first sixteen months. The and made them pay me a royalty both keyboardless cabinets and the latest perfection included in these recordings for every reproducing piano they style with keyboard. became the foundation for the later sold. There is disagreement regarding copies issued under Licensee and Purple which came next in order, the grand Seal labels. Even “reading” that many When Emil declined to market the piano (“Fluegel” or, literally, wing) with marked masters seems a major task. Welte-Mignon in the U.S., Edwin soon interior installed Welte-Mignon action, or Adding dynamic coding to that arranged to do it himself. Thus, he went the push-up “Vorsetzer,” i.e., that which many titles from scratch would seem to the States in 1906, a move which sits before or in front of, but it was impossible. It would surely have cried for probably reflected itself in the meager probably the Vorsetzer. In regard to the artist assistance, something the Welte amount of new recording at Freiburg latter, it was designed to be used with people publicized they didn’t need to do. from the spring of 1906 into 1909. Also, almost any piano. “Fingers” operated the The recordings were considered it seems evident that relations were piano keys with varying touch as directed faithful to their performer, a musical not the same with Hugo Popper, and by the mechanism inside, and levers “autograph.” The firm often secured recording at his Leipzig salon may have operated the sustaining and soft pedals, letters and signatures which verified ceased by 1906. With his salon no longer all on command from the paper roll. The the roll as the authentic intent of the available and his influence with artists artist. The firm placed copies of these mildly offered at best, it took time to continue. . . 232 continued. . . cabinet piano (keyboardless), and cabinet separate case, which can be Although the Welte-Mignon apparatus (Vorsetzer), have often been confused supplied either in the cabinet form interior-built into grands seems to have because of their similar names. In the to be placed somewhere near the appeared by the second decade in 1920s, the Welte-Mignon Corporation Grand, or in a box, which can be Germany, the United States brochures as began marketing an 11 1/4-inch cabinet put into a separate room, the only late as 1913 only offered the Welte- (push-up) instrument, but – perhaps to connection between the Grand and Mignon cabinet piano, the Welte-Piano avoid this confusion – later used their the box being a rubber tube and upright, and the Vorsetzer, not a grand. own designation of “Console.” two wires for the electric current. The American product will shortly be An undated but earlier Freiburg The case designs for the Berdux discussed in added detail. brochure described the four instrumental and Feurich Grand are very similar To enlighten the novice, as well as stylistic variations in which the Welte- to the case of the Steinway Grand. hopefully prevent confusion and error by Mignon might appear. It is thought to In addition to the regular cases, the otherwise knowledgeable individual, have been published about 1910-1912. these instruments can be supplied additional explanatory comment will be The first three styles it described, as in any special or period design as made concerning the naming and styles. listed below, “will be delivered upon described. demand with pianos built by the famous 4. The “WELTE-CABINET- 1. The earliest version, makers: Steinway & Sons, Bechstein, PLAYER” . . . Can be attached to keyboardless, was later known as Bleuthner, Ibach, Feurich, Berdux.” any existing piano, Grand or the Cabinet Piano or Kabinett The following is taken from the version Upright, and faithfully reproduces Piano. It was “ohne Spielklaviatur” printed in English. the tone, touch and personality of – or, without keyboard. This the Artist who made the record. instrument was the original 1. The “WELTE-MIGNON” The small electric motor is placed Mignon, or Welte-Mignon, Little without keyboard . . . This Model is inside the case. When the Cabinet Welte, or, Das Welte-Mignon. It specially built for reproducing Player is to be used in connection was the demonstrator in 1904, and artist’s playing, but as it has no with an Upright or Grand in special appeared over time with various keyboard it cannot be played or period designed case, same can internal pianos. It was available in by hand. This instrument is be supplied in a case to correspond America from 1906 to 1918, and particularly suitable for rooms or with. probably almost any time at halls in which an ordinary piano is Freiburg. already placed, or in which for The comment above that the 2. The upright piano with some architectural or decorative instruments “can be supplied in any Mignon was listed in Europe reason the form of an ordinary special or period design” generally as Das Welte-Piano, or “mit Upright or Grand piano is not applied to all Welte instruments. Spielklaviatur,” with keyboard. It desirable . . . The Welte-Mignon Examples and demonstrators were was also described as “Spielen von can be supplied in any special or available for customers to view and hand,” and instrument playable by period designed case. enjoy. Product in that period, however, hand. Upright in style, the “Welte- 2. The “WELTE-PIANO” was often special ordered, with Piano” appeared in Europe and in with keyboard . . . In outward individual details provided to satisfy that the U.S. in tall cases and later appearance is an ordinary Upright particular customer. in regular-height cases. These Piano, with keyboard, and can Another Freiburg brochure, sometimes were named to include be used with equal facility as a undated, listed “Die Drei Arten Welte the piano brand, especially reproducing instrument or for Reproductions Instrumente”: 1.“Der Steinway-Welte-Piano or just hand-playing. Welte-Fluegel.” The grand with the Steinway-Welte. In America, 3. The “WELTE-GRAND” . . . Welte-Mignon. 2.“Das Welte-Piano.” brands included the Mason & This is the Ideal combination as The upright keyboard piano with the Hamlin and Krakauer Welte- it consists of the Welte-Mignon, Welte-Mignon. 3.“Der Welte-Vorsetzer.” Pianos. The Welte-Piano of stan- fitted inside a Grand Piano, and, The cabinet, or push-up, style. dard height is the most common like the Welte-Piano, can be played German names were many: version of Red roll player in the either by hand, or as a reproducing “Das Welte-Mignon”; or “Welte-Mignon United States today. piano. One of the main principles Reproduktion Instruments”; or, 3. The grand piano appearing in the construction of this the “Welte-Mignon Reproduktion- with the Welte-Mignon action was instrument is that the mechanical apparates.” called Der Welte-Flugel, and again apparatus in no way interferes with In the United States, the pre-Great was noted “von Hand gespielt,” or the tone quality of the piano, while War names in use included the original playable by hand. The grand from at the same time keeping the Artistic; The Autograph; The Welte- 1916, with the creation of the 11 symmetrical lines of an ordinary Mignon; The Welte-Mignon Piano; The 1/4-inch format, became the Welte- grand piano. The motor and Welte-Piano; Welte Cabinet Player; and Mignon instrument of choice in blowing gear are placed in a the Steinway-Welte-Piano. continue. . . 233 continued. . .

America. The Freiburg wide roll The only objection I have to Mignon, Cabinet Player For Steinway grand was rarely available in the the ‘Mignon’ [Little] is founded Grands.” The first is obviously an U.S. If wanted, it could be ordered exclusively in its name, as the latter upright, and the last the Vorsetzer. from Europe but this was seldom is not in keeping either with its However, “Steinway Welte Mignon” is done. Instead, the Poughkeepsie powerful effect or its enormous vague and could mean a smaller factory produced the Vorsetzer. importance. Cabinet Piano or, less likely, an interior- Customers could then select any built grand. grand of their choice, or add the It could have been statements such as Another ad from about 1912-1913 push-up apparatus to a grand or this which led to the search for a specific for “M. Welte & Sons, Incorporated, upright already in the home. and more meaningful name for the 273 Fifth Avenue, N.Y., Opposite the 4. Der Welte-Vorsetzer, the apparatus. Other than Welte-Mignon, Holland House,” listed “Steinway Pianos push-up Cabinet Player, would none was ever found. Instead, there was a Incorporated In the Welte-Mignon – perform with almost any piano, proliferation of names in use then and Demonstrations Daily At Our Studio . . . either a grand (usually) or an now. Many of these will be mentioned as The Welte-Mignon Autograph Piano upright, “var jades Pianino, oder this history progresses. Is the Living Soul of the Artist.” Of Flugel.” This version of necessity An ad in the same program gives strange wording, a more accurate phrase relied heavily upon the quality of additional insight into the viewpoints would have been the reverse: “The the piano to which it was wedded held in the year 1907. The ad was for Welte-Mignon Incorporated In Steinway for its results. “S. Hamilton Company, Hamilton Hall, Pianos” – unless the ad was publicizing 531-533 Wood Street, Pittsburgh, Mason the Cabinet Piano with keyboard In 1923, the Auto Pneumatic Action & Hamlin Pianos.” It publicized the in which case the piano and player Company commented on early Welte- original Welte-Mignon Cabinet Piano. mechanism were both “incorporated” Mignon history as follows. Here again, The Welte-Piano and Cabinet Player lie into the one instrument. the term “cabinet” is applied to the two in the future, with the upright thought to Elsewhere an exclusive agreement different instruments: one keyboardless, have been available in the United States between Steinway and the Aeolian the Cabinet Piano, and the other the by 1907-08, and the Vorsetzer by 1909 or Company is discussed. The authority push-up Cabinet Player. possibly 1910. The ad also shows that by after June, 1910, to offer Steinway Welte 1907 the Welte name had been added. product as in the ads above, cannot at this The original Welte-Mignon was Despite Karl Bockisch, Welte-Mignon time be explained: except if all the above a large cabinet containing an had come into its own, at least in the product were imported from Hamburg upright piano with the mechanism United States. and without connection to Steinway & placed in front instead of the usual Sons, New York. keyboard, giving the instrument The Welte-Mignon is the most From the beginning, the Welte- the appearance of a big sideboard, marvelous and ingenious musical Mignon in its various styles was outfitted and its great disadvantage, apart instrument the world has known. It with what is called the T-100 or 100-hole from its clumsiness, was, of course, is a piano of beautiful tone quality tracker bar. The paper rolls were in a that it was of no use at all as a and power enclosed in a cabinet “Wide” or “German” roll width of about piano. They therefore brought out which also contains a wonderful 12 7/8 inches. They were perforated a Cabinet Player, similar in reproducing device . . . The Welte- in a scale of eight holes to the inch. The appearance to other cabinet players Mignon is not sold for use in any paper was generally Red (“Rot”). Rolls of that period, which could be public place. Price $1,500. manufactured in Poughkeepsie, New pushed up to any piano, and this York also appeared in various color instrument in combination with a In a letter to Simonton, Edwin stated tones, including red, pink gray-green, and grand piano created a sensation strongly that his Welte-Mignon was not cream. The original red paper caused the wherever exhibited. marketed for public entertainment. 12 7/8-inch scale instruments to be Evidently, as in the above, he requested named by some the “Red Roll Welte,” or, After being given the name Artistic in that dealers state this in their ads. Also of as often will be used herein, the Red the United States, by the second decade interest, this ad, as published a year after T-100 mechanism and roll. and into the third, Edwin’s invention was the earlier quoted letter by Hugo Popper, The instruments with Welte-Mignon often called the Autograph. But although indicates that Hugo was given the correct action operated from the beginning under Mignon was copyrighted by Knabe and price for the Mignon in America. electrical power and the mechanism was could not be used singularly by Edwin in An ad published sometime about activated by a simple lever, after which the U.S., during the first decade it did 1910-1911 by “The Welte-Mignon the owner could relax and enjoy appear casually, probably from the Artistic Piano Company, 273 Fifth the “live” performance. In the pre-Great European example. The following is Avenue, New York,” presented “The War era, where the major mode of local from a program note for a Paderewski Steinway-Welte Reproducing Autograph transportation was still the horse or recital in Pittsburgh, November, 1907. It Piano, Manufactured In These Styles: bicycle, where the hand pump probably quotes this famous artist: Steinway Welte Piano, Steinway Welte continue. . . 234 continued. . . brought water to the sink, and the wood and leather which operated on it remains astounding, the individually outhouse would continue to be a familiar vacuum can still be judged incredible. creative and inventive genius in their day sight for many years, the Welte-Mignon It is too easy for knowledgeable of an Edison, a Marconi, a Henry Ford, was all but beyond most people’s individuals of today to dismiss as the Wright brothers, or the Weltes of comprehension. In the present era of small import the creativity of one Freiburg. And of Edwin Welte, whose of electronic sophistication, the turn-of- generation removed, much less one of lasting wish was to have remained in the-century creation of metal, rubber, nearly one hundred years in the past. But Poughkeepsie, New York. APPENDIX C Welte-Mignon Recordings – Numbering and Estimated Quantity Roll Type Issue Dating Record Numbers Possible Numbers Known Titles Red (T-100) (12 7/8 inch) Freiburg 1905-1920 1-3499 3,499 2,650 Poughkeepsie 1913-1919 3500-3961 461 431 Poughkeepsie ca.-1916 8001-80?? ? 16 Poughkeepsie ca.-1916 8500-85?? ? 18 Bronx 1919-1920 3962-4062 101 78 Freiburg 1920-1930 3601-4205 605 590 Freiburg 1922-1932 5500-6052 533 506 5,219 4,294 Green (T-98) (11 1/4 inch) Freiburg ca. 1922-1932 Selected 4,637 350 Pianon (T-98/T-100) (11 1/4 inch / 12 7/8 inch) Freiburg ca. 1922-1932 Selected 4,637 ? Freiburg ca. 1922-1932 9000-90?? ? 19 Freiburg ca. 1922-1932 9500-95?? ? 34 “Licensee” Label (De Luxe Reproducing Roll Corporation) (11 1/4 inch) Copied 1916-1930 1-3958 3,329 837 New 1920-1930 6000-7925 1,926 1,919 Renumbered 1926 50000-50152 153 153 New 1926-1928 50153-50169 17 17 Renumbered 1926 75000-75198 199 199 New 1926-1930 75199-75496 298 297 W-M/D-A 1930 75497-75501 5 5 W-M/D-A/Amp 1931 75502-75535 34 34 W-M/D-A 1931-1932 75536-75571 36 23 5,035 3,484 “Purple Seal” Label (Welte-Mignon Corporation) (11 1/4 inch) Copied 1920-1928 1-4062 ? 172

APPENDIX D Welte-Mignon Recordings – Technical Summary Tracker Bar Notes Played Type/Width Dating Paper Color Holes Holes/Inch Reproducing Non-Repro T-100 Red / 12 7/8 inch Freiburg 1905-32 Red, pink 100 8 80 None New York 1913-20 Red, gray-green or cream 100 8 80 None T-98 Green / 11 1/4 inch Freiburg 1922-32 Green 98 9 88* 88* U.S. “Standard” / 11 1/4 inch Poughkeepsie 1916-19 Light buff, green 98 9 80 88 De Luxe 1920-30 Light buff 98 9 80 88 De Luxe coded 1930-32 Light buff 98 9 80 88 Purple Seal 1920-28 Greenish, dry waxed 98 9 80 88 * Some T-98 Green pianos have been found with 80-note stacks. Also, since T-98 rolls were made from 80-note T-100 masters, most do not contain 88 notes. Additional notes were added to a small percentage of T-98 rolls. continue. . . 235 continued. . .

APPENDIX E Humperdinck; Jonas; Kienzl; St. Petersburg, but could include some US Roll Numbering Prefixes and Kirsch; Kleeberg; Koch, E.; Krah; Freiburg-recorded issues. Barinowa; Kupfernagel; Lambrino; Lamond; Beklemischeff; Berlin; Borowski; Corresponding Prices Landowska; Lessor; Leoncavallo; Brick; Charitton; Douloff; Drosdoff; Mahler; Marx-Goldsmith; Maurina; Eneri-Gorainoff; Evann; Feldman; “Licensee” Label (De Luxe Meroe; Meyer-Helmund; Moehle; Glazounow; Goldenweiser; Hill; Reproducing Roll Corporation): Motta; Neitzel; Pauer; Petri; Popper; Hoffmann, N.; Igumnoff; From 1916. After about December, Pugno; Reger; Reinecke; Reisenauer; Kaschperow, Kaula; Khvostchinsky; 1922, only A, X, B, Y and C Ripper; Roessel; Saint-Saens; Kimontt; Koenemann; Korestchenko; Sapellnikoff; Sauer Scharwenka, Lemba; Liapounow; Meytschick; A–$1.00 Schillings; Schnabel; Schnitzer; Michelsohn; Nicolaieff; Pawlow; B–$1.50 Schumann, G.; Schytte, Slivinski; Pokrowski; Pyschnoff; Romanowsky; C–$2.00 Stavenhagen; Stebel; Stenhammer; Schorr; Scriabine; Seiliger; D–$2.50 Weingartner; Weiss, J.; Wendling; Stember; Wengerowa; Zaleska E–$3.00 Weitzig; Wurmser; Zadora; Zoelner; F–$3.50 Zschernick 1910-B: Numbers 2172 through 2300. G–$4.00 Probably recorded at M. Welte & Soehne, W–$2.25 1906-A (January-April): Numbers Freiburg. Adam, Eug.; Bernick; X–$1.75 1061 through 1277. Burkard; Coloma; Ebenstein; Epstein; Y–$1.25 Probably recorded at Popper & Co., Feldman; Goodall; Margolies Musiksalon, Leipzig. Carreno- “Purple Seal” Label Tagliapietro; Chevob; Dohnanyi; 1911: Numbers 2301 through 2531. (Welte-Mignon Corporation) Essipoff; Friedberg; Greef; Grieg; Probably recorded at M. Welte & Soehne, 1920-1928 Grosz; Leschetizky; Morsztyn; Ney; Freiburg. Adam, Eug.; Bernick; Nikisch; Pachmann; Paderewski; Burkard; L. Danziger; Dubois; J–$2.00 Schelling; Schmidt; Schwarz; Ebenstein; Grande & Utz; Lhevinne; P–$3.00 Siebold; Strauss, R.; Uzielli Mackle; Sarrazin L–$2.50 M–$2.75 1906-B (August & October): Numbers 1912: Numbers 2532 through 2777. 1278 through 1305. Probably recorded at M. Welte & Soehne, APPENDIX F Probably recorded at M. Welte & Soehne, Freiburg, although certain artists Welte-Mignon T-100 and T-98 Freiburg. Fichter; Lhevinne possibly recorded in . Adam, Library Summary Eug.; Angieros; Battala; Benici; 1907: Numbers 1306 through 1458. Bernick; Brown; Burgstahl; Chretien; A study of allotted numbers, years, Probably recorded at M. Welte & Soehne, Debussy; Delacroix; Diemer; and artists, based on present knowledge Freiburg. Busoni; Fryer; Kuehn; Ebenstein; d’Egville; de Falla; from numbering order, and/or label Mottl; Orlando; Pugno; Rafaelsohn; Faure; Goodall; Loehr; Meroe; dating, as well as on known catalogs Schelling; Schilling; Starke; Timanoff Paur; Sarrazin; Weiland; Zeisler and bulletins. Also based on a study of recording studio photographs. 1908: Numbers 1459 through 1527. Assumptions, where necessary, were Probably recorded at M. Welte & Soehne, B. 1913 through 1918: by compiler. Freiburg. Orlando; Puckler; Samaroff; Separated German (Freiburg) San Galli; Utz; Zeisler A. 1905 through 1912: and U.S. (Poughkeepsie) European Red T-100 Masters 1909: Numbers 1528 through 1936. recording facilities. Probably recorded in England, at Note: an asterisk is used throughout this 1905: Numbers 1 through 1060. Steinway Hall, London, but could compilation to indicate number-titles Probably recorded at Popper & Co., include some Freiburg-recorded recorded in Poughkeepsie, New York. Musiksalon, Leipzig. Adam, Eug.; issues. Bird; Brightwell; Brown; M. Welte & Soehne (Freiburg) Adam-Benard; d’Albert; Ansorge; Bufaletti; Buhlig; Cory; Davies; No evidence that masters after about Bose; Brockhaus; Brzezinski; Fichter; Fischer; Francklyn; Fryer; 3097 came to Poughkeepsie, NY Burmeister; Busoni; Carreno; Cionca; Haley; Keith; Kohlberg; Lambelet; Conne; Dohnanyi; Dreyschock; Margolies; Meroe; Peppercorn; 1913:Numbers 2778 through 3096 Droucker; Edlesberg; Elmoeh; Elvyn; Pintel; Roland; Scott; Taylor; Adam, Edw.; Adam, Eug.; d’Albert; Friedheim; Gabrilowitsch; Galston; Vogrich; Webbe; Wolf; Utz Gernsheim; del Grande; Gruenfeld; Baker; Cor de Las; d’Equille; Epstein; Ganz; Gayraud; Goodall; Granados; Hambourg; Hegner; Hermanns & 1910-A: Numbers 1937 through 2171. Hermanns-Stibbe; Hofmann; Probably recorded in Russia: Moscow & continue. . . 236 continued. . .

J. Hofmann; Lemare; Leon; Long; Hoffmann, W.; Kwast-Hodapp; 1928: Numbers 5906 through 5944 Moreau; Moulle; Novaes; Oreal; Laszlo; Reinert; Renner; Weismann Haeuser; Munkel; Sommer, H. Ravel; Ruebner; E. Sommer; Steinway; Winogradoff-Georges; 1921-1922: Numbers 3600 through 1929: Numbers 5945 through 5985 Zeise 3785 Dark; Haass; Haeuser; Johnson, Happel; Munkel Edw.; Maison; Munkel; Renner; 1914 through 1918: Numbers 3097 Weiss-Koschitz; Zadora 1930: Numbers 5986 through 6021 through 3288 Adam, Eug.; Happel; Munkel Carreras; Cor de Las; Danziger, A.; Welte-Mignon Corporation Fischer-Bernauer; Hofmann, W.; (the Bronx, NY) 1931: Numbers 6022 through 6038 Kiek; Pembaur, Jr.; Rehberg; Reinert; Eisele Ritter; Schatt; Sommer, E.; Starke; 1919-1920: Claxton; Elliot; Fairman; Zarman Gershwin; Lhevinne; Mann; Perry; 1932: Numbers 6039 through 6052 Smith, M.; Ullrich Munkel M. Welte & Sons, Inc. (Poughkeepsie) No evidence that masters after *3600 D. From 1922: Red T-100 E. About 1916: Red T-100 went from New York to Freiburg. masters recorded at M. issues created to accompany Welte & Soehne, Musiksalon, Victor and Edison phonograph 1913: Number *3500 through *3580 Burkard; Cusack; Daly; Danziger, L.; Freiburg records. Europe & Dabney; Merrigan; Savino; These issues from the Poughkeepsie Classic & Salon Van Dyck facility were not listed in known literature, and the time and extent of their 1922 through 1926: Numbers 3786 1914: Numbers *3581 through *3651 distribution is not known. Burkard; Burnham; Cusack; Hart, F.; through 4064 Dark; Gieseking; Gueller; Haass; Hare: Haeuser; Heinick “Victor” record Accompaniment Rolls: Heinemann; Johnson, Edw.; Numbered in 8000s. Burkard; Spross 1915: Numbers *3652 through *3715 Koczalski; Liebling; Marshall; Beck; Burkard; Cone; LaForge; Medtner; Munkel; Petrek; Schaefer; “Edison” Record Accompaniment Rolls: Popper, L.; Szumowska; Telleria; Schapira; Singer; Strecker; Wolff, E. Numbered in 8500s. Burkard; Spross Woolford 1927: Numbers 4065 through 4153 F. About 1922 through 1916-1917: Numbers *3716 through Haass; Haeuser; Horowitz; Niemann; 1932: Green T-98 rolls, *3820 & Numbers *8000s & *8500s Weismann; Zecchi manufactured by M. Welte Burkard; Danziger, L.; Embree; & Soehne, Freiburg. Embree & Burkard; Pollock, M.; 1928 through 1930: Numbers 4154 Spross through 4205 Haass; Happel; Selected titles were issued from the Haeuser; Kolessa; Munka; Peterka; Freiburg Red T-100 library in an 11 1/4” 1918-1919: Numbers *3821 through Serkin; Sommer, H. Green T-98 format using the same *3961 Adler; Blair; Burkard; Burn- numbering as the corresponding master. ham; Coudert; Danziger, L.; Ganz; Popular No special catalogs are known, but any Johnson & Potter; Oliver; Pintel; Red T-100 roll title could evidently be Schwartz, J.; Strecker; Sylvia; 1922 through 1923: Numbers 5500 requested in the Green T-98 format. The Tidelman; Wagnalls; Wheeler through 5602 Baumgart; Coach; total library of titles issued in the Green Crigniss; Dark; Haeuser; Fox; format most likely will never be known. C. From 1919: Separate Munkel; Kutsche; Schoenig; In this listing, Red T-100 titles reported German and United States Schrempp; Wolf, A. by collectors as issued in the Green T-98 format are indicated thusly. “(GN)”. Companies: Freiburg and the 1924 through 1925: Numbers 5603 Bronx, New York through 5750 Black; Hare; Haeuser; Johnson, Edw.; Schumacher G. About 1922 to 1932: M. Welte & Soehne (Freiburg) 1926: Numbers 5751 through 5850 “Pianon” rolls manufactured 1919-1920: Numbers 3289 through Haeuser; Johnson, Edw.; Maison; by M. Welte & Soehne, 3499 & Numbers *3962 through Milner Freiburg. *4062 Backhaus; Berend; Bender-Hartlaub; Blumen; d’Egres; 1927: Numbers 5851 through 5903 The “Pianon” mechanism and its rolls, Flohr; Haass; Haeuser; Hoehn; Haeuser; Milner; Munkel; Rice based on Red T-100 masters, was continue. . . 237 continued. . . produced in either (both) a 12 7/8” Red, known as the “Welte” or “Poughkeepsie” Lane(+); Lutter; Martin; Mitzski; or an 11 1/4” Green spooling. Single black box. Narinska; Notaeh; Overstreet; selections were labeled with the Remden; Robertson; Rosoff; corresponding Red T-100 number. In B. 1920 through 1930 Washburn; Watts; Wirtz addition there were “combined” rolls The De Luxe Reproducing Roll Cor- available for these automatic instruments, poration, New York City 1923: Numbers 6321 – 6604. Bailhe; probably to lessen the need for roll Carter; Chapman; Conradi; Davis; This company, created in 1918, was changing in the commercial settings for Dodd; Fabre; Friedman; Gregory; a division of Auto Pneumatic Action which the instruments were intended. In Hamilton; Hart; Horvath; Koch; Company, a division of Kohler & addition to those titles in the 9000s and Koehl; LeClair; Leonardi; Levin; Campbell Industries, Inc. Numbering and 9500s, collectors report a few combined Levy; Locust; Lutter; Lutter & years below are approximate listings, rolls numbered in higher 3000s Spencer; Martin; Masson; Mitzski; except where they could be verified from conflicting with Red T-100 master Narinska; Netzorg; Nikoloric; available literature. These were new, numbers. How many, when and why Oswald; Perkins; Reid; Remden; original reproducing recordings: except, this was done is not known, but those Rosoff; Roth; Scionti; Spencer; early on, when a number of the reported are listed in the “Pianon” Sollitt; Tollefsen; Van Straten; “Licensee” rolls were codings of the section, as are the titles and Vollenhoven; Ware; Webb; Republic Player roll Corporation’s corresponding numbers for the 9000 Whittington; Wolf; Yagodka division of 88-note hand-played and 9500 series. performances. Known performers 1924: Numbers 6605 - 6953. d’Albert, Kombinierte Konzert-Musik (Combined appearing on both “Republic” and De E.C.; Ashton; Bacon; Bailhe; Berger; Rolls): Numbering from 9001 Luxe labels are coded below with (+). In Bilotti; Bingaman; Boyle; Brenton; through at least 9037 addition to the new recordings issued for Cady; Clair; Conradi; Cox; Davis; ten years, De Luxe continued to cut Kombinierte Tanz-Musik (Combined Duckwitz; Fabre; Farnum; Gregory; “Licensee” rolls from selected T-100 roll Rolls): Numbering from 9501 Criselle; Hamilton; Hart; Horodyski; masters: Freiburg numbers 1 to 3068, through at least 9592 Horvath; Janssen; Jentes; Johnson; and Poughkeepsie *3500 to *3958, the Koenemann; Lawnhurst; LeClair; asterisk denoting the latter. All De Luxe Le Grand; Leonardi; Levin; Levy; APPENDIX G “Licensee” issues or copies were Loscalzo; Lutter; Mitzski; Narinska; Welte-Mignon Licensee numbered with a price code prefix, and Netzorg; Nikoloric; Oswald; issued in the De Luxe striped label Library Summary Patricola; Redel; Remden; Rosoff; black box, 1920-1926, and brown box, Roth; Scionti; Singer; Sollitt; Spencer; 1926-1932. A. 1916 to 1919 Todd; Tellefsen; Volavy; Vollenhoven; The Welte-Mignon Music Company, Webb; Whittington From September, 1920: Numbers 6000 1916-1917. – 6050. Carroll(+) & Johnson(+); 1925: Numbers 6954 – 7301. Alcuri; De Luxe Reproducing Roll Delcamp (+); Delcamp(+) & Car- Ashton; Bacon; Bailhe; Bergere; Corporation, 1918-1919. roll(+): d’Giovanni(+); Foster(+); Boyle; Brard; Burt; Cady; Casella; The first company was formed at the Lane(+); Lane(+) & Adams(+); Caskey; Conradi; Corneliessen; Cox; 1916 “Alliance” between M. Welte & Rollini(+); Shannon(+) Dickinson; Duckwitz; Duret; Sons, Inc., and Auto Pneumatic Action Erlebach; Farnum; Gieseking; Giron; Company. The rolls were produced by 1921: Numbers 6051 – 6152. Grand; Gregory; Haase; Hamilton; the Poughkeepsie factory for use on Adams(+); Ashton; Carroll(+); Horvath; Janssen; Johnson; “Auto De Luxe Welte-Mignon” player Carroll(+) & Foster(+); Carroll(+) Lawnhurst; Le Grand; Lendry; Levin; actions, the later-known “Licensee”. & Rollini(+); Collini; Conradi; Liebling; Luebtow; Lutter; By 1918, the Welte-Mignon Music Davis; Delcamp(+); Delcamp(+) Magnuson; Mendez; Milinowski; Company was melded into the De Luxe & Carroll(+); Fabre; Foster(+); Mitzski; Narinska; Netzorg; Norden; Reproducing Roll firm. d’Giovanni(+); Graham(+); Hart; Oswald; Packman; Parker; Patricola; Selected cuttings (classic, salon, Lane(+); Lane(+) & Foster(+); Pepper; Perkins; Perrella; Pouishnoff; popular and accompaniment) from Narinska; Rollini(+); Rollini(+) & Rechlin; Reichman; Reid; Robinson; Freiburg T-100 masters, 1 through 3068, Lane(+); Shannon(+) Saar; Serli; Singer; Stanley; Sturgis; and the Poughkeepsie T-100 masters Thatcher; Tolefsen; Valasquez; from *3500 through *3961, were 1922: Numbers 6153 – 6320. Volavy; Walter; Ware; Whittington; manufactured by M. Welte & Sons for Adams(+); Asherfield; Bingaman; Zeisler Auto Pneumatic Action Company Billings; Cesare; Carroll(+); in “Licensee” format, and distributed Carroll(+) & Lane(+); Collini; 1926: Through October: 7302 – 7512. initially by the firm, then its successor. Conradi; Davis; Fabre; Foster(+); Gre- Classic & Salon, November- They appeared in what has become gory; Hart; Kahn; Klein; Koehl; continue. . . 238 continued. . .

December: 7513 – 7574. Reissued 1929: Classic and Salon: 7859 – 7919. This firm secured “Licensee” Popular rolls, November: 75000 – Popular: 75408 – 75481. Ashton; inventory in 1932, and had rights and 75198. New Popular, November- Burrows; Carreras; Davis; Gray; was capable of creating new “Licensee” December: 75199 – 75215. Reissued Harris; Hart; Horvath; King; Kiselik; rolls. They sold Welte-Mignon Accompaniment, November: 50000 Kreutzer; Lawnhurst; Lendry; Lutter; “Licensee” rolls from stock taken over – 50152. Bacon; Berger; Boguslawski; Maier; May; Netzorg; Pattison; from Auto Pneumatic Action Corporation Brard; Casella; Cox; Dickinson; Perrella; Robinson & Singer; Serli; to as late as about 1947 when much Duckwitz; Duret; Elwood; Fabre; Singer; Sturgis; Ward; Wehrlen; was said to have been destroyed. They Farley; Farnum; Gieseking; Giron; Zardo; Zelaya seemingly did some additional cuttings Gregory; Haase; Hamilton; Hampden; as needed to replace the stock which sold Harris; Hart; Horvath; Jessup; 1930: Classic and Salon: 7920 – 7925. out. Contrary to rumor of new titles being Johnson; Kiselik; Lawnhurst; Lendry; Popular: 75482 – 75496. Ashton; created as well, none from this period are Levy; Liebling; Lutter; Magnuson; Davis; Deering; Gray; Howard-Jones; known. Maier; Maier & Pattison; Menzel; Milhaud; Netzorg; Sturgis; Ward; Mitzski; Morrey; Netzorg; Patricolo; Wehrlen E. 1920 Through 1928: Welte-Mignon Pattison; Perrella; Pouishnoff; Rapee; Corporation Reichenthal; Reichman; Rodney; C. 1930 through 1932: Duplicate “Purple Seal” label issues. Saar; Scott; Serli; Singer; Singer & Issues Selected issues were copied from Reichmann; Sishler & Lutter; Stanley; Issues coded for both Welte-Mignon T-100 masters for performance on the Thatcher; Volavy; Wehrlen; Yeargain and Duo-Art, and in some cases triple “Original” and “Licensee” type actions, coded, including Ampico versions. using Red roll numbering with their 1927: Classic and Salon: 7575 – 7749. Distributed by an Aeolian division, own price prefix: J, L, M and P. From Popular: 75216 – 75314. Accompa- Standard Pneumatic Action Corporation, perforating dating marked on under side niment: 50153 – 50165. Banta; Garwood, New Jersey and Meriden, of leaders, “Purple Seal” issues appeared Bergere; Blumen; Brard; Carreras; Connecticut. by September 1920, and continued to be Casella & Respighi; Curtis; Deering; perforated through December 1928. The Desbois; Elwood; Fabre: Gieseking; “Twin” Popular Issues: Welte- corporation stamped “De Luxe” bulletins Gray; Gregory; Haase; Hallett; Mignon/Duo-Art. November & and catalogs with its name, and these Hamilton; Hampden; Harris; December, 1930, numbers 75497 were available to the “Original” player Headden; Howard-Jones; Horvath; through 75501. Addison; Armbruster; owner as well. Jenkins; Johnson; Johnson & King; Ferguson; Kerwin; Leith King; Kiselik; Kreutzer; Laros; Larrimore; Lawnhurst; Lawnhurst “Triplet” Popular Issues: Welte- APPENDIX H & Lutter; Lee; Lendry; Liebling; Mignon/Duo-Art/Ampico. January Piano Brands With Linderman; Lutter; MacGregor; through July, 1931, numbers 75002 Welte-Mignon Actions Maier; Marshall; Milhaud; Narinska through 75535. & Singer; Netzorg; Pattison; Perrella; Nos. 75503 & 75532 known for Welte- This is a list of piano manufacturers Pouishnoff: Rapee; Reid & Ashton; Mignon and Duo-Art only; Nos. and brands which did come, or possibly Robinson; Rodney; Serli; Singer; 75519 & 75520 known for Welte- came, equipped with a Welte-Mignon Singer & Reichmann; Smedley; Mignon only. reproducing action. Brand names were Steward; Tollefsen; Turner; Volavy; Addison; Arden; Arden & Carroll; Car- gathered from various collectors Yeargain; Ward; Weiss; Zardo roll; Chase; Kerr; Lawnhurst; Milne; and sources, and could not always be Pollock verified. 1928: Classic and Salon: 7750 – 7858. Popular: 75315 – 75407. Accompa- “Twin” Popular Issues: Welte- T-100 (12 7/8 inch) Red Roll Format niment: 50166 – 50169. Bartok; Mignon/Duo-Art. July 1931 through Player actions manufactured by M. Beggs; Carreras; Davis & Singer; May 1932, numbers 75536 – 75571. Welte & Soehne, Freiburg, Germany. The Deering; Fabre; Elwood; Giron; Nos. 75547, 75550, 75551, 75557, 75569 T-98 11 1/4” format Green roll action as Gray; Haase; Hamilton; Harris; & 75570 never located. well as the “Pianon” appeared in an Johnson; King; Kiselik; Larrimore; Addison; Alpert; Claar; Ferguson; Kerr; unknown number of European brands Lawnhurst; Lendry; Levy; Liebling; Leith; Lester; Milne; Ohman; Pollock; including those from manufacturers Lutter; MacGregor; Maier; Maier & Warren; Winslow below. Pattison; Netzorg; Pattison; Perrella; Rapee; Ricardo; Robinson & Singer; D. From 1932: Imperial Industrial European Manufacturers (Brands) Rodney; Serli; Siegel; Singer; Corporation (QRS), Bechstein ...... Berlin, Germany Stewart; Sturgis; Ward; Wehrlen; East 135th Street & Walnut Avenue, Berdux AG, V ...... Muenchen, Germany Zardo Bronx, New York. Bluethner, Jul...... Leipzig, Germany continue. . . 239 continued. . .

Feurich, Jul...... Leipzig, Germany Patterson United States Manufacturers Foerster & Co., H...... Leipzig, Germany & Sons (distributor) ...... Scotland Krakauer Gaveau ...... Paris, France Schimmel, Wilh ...... Leipzig, Germany Bros...... The Bronx (New York City) Grotian- Seiler GmbH, Ed ...... Liegnitz, Poland Mason & Hamlin ...... Boston, Mass. Steinweg ...... Braunschweig, Germany Steinway & Sons ...... Hamburg, Germany Steinway Guenther ...... Bruxelles, Belgium M. Welte & Soehne . . . . .Freiburg, Germany & Sons ...... Manhattan (New York City) Ibach Sohn, Rud ...... Barmen, Germany M. Welte Irmler, J.G...... Leipzig, Germany Australian Brands & Sons ...... Manhattan (New York City) Loeffler Beale ...... Annandale, New South Wales M. Welte Mustel & Cie ...... Paris, France Bechstein & Sons, Inc. . . . .Poughkeepsie & Manhattan Neindorg Carnegie Welte- AG, Gebr...... Luckenwalde, Germany Howard Paling (distributor) Mignon Corp. . .The Bronx (New York City) Allan’s (distributor)

“Licensee” Action, 11 1/4 inch Format Manufactured by Auto Pneumatic Action Company, Kohler & Campbell Industries, Inc. In some instances, parts of player action mechanisms were supplied for their piano by the piano manufacturer, with other parts supplied by and per arrangement with Auto Pneumatic Action Company. A few names have been omitted when there appeared to be spelling errors of known names. Brand Manufacturer Brand Manufacturer Acoustigrande ...... Chickering Bros. Christman ...... Christman Piano Company, Inc. Ahlstrom ...... Ahlstrom Piano Co. (Jamestown, N.Y.) (New York City) Alden ...... Alden (Lester Piano Co., , Pa.) Clarendon ...... Haddorff Piano Co. (Rockford, Ill.) Astor ...... Kohler & Campbell (New York City) Connor ...... Francis Connor (New York City) Autopiano ...... Autopiano (Kohler & Campbell New York City) Conover ...... Conover Co. (The Cable Co.) (Chicago, Ill.) Francis Bacon ...... Kohler & Campbell (New York City) Cunningham ...... Cunningham Piano Co. (Philadelphia, Pa.) Baldwin ...... (Cincinnati, Ohio) Davenport-Treacy ...... Davenport-Treacy Piano Co. Bauer ...... Julius Bauer & Co. (Chicago, Illinois) (Kohler & Campbell, New York City) Baus ...... Jacob Doll & Sons (New York City) Decker & Sons ...... Decker & Sons (The Bronx, New York City) Becker Bros...... Becker Bros. (New York City) Doll ...... Jacob Doll & Sons (New York City) Behning ...... Kohler & Campbell (New York City) Emerson ...... Emerson Piano Co. Behr Bros...... Behr Bros & Co. (Kohler & Campbell, N.Y.) (United Piano Corporation, Norwalk, Ohio) Bellaire ...... Lester Piano Co. (Philadelphia, Pa.) Ellington ...... Baldwin Piano Co. (Cincinnati, Ohio) Bennett Bretz ...... Chas. M. Stieff (Baltimore, Md.) Faber ...... Jacob Doll & Sons (New York City) Bjur ...... Bjur Bros. Co. (Kohler & Campbell, N.Y.) Farrand ...... Farrand Piano Co. (Holland, Mich.) Boardman & Gray ...... Boardman & Gray (Albany, N.Y.) J. & C. Fischer ...... J. & C. Fischer, Inc. (New York City) Bogart ...... Bogart Piano Co. (The Bronx, New York City) Florey Bros...... Florey Bros. (Washington, N.J.) Bond ...... Packard Piano Co. (Fort Wayne, Ind.) Jesse French & Sons ...... Jesse French & Sons (New Castle, Ind.) Bowen ...... Bowen Piano Co. Gabler ...... Jacob Doll & Sons (New York City) Bradbury ...... Bradbury, William G. (New York City) Gorham ...... (said to be from Boston) Brambach ...... Brambach Piano Co. Gounod ...... Lester Piano Co. (Philadelphia, Pa.) (Kohler & Campbell, N.Y.) Haddorff ...... Haddorff Piano Co. (Rockford, Ill.) Braumuller ...... Braumuller Piano Co. (West New York, N.J. W. P. Haines ...... W.P. Haines & Co.(New York City) Briggs ...... National Piano Mfg. Co. (Boston, Mass.) Hamilton ...... Baldwin Piano Co. (Cincinnati, Ohio) Brinkerhoff ...... Brinkerhoff Piano Co. (Chicago, Ill.) Hardman ...... Hardman, Peck & Co. (New York City) Bush & Gerts ...... Bush & Gerts (Chicago, Ill.) Harrington ...... Hardman, Peck & Co. (New York City) Bush & Lane ...... Bush & Lane Piano Co. (Holland, Mich.) Hazelton Bros...... Hazelton Bros. (New York City) Butler Bros...... Butler Bros. (Cincinnati, Oh.) Heinzman ...... Mansfield Co. (New York City) Cable ...... Cable Piano Co. (Chicago, Ill.) Hensel ...... Hardman, Peck & Co. (New York City) Hobart M Cable ...... The Hobart M. Cable Co. (La Porte, Ind.) Holland ...... Holland Piano Mfg. Co. (Menomonie, Wisc.) Cable & Sons ...... Cable & Sons, Inc. (New York City) Howard ...... Howard Piano Co. Cable-Nelson ...... Cable-Nelson Piano Co. (Chicago, Ill.) (Baldwin Co., Cincinnati, Ohio) Cameron ...... A. B. Cameron Co. (New York City) R. S. Howard Co...... Howard-Stowers Co., Inc.(New York City) Carter ...... Carter Piano Co. (Kohler & Campbell, N.Y.) Ivers & Pond ...... Ivers & Pond (Boston, Mass.) Channing ...... Lester Piano Co. (Philadelphia, Pa.) James & Holmstrom ...... James & Holmstrom Piano Co. A.B. Chase ...... A.B. Chase Co. (New York City) (United Piano Corporation, Norwalk, Ohio) Kimball ...... W.W. Kimball (Chicago, Ill.) Chase Bros...... Chase-Hackley Piano Co. (Muskegon, Mich.) Kimberly ...... Jacob Doll & Sons (New York City) Chickering Bros...... Chickering Bros. (Boston, Mass.) Kindler & Collins ...... Kindler & Collins (New York City) continue. . . 240 continued. . .

Brand Manufacturer Brand Manufacturer Kohler & Campbell ...... Koehler & Campbell (New York City) Schwab ...... Schwab Piano House (New York City) Krakauer ...... Krakauer Bros. (New York City) Settergren ...... B.K. Settergren (Bluffton, Indiana) Kranich & Bach ...... Kranich & Bach (New York City) Shaw ...... Chas. M. Stieff (Baltimore, Maryland) Kreiter ...... Kreiter Mfg. Co. Shoninger ...... Schoniger Piano Co., Inc. (Milwaukee, Wisc.) (New Haven, Conn. & New York City) Krell ...... Krell Piano Co. (Cincinnati, Ohio) Sohmer ...... Sohmer & Company (New York City) Kroeger ...... Kohler & Campbell (New York City) Smith & Barnes ...... Smith, Barnes & Strohber Continental Kurtzmann ...... C. Kurtzmann & Co. (Buffalo, N.Y.) Piano Co. (Chicago & Milwaukee) Laffargue ...... The Laffargue Co. (New York City) Spector ...... Spector & Son Piano Co. (New York City) Lauter ...... The Lauter Co. (Newark, New Jersey) Stark ...... P.A. Stark Piano Co. (Chicago, Illinois) Laurence ...... Lester Piano Co. (Lester, Pa.) Steger ...... Steger & Sons Piano Mfg. Co. (Chicago, Ill.) Lehr ...... H. Lehr & Co. (Easton, Pa.) Sterling ...... The Sterling Piano Corp. (Shelton, Conn.) Leonard & Co...... Lester Piano Co. (Philadelphia, Pa.) Charles F. Stein ...... Charles Frederick Stein (Chicago, Ill.) Lester ...... Lester Piano Co. (Philadelphia, Pa.) Steinert ...... Steinert Piano Co.(Boston, Mass.) Lucien ...... Jacob Doll & Sons (New York City) Steinway (custom) ...... Steinway & Sons (New York City) Ludwig ...... Ludwig & Co. (Bronx, New York City) Stieff ...... Chas. Stieff (Baltimore, Md.) Lyon & Healy ...... Lyon & Healy (Chicago, Illinois) Stodart ...... Jacob Doll & Sons (New York City) Madison ...... Madison Piano Co. (New York City) Story & Clark ...... Story & Clark Piano Co. (Chicago, Ill.) Mansfield ...... Mansfield Piano Co. (The Bronx, N.Y.) John L. Stowers ...... Howard-Stowers Co., Inc. (New York City Mason & Risch ...... Mason & Risch (Toronto, Canada) Straube ...... Straube Piano Co. (Hammond, Ind.) Mathusek & Son Mathushek ...... Mathushek Piano Mfg. Co. Strich & Zeidler ...... Strich & Zeidler, Inc. (The Bronx, N.Y.) (Bronx, N.Y.) Stultz & Bauer ...... Kohler & Campbell (New York City) McPhail ...... A.M. McPhail Piano Co. (Boston, Mass.) The Tonk ...... William Tonk & Bro. Inc. (New York City) (Kohler & Campbell) Underwood ...... Jacob Doll & Sons (New York City) Merrill ...... Merrill Piano Co. (Jacob Doll & Sons, N.Y.) Victor ...... Bush & Lane Piano Co. (Holland, Mich.) Mehlin & Sons ...... Paul G. Mehlin & Sons Vose & Sons ...... Vose & Sons Piano Co. (Boston, Mass.) (West New York, N.J.) Waldorf ...... Waldorf Piano Co. (Autopiano) Melodigrand ...... S.G. Lindeman & Son (New York City) Piano Corporation (Norwalk, Ohio) Waltham ...... Waltham Piano Co. (Milwaukee, Wisc.) H.F. Miller ...... Henry F. Miller & Sons Piano Co.(Boston) Horace Waters ...... Horace Waters Piano Co. (New York City) Milton Kohler & Campbell (New York City) Weaver ...... Weaver Piano Co. (Weaver, Pa.) Needham ...... Needham Co. (Kinder & Collins, Webster ...... W.P. Haines & Co. (New York City) New York City) Weisner ...... Weisner & Sons (Chicago, Ill.) Newby & Evans ...... Newby & Evans (Bronx, New York City) Wellsmore ...... Jacob Doll & Sons (New York City) Newton ...... Newton Piano Co. (New York City) Weltmore Wentworth ...... Jacob Doll & Sons (New York City) George B. Norris ...... Holland Piano Mfg. Co. Werner ...... Werner Piano Co. (Chicago, Ill.) (Menomonie, Wisc.) Weser Bros...... Weser Bros. (New York City) Norris & Hyde ...... Jacob Doll & Sons (New York City) P.S. Wick ...... P.W. Wick Co. (North St. Paul, Minn.) Oktavec ...... The Laffargue Co. (New York City) Winertz Wissner ...... Wissner, Otto (, N.Y.) Orpheus ...... Adam Schaaf, Inc. (Chicago, Illinois) York ...... Weaver Piano Co. (York, Pa.) Packard ...... The Packard Piano Co. (Fort Wayne, Ind. Pease ...... Pease Piano Co. (New York City) Poole ...... Poole Piano Co. (Boston, Mass.) Premier ...... Premier Grand Piano Corp. (New York City) Raudenbush ...... Raudenbush & Sons Piano Co. (St. Paul, Minn.) “Original” Action, 11 1/4 inch Format Rauworth Regent ...... The Lester Piano Co. Manufactured by Welte-Mignon Corporation, (Philadelphia, Pa.) Bronx, New York. Ricca ...... Ricca & Son (Bronx, New York City) Adam Schaaf ...... Adam Schaaf, Inc. (Chicago, Illinois) Estey ...... Estey-Welte Corp. (New York City) Schiller ...... Schiller Piano Co. Steinway (custom) ...... Steinway & Sons (New York City) ...... (Oregon, Illinois) Welte ...... Estey-Welte Corp. (New York City) Schmidt-Dauber ...... Schmidt-Dauber Co. (New York City) Schomacker ...... Schomacker Piano Co. (Philadelphia, Pa.) Schoniger ...... Shongier Piano Co. (New Haven, Conn. & New York City) Schubert ...... Schubert Piano Co. (New York City) Schulz ...... M. Schulz Company (Chicago, Illinois) Schumann ...... Schumann Piano Co. (Rockford, Illinois) 241 RICHARD SCHLAICH On March 18, 2004, long time A.M.I.C.A. member Richard Schlaich, 72 passed after a long illness. Born and lived in San Francisco, he was a retired civil servant. He possessed a Duo Art upright, and a modern string band orchestrion. Among his many accomplishments was building from scratch an Arburo type Bel- gian complete with accordion. He also installed a separate tracker bar to facilitate standard 88 note piano rolls. For his pleasure he also arranged and cut rolls for both player piano and organette. One of his many loves was this city’s railway system. He excelled in the knowledge of San Francisco’s historical rail travel. His expertise was frequently called on as advisor in the restoration of rail cars and in discovering obsolete routes. His family and many friends will dearly miss him.

“Welte-Mignon Vorsetzer playing a Hallett & Davis Grand Piano” at the Cars & Music of Yesterday, Saratoga, Florida. - Submitted by Anita N. Johnson

By Mark Reinhart ELTE-MIGNON: PATENTIERT IN ALLEN CULTURSTAATEN

During 2004, the Welte-Mignon years before. The first patent applications first page of the specification for the celebrates its 100th anniversary. for the Welte-Mignon date from or had German, French and British patents are This remarkable device was ready for its priority to May 1904. The US application also presented to illustrate their filing, debut one century ago. Edwin Welte and was filed in August 1904. priority, and publication dates. Karl Bockisch co-invented what would Many of the Welte-Mignon rolls bore This year marks the centennial years revolutionize automatic piano playing. the ink stamp “Patentiert in allen for what is still a machine that can render They also understood the value of such Culturstaaten.” Edwin and Karl wanted playing with startling realism. Edwin and an instrument and sought to protect their to make certain that users of their device Karl gave the musical world a device intellectual property just as Edwin knew that they intended to protect their with lasting value as evidenced by the Welte’s Uncle Emil had done with his rights. The later patent litigation in interest still shown today. paper roll orchestrion roughly 20 years the US would bear out the value of this before.1 foresightedness. 1. Patents to Emil Welte US 287,599 issued To protect against infringement, The entire US patent is presented 30 October 1883; DE 48741 issued 22 March 1889; CH 1216 issued 25 June Edwin Welte and Karl Bockisch applied here. The German, French, British and 1889. These are representative patents for patents in countries in which they Austrian patents all used the same first and not intended to be a comprehensive would later sell these instruments. This two figures as the US patent but figures 3 list. was something that Emil Welte also did to 6 appear only in the US patent. The continue. . . 242 continued. ..

KAISERLICHES ~ PATENTAMT.

PATENTSCHRIFT -M 162708 KLASSE S1 d.

M. WELTE & S6HNE IN FREIBURG 1. BADEN. Vorrichtung an menhanlschen Tasteninstrumenten zur Abstufung des Tastenanschlages.

Patentiert 1m Deutschsn Relcbe yom 21. Mat 1904 abo

Erfindungsgegenstand ist cine Vorrichtung schaltung der Forte-, Piano-, Crescendo- und an mechauisch spielbaren Tasteninstrumenten, Mezzofortewirkung. durch weiche in vollkommener Weise die Im Balg a (Fig. r) wird in bekannter Anschlagstarke der Tasten abgestuft werden Weise stets gleichbleibendes Vakuum erzeugt, 5 karin. Von dem Hauptbalg a '!yelleD vVindleihmgenb 40 Man hat bereits Vorrichtungen, durch die aus, die durch je einen regelharen Schieber c die Tonstarke des Gesamtspiels verandert mehr oder weniger geoffnet bezw. ganz ge­ werden kann, doch eignen sich diese teilweise schlossen werden konnen, Dieser Schieber nicht fiir die Verwendung bei rnechanischen befindet slch zwischen dem Hauptbalg a und 10 Tasteninstrumenten , oder sic sind nicht un­ einem Regelungsbalg d, der wiederum mit 45 abbangig vom Windverbrauch. Bei Ein­ dern Relais der Klaviatur in Verbindnng stellung der Vorrichtung auf cine gewisse steht. Tonstarke wird diese nicht erreicbt, wenn Schieber c und Regelungsbalg d sind in beispielsweise rnehrere 'Tasten angeschlagen ihren Bewegungen dadurcb voneinander ab­ IS werden, da diese entsprechend mehr Wind hangig gemacht, daB sie mit einem Seilzuge, So gebrauchen, so daB ihr Anschlag auf Kosten der uber eine Rolle G gefiihrt ist , mitein­ der Tonstarke vonstatten geht. Wiirden ander verbunden sind. Der Schieber c 5ffnet andererseits weniger Tasten angeschlagen und sich also weiter, sobald sich der Boden des die Vorrichtung zoe Erzielung einer be- Regelungsbalges d senkt, d. h., sobald wehr !I0 stimmten Tonstarke nicht entsprechend ver­ Tone erklingen als bei der kurz vorher- 55 stellt, 80 erzeugte der im 'O'berilu13 vorbandene gehenden Stellung des Regelungsbalges, Die Wind eine groDere Tonstarke, als beabsichtigt, Rolle g sitzt an einem Steuerungshebel oder, Bel dern Gegenstand del' vorliegenden Erfin­ wie bel der dargestellten Ausfiibnmgsforrn, dung dagegen soli, sobaId einrnal die Vorricb- an der unteren , beweglichen Klappe f eines as tung fUr eine gewjinscbte Tonstdrke eingestellt Steuerungsbalges e. Die verschiedenen Stel- 60 worden ist , sich del' Wiadverbraucb der lungen des Steuerungsbalges oder Steuerungs­ Anzahl der angeschlagenen Tasten sofort hebe1s ergeben eine verschiedene Hohen­ anpassen, so daB unabhangig von der Anzah1 ateUung der Rolle K und bedingen durch die der angeschlagenen Tasten die gewiinschte davon abhangige, verschiedene SteHung des 30 Tonstarke erhalten bleibt. Regehmgsbalges d und Sehlebers c die ver- 65 Die Vorrichtung ist in den Fig. I UDd 2 schiedencn Tonstlirken des Tasteninstruments. dargestellt. Es zeigen Fig. t einen Schnitt Befindet Bleb beiBpielBweise der Steuerungs­ durch den Hauptbalg, Steuerungsbalg und hebe! oder die untel'e Klappe f des Steue­ Rege1ungsbatg, Fig.:2 einen Schnitt durch rungsbalges in ihrer tiefsten Stellung, so be­ 35 einzelne Relais zur Einschaltung und Au&- deutet dieses die Piauostellung. Der Schieber c 10

continue. .. 243 continued...

REPUBLIQUE FRANQAISE. r OFFICE NATIONAL DE LA PROPRIETE INDUSTRIELLE. ------l>cr--

BREVErr D'INV;E~Nl~TO'N. '.1 I .•

". ~.. ~:.i XVII. --- Arts industriels. , , e, ' N° 354.1 82 II. - MusIQUE. ..,," .. '_.~Jf ' .."~ Dispositif pour obtenir les nuances avec les appareils servant a action­ ner mecaniquement Ie clavier d'un instrument de musique.

Societe: \1. WELTE & SOIlNE residant en AUemagne.

Demande Ie 11 mai 1905. Delivre Ie 19 juillct 1905. - Public le 30 septcmbrc 1905. (Demande de brevet deposce en Allemagllc Ie 20 mai 19°4. - Declaration du d~posaJlL)

L'iuvention a pour objet Ull dispositif qui de son voulue, que] que soit lc Hombre de est destine a Mre adjoint aux appareils ser­ touches Irappees. vant a actionner mecauiquement Ie clavier Le dessin ci-annexe penuellra de hien com­ ... l' • 1 "~"'l"'(,l'lt pI l~"l ')(""""j'~ (,'\ I ... LJ..J,"" 1, ... • .. 11< ...... 1. ,','"_ 1111''::':''11'''...... :, ~ • '_l i"ll"~" I "cnr!I'(' l'invcntiou. , . r-. ;) graduer, de faeou parfaite , I'action exercee La fig. 1 de ce rlessin est la coupe verticale 3 [) -- sur les touches de I'instrument. de la ventouse principale, de cello de com­ On a hien imagine deja de nombreux dis­ mande et de celle de reglage, et la fig. 2 la positifs pour nuancer Ie jeu, mais, ou bien coupe, egalement verticale, des divers relais ces dispositifs ne sontpas tout a fait pl'opres qui commandent Ies C! forte", C!piano", ~ cres- loa etre appliques aux claviers, ou hien ils ont cendo" et C! mezzo-forte". ~ ( l'inconvenient de ne pas ~tre independants de De la ventouse a (fig. 1) dans IaqueUe est l'utilisation de la quantite d'air mise en jeu. produit, it la maniere connue, un vide qui Un semhlahle dispositif etant regie en vue reste toujours uniforme, partent des canaux b de l'obtention d'une certaine nuance, celle-ci qui possedont chacun un registre rcglahle c. 15 n'est pas donnee d'une faeon correcte si plu­ al'aide duquel ils peuvent ~b'e ouverts plus h 5 sieurs touches sont frappees a la fois, parce ou moins completement ou. meme fermes , et que, la frappe de l'ensemhle de ces touches qui est intercale entre la ventouse principale a absorhant une quantite d'air relativement et une ventouse de reglage d, laqueJle, ason grande, Ia force du son se trouve diminuee, tour, est ell communication avec le relais du 20 De merne , si le nomhre de touches frappees clavier. 50 est faible et si Ie dispositif n'a pas etC regIe en Le registre c et la ventouse de reglage d consequence pour donner la nuance voulue, sont relics l'un a l'autre par un cordon qui de rail' se trouve en exces et il y a emission passe sur une poulie If et qui rend interde­ d'un son plus fort qu'on ne le veut. pendants les mouvements des deux pieces. Dc 25 Avec Ie dispositif du present systeme, au la sorte, des que Ia joue inferieure de la ven- 5 f) contraire, une fois que celui-ci a etC regie touse de reglage d s'abaisse , c'est-a-dire des pour une nuance donnee , la quantite d'air que plusieurs sons resonnent , Ie registre c mise en jeu devient immediatement exacte­ s'ouvre davantage que pour Iii position pl'cce­ ('--. ment ce qu'elle doit etre pour Ie nombre de dente de ladite joue de la ventouse. La poulie fJ -_ i 30 touches Irappees , et onohtient ainsi la force est montee sur un levier de commando ou, 6(. Prix du fascicule : 1 franc. continue, .. 244 continued. ..

--?'.,../ N° 10,219 A.D. 1905

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------0." claimed "" Patent underPatent. Act, 1901'} being date of flret Forei,n ApD/ication 20th May, 1904 (in Germany), Date 0' ApDlication (in the United Kingdom), 15th May, 1905 Accepted, 8th June, 1905 COMPLETE SPECIFICATION. " Apparatu for Graduating the Striking ofthe Keys in Kechanical Piano Playing Apparatull ".

We, DUTROLD WELTE, EMIL WELTE and lbclL\EI. WELTE, trading under the Firm of M. Welte & Sohne, of 7 Lehener Stra81M.', (If Freiburg, in the Grund Duchy of Baden, Germany, Manufacturers, do hereby declare the nature of this invention and in what manaer the same is to be performed, to be particularly 5 described and ascertained in and by the following statement r-c- The subject of the present invention is an arrangement in mechanical piano playing apparatus, by which the strikin, of the key8 can be graduated as df'llired, 1D the most perfect manner. This 18 obtained according to this invention by the different arrangement of bellows. which are operated dependently on 10 eacJa ether by relay•. TIle ammgement is illustrated in Figures I and 2. Figant 1 _ho...s a crou aeetion t.hrough the main bello...s, governing bellows and regulating belIoWi. Figure 2 _hows in section the various relay. for actuating and disengaging 15 the "forte-piano". "creacendo ,., and "menoforte"-action. A con.tant vacuum i. produced in a bello.... a. Figure I, by un electro-motor or by pedal action. Several air channel. b branch (1ft from this main bellow. and are eloaed by elide. t: adapted to be .reg.lat~c1. These slides r. interrupt the connection between the main bellows a and 8tJl:lll n-gulating bellows d. which 20 are connected ...ith the eerresponding .Jivi.ion8 of the l'elay8 of the keys. The .lide. e and the J'eR;ulating bellows d are dependent on one another in their movement in the following manner. Above the slide -c of the ",~lating bellows d is situated l\ small governing bello.... e, on the lower movable flap I of which is arrange.} a roller g. A wire 25 or the like i8 carried from the slide e over this roller and is then fixed to t.be bottom of tlMl bellow d. The arraopmeDt i. adjusted 80 that, 8S soon all the governing bellows e is out of aetion, i.e., ...hen the bellow. i. not exhausted and the flap f i. in its lowclt L. po_iUoo, the l1ide t1 occupies luch a ~ition that the channel b is Illil[htly open. "" In consequence thE' l'f'gulating bellow tl is exhaullted by the main bellows a, the (PM 84.]

continue. .. 245 continued. ..

r: E. WELTE &; K. BOCKISCH. MECHANISM FOR REGULATING THE EXPRESSION IN APPARATUS FOR PLAYING MUSICAL INSTRUMENTS. Al'PLIOATIU l'ILED AUO.17. 1904. 1,008,291. Patented Nov. 7,1911. 3 SHEETS-SHEET 1.

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j .,...,.,./ E. WELTE & K. BOCKISCH. MEOllABISIl FOR REGULATING THE EXPRESSION Iff APPARATUS FOR PLAYIlIG JlUSIOAL IlISTBUIiENTS. .lPPLIOATIO:l rILED .lU&. 11, 1904. 1,008,291. Patented Nov. 7,1911. ~ ;Ii!'" 3 BHEETB-SIlEET II.

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E. WELTE &; K. BOCKISCH. JlEClUNISM FOR REGULATING THE EXPRESSION IN APPARATUS FOR PLAYUf9 JlOBIOAL IliSTBUMENTS. Al'l'LIOATIOlJ PILED ADG. 17, not. 1,008,291. Patented Nov. 7, 1911. 119- $ 3 SREETIl-IIREET 3.

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UNITED STATES PATENT OFFICE.

EDWIN WELTE AND KABL BOCKISCH, OF FREIBURG, GERlrIANY.

MECHANISM FOR REGULATING THE EXPRESSION IN APPABATUS FOR PLAYING MUSICAL INSTRUMENTS.

1,008,291. Speci1lcation of Letters Patent. Patented Nov. 7, 1911. Application filed August 17.. 1904. Seriallio. 221,034.

To all whom it may concern.' in a casing A outside of and separate from Be it known that we, EDWIN WELTE and the piano or other musical instrument X, K.\RL BOC]{ISCn, both subjects of the Grand but we wish it understood that this is merely Duke of Baden, and residents of Freiburg, exemplificatory and that the invention is 5 in the Grand Duchy of Baden, German Em­ not restricted to such arrangement it being 80 pire, have invented certain new and useful within the spirit and scope of the Invention1 Improvements in Mechanism for Regulat­ to arrange the mechanism of the player ing the Expression in Apparatus for Play­ within the casing of the piano or other in­ ing Musical Instruments, of which the fol- strument to operate upon the inner ends of IO lowing is a specification, reference being had the keys thereof or upon any other suitable 65 to the accompanying drawings, in which-> part of said instrument. In the form shown Figure 1 is a section through the main in the drawings, the casing A has within its bellows, the expression bellows and tire reg­ interior a tracker board A' which is formed ulating bellows of the present invention. with a series of ducts a' which communicate lIS Fig. 2 is a vertical longitudinal section with the pneumatic actions B. The actions 70 through a portion of the pneumatics for whereby the sound is produced we herein cont rolling the pressure of the fingers or term "tone-producing actions" to distin­ levers upon the keyboard of the piano. ~ish them from the actions which control Fig. 3 is a diagrammatic view showing the the expression. These tone-producing ac­ 20 connection and relative arrangement of the tions in the present exemplification of the 75 main operating parts, the expression actions invention operate the strikers of the keys and tone-producing actions being shown in of the piano, but considered in its broad vertical longitudinal section, one regulating aspect, the invention is not restricted to such bellows and one pumping bellows being specific relation of parts. 25 omitted. Fig. 4 is a vertical transverse sec­ Any suitable pneumatic actions for the 80 tion on the line 1-4 of Fig- 3. Fig. 5 is a strikers may be employed, but we prefer the detail view of means that may be employed construction shown in the accompanying for Opl'l"llting the slide or valve c hy hand. drawings, wherein each of a series of com­ Fig. 6 is an end view of the parts shown in partments 1 is connected with a strike pneu­ so Fig. 5. matic C having a finger lever C', by means 85 Similar letters of reference indicate cor­ of a passage 2 which leads from said com­ responding parts in the different figures of partment 1 to the interior of said strike the drawings, pneumatic, as shown best in Fig. 4. It will This invention relates to that chnructer of be understood that there is a different com­ 35 mechanical devices for playing pianos and partment 1 for each strike-pneumatic C and 90 other musical instruments wherein the tones that there is one of such strike-pneumatics of the piece of music are produced through and fingers for each key of the Instrument the medium of air currents controlled by n within the range of the player. As indi­ perforated note sheet. These currents are cated in Fig. 3, each compartment 1 is pro­ 40 l1l's('l'ihecl herein as produced by lowering vided at bottom and top, respectively, with 95 till' pr('ss\II'e within the instrument below air ducts 3 and 4, and with a pair of valves atmospheric pressure, and it is usually 5 and (; for opening and closing said ducts. better to produce them in this way rather The valves 5 and (; are connected so as to than hy raising the pressure in the instru- operate in unison, each closing its duct H) ment nhove atmospheric pressure, The in­ while -the other is open. Through the duct 100 vention more especially relates to the ex­ 3 the interior of the compartment 1 com­ pression means of such devices. municates with the wind trunk 10, while the The principal object of the invention is to duct 4 affords communication of the interior provide such devices with means whereby of said compartment with the atmosphere. 1)6 the piece may he reproduced with more ac­ Each pair of valves 5 and 6 is controlled by 105 curate or artistic expression than at present, a diaphragm 7 which is mounted in said whic·h expression is automatically controlled wind trunk above a chamber 8. Air con­ hy the note sheet. clucting tubes 9 lead to the respective air . Tn the accompanying drawings we have ducts a' in the tracker board A' from these 66 shown the mechanism of the playermounted chambers 8. 110

continue. .. 249 continued. ..

2 1,008,291 r

For the purpose of producing the neces- It will be understood that the strength of sary air currents through the apparatus, w.e the touch of the fingers or other strjking de­ preferably provide an air chamber and ad- vices C' on the keys or other parts of the vantageously employ therefor a main sue- piano or other instrument being played de- is tion bellows a having strong springs a"', pends on the intensity of the suction to 70 from which the wind is pumped by means of which their pneumatics are subjected, and bellows R which are operated by foot power, in order that this may be varied without or by a motor or the like. The tone produc- varying the degree of vacuum or the sue­ ing actions are connected by a suitable air tional force within the main bellows a the 10 passage or passages with the means for pro- latter is employed to deflate the regulating 75 dueing the air currents, and means for vary- bellows or other suitable air chamber d ing or governing this passage as well as op- which has communication with the wind erating means therefor are provided. trunk 10 through the wind passages b and It being understood that the note sheet is pipes or other suitable ducts 11. Each regu- 15 caused to travel over the tracker board and lating air chamber or bellows is connected 80 the main bellows a is pumped out and main- by an air passage b' with the main bellows, tained constantly in a highly exhausted con- and suitable means is provided for varying dition, and it being further understood that or governing this passage, as a slide or other the tracker board has channels or passages valve c. This valve, in the form illustrated, 20 and that the note sheet is formed with cor- is arranged in the air passage b' between 85 responding openings for said channels or the main and regulating bellows and is con­ passages, the operation of the narts thus far neeted to the movable board d' of said regu­ set forth will readily be seen'"to be as fol- luting bellows and to a. movable device e', lows:-When a note opening is brought into This movable device e' in the specific ar- 25 registration with a duct or passage in the rangement illustrated supports the connec- 90 tracker board, atmospheric a1r will be ad- tion r;' between the valve c and the regulat­ mitted to the chamber 8 connected with ingbellows. A pulley g orothersuitable anti­ said duct, which air raises the diaphragm 1 friction device is preferably provided to en- in said chamber, thus raising from and ele- gage said connection and said pulle:r is pref- 30 vating to their respective seats the valves 5 erably carried by said movable device, The 9G r and 6 connected with said diaphragm 7. connection is preferably a wire or other flexi­ Communication of the particular compart- ble means, and, for reasons which will here­ ment 1 containing said valves with the inafter appear, the movable device e' is pref­ strike-pneumatic C connected therewith and erably tlie movable part or board of an ex- 35 with the wind trunk 10 is established where- pression chamber or bellows e. The re~- 100 by said strike-pneumatic C is exhausted hy lating bellows d is provided with a, sprmg the suction produced in said wind trunk and f the power of which increases to an extent controlled by the regulating bellows il, corresponding to the extent of deflation of hereinafter described, causing its striking the regulating bellows. 40 device C' tostrike the corresponding key of The words "lower" "raise," etc., in the 105 the instrument hard or soft according to following description are used for eonven- the position of the movable board d' of ience and clearness and with especial refer­ said regulating bellows, that is to say, ae- enee to the relative arrangement of the V2­ cording to the degree of vacuum. produced rious parts of the apparatus as illustrated in 45 therein by the mam bellows a. When said the drawings, and not as limiting the in- 110 note opening has passed out of registration vention to the said arrangement. with said duct or passage in the tracker When the expression bellows e is out of board, the admission of atmospheric air action-that is, when it is fully inflated­ through the latter is cut off, the diaphragm its board e' is in its lowest position and the 50 7 and the valves 5 and 6 connected therewith slide c is adjusted. to nearly close the pas- 115 return to their former positions, thus cut- sage through the wind channel b' between ting 01£ communication of the strike-pneu- the main bellows a and the regulating bel­ matic C with the wind trunk and establiSh-I lows d. This position of the parts is shown ing communication of said strike-pneumatic in Figs. 1 and 3, and is the pianissimo posi- liS with atmospheric air, which enters the com- tion. Ifnow suction is prodnced in the main 120 partment 1 through the duct 4 and passes bellows a, the regulating bellows becomes thence through th~ passage 2 to said strike- somewhat deflated, its movable board d' pneumatic C and inflates the same, thus rises and moves the slide o to further re­ raising the striking device C' from the key strict the passage b' and practically cut off 60 of the instrument X. the main bellows. The movable board d' of 125 Through very small passages 11" (Fig. 4) the regulating bellows is now, however, the chambers 8 are placed under slight sue- raised but Iittle, so that the tension of the r>. tion to facilitate the downward movement spring t is weak, and there is a low degree I of the diaphragm '7 and consequently of the of tension in the regulating bellows. The 65 valves 5 and 6. movable board of this regulating bellows 130 continued. ..

) 1,008,291 a /=" falls according to the demand made upon the to produce automatically all the various ex­ suction by the pneumatics of the tone-pro­ pressions, ;pianissimo, piano, mezzo forte, ducing actions, and in so doing correspond­ forte, fortissimo, forzando, crescendo, de­ ingly moves the slide to open the passage crescendo, etc. and to permit the same to be 5 from the main bellows; but the low degree produced manually. For purposes of auto- 70 of suction is maintained at the tone-produc­ matic regulation, the movable device e" is ing actions, because the expression bellows e preferably, the bottom board of an expres­ has already set the valve or slide c to very sion bellows e which bellows is controlled much restrict the passage b', Thus though by pneumatic expression-actions, which, in 10 the slide c is moved, in accordance with the turn, are controlled by special openings in 15 demands made by the pneumatics of the the note sheet and special ducts in the tracker tone-producing actions, the tension of air board. to produce the pianissimo volume of tone is Any suitable construction of expression maintained by the action of the regulating actions may be employed without departing 15 bellows d. from the spirit of the invention, but we pre- 80 To produce a stronger tone volume the fer that shown in the accompanying draw­ section in the regulatin~ bellows has to be ings, wherein there is one set of expression brought to a higher tension. This is accom­ actions for each expression bellows e and each plished by moving the movable device e' set of such actions, in the form herein 20 upward, thus correspondingly raising the shown, comprises one action, r', for sudden 85 2 slide c and opening the channel b': Conse­ forte effect, another r , for sudden piano quently the regulating bellows becomes effect, a third, r, for crescendo effect and a 4 somewhat deflated, lowering, at the same fourth r , for releasing the crescendo effect. time, the slide c, and again allowing, as Each set of expression actions, furthermore, 25 soon as the movement of the movable device preferably comprises actions rs and ".0 to 90 e' ceases, only the passage of the suction actuate a bellows h having a stop i adapted used to produce tones of the desired volume, to engage a stop i' carried by the expression whereby the movable board d' is kept in this bellows e, said compartments rT> being con­ predetermined raised position. In this posi- nected with the bellows h by a pipe h/: 30 tion the spring! is under stronger tension Each expression action (r', r, r, 1", r5 96 than before, whereby the increased power of and 7"'), like those of the tone producing­ the suction in the regulating bellows is main­ actions above described, comprises a cham­ 4 5 tained. ber (k, k', k', k3, k and k , respectively,) To change a stronger volume of tone to a arranged at one side of the wind trunk l()a 35 softer one, the movable device e' is moved and having valves q' which control com- 100 downward; the slide c more nearly closes the munication of said chambers with said wind channel b' and, consequently, the suction trunk and the atmosphere; and each also consumed in the striking of the keys is not has, at the other side of said wirH~ trunk, a so rapidly renewed. The regulating bellows chamber 8A having a diaphragm-pneumatic 40 likewise becomes inflated and the degree of q2, said chambers 8A thus corresponding to 106 suction in it becomes reduced. When the the chambers 8 above described, and having movement of the movable device e' ceases ducts 9A from which passages lead to the the movement of the regulating bellows d tracker board A' which tracker board, as also is stopped and said regulating bellows stated" has special perforations or air inlets 45 by reason of its connection with the slide c therefor. 110 and also its free communication with the Each of the expression-actions r' and r pneumatics of the tone-producing actions is for forte and crescendo effects respectively, enabled to replace the suction consumed in and r5 for operating the bellows II" is pro­ the striking of the keys. vided with a chamber 8 within which is 60 Thus it will be seen that upon the position arranged a membrane q connected with the 115 of the movable device e' depends the momen­ valves q' and membrane g2 of said action. tarily normal position of the movable board The portions of said chambers 8 above the of the regulating bellows and that upon the membranes q are connected, respectively, latter depends the quantity of the tone vol- with the valve-chambers k, k" and k 4 by 55 ume produced and the maintenance of that bores or passages t. In practice, the passage 120 volume. t for the forte action may be omitted. The One of the purposes of the present inven­ valve chamber k' of the action for produc- tion is to provide means for raising said ing a "piano" volume of tone is connected movable device e' to produce the tone volume with the portion u of the chamber 8 below 60 desired automatically under the control of said membrane of the forte action by a 126 the note sheet. It is obviously advantageous passage 'IJ; and similarly the valve chamber to provide means operable to produce the kS of the action 1" for releasing the cre­ expression automatically and the structure scendo effect is connected with the portion herein shown embodies this advantageous of the chamber 8 below the membrane q of 65 feature. The mechanism shown is adapted the crescendo action r; which likewise is 130

continue . .. 251 continued. ..

4 1,008,291 r

true as to the valve chamber kG of the action sheet has passed, the expression bellows is r" and the lower portion of the chamber s kept by the crescendo action in forte posi­ of the action r5. Thus, when the valve tion. chamber k, for example, is evacuated by the If piano is to be produced, the piano 15 quick rising of the valve, the space above action r2 is actuated whereby the small valve 70 the membrane q is placed under suction so bellows n is evacuated by means of the chan­ that the valve cannot return to its seat. nel or pipe m. The opening 0' in the ex­ Even when the original force which has pression bellows is then opened and the raised the valve ceases to work, the valve is latter quickly returns from the forte posi­ 10 kept raised until the neighboring action tion into the piano position. Simultaneously 75 allows exhaust to operate by means of the with piano the decrescendo action r' is actu­ channel v on the membrane q from below. ated, so that the crescendo which up to now In this manner short openings only need be kept the expression bellows in the forte po­ provided in the music sheet in order to pro- sition, is released. 16 duce sustained tones or a series of tones of If crescendo effect is to be produced, the 80 the same quantity. crescendo action comes into operation and The communication between the expres­ gradually evacuates the expression bellows sion actions and the expression bellows e e by means of the small pipe p. If decre­ controlled thereby is shown best in Fig. 3, scendo is to be produced the crescendo effect 20 upon reference to which it will be seen that is released by the action r' and the expres- 85 from the valve chamber k of the forte action sion bellows e is gradually filled with at­ r'- a comparatively large duct or pipe lleads mospheric air through the pipe p and slowly into said expression bellows; from the sim­ returns to the piano position. ilar chamber of the piano action r a smaller For producing mezzo forte the action r5 25 duct or pipe m leads to a small expression jS arranged, which deflates the bellows 11" 90 bellows n which is provided with and actu­ whereby the stop i comes into the path of ates a valve 0 which normally closes a pas­ the expression bellows e. A short time later sage 0' in the expression bellows e, through the forte action is operated by which the which passage said expression bellows has expression bellows e is deflated in such a 30 communication with the atmosphere, where­ manner that stop i' is engaged with stop i 96 r""' by it is quickly inflated when it is desired and the expression bellows is therefore pre­ to pass suddenly from a stronger to a weaker vented from being fully collapsed. It is volume of tone; and from the valve cham­ kept in this position by the crescendo action ber of the crescendo action r" extends a very actuated at the same time. If piano is to 85 small duct or pipe p to said expression bel­ again enter, the mezzo-forte and crescendo 100 lows e. are released by the actions r8 and r 4 and The wind trunk loa of the expression the piano action r Z is actuated. For passing actions is connected by means of a pipe 12 from mezzo-forte through decrescendo to with the main bellows a, whereby said ex­ piano, mezzo-forte and crescendo are re­ 40 pression actions are controlled directly by leased and the expression bellows e slowly 105 said main bellows instead of by the regulat­ returns into its piano position. For pass- ing bellows a. ing from mezzo-forte through crescendo to In practice, it is preferred to have two forte only mezzo-forte is released and the regulating bellows, one for the treble and crescendo sucks the distributing bellows up 46 the other for the bass, and to correspond­ to the forte position. If it is desired sud- 11 0 ingly duplicate the distributing bellows and denly to pass from forte to mezzo-forte, other expression devices. The expression mezzo-forte is inserted and the stop i is actions may be arranged at any suitable thereby moved into the path of the contact place, without departing from the spirit of piece i' of the expression bellows e. There- IiO the invention. In the drawings, they are by crescendo is released and the piano action 115 shown us arranged at opposite ends of the is put into operation. series of compartments 1 of the tone pro­ For passing from forte through decre­ ducing actions with their respective wind scendo to mezzo-forte mezzo-forte is insert- trunks loa divided from the wind trunk 10 ed, crescendo is released; then the expres­ &6 by rneuns of walls w. sion bellows e gradually returns up to the 120 In theoperation of the expression pneu­ stop i of the bellows h. matics:-When a Budden forte is to be pro­ It will not be a departure from the scope duced, the forte action (1") comes into op­ or spirit of the present invention to em­ eration and, through the air passage l, brace novel features thereof in a construc­ eo quickly deflates the expression bellows e, tion wherein the operation of the bellows e 125 thus causing the slide c to be raised quickly is effected manually, by a hand or foot lever, and the regulating bellows d to be forcibly for example. The expression bellows e mny r>, Slicked by the main bellows a. At the same be omitted (in such case for example) and \ time with forte the crescendo is always pro- the adjustable supporting device for the 16 duced, so that if the forte-hole in the note valve 0, in this case the board e' and pulley 130

continue. .. 252 continued. ..

1,008,891

U, may be directly actuated manually, by produce various changes of expression cor­ hand or foot operated means for instance. responding to his own idea or interpretation. Furthermore, means for manual operation From the above description it will be ap­ may be embodied in a machine which also parent that by reason of the reciprocal ac­ i has means for automatically controlling the tion of the valve and the regulatingair 70 expression, whereby provision is made for chamber or bellows, the valve tends to seek either individual or automatic control of the at all times during the operation of the in­ expression, at the will of the operator. In strument, some one of a number of mean the latter event, and with a machine having pcsitions, each representing a particular 10 automatic expression regulating means, like pressure in the regulating chamber and in 76 those hereinbefore described for example, the air passages leading to the tone produc­ the manually operable means should be of ing actions. such character that atmospheric air will be The particular mean position which the admitted below the membrane or diaphragm valve seeks and thus the particular pressure 16 of the"piano" action r, for example, as maintained, is determined by the position 80 long as the manually-operable device is in of the expression air chamber or bellows, action, thereby preventing the forte pneu­ which in turn is controlled by the selective matic from being actuated by the note sheet. action of the expression actions, or by the To exemplify this feature of the invention manual operating device. This results m ob­ 20 we have illustrated one form of means taining and retaining for the period desired 8li which may desirablv be employed for the any particular pressure in the regulating purpose, but to the "details of which we do chamber and in the air passages referred to. not restrict ourselves, nor do we claim said The relation between the valve, the regu­ details in the present case. In the form lating air chamber or bellows, and the ex­ 26 shown means are provided for manually op­ pression air chamber or bellows is such that, 90 erating the expression bellows e, or rather the valve is moved to a degree equal to the for raising and lowering the pulley g of the resultant of the forces of the two air cham­ latter. Those shown are operated by hand bers referred to. The parts may be so ar­ and comprise a shaft 100, which is journaled ranged that the movement of the valve may 30 in suitable bearings and provided with a he the resultant of the movement of the two 95 conveniently accessible handle 101 by which chambers, though this is not necessarily the it is turned. A cord or other suitable means case. By resultant is meant the algebraic 102 leads to the movable support of the sum of the movements of the two chambers valve c, from a pulley 103 which is fastened or other corresponding elements, giving to 35 on said shaft 100. Thus, when the shaft is motion of either element tending to move 100 turned the means which supports the valve the valve in one di...ection that + sign, and c will be moved accordingly, and such man­ to motion of either element tending to move ual movement will obviously cause the same the valve in the other direction the - sign. movement of the regulating bellows d that As already stated, the expression actions ~o would he effected by similar movement of are connected directly with the main air 106 the said support produced automatically chamber without the intervention of the through the automatic expression means regulating air chamber, while the tone pro­ aforesaid. ducing actions are connected with the reg­ The shaft 100 has a flat portion 104, or ulating air chamber and thus indirectly 45 is otherwise suitably formed to make it cam with the main air chamber. It follows that 110 shaped or eccentric, and bears upon the up­ the expression air chamber is operated in­ per ends of a series of plates or valves 105 dependently of the regulating air chamber, which are arranged in juxta~osition to and that the expression air chamber makes openings lOG in a casing 107. Said openings effective immediately any selection by the 50 are in communication with passages 108 expression actions. US which in turn communicate, through ducts Having thus fully described the nature of 109, with the chambers 8a of the expression our invention, what we desire to secure by actions 1.2, r, and ".e, whereby, when the Letters Patent of the United States, is:- shaft is turned it also presses said plates 1. In a musical instrument, the combina­ til> 105 and uncovers said openings 106, thus tion of striker pneumatics, a main source of 120 establishing communication of said cham­ power for actuating them, expression-con­ bers with the atmosphere. Thus the valves trolling means arranged to control the de­ 2 4 in said actions r , r and ".e are elevated, and gree of pressure at the striker pneumatics held in elevated position, as long as the accordingly as such means are set, automatic 60 hand operated device is in operation, there­ actions for setting the expression-control- 126 by, through the passages v, preventing the ling means for high, low or intermediate forte pneumatic from being operated by the pressure, and pressure - maintaining means note sheet while the hand operated device operatively connected with the said expres­ is in use, and said hand operated device sion-controlling means for maintaining sub­ 65 then can be manipulated by the player to stantial uniformity of that pressure for 130

continue . .. 253 continued. ..

6 1,008,291 r>

which the said controlling means may at valve - operating devices for maintaining any time be set whatever number of striker and producing numerous operative effects pneumatics be simultaneously operated. of the main source of power upon the striker 2. In a musical instrument, the combina- pneumatics. 5 tion of striker pneumatics, l1 main source of 7. In a musical instrument, striker pneu- 70 power for actuating them, means for con­ matics, a main source of power, a regulating trolling the air supply located between the device for automatically maintaining pre­ said pneumatics and the main source of sup­ determined pressures upon the striker pneu­ ply, a pneumatic in free communication matics, and an automatically actuated de­ 10 with the striker pneumatics c~>Dnected w}th vice connected therewith for varying the op- 75 and arranged to move the air controlling erative effect of said automatic device and means to maintain substantial uniformity for producing and maintaining any prede­ of pressure at the striker pneumatics termined degree of pressure of the main whether many or few of these are simul- source of power upon thestrikerpneumatics. 15 taneously brought into operation, a.nd op­ 8. In a musical instrument, striker pneu- 80 erable at whatever pressure the said con­ matics, a main bellows, a regulating bellows trolling means may be set to maintain, ex­ connected with the main bellows and the pression-controlling devices also operatively striker pneumatics, a valve situated in the connected with the air - supply - controlling passage between said main and regulating 20 means arranged to change the position of bellows so as to regulate the same, a flexible 85 the latter to vary the degree of pressure at device connected with said valve and regu­ the striker pneumatics accordingly as the lating bellows, a pulley over which said expression-controlling devices are set, and device runs, and means for adjusting said automatic actions for setting the expression- pulley to vary the action of the flexible de- 26 controlling means. vice with respect to the valve, 90 3. In a musical instrument, striker pneu­ 9. In a musical instrument, pneumatic matics, a main source of power, a regulating tone producing actions and expression ac­ motor intermediate the striker pneumatics tions, a main bellows, a regulating bellows and the main source of power, having means in communication with said tone producing 30 for automatically maintaining constant con­ actions and main bellows, a valve arranged 95 dition of action between the main source of in the passage between said main and regu­ /'""' power and the striker pneumatics including lating bellows, said valve being connected a valve in the connection between the regu­ with and moved by the regulating bellows, lating motor and the main source of power, and an automatically adjustable device 36 and an automatically actuated device ar­ interposed in the connections for moving 100 ranged in the connections of the valve for said valve, independentlv of or in conjunc- changing to any degree the operative effect tion with the regulating bellows, said uuto­ of the main source of power upon the key matically adjustable device controlled by pneumatics through the regulating motor. said expression actions. 40 4. In a musical instrument, striker pneu­ 10. In a musical instrument, pneumntic 105 matics, a main source of power for actuat­ tone producing actions and expression ing them, means for maintaining at the actions, a main bellows, a regulating bellows striker pneumatics uniformity of pressure in communication with said tone producing from the main source of power, as the said actions and main bellows, a valve arranged 45 pneumatics are operated, devices cooperat­ in the passage between said main and regn- 110 ing with the said pressure - maintaining lating bellows and connected with said regu­ means for varying the degree of pressure, lating bellows, and an expression bellows whether high, low, or intermediate, which controlled by said expression actions and the said means will maintain, and automatic connected with said valve, and adapted to 50 actions for setting said pressure varying ] actuate the valve independently of its move- 115 means. ment by the regulating bellows. 5. In a musical instrument, striker pneu­ 11. In a musical instrument, pneumatic matics, a main source of power for actuat­ tone producin~ actions and expression ac­ ing the same, means for maintaining un i- tions, a main bellows, a regulating bellows 55 formity of pressure of the main source of in communication with said tone producing 120 power at high, low and various intermediate actions and main bellows, a valve arranged pressures with reference to the striker pneu­ in the passage between said main and regu­ matics, and means cooperating with the first lating bellows and connected with said regu­ named means for automatically varying luting bellows. an expression bellows hnving 60 such pressures at varying speeds. . connection with said valve and ducts con- 125 6. In a musical instrument, striker pneu­ necting different expression actions with matics, a main source of power for actuat­ said expression bellows, whereby the latter ing the same, a valve controlling the action is controlled for various positions to vary rr- of the main source of power upon the striker the movement of the valve independently 65 pneumatics and two automatically actuated of its movement by the regulating bellows. 130 continued. ..

1,008,201 7

12. In a musical instrument, a main bel­ lows controlled by said expression ac­ lows, a regulating bellows, striker pneu­ tions and connected with the last mentioned matics connected therewith, a valve situated means, and stop devices for said expression in the passage between the main and regu- bellows, said stop devices comprising a. pro­ 15 lating bellows so as to regulate said pas­ jection from said expression bellows, and a 10 sage, said valve being mechanically con­ bellows connected with one of the expression nected with the regulating bellows, an actions and arranged contiguous to the ex­ expression bellows mechanically connected pression bellows and having a stop to en­ WIth said valve interposed in the connecticn gage said projection. 10 of the valve and regulatingbellows, and auto­ 17. In a musical instrument, pneumatic 15 matic expression actions, acting upon the ex­ tone producing actions and expression ac­ pression bellows and comprising compart­ tions, a main bellows, a regulating bellow!'> ments provided with actuating and releasing communicating with said main bellows and valves, one of said actions also provided tone producing actions, a regulating device 16 with a chamber having a membrane divid­ arranged in the passage between said main 80 ing the same into spaces above and below and regulating bellows, means for connect­ said membrane, means connecting one of ing the regulating device to the regulating said spaces with the compartments of one of bellows, an expression bellows controlled by said actions, and means connecting the other said expression actions and interconnected 20 of said spaces with the compartment of the with the means connecting the regulating 85 other of said actions. device and regulating bellows, and stop de­ 13. In a musical instrument, in combina­ vices for said expression bellows, said stop tion, striker pneumatics, a regulating bel­ devices comprising a supplemental bellows lows in connection therewith, a main source and interengaging parts between the expres­ 25 of power connected with the regulating sion bellows and supplemental bellows con- 90 bellows, means intermediate the regulating nected with one of the expression actions. bellows and the main source of power for 18. In a musical instrument, pneumatic maintaining a predetermined action of the tone producing actions, a main bellov s a main source of power upon the striker pneu- regulating bellows, an expression bellows, a 30 matics, and automatic means in operative pulley connected with the expression bel- VS relation with the first named means for in­ lows, a valve between the regulating bellows creasing and decreasing the operative effect and the main bellows, and means extending of the main source of power and regulating over the pulley of the expression bellows bellows upon the striker pneumatics. and having one end secured to said valve 35 14. In a musical instrument, pneumatic and its other end connected with the regulat- 100 tone p1[oducing actions, a main bellows, a ing bellows. regulating bellows in communication with 19. In a musical instrument, pneu marie said tone producing actions and main bel­ tone producing actions, a main bellows, a lows, a valve arrunzed in the passage be- regulating bellows, an expression bellows, a 40 tween said main and regulating bellows, a movable device connected with the expres- 105 flexible means connecting said valve with sion bellows, a valve between the regulating said regulating bellows, a pulley over which bellows and the main bellows, and means ex­ said flexible means runs, means for adjust­ tending over the movable device of the ex­ ing said pulley, and means for holding the pression bellows and attached at one end to 45 same in different positions of adjustment. said valve and at its other end connected no 15. In a musical instrument, pneumatic with the regulating bellows. tone producing actions, a main bellows, a 20. In a musical instrument, key pneu­ re~lating bellows in communication with matices, a main bellows, a regulating said tone producing actions and main bel- bellows in communication with said main 50 lows, a valve arranged in the passage be­ bellows and key :pneumatics, expression 115 tween said main and regulating bellows, a actions, an expression bellows controlled flexible means connecting said valve with by said expression actions, a valve ar­ said regulating bellows, an automatically ranged between the main bellows and the actuated device over which said flexible regulating bellows, operating means for said 55 means runs, means for automatically adjust­ valve including a connection from the valve 120 ing said device, and means for holding the to the regulating bellows whereby the same in different positions of adjustment. former is operated by the latter, and a con­ 16. In a musical instrument, pneumatic nection from the expression bellows to the tone producing actions and expression ac- valve whereby the latter may be operated. eo tions, a main bellows, a regulating bellows by the expression bellows in conjunction 125 communicating with said main bellows and with or independent of the operation of the tone producing actions, a valve arranged in regulating bellows, and stop devices for said the passage between said main and regulat­ expression bellows, comprising an auxiliary ing bellows, means for connecting the valve bellows controlled by one of said expression 16 to the regulating bellows, an expression bel- actions and interengaging projections on ISO

continue. .. 255 continued. ..

II 1,008,291 ;----

said expression bellows and auxiliary bel­ mediate the bellows and valve for operating 5~ lows. the valve, and automatic means actuated by 21. In a musical instrument, the combina­ the exhaust and interconnected with the tion of striker pneumatics, a main source of means for controlling the valve for moving 5 power for actuating them, means for main­ said valve during its control by the regulat- taining uniformity of pressure from the said ing bellows. 60 main source of power for actuating the 25. In a musical instrument, tone produc­ striker pneumatics whether many or few ing actions, a main air chamber, a regulat­ of these be operated at once, a tracker board, ing air chamber in communication with said 10 automatic actions controlled from the tone producing actions and main air cham­ tracker board, and means controlled by the ber, means governing the communication be- 65 said automatic actions, operatively con­ tween said chambers and connected with said nected with the said pressure-maintaining regulating chamber, an expression air cham­ means for varyin~ the degree of pressure ber connected with said governing means, 16 supplied to the stnker pneumatics. and means for increasing or decreasing the 22. In a musical instrument, in combina­ pressure in said expression chamber ab- 70 tion, striker pneumatics, a main source of ruptly or gradually. power, a regulating bellows interposed be­ 26. In a musical instrument, pneumatic tween the striker pneumatics and main tone producing actions, expression actions, 20 source of power, means including the regu­ a main air chamber, a regulating air cham­ lating bellows for maintaining varying op­ ber in communication WIth said tone pro- 75 erative conditions of the main source of ducing actions and main air chamber, a vnlve power with relation to the striker pneu­ governing the communication between said matics, a music roll, and automatic means chambers and connected with said regulat­ 25 interconnected therewith and with the regu­ ing chamber, an expression chamber to lating bellows for controlling to various de­ change the position of the valve, and ducts 80 grees the operative effect of the main source of different capacities connecting different of power upon the striker pneumatics at any expression actions with said expression position of the regulating bellows. chamber. 30 23. In a musical instrument, in combina- 27. In a musical instrument, pneumatic ~ tion, striker pneumatics, a regulating bel­ tone producing actions, pneumatic expres- 85 lows connected therewith, a main source of sion actions, a main air chamber, a connec­ power connected with the striker pneumatics tion between the tone producing actions and through the regulating bellows, a regulator the main air chamber, a valve governing the 35 intermediate the regulating bellows and said connection, an expression bellows pro­ main source of 'power and controlled in part vided with an opening, means controlled by 90 by the regulating bellows for maintaining an expression action or actions for evacuat­ predetermmed constant actions of the main ing said expression bellows, and an auxil­ source of power upon the striker pneumatics, iary expression bellows connected to an ex­ 40 and a mechanism automatically actuated by pression action and controlling said opening the main source of power and connected to permit the sudden expansion of the ex- 95 with the regulator for varying the opera­ pression bellows on the actuation of the said tive effect of the main source of power to expression action. any desree and at varying positions of the I In testimony whereof we have signed our 46 regulating bellows, substantially as de­ names to this specification in the presence scribed.. of two subscribing witnesses. 24. In a musical instrument, in combina­ EDWIN WELTE. tion, striker pneumatics, an expansible bel­ KARL BOCKISCH. lows in connection therewith means for ex- Witnesses as to Edwin WeIte: 60 hausting the air from said bellows, means JULIUS MULLUCK, for expanding the bellows against the ac­ LAMBERT E. WALTHER. tion of the exhaust, a wind-trunk connect­ Witnesses as to Karl Bockisch: ing the bellows and the exhaust, a valve con­ LUDWIG ZINBAL, trolling said wind-trunk, connections inter- BENJAMIN F. LIEFELD.

r>:

256 257 r-..J THE WELTE MUSICALE ~ by Mark Reinhart, edited by James Keaton

:?" Automatic music is enchanting for many reasons. undoubtedly the Certainly a large part of the fascination comes from the source of the name production ofmusic by pedaling, dropping a coin or trip­ "Multi Control". The ping a switch. I personally enjoy the music and the roll changing mecha­ longer the roll the better; I am not the first to want a long nism was built by the program of music. The Welte-Mignon Corporation staff Grand Rapids group recognized this desire and successfully marketed the ulti­ but was finished and mate in automatic music-the Welte Musicale. installed by the The Musicale was an attachment for piano or organ Welte-Mignon which held 10 music rolls, automatically playing any Corporation. selected roll at the touch of a finger. The Musicale was The Musicale designed for ease of operation. Once the changer was was a free standing loaded with the 10 favorite rolls, the listener need only device connected to relax and enjoy uninterrupted music at the touch of a but­ the piano or organ by ton . The cost of this attachment rendered it too expensive a wire cable. Since for the average consumer, indeed only the most wealthy the changer was a customer could afford this level of comfort. Of course, separate unit, in some the customer who could afford a residential organ installations the probably had no difficulty including the Musicale in the device was built into budget. This is why there are many more surviving a wall with a small Musicale changers for Welte-Philharmonic pipe organs . . .. opening to access the Welte-Philharmonic MUSicale front view. II f . than for Welte-Mignon pianos. ro s or changing. In other installations, very elaborate cases were built to match a customer's existing furniture. The Musicale was , flexible insofar as the original buyer had many options in "'.;.:.:- - the changer embodiment. Our multi control unit, origninally sold to Eleanor Boleter of Perryville, Maryland in 1929, is in a lovely mahogany case with carved decorations. In 1939, Ms. Boleter employed W. W. Kimball to move the organ and Musicale to her home in Havre de Grace, Maryland; Kimball placed their own name plates on the multi unit at that time. Visitors to our home who know nothing of what this case houses have admired the woodwork, won­ dering about the nature of our " closet". The Welte-Mignon with Musicale was available in the line of Welte-Mignon "Original" pianos or as a custom built attachment by the Welte-Mignon Corporation. The Musicale played Purple Seal or Welte-Mignon Licensee rolls with the tempo for each roll controlled by separate L,;;' • •""1 tempo knobs. The changer unit selects the desired roll, Welte-Philharmonic Musicale made in 1929. Mahogany case . reads each roll pneumatically then converts the informa­ Sold to the public as the "Musicale", the changer was tion electrically. The multi unit is attached to the piano referred to by factory service personnel as the "Multi by a large cable which operates a series of magnets to Control" or simply "Multi" unit. The mechanisms for convert the information back to pneumatic signals to changing the rolls were made by the National Piano operate the Welte-Mignon player. Manufacturing Company of Grand Rapids, Michigan. The Welte-Philhannonic organ with Musicale played National Piano Mfg. Company had a history of success­ style V-VI Philharmonic "150" rolls. Like the T-IOO (red paper) counterpart, the" 150" rolls were played at a single ful roll changing pianos with their popular line of coin ... :::5- ~ ! operated instruments. The Grand Rapids people called speed and required no adjustment of speed for the multi their machines "Multirecord Controller" which is control unit. The changer units were either self contained

continue. . . 258 continued. . .

or built into the struc­ Sowada and assigned to the Welte-Mignon Corp. for the ture housing the pneumatic to electric converter. organ. It is important Unfortunately, by April 1931 National Piano Mfg. to note however that was in receivership. The Welte -Mignon Corp. had under­ while the Mu sicale gone restructuring and was eventually broken up and sold. wa s a se lf contained The fate of the piano divi sion is not clear but the organ unit, the Welte­ division was sold to Donald Tripp and mo ved from the Philharmonic player Bronx to Sound Beach, Connecticut. The new firm, required two large Welte-Tripp Organ Corporation, also failed and was sub­ relay units to com­ sequently sold to W. W. Kimball. Rich ard C. Simonton plete the player. purchased a residence organ from W. W. Kimball with The relay units multi control ca. 1947. The origin of this late changer is control the register unknown since National was in receivership by 1931 . selection and pedal Perhaps the changer was old stock or reacquired from an notes. The register ea rlier owner. relay, like the Aeolian The Mus icale is an extraordinary devi ce, the epitome Duo-Art Reproducing of automatic operation. The multi ch anger enables the Pipe Organ, is needed listener to enjoy the benefit of lon g uninterrupted musical to actuate the regis­ programs wh ile blending well with existin g decor. The ters as selected by the multi unit take s the fine Welte -Mignon piano and Welte­ WeI te-Phi Iharmonic Philharmonic organ to a new level of listening pleasure. Welte-Philharmonic Musicale open rolls. The pedal note s Enough Musicale units survive today that, with diligence with access to change roll s. on the Welte- and persistence, the collector may eventually possess this Philharmonic " 150" roll s are multiplexed on the rolls. fascinating machine. The pedal relay is required to determine if the note is to be played on the pedal, great manual or both. All of this to say that the multi control unit can be connected to other (non-Welte ) organs but , in addition to the changer unit, the relays are required. This is often overlooked by col­ lectors today.

Welte-Philharm onic Music ale se lector tabl et close up. Welt e-Philharmonic Musicale close up of mechanism. The numbers are backlit showing the roll in play . Note that there is only a single tempo control for all rolls since they operate at a commo n speed. The Multirecord Controller was invented by Clifford H. Green of Grand Rapids, Michigan. Green was granted two patents for the multi control: USPat. No. 1,752,171 and US Pat. 1,80 1,343 . The Welte-Mignon Corp. staff de veloped the connecting hardware including the pneu­ matic to electric hardware. United States Patent No . 1,582,002 was granted to John G. Goll and Paul 1.

continue. . . 259 continued...

US Patents for Welte Musicale us Pat. No. 1,582,002, John G. Goll and Paul J. Sowada, filed 10. Dec. 1923, granted 20. Apr. 1926, Pneumato- r. Electric Device, assigned to Welte-Mignon Corporation. (This device con verts the pneumatic roll information to electri­ cal signals, used in both Musicale and single Philharmonic players.)

April 20 , 1926. 1,582,002 J. G GOLL ET At. fNEUMATO ELECTRIC DE,ICE

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.! I I ;"'}~\'" .WfL. I . i I· I i \.5/"" :w,' "" c clUOI 'It' ~J { { l § S' US Patents for Welte Musicale l:: '"~ US Pat. No.1,752, 171, Clifford H. Green, filed 13. Oct. 1923, granted US Pat. No. 1,801,343, Cifford H. Green, filed 11. Jan. 1926, granted 25. March 1930, Multirecord Controller, assigned to National Piano Mfg. 21. Apr. 1931, Multirecord Controller, assigned by mesne assignments to Company of Grand Rapids, Michigan. Grand Rapid Trust Co. and Harry M. Baxter, coreceivers for Automatic Musical Instrument Co. of Grand Rapids, Michigan. March 25, 1930. C. H. GREEN 1,752,171 April 21, 1931. c. H GREEN 1,801,343 MULTiR£COfiD CONTRCLltR J(t,lLTIRECORD CONTROLLER r111d oet . 1:5. 1923 9 Shnts-Sheet 1 filed Jan. 11. 1926 12 She.ts-Shoot 1 ~~ ij ~~ ~~ ,;;, I \ I f ( I• It 1, \

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continue. . . 262 continued. . . changing and tempo adjustment. Welte-Mignon Musicale closed.Welte-Mignon Musicale open for roll Welte-Mignon

continue. . . 263 continued. . . from the multi control unit on underside of a grand piano. 20114-R Welte-Mignon showing electric to pneumatic converter and cable 20114-R Welte-Mignon

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April 21, 1931. C. H. GREEN 1,801,343 MULT I RECORD COt~TROLLtR

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April 21, 1931. C. H. GREEN 1,801 ,343 MU LTIRECOli.D CONTROLLER

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.fl?ccr: Ic.J/ -; . ~cJl?: CL.tM .;v.' r:5...... J. dJu ~~ _ / /,~. ~I.-J U~. I'af~~ -tfiM,: 20121 Rear side ofMusicale showing pneumatic to electric converter 8;:: §. at top and roll selector on shelfhalfway down. l:: ~ ofr -) l ,, ~ / f ) I ' ~ t ~ l l ' 8 i:!. ~ . ~

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tv -o0\ EW PIANO ROLLS & RECUTS

Three New Arrangements FOR 20-NOTE ORGANETTES Rolls have been produced to suit the Aeolian "Celestina" and the Wilcox & White "Symphonia" organettes. Roll production by John Wolff. PO Box 101, Belgrave VIC 3160, Australia • Web site: home.vicnet.net.au/~wolff/mechmusic/newrolls.htm

Three new arrangements, by AMICA member, Stephen Kent Goodman. 1. Whistling Rufus. “Whistling Rufus” is an early rag/cakewalk by Kerry Mills, which was copyrighted in 1899; it was (and still is) one of his most popular compositions. Roll length 13ft, duration 2 minutes 37 seconds. 2. Alabama Dream - a ragtime cakewalk. Composed in 1899 by George Barnard. During his youth Barnard learned to play many different instruments, and later became a bandmaster working in various towns throughout the United States. He had over 400 published works, most of which were composed for orchestra. Roll length 16ft, duration 3 minutes 14 seconds. 3. The Belle of Chicago. Composed by John Philip Sousa in 1892. Sousa composed this march as a salute to the ladies of Chicago. Although Sousa was soundly criticized in the press for this march, with such news quotes as: "Mr. Sousa has made his Chicago belle a strapping kitchen wench”:, it outlived it’s criticism and it became a popular march mostly overseas. The march certainly reflects Sousa's background conducting Offenbach operettas and has a French, dance-like quality to it.

PLEASE VISIT THESE SUPPLIERS OF RECUT ROLLS

Robin Pratt: Artist Choice Music Rolls Tim Baxter: Meliora Music Rolls Magic Melodies & Keystone www.wiscasset.net/artcraft/pratt.htm www.members.aol.com/meliorarol/index.htm 360 Lawless Road [email protected] [email protected] Jamestown, KY 42629 Phone: (419) 626-1903 Phone: (270) 343-2061

Rob Deland: Blues Tone Rolls David Saul: Precision Music Rolls Leedy Brothers Music Rolls www.bluesrolls.com 1043 Eastside Road 4660 Hagar Shore Road [email protected] El Cajon, CA 92020-1414 Coloma, MI 49038 Phone: (847) 548-6416 [email protected] www.leedyrolls.com Phone: (269) 468-5986 Steve Bentley: Playrite Music Rolls David Caldwell Fax: (269) 468-0019 1536 N. Palm St., 400 Lincoln Lake Ave., N.E. Turlock, CA 95380 U.S.A. Lowell, MI 49331 Larry Norman: Rollertunes Phone/Voice: (209) 632-5784 Phone: (616) 897-5609 www.home.earthlink.net/~rollertunes Fax: (209) 667-8241 DavidWFrom [email protected] [email protected] Phone: (504) 721-7188

270 Scott McDonald at Mason News From The Chapters

Some of the girls

Gary Craig, Ron Connor, Charles Tyler

HEART OF AMERICA CHAPTER Reporter: Kay Bode President: Tom McAuley Galen & Linda Bird at Mason Ampico Amica Pig Roast On April the 24th Galen and Linda Bird hosted a Pig Roast for the Heart of America Chapter and guests with about 60 in attendance. This has become a very popular event for the chapter. Galen smoked a whole pig as well as 2 briskets and a turkey. Many of the ladies brought food and snacks. It was a rainy morning but it turned out to be a beautiful day for the party. People started arriving around noon and we snacked and played instruments all afternoon and evening. The Birds have a newly restored 7 ft. Mason Hamlin Ampico which was Doug Cusick played for hours with and without the midi. Several people in & Linda Bird attendance played the piano including Craig Brougher and Scott McDonald. Scott played the keyboard for Andy Williams for several years and is now a well known jazz pianist in Kansas City. He and Craig entertained us along with some of our outstanding singers in the chapter. We were even treated to an improv duet with Scott and Craig. The Bird’s children’s carousel was a big hit with the children and adults alike. People also spent time in the music room in a separate building listening to the other instruments in the collection. On Sunday morning a brunch was held at the Bird’s followed by the business meeting. Final preparations were Bill, Kay, discussed for the Band Organ Rally at Gage Park in Topeka, Sandy and KS on June 19th. There will also be a meeting in September Ellen at the Washburn’s and the Christmas meeting will be at the Tyler’s.

271 Dee, Paul, Gordie We could hardly make it to our cars to travel to Chagrin and Billie Falls and the beautiful new home of Karl and Carol Theil, who moved from southern Ohio. Karl’s dad was a member of our chapter, and many of his instruments and memorabilia were in evidence here. I tried out the Wilcox and White player organ, purchased by Karl after waiting in line for an estate sale. Next was the 65 note Wheelock Pianola with a unique bird’s eye maple spool box. The roll cabinet was just as unique, as you can see by the photo, the rolls are suspended by their pins and the shelves fold out for easy access. The twin Knabe Ampico A & B pianos sat back to back and were tuned in unison by our guest technician Wanda Dawson. The Marshall and Wendell Ampico and Bush and Lane Welte rounded out the downstairs collection. Karl played the Stroud Duo-Art and showed us the framed collection of Seeburg Charles Tyler & Leonard Railsback sales posters and other advertising. The next morning we traveled back to the Theils where Karl’s mom joined in hosting brunch before our business meeting. We discussed plans for the July gathering in Indianapolis, Indiana, along with a possible trip to Michigan for the fall meeting. Afterwards, we added to our roll collections by checking out the selections in the dining room brought by members for an informal Mart. We had a wonderful time in northeast Ohio visiting a Carousel collection most of us had not seen before, and would like to thank Karl and Carol for planning a great weekend.

Hosts Carol and Karl Theil show a unique roll cabinet that hangs 65-note rolls by their pin ends.

MIDWEST CHAPTER Reporter: Christy Counterman President: Stuart Grigg - (248) 356-5005

Sherri and Wes Neff take On Saturday May 1, members of the Midwest Chapter shelter in a hollow tree at met at the entrance to the Cleveland Museum of Art to begin the Botanical Gardens an afternoon in University Circle. Some of us viewed the exhibits at the museum, while others went to see the newly opened Glasshouse at the Cleveland Botanical Garden. We were surrounded by butterflies in a tropical rainforest setting. The Crawford Auto-Aviation Museum of the Western Reserve Historical Society was next, where almost 200 classic cars are displayed, plus our favorite Steinway Duo-Art. We then took a scenic journey through Cleveland neighborhoods including Little Italy, to our eventual destination of Mayfield Heights and dinner at Bucca diBeppo. Family-style dining included never-ending platters of salad, breads, pasta, lasagna, pizza The business meeting was and multiple desserts. held after a delicious breakfast buffet.

272 Karl Theil viewed an interesting video, furnished by Kent and Margie explains the Williams, on the restoration of a 1799-1800 Tannenburg latest Ampico organ (America’s oldest and largest) in Old Salem, N.C. selection to Liz and Mike Alex was trying to promote a Fotoplayer rope-pulling Barnhart. contest. Kent Williams gave it his best try, and did well. The rest of us chickened out after Alex’s great performance. Many thanks to Alex and his parents, Phyllis and Ted Thompson, for inviting us to their beautiful home and for supporting Alex’s interest in mechanical musical instruments. Special thanks to Ted for bringing out the 1909 Mike Stephens, Pierce-Arrow. Karl Theil and Wes Neff enjoy a selection on Arlo (Chip Lusby), the Theil’s Bush Phyllis Thompson & Lane Welte. & Doug Mahr -chow time

Sherri Neff plays a roll on the Chein Margie & Kent Williams arriving at Pianolodeon. the Thompson home

Host-Alex Thompson getting ready to do his thing at the Fotoplayer

SIERRA-NEVADA CHAPTER Reporter: Nadine Motto-Ros President: John Motto-Ros - (209) 267-9252

On Sunday, June 26, the Sierra Nevada Chapter met at the home of our newest, and certainly youngest, member Alex Thompson (age 14) in Stockton, CA. Alex’s pride and joy is his 1918 Style 40 Fotoplayer. The Thompson’s also have a 1915 Style 42 Fotoplayer (under restoration), a 1909 Ted Thompson in the NYC Francis Bacon Kohler and Campbell pumper, and an Pierce-Arrow 1899 6’3” Knabe grand in a beautiful rosewood case. After a great potluck meal, chapter president John Motto-Ros conducted a business meeting. Our chapter web page was discussed, and we hope to have it up and running soon. Chapter members were encouraged to attend the 2004 convention in Denver. It looks like we will have eight Bob & Sonja Lemmon chapter members attending. At the end of the meeting, we on the patio

273 Betty & Ray Stacey enjoying the tour of his recently planted vegetable garden and offered outdoors freshly picked rhubarb to fellow SOWNY members. Thanks to Stan and my wife Anne, I have enjoyed both rhubarb muffins and a rhubarb-strawberry pie. Stan lives in a large 19th Century home in downtown Tonawanda. The post office is beside his home, the town memorial band stand and its tree lined park is two blocks away, and the Herschell Carrousel Factory Museum a mere five minute drive across the historic Erie Barge Canal. Small Kent Williams town America is indeed alive and Norman Rockwell would working the ropes certainly recognize the thoughtfulness of the local police department who allowed us to park along a street that does not normally permit Saturday parking. For those who ventured to Niagara Falls for the 1998 AMICA Convention, I will rekindle your memories of our group visit and update the museum. Our recent tour to the expanded display at the Herschell Carrousel Factory Museum certainly demonstrates the interplay between the important role of volunteerism and the trained guidance of museum personnel. To understand a lost technology and a century old ‘way of life’, the museum is indeed busy researching the business of carrousel making, restoration and recreation of various animals, the distribution and sales and payment system, and the impact of carrousels on the towns they were once part of. We are curious about the working conditions, about the impact of lead paints on the health of the workers and their neighborhood, and about the role of management in controlling the product line and encouraging worker loyalty. Questions from the tour group were thoughtfully answered and peaked our curiosity. There are plenty of examples of the vitality and dedication of this museum staff, from the classes for woodworkers and painters, and the researchers for suppliers of the mechanicals and gears to make this ‘traveling’ carrousel work, to the administrators and efforts Alex’s bedroom full of neat stuff including a reed organ to make this a viable economic project. We are hopeful that the children who visit and play on the miniaturized carousel will also find their favorite animal, be curious and enjoy this amazing piece of Americana. After our tour and ride on the carousel, we made a short drive to Pane’s Family Restaurant, selected our supper meal from an extensive menu and renewed friendships. Harrold and Muriel Hodgkins, honorary members, recently celebrated their 60th Wedding Celebration-congratulations! John and Janet Johns traveled from Ottawa, Canada. John is rebuilding a Chickering Ampico A. Bruce Bartholomew and Alan Mueller traveled from Rochester, home of the S.O.W.N.Y. CHAPTER original (Aeolian Co.). Alan Reporter: Garry Lemon convinced the local museum to accession the original plans for the Ampico B. President: Mike Walter- (716) 656-9583 Stan invited us back to his home to hear his interesting and varied collection of musical instruments. These May 2004 instruments represent an incredible period of invention, Photographs by Nancy Group and Anne Lemon consumer spending and the age of travel. Travelers from all over America and Europe were fascinated by the hills and Spring time in upper New York State and southern caves of Kentucky. Cave owners were entrepreneurs and Ontario brings the promise of warm and long days, just wanted to become rich. Floyd Collins wanted to discover a the right amount of rain, and the planting of our favorite new cave and thereby become rich and famous. He was to vegetables. Stan Aldridge, host of our May gathering, gave a become famous as the first person to have his tragic story reported on coast to coast radio! While searching for a cave 274 entrance, he slipped and got stuck in a rock crevasse. The lines of tourists grew as the radio reported about his Harrold Root, Muriel Hodgkins, misadventure and eventual death. The musical about Floyd Lori Root Collins is being presented by the Shaw Festival in Ontario and Stan has an original musical roll from the 1920’s about this story. A melodramatic and long suffering representation from the past lives on the Buffalo manufactured Kurtzman Welte-Mignon. What a moments!

Ed Group and family

SOWNY Chapter-2004

Harrold Hodgkins

Mike Walter, Allan Herschell Factory-www.carrouselmuseum.org Alan Mueller

Historic photo of woodworkers

Bruce Bartholomew, Garry Lemon -, Stan Aldridge, Mike Walter-Kurtzman Frog-rare Weber Duo Art Reproducing Piano 59P Welte Mignon Reproducing Piano

275 which was about 5’ tall with an exquisite inlayed front. It has a rank of flutes in it and played flawlesly. About 3 different Barrel Organs were demonstrated next. All were in excellent tune and very pleasant to hear. A large cylinder orchestral music box was next and next to it was a rare “Pianolin” with it’s endless roll which played a ragtime piece. They also have a “Regina” Sublima piano, a Wurlitzer Caliphone from 1928 and a Ruth Band Organ. All sorts of disk music boxes abound from small to a large three disk Symphonion which was lovely. In the next portion is a large collection of Stan’s orchestrion . One, which is memorable, is an English Gramophone with a paper mache' horn which is about 4’ in diameter, the sound of which equals or surpasses the famed Victor Credenza, which most of us are familiar with. They have a complete collection of Edison cylinder machines from the lowly “Gems” to an “Opera” machine. A Victor Schoolhouse with a large oak horn was shown by our own Bill Boruff as well as many of the other phonographs. A rare Scopitone showed us a couple of 1950's “music videos” which were a hoot and provided much interest with comments about the robust dolls with TEXAS CHAPTER those huge beehive hairdoos of the period. Reporter: Jerry F. Bacon After much visiting and a closing demonstration by our own Michael Barisonek of a fabulous President: Jerry F. Bacon - (214) 328-9369 Aeolian Orchestrelle of 11 sets of reeds, the day ended with a final performance by the Double Mills which played “Moonlight & Roses”. On Saturday May 01, 2004 25 members and guests We are grateful to have been allowed to visit this met in Duncanville,TX for our May meeting. World Class museum in our midst and thank the We started at 12:00 noon at The Golden Corral DeFords for the excellent hospitality we were afforded. Restaurant for lunch and at 1:00 caravaned to the Olden Year Music Museum which was about 1/2 mile away. This museum was started by the DeFord family of Duncanville and has grown since. Rick Wilkins is the curator of the museum and was in Michigan, so Mr. DeFord and his two sons showed us around. It really has to be seen to be believed. We began with a business meeting which was efficiently conducted by our President Jerry Bacon. Mention was made of the untimely passing of the President of the Pacific Can-Am chapter, Carl Kehret. Our sympathy goes out to them and to Mrs. Kehret who is the co-president of that chapter. We adjourned and turned over the proceedings to Mr. DeFord who welcomed us and demonstrated everything for our pleasure. “The second day of a diet is always The first thing we saw was a single Mills Violano which came from a restaurant in Dallas and was moved easier than the first,” Jackie Gleason to the Texas Centennial of 1936 and was seen and heard by thousands of people at that great event. Next to once said, because “by the second day, the single was a Double Mills which played a snappy you’re off it.” 6/8 tune “Barcalona”. Close to the Mills was a fine Seeburg KT which has Piano, Mandolin, Xlophone, ~ Jackie Gleason Tambourine and Castanets. Recently purchased from Europe was one of only two known “Ehrlicks Music Disk Playing Organ”

276 AMPICO B & A ROLLS, 100+ regular and 30 small Ampico rolls, ADVERTISING $750 for all. Call Carl 440-593-2155 (OH). (3-04) CLOTH-COVERED ELECTRICAL WIRE FOR REPAIRS AND GENERAL INFORMATION ABOUT RESTORATIONS. Many styles, colors, gauges. Safe and authentic. ALL ADVERTISING IN THE AMICA BULLETIN Sundial Wire, PO Box 1182, Easthampton, MA 01027; phone 413-582-6909. Full service web site: http://www.sundialwire.com; All advertising should be directed to: e-mail: [email protected] (4-04) Mike Kukral 1929 KNABE GRAND AMPICO B, #108445, restored in 1980’s, 216 Madison Blvd. plays well, plain cabinet, $12,000. HIGEL PLAYER PIANO #122, Terre Haute, Indiana 47803 restored, plays fair, $700. ANGELUS PUSH-UP PLAYER, restored, Phone: 812-238-9656 plays well, $200. CHASE & BAKER PUSH-UP, restored, plays well, e-mail: [email protected] $300. Transposing Piano (GEO. RUSSELL, LONDON, FORREST Ad copy must contain text directly related to the product/service & SON) #89375, not restored, in pieces (work was in progress), make being offered. Extraneous text will be deleted at the Publisher’s offer. EDISON DISC PHONOGRAPH #0032 SN 1417, plays, nice discretion. All advertising must be accompanied by payment in cabinet, many records, $300. All located near Fortuna, California. U.S. funds. No telephone ads or written ads without payment will Call Linda at (805) 967-7920 or email [email protected] be accepted. This policy was established by a unanimous vote of for more information. All prices negotiable (5-04) the AMICA Board at the 1991 Board Meeting and reaffirmed at “Rose City Rag” 2003 Convention Rolls available for $12, shipping the 1992 meeting. AMICA reserves the right to edit or to included. Contact [email protected] (4-04) reject any ad deemed inappropriate or not in keeping with AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. AMICA’s objectives. New Recuts and Originals, including “Jumbo” and Program Rolls. Also The BULLETIN accepts advertising without endorsement, N.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E., Lowell, MI 49331; Check out my website: www.maui.net/~uni/caldwell/; implied or otherwise, of the products or services being offered. e-mail: [email protected]; phone 616-897-5609. (6-04) Publication of business advertising in no way implies AMICA’s endorsement of any commercial operation. The Golden Age of Automatic Musical Instruments. Art Reblitz’ magnificent 448-page book. Fabulous photos, history, collecting AMICA PUBLICATIONS RESERVES THE RIGHT TO stories, tracker scales, original prices and more. $120 plus $5 S/H ACCEPT, REJECT, OR EDIT ANY AND ALL (single copy USA ground shipment). Mechanical Music Press-A, 70 SUBMITTED ARTICLES AND ADVERTISING. Wild Ammonoosuc Road, Woodsville, NH 03785; 603-747-2636. http://www.mechanicalmusicpress.com (4-04) All items for publication must be submitted directly to the HANDMADE BARREL AND PNEUMATIC ORGANS made in Publisher for consideration. Germany. With moving figurines and a lot of humorous surprises. CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum See: www.magic-mechanical-music.de Musik & Spiel Automaten for AMICA members. Non-members may advertise double the Geratebau, Ing. Hansjorg Leible, D-79400 Kandern/Holzen, Kirchstr. 2; member rates ($10.00 minimum). Because of the low cost of Tel: 07626-7613, Fax 07626-971009 (6-05) advertising, we are unable to provide proof copies or “tear sheets”. NEW REPRODUCING ROLLS FOR SALE – Magic Melodies is now the Exclusive Dealer for new Keystone Ampico and Duo-Art rolls. DISPLAY ADVERTISING For periodic Catalogs and other listings, write or call us. Magic Full Page — 71/2 " x 10" ...... $150.00 Melodies, 360 Lawless Road, Jamestown, KY 42629 or Half Page — 71/2 " x 43/4" ...... $ 80.00 phone 270-343-2061. (1-05) Quarter Page —35/8 " x 43/4" ...... $ 45.00 STEINWAY ART CASE DUO ART REPRODUCER GRAND Business Card — 31/2 " x 2" ...... $ 30.00 PIANO - Model AR-3, 7’-0’’, circa 1920. Outstanding condition with Non-member rates are double for all advertising. Ivory keys. This is an amazing musical instrument and is in like-new Special 6 for 5 Ad Offer - Place any ad, with no changes, for a condition with unbelievable tone and sound, superb. Being sold by full year (6 issues), and pay for only 5 issues. Payable in advance. private party/collector, I have moved and the new house does not have room. The asking price of $55,000 includes rolls, contemporary bench Photographs or halftones $15.00 each AND professional moving and set up to most US destination. Great Loose Sheet or Insert Advertising: Inquire history also, the Minneapolis Philharmonic Orchestra borrowed this We recommend that display advertisers supply camera-ready piano, moved it to the Orchestra Hall where, for the first and only time, copy. Copy that is oversized or undersized will be changed to a concert was performed between the Minneapolis Philharmonic correct size at your cost. We can prepare advertisements from Orchestra and a Reproducer Steinway, I have photos, a copy of the program and ticket stubs for this performance. A complete first class your suggested layout at cost. restoration of the piano was performed 14 years ago, since then it has PAYMENT: U.S. funds must accompany ad order. Make check always been expertly maintained by Steinway representatives, tuned payable to AMICA INTERNATIONAL. Typesetting and and played. The following was done during the restoration: New pin layout size alterations charges will be billed. block; New finish; restrung; repined; New dampers; the player works DEADLINES: Submissions must be received no later than the were all redone, this work was done by Bill Ackman; All new first of the odd months (January, March, May, July, September, leather, hoses, belts, etc.; New Ivory keys; Basically everything was rebuilt/refinished. I think the cabinet style is “Aeolian #3011” - November). The Bulletin will be mailed the first week of the A slide show of photos can be seen on the internet here, click on the even months. (Rev. 6-98) Steinway portfolio: http://photos.yahoo.com/norsepottery, John Danis, 2929 Sunnyside Dr D362, Rockford, IL, 61114, (815)978-0647, Email, [email protected] (4-04) WELTE-MIGNON PIANO 1927 – Seiler upright, Oak, T-98 green FOR SALE system, made in Germany. Complete and original, perfect ivories, brass inlay, restrung. Asking Only $1,900 Mike Kukral, 812-238-9656 or CREMONA MODEL J ORCHESTRION, unrestored, complete and [email protected] (6-05) original, with rolls. Don Janisch, 4794 Wildflower Ct., Dousman, WI 53118; 262-965-2627. (4-04) WANTED STEINWAY PIANOLA VERTIGRAND, upright player, serial number 140216 (circa 1911), restored, with bench, located in Ithaca, RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike NY. $3,000 or best offer. Call 607-273-7589 evenings. (4-04) Kukral 812-238-9656 or [email protected] (6-04) MARSHALL & WENDELL AMPICO, electric player 5’ baby grand, WANTED: 88-note Ethnic Rolls, especially Russian, Greek, Jewish, sn#113128, refinished off-white lacquer, new keyboard, re-strung, Hungarian, and Syrian. Happy to buy, trade, or borrow rolls for excellent playing condition. Pump in player requires repair. Asking copying. Excellent references. Help spread diversity! $7,700, call 201-224-2265. (4-04) Contact Bob Berkman at [email protected] or 716-882-1826

277 AMPICO --- DUO-ART WELTE - RECORDO 88 NOTE Including, Jumbo, Program and Medley Rolls Offering listings of new recut and original rolls of above for direct purchasing, without bidding. Also buying small and large collections Write or e-mail for listings and prices. Include P.O. address and type you're interested in. [email protected] Barrel organs for collectors and enthusiasts. Complex moving figures with various sounds, Dave Caldwell delightful music and a lot of surprises. 400 Lincoln Lake Ave., N.E. Lowell, MI 49331 Musik & Spiel lng. Hansjorg Leible, Kirchstr, 2 • 79400 Holzen/Gerrnany 616-897-5609 Phone ++49 7626-7613 Fax ++49 7626-971009 (6·04) [email protected] www-magic-mechanical-music.de

'''-::... / AMICA ITEMS FOR SALE e: ~0\f1J ~ ~ ~~~I)<:ft~ Get the Whole Story! 'r-«; The AMICA Bulletin remains the single source of complete information about the technical and 9 social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAYI In stockfor immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound vol­ umes, collection s of technical articles written and con­ 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol I - 1969 to 1971 $10.00 $24.00 (U.S. Dollars) per year postage paid Vol2 - 1972 to 1974 8.00 Vol 3 - 1975 to 1977 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 7.00 Send Orders to : Stuart Grigg Vol 5 - 1981 to 1988 20.00 Vol 6 - 1989 to 1993 20.00 Grigg Graphic Services, Inc. ~ . Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, Ml 48034 ~ - temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments . e-mail : [email protected] ~ A

278 LEEDY BROTHERS MUSIC ROLLS 4660 HAGAR SHORE ROAD COLOMA MI 49038 Phone 269-468-5986 Fax 269-468-0019 email: [email protected] Welte Licensee DUO-ART AMPICO 88 NOTE Limited edition reissues and new music rolls. Contact us or check our web page for our latest list of music rolls. Web page www.leedyrolls.com

(4-05)

BENNET LEEDY ROLLS BENNET LEEDY RESTORATIONS THE PIANO ROLL CENTER 4660 HAGAR SHORE ROAD 4660 HAGAR SHORE ROAD COLOMA MI 49038 Phone 269-468-5986 COLOMA MI 49038 Fax 269-468-0019 Phone 269-468-5986 email: [email protected] Fax 269-468-0019 email: [email protected] High quality restorations of Ampico, Duo-Art, Welte and other reproducing Reproducing, 88 note, 65 note, rolls. pianos. All makes of 88 note player Musical related publications and other pianos, and other automatic instruments. collectibles for sale by mail auctions. Serving collectors since 1970. Contact us to receive our auction lists.

Web Page: www.leedyrolls.com (4-05) Web Page: www.leedyrolls.com (4-05)

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

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

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

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

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

280