The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION NOVEMBER/DECEMBER 2002 VOLUME 39, NUMBER 6 1,
Style F
An instrument of extraordinary beauty" capable of the artistic heights which only the true Grand can command-large enough in tone for a large studio-small enough in size for a small apart ment. Five feet two inches long Four feet nine inches wide
Sold in New York and Philadelphia exclusively by John Wanamaker Dealers in principal cities'and towns Send for Catalog SCHOMACKER PIANO CO. Established 1838
2Jd AND CHESTNUT STS. PHILADELPHIAt Pi\. .1 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens
VOLUME 39, Number 6 November/December 2002 AMICA BULLETIN
Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher Grainger — 261 Chapter News Duo-Art: Variations on the Theme— 270 UPCOMING PUBLICATION DEADLINES Late Duo-Art Pianos — 281 The ads and articles must be received Tech Tips — 285 by the Publisher on the 1st of the Odd number months: Mechanical Music — 288 January July March September Annual Report Correction — 298 May November Bulletins will be mailed on the 1st week of the even months. Robin Pratt, Publisher 630 East Monroe Street Sandusky, Ohio 44870-3708 DEPARTMENTS Phone: 419-626-1903 AMICA International — 258 e-mail: [email protected] President’s Message — 259 From the Publisher’s Desk — 259 MEMBERSHIP SERVICES Calendar of Events — 260 New Memberships ...... $42.00 Letters —299 Renewals ...... $42.00 People — 300 Additional $5.00 due if renewed past the Jan. 31 deadline Chapter News — 301 Address changes and corrections Classified Ads — 311 Directory information updates Additional copies of Member Directory . . . . $25.00 Single copies of back issues ($10.00 per issue - based upon availability) William Chapman (Bill) 53685 Avenida Bermudas Front Cover: Cigar Box label on lid La Quinta, CA 92253-3586 (760) 564-2951 Inside Front: Schomacker Piano Co. e-mail: [email protected] Back Cover: Late Duo-Art Expression Box -- Before and After, To ensure timely delivery of your submitted by Jeffrey Morgan BULLETIN, please allow 6-weeks Inside Back Cover: Ads from the Past advance notice of address changes.
AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.
Entire contents © 2002 AMICA International 257 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: Kurt Morrison - (253) 952-4725 e-mail: OGM [email protected] Pres: George Wilder - (630) 279-0872 Vice Pres: Curt Clifford Vice Pres: Don McLaughlin VICE PRESIDENT Mike Walter Sec: Jo Crawford Sec: Halie Dodrill 65 Running Brook Dr., Treas: Bev Spore Treas: Joe Pekarek Lancaster, NY 14086-3314 Reporter: Carl Kehret Reporter: Kathy Stone Septon 716-656-9583 Board Rep: Carl Dodrill e-mail: [email protected] Board Rep: Marty Persky 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, Registered agent for legal matters Board Rep: Richard Reutlinger 419-423-4827 Western New York) e-mail: [email protected] GATEWAY CHAPTER Pres: Mike Walter - (716) 656-9583 PUBLISHER Robin Pratt Pres: Yousuf Wilson (636) 665-5187 Vice Pres: Norma Marciniak 630 E. Monroe Street, Sandusky, Ohio 44870-3708 Vice Pres: Tom Novak Sec/Mem. Sec: Gary & Anne Lemon 419-626-1903 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: Holly Walter 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: Ron Bopp - (918) 786-4988 Pres: Frank Nix - (818) 884-6849 Vice Pres: Tom McAuley Vice Pres: Richard Ingram — COMMITTEES — Sec/Treas: Robbie Tubbs Sec./Reporter. Shirley Nix AMICA ARCHIVES Stuart Grigg Reporter: Joyce Brite Treas: Ken Hodge 20982 Bridge St., Southfield, MI 48034 - Fax: (248) 356-5636 Board Rep: Ron Connor Board Rep: Frank Nix AMICA MEMORIAL FUND Judy Chisnell LADY LIBERTY TEXAS 3945 Mission, Box 145, Rosebush, MI 48878-9718 517-433-2992 Pres: Bill Maguire (631) 261-6799 Pres: Jerry Bacon - (214) 328-9639 Vice Pres: Keith Bigger Vice Pres: Tony Palmer (817) 261-1334 AUDIO-VISUAL & TECHNICAL Harold Malakinian Sec./Treas: Janet Tonnesen 2345 Forest Trail Dr., Troy, MI 48098 Sec: Richard Karlsson Treas: Ira Malek Board Rep: Dick Merchant CONVENTION COORDINATOR Frank Nix Reporter:Buzz Rosa/Bill Maguire Bulletin Reporter: Bryan Cather 6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849 Board Reps: Marvin & Dianne Polan Newsletter Editor: Bryan Cather HONORARY MEMBERS Jay Albert Membership Chairman: Keith Bigger SOUTHERN SKIES 904-A West Victoria Street, Santa Barbara, CA 93101-4745 MIDWEST (OH, MI, IN, KY) Pres: Bill Shrive (Acting President) (805) 966-9602 - e-mail: [email protected] Pres: Judy Chisnell - (517) 433-2992 [email protected] PUBLICATIONS Robin Pratt Vice Pres: Stuart Grigg Vice Pres: 630 E. Monroe St., Sandusky, OH 44870-3708 Sec: Judy Wulfekuhl Sec: Treas: Alvin Wulfekuhl Treas: Dee Kavouras (352) 527-9390 WEB MASTER Meta Brown Reporter: 400 East Randolph Street, Apt. 3117, Chicago, IL 60601 Reporter: Christy Counterman Board Rep: 312-946-8417 — Fax 312-946-8419 Board Rep: Liz Barnhart AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS website: http//stlouis.missouri.org/fsjoplin MUSICAL BOX SOCIETY PLAYER PIANO GROUP President - Nelson Page [email protected] INTERNATIONAL Julian Dyer, Bulletin Editor The Galaxy Theatre INTERNATIONAL PIANO P. O. Box 297 5 Richmond Rise, Workingham, 7000 Blvd East, Guttenberg, NJ 07093 ARCHIVES AT MARYLAND Marietta, OH 45750 Berkshire RG41 3XH, United Kingdom Phone: (201) 854-7847 Fax: (201) 854-1477 Performing Arts Library,University of Maryland Phone: 0118 977 1057 E-Mail: [email protected] NETHERLANDS MECHANICAL Email: [email protected] Editor - Vernon P. Bickel 2511 Clarice Smith Performing Arts Center ORGAN SOCIETY - KDV 786 Palomino Court College Park, MD 20742 A. T. Meijer SMITHSONIAN INSTITUTION San Marcos, CA 92069-2102 Phone: (301) 405-9224 Wilgenstraat 24 Division of Musical History Phone: (760) 471-6194 Fax: (760) 471-9194 Fax: (301) 314-7170 NL-4462 VS Goes, Netherlands Washington, D.C. 20560 E-Mail: [email protected] E-Mail: [email protected] NORTHWEST PLAYER PIANO SOCIETY FOR SELF-PLAYING AUSTRALIAN COLLECTORS OF INT. VINTAGE PHONO & MECH. ASSOCIATION MUSICAL INSTRUMENTS MECHANICAL MUSICAL INSTRUMENTS MUSIC SOCIETY Everson Whittle, Secretary Gesellschaft für Selbstspielende 19 Waipori Street C.G. Nijsen, Secretaire General 11 Smiths Road, Darcy Lever, Musikinstrumente (GSM) E.V. St. Ives NSW 2075, Australia 19 Mackaylaan Bolton BL3 2PP, Gt. Manchester, England Ralf Smolne DUTCH PIANOLA ASSOC. 5631 NM Eindhoven, Netherlands Home Phone: 01204 529939 Emmastr. 56 Nederlandse Pianola Vereniging Business Phone: 01772 208003 D-45130 Essen, Germany MUSICAL BOX SOCIETY OF GREAT Phone: **49-201-784927 Eikendreef 24 BRITAIN 5342 HR Oss, Netherlands PIANOLA INSTITUTE Fax:. **49-201-7266240 Alan Pratt, Editor Clair Cavanagh, Secretary Email: [email protected] FRIENDS OF SCOTT JOPLIN P. O. Box 299 43 Great Percy St., London WC1X 9RA 1217 St. Croix Ct. Waterbeach, Cambridge CB4 4PJ England Kirkwood, MO 63122-2326 England
258 President’s Message The holidays and year-end are fast approaching, so it’s time to return your membership renewal, make nominations for the annual AMICA awards, consider the gift of an AMICA membership for a friend or relative, and to make a contribution to the AMICA Memorial Fund. I am happy to report that Peg Kehret has assumed the Memorial Fund duties. Contributions can be sent to her at P.O. Box 303, Wilkeson, WA 98396. Karl Ellison has put in a lot of time updating the database for production of the new directory. Please make the needed corrections on the form he sent you and return it to him as soon as possible so the new directory can be as accurate as possible. Editing and organizing the database has been a monumental task and we owe Karl many thanks for taking on the project. LeRoy Lambert recently sent me a box of “left-over” souvenir rolls from the 1979 AMICA convention in Philadelphia. The roll is QRS Q-176 (original QRS 30028), “The Stars and Stripes Forever” and has a neat, ornate, printed leader. The first people who send $10 to me will get a copy of the roll and I’ll put the profits into the Memorial Fund. During the past year and including discussions at the Board meeting, internet discussion groups and linkages to the AMICA website have been topics of concern. Rather than handling each concern individually, I will make a point of including detailed discussion of the topic at the Board meeting in 2003 and work to develop a uniform policy for dealing with these issues. Have you checked out our website lately? Please do so and see all the neat improvements webmaster Meta Brown has made: www.AMICA.org. This season of the year is a great time to have open houses and to demonstrate the wonder of our automatic music machines. Don’t forget to have AMICA brochures handy and spread the word about the benefits of membership. It’s not too early to begin planning to attend the 2003 AMICA Convention in beautiful Portland, Oregon in August. The MBSI Annual Meeting will be a week later in Long Beach, CA, so it will be easy for members of both organizations to attend both west coast events. Amicably, Dan Brown From the Publisher’s Desk HAPPY HOLIDAY TO ALL!!! Dan has inspired me somewhat into putting my photo in the Bulletin now and then. However, when I compare this photo with the one that was first in there in 1989 (gasp!), well... you know. I am sitting at the console of my 1942 Wicks Op. 2505 pipe organ. Direct Electric Action. It had belonged to a friend and when he passed away of bone cancer very suddenly two years ago, his widow knew that I always loved the instrument and gave it to me. Her husband had never put it together except for display. It had never worked while he owned it. I contacted my friend Burt and we disassembled it, packed it and then I called the movers. After some confusion about who, what, where etc. with the person who was supposed to rebuild it, I called the Wicks factory out of frustration and they connected me with their local area service reps out of Akron. Now less than a year later, it is rewired, same type of original Wicks tubular chimes which were missing are again installed. Two manual, three ranks. It has huge reed organ reeds for the lowest bass notes in the pedals so that the case can fit in any eight foot ceiling height! Although small, it is a delight! I am in the process of rebuilding an 88-note Gulbransen right now. It was “profession- ally” rebuilt in California before being shipped here to the son of the owner. The piano was not rebuilt so I am taking care of that. When I removed the player (done last year) I was (once again) shocked to find that even though the work was tidy and the player operated well, I was amazed that some rebuilders don’t even bother to take the time to WASH the parts they rebuild and reinstall! I mean, how much time does it take to get your vacuum cleaner and suck off the years of crud, fill a pail of water and add some deter- gent to wash the parts. While you have it apart... take a few minutes to clean the metal parts and the screws! A fine brass wire wheel will do wonders for crust removal. If you are not doing a luxury rebuild, you can also use matching metal paint o dress the legs on the sustaining pedal unit and other mounting parts. It is the difference between a 1960s “tube and recover” job and a rebuilding of which you can be proud. It is the details that make the restoration. The difference is like taking a shower regularly, but without soap or shampoo! You’ll also find that if the pieces you work on are clean, you won’t find black finger prints in your glue either!!! Have a happy holiday season plus a safe and long life! Sincerely, Robin
259 CALENDAR OF EVENTS
CHAPTER MEETINGS
Heart of America Chapter December, 2002 - Barbara and Doug Cusick will host the annual Christmas meeting in Leawood, KS. May, 2003 - The Tulip Festival will be held in Pella, IA. Ideal for monkey organs, but not big organs. Organized by the Railsbacks and Craigs. September, 2003 - Meeting in Branson, MO hosted by Billie & Bill Pohl. ~
August 20-24, 2003 AMICA Convention, Portland, Oregon Contact: Carl Dodrill 4488 W. Mercer Way Mercer Island, WA 98040 Phone (206) 236-0067 E-mail: [email protected]
AMICA Memorial Fund Donations Please think of AMICA as a place to remember your friends and family with a donation to the AMICA Memorial Fund. Send to: Peg Kehret P.O. Box 303 Wilkeson, WA 98396 360-829-3161 [email protected]
Visit the AMICA Web page at http://www.amica.org
260 GraingerGRAINGER By Steve Rattle
GRAINGER – The ‘Duo-Art’ Piano Roll Performances “A Musical Puck” and “The Young Siegfried of the competent working knowledge of one of the pneumatic Antipodes” were but two titles bestowed upon Percy Grainger plumbing marvels of the twentieth century. This extended to by critics once he was established as pianist and composer in editing his own rolls and taking part in demonstrations playing the United States of America. And by 1927, Grainger is part performances in conjunction with the same rolls. Private ranked fifth in the Aeolian ‘Duo-Art’ catalogue in pianistic recitals were even delivered by Grainger during his 1924 visit stature following keyboard giants Paderewski, Hofmann, Bauer to Australia held at the Aeolian Company branches in Adelaide, and Gabrilowitsch. Quite an honour for a 45 year old Sydney (384 George Street) and Melbourne (252 Collins Street Australian and reflection on how popular and impressed and later at 123 Swanston Street, opposite the Town Hall). American audiences had become in the twelve years since his Also a great marketing advocate for the medium, arrival upon their shores. Grainger’s sporadic but exclusive employment at Aeolian Sometime early in 1915, Grainger found his way to the continued until 1931 when the combined effects of radio and recording studios of the Aeolian Company and ‘cut’ his first depression signalled the downturn of this musical wonder. The reproducing piano rolls for Aeolian’s ‘Duo-Art’ system. His latest Aeolian correspondence to Grainger held in his manager, Antonia Sawyer, must have played a large part in Melbourne Museum dated 1st July 1931 quotes: arranging this ‘exclusive’ contract, but certainly his earlier “In your letter to Mr. Wagner last fall you referred to some association with Aeolian in London would have provided any idea’s regarding the reviving of interest in the Duo-Art which necessary reference. A few ‘pianola’ 88 note non-expression you thought would be of value. We would be very glad if you rolls had been cut by Grainger back during his London days. could drop in to see us some time when convenient later this His existing later contract dated September 1918 (to commence season when we could talk it over”. January 1st, 1919 for a period of fifteen years), agreed to pay Grainger the sum of $1000 per year as payment of a minimum After a merger with their opposition American Piano Com- of five recordings per year. Additional recordings were to be pany in a valiant effort to survive, Aeolian’s ‘Duo-Art’ limped recompensed at $200 each to ‘play and correct’ (record and out of the depression before finally ceasing production in 1939. edit) his performances. Grainger’s first roll of ‘Shepherd’s Hey’ was released in Then only in it’s second year of commercial operation, the June,1915 and his last, ‘Brigg Fair’, a four handed performance ‘Duo-Art’ capitalized on reproducing the performance of with American pianist Ralph Leopold in January,1932. An any one of Aeolian’s pianists under contract. An ‘as close as impressive 69 rolls were commercially released during this possible’ playback performance of the original was the new period, 59 as solo performances and 10 as duets for four hands musical miracle of the day. Those financially able to afford a being: ‘Duo-Art’ were simply amazed at the lifelike re-creation able to • One with his mother Rose, and the only known recorded be summoned at will via a paper roll. The ‘Duo’ terminology example of her playing; of the system provided two playback mediums for owners as the name suggests, for you could either let the roll deliver the • One with friend and composer Cyril Scott; coded expression or you could add your own expression during • Six with Ralph Leopold; and playback by manually moving a series of levers. Hence the title, ‘Duo-Art’ or two playback forms available to you, yours • Two with student and lady friend at the time, or theirs. Costing as much as an American luxury car in their Lotta M. Hough. day, the system was available in piano brands Steinway, Most unusual was a four roll set of the Tchaikowsky ‘Piano Weber, Steck, Stroud and Aeolian. In Australia their cost was Concerto’ (solo part only for concert purposes and not horrendous and available only to those financially able to commercially released), a 1927 performance of ‘The Warriors’ indulge in such extravagance. A 5’6” Steck ‘Duo-Art’ grand specially made for the centenary of a Buffalo, N.Y. music for example retailed for 850 Australian pounds, a modest two store and three ‘alternating’ rolls as student teaching guides bedroom home in suburban Melbourne could be had for where Grainger played four bars and you were expected to 600 pounds. play the next four! Grainger took to this new invention with his usual boyish Composer repertoire naturally was predominately Grainger, enthusiasm and in a short time proved himself to have a with generous samplings of his beloved Grieg also included.
261 Remaining rolls are diverse by composer ranging from Bach Let me conclude this article with a complete listing of all and Bizet to Liszt and Schumann. Most impressive in his known Grainger ‘Duo-Art’ rolls and comment from the man recorded legacy is Grainger’s championing of the works of himself. Having the advantage of being able to edit one’s friends Cyril Scott and Balfour Gardiner, and little known performance before commercial release (unlike a gramophone composers Nathaniel Dett and David Guion. recording of the day) and the ability to correct played wrong notes, Grainger modestly stated that his performances on roll Country Gardens was first released in May 1919 and has were, “As he wished he could play”. the distinction of being recorded to master twice. Grainger’s performance needed to be re-recorded in 1929 as the master STEVE RATTLE roll had virtually worn out. Forever popular, this British Melbourne Folk-Music Setting had spent the decade as one of Duo-Art’s July, 2002 best sellers.
With the kind permission of the Grainger Museum, University of Melbourne
262 ~
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THE AEOLIAN COMPANY AEOLIAN CONCERT HALL DmECTION ROOM 820 AEOLXAN HALL 29 WEMT 402:ND STREET
lIr. PfIt'07 Grainger, ? Cromwell Place White Plains, N.Y:
Her51th I have the pleasure of enolosing oheck tor $200.00 (TwO Hlmdrecl Doll&1"s) covering your reoording of the following tor the DQo-Art;
Polonaise L18zt.
iiith Jd.Ddest rega.rda t I remain
S1noereq, ;;t?e~~ AN ARTISTS' Dl!PARTlIEU ~ EDcl.Chf2S98?
With the kind permission ofthe Grainger Museum, University ofMelbourne
263 - VIEJEO£lJlN COMPI/NY
CABLE ';OORE:SS AEOLIAN HALL LONDON PI A NOl..AS PARIS NEWVORK BERLIN 689-ST¥AVE. at 54T-!iSTREET MELISOURNE COOES USED SYDNEV BENTLev" - ."OOMHALL& .NEWYORK MADRID
July 1st, 1931.
Mr. Percy Grainger, 7 CromWell Place, White Plains, N.Y.
Dear lJr. Graillo~r:-
\','e A,re enclosing herewith our check for Two !:undred FiftV Dolla.rs covering the second half of this ii~ year;';s recording contra.ct, as per the agreement of last December.
In your letter to :Mr. Wagner last fal;L you refel'ed to some ideas regarding the reviving of interest in the Duo-Art which you thought would be of value. ':le would be very glad if you could drop in to see us some time when convenient later this season 'It.hen we could talk it over.
vdth our best wishes, we are,
Very tr*"_ yourS() Iay~ - u~/.T- The Aeolian Oompa.~ "HM£/s RecordiDg Dept.
With the kind permission ofthe Grainger Museum, University ofMelbourne 0,.1 .;.,
264 PERCY GRAINGER DUO-ART PIANO ROLLS 1915 - 1932 All known performances and surviving rolls – Alphabetical by Composer / Title
COMMERCIAL RELEASES SOLO PERFORMANCES Composer Title Number Additional Release No’s First Release Date Bach Organ Fantasia and Fugue in B minor Part 1 – The Fantasia (transcription by Liszt) 7161-4 October 1927 Part 2 – The Fugue 71740 November 1927
Bizet L’Arlesienne Suite Part 1 (four hands) arranged by Grainger No.1 – Prelude, No. 2 – Minuetto 524-4 A-52, September 1926 D-611(Prelude only) L’Arlesienne Suite Part 2 (four hands) arranged by Grainger No. 3 – Adagietto, No. 4 – Carillon 525-4 A-53, October 1926 D-613(Minuetto added)
Brahms Cradle-Song (Wiegenlied) - Opus 49 No. 4 67180 C-4, D-1019 February 1924
Chopin Etude (Posthumous) No. 2 in A flat 6548-3 September 1922
Debussy Tocatta in C sharp (from ‘Suite Pour le Piano’) No. 3 6409-4 April 1921
Dett Juba Dance - from ‘In the Bottoms’ suite No. 6 6339-4 October 1920
Faure Nell - Opus 18 No. 1 6931-3 November 1925 - transcribed by Grainger from his ‘Free Settings of Favourite Melodies’ No. 3
Gardiner Humoresque 6415-3 May 1921
Grainger British Folk-Music Settings #2 – The Sussex Mummers’ Christmas Carol 5712-0 December 1915 #4 – Shepherd’s Hey 5661-4 A-116, D-787, D-1007 June 1915 #6 – Irish Tune from County Derry 5679-5 September 1915 #19 – Molly on the Shore 6284-5 May 1920 #22 – Country Gardens 6194-4 S-31010 May 1919
Children’s March – Over the Hills and Far Away - for two pianos, accompaniment second piano part only 11840 Early 1925
Colonial Song 5666-4 July 1915
Eastern Intermezzo - two hands 69970 May 1926
Eastern Intermezzo - arranged for six hands, accompaniment four hands only 11858 Early 1925
Gay But Wistful - from ‘In a Nutshell’ suite 6072-4 November 1918
Jutish Medley - from ‘Danish Folk-Music Settings’ No. 8 7274-4 November 1928
Lullaby - from ‘Tribute to Foster’ 5821-4 October 1916
Mock Morris 5688-4 October 1915
265 Composer Title Number Additional Release No’s First Release Date Grainger One More Day, My John - from ‘Sea Shanty Settings’ No. 1 6030-4 June 1918
Ramble on Love Duet from Strauss’ ‘Der Rosenkavalier’ 7300-4 March 1929 - from ‘Free Settings of Favourite Melodies’
(A) Reiver’s Neck-Verse 11429-s December 1924 - accompaniment for tenor or soprano
Spoon River - from ‘American Folk-Music Settings’ No.1 66170 April 1923
Walking Tune- from ‘Music-Room Tit-Bits’ No. 3 5735-4 March 1916
The Warriors None issued June 1927 - specially made roll for the 100th anniversary of Denton, Cottier and Daniels – Buffalo, New York.
Zanzibar Boat Song 6824-3 December 1924
Grieg Ballade - Opus 24 7437-3 November 1931
Concerto - Opus 16 in A minor - with added orchestral accompaniment by Grainger 1st movement – Allegro molto moderato 6475-6 D-93 October 1921 2nd movement – Adagio 6479-6 D-95 November 1921 3rd movement – Allegro moderato e marcato 6485-6 D-97 December 1921
Erotikon (Love-Poem) - Opus 43 No. 5 - from ‘Lyric Pieces’ 6693-3 D-59, Scan-4 December 1923
Norwegian Folk Songs - Opus 66 7377-4 January 1930 #1 – Cattle Call #2 – Love Song #14 – In Old Valley #10 – Wedding Song #19 – Gjerdine’s Cradle Song #16 – Peasant Dance #18 – Wrapt in Thought I Wander
Peer Gynt Suite (First) - Opus 46 (transcription by Grainger) #1 – Morning Mood (Daybreak), #3 – Anitra’s Dance 6522-4 A-57 April 1922 #2 – Ase’s Death, #4 – In the Hall of the Mountain King 6530-3 A-58 May 1922
To (the) Spring (An den Fruhling) - Opus 43 No. 6 6206-3 S-3116-3, A-30, D-61, December 1919 - from ‘Lyric Pieces’ D-679, Scan-3
Wedding Day at Troldhaugen - Opus 65 No. 6 7370-3 December 1929 - from ‘Lyric Pieces’
Guion (Transcription – American Traditional) Cowboys and Old Fiddler’s Breakdown
Sheep & Goat ‘Walkin’ to the Pasture 7083-3 December 1926
Turkey in the Straw 6444-3 S-3117-4 June 1921
Handel Hornpipe - from ‘Water Music’ Suite 6754-3 May 1924 - transcription by Grainger
Liszt Hungarian Rhapsody No. 12 in C# minor 6497-4 January 1922
Polonaise No. 2 in E 6668-4 October 1923
266 Composer Title Number Additional Release No’s First Release Date Schumann Romance - Opus 28 No.2 in F sharp minor 6384-3 January 1921 - from ‘Three Romances’
Sonata (2nd) - Opus 22 in G minor 1st movement – Presto 73610 November 1929 2nd movement – Andantino 73620 November 1929 3rd movement – Scherzo, 4th movement – Rondo (finale) 73630 November 1929
Symphonic Studies - Opus 13 Part 1 – No’s. 1-7 6859-4 March 1925 Part 2 – No’s. 8-12 6868-4 April 1925
Scott Lento - Opus 35 no. 1, from two ‘Pierrot’ pieces 7252-3 September 1928
Lotus Land - Opus 47 No. 1 7217-3 March 1928
Stanford Four Irish Dances Opus 79 (transcription by Grainger) No. 1 – McGuire’s Kick 5838-0 December 1916 No. 3 – Leprechaun’s Dance 6572-0 A-29, D-287, D-919 November 1922 No. 4 – Reel 6117-4 April 1919
Tchaikowsky Nutcracker Suite - Opus 71A (transcription by Grainger)
Part 1 – Dance of the Sugar-Plum Fairy, Russian Dance (Trepak) 6798-4 October 1924 Part 2 – Arab Dance, Chinese Dance, Dance of the Reed Flutes 6810-4 November 1924 Part 3 – Paraphrase on ‘Flower Waltz’ (Waltz of the Flowers) 6085-4 P-308 December 1918
DUETS (Four Hands) GRAINGER, Percy and GRAINGER, Rose
Grainger (Percy) Two Musical Relics of my Mother 6760-4 June 1924 – arranged for two pianos by Grainger (Percy) #1 - Hermund the Evil (Faeroe Island Dance Folk-Song) #2 - As Sally Sat A-Weeping (English Folk-Song from Dorsetshire)
GRAINGER, Percy and HOUGH Lotta. M. Grainger Children’s March, Over the Hills and Far Away 6368-5 December 1920 - arranged for two pianos by Grainger
Gum Suckers March 6059-4 October 1918 - from ‘In a Nutshell’ suite, No. 4
GRAINGER, Percy & LEOPOLD, Ralph Delius Brigg Fair (An English Rhapsody) - arranged for two pianos, four hands by Juhl 74439 January 1932
North Country Sketches – Two piano version of ‘Symphonic Suite’ arranged by Hazeltine #1 – Autumn (The Wind Soughs in the Trees) 71900 December 1927 #2 – Winter Landscape, #3 – Dance 71910 December 1927 #4 – The March of Spring 71920 December 1927 (Woodlands, Meadows and Silent Moors)
267 Composer Title Number Additional Release No’s First Release Date Strauss Till Eulenspiegel’s Merry Pranks (Lustige Streiche) 7400-4 June 1930 - arranged for four hands
Tchaikowsky Romeo and Juliet – Overture Fantasy 7351-4 October 1929 - arranged for two pianos by Grainger
SCOTT, Cyril & GRAINGER, Percy Scott Symphonic Dance (Old English Dance) No. 1 6514-4 March 1922 - arranged for two pianos by Grainger
UNISSUED and TRIAL/TEST SOLO PERFORMANCES Composer Title Number Recording Date Delius Piano Concerto (Klavierconcert – Delius/Singer)
Roll 1 – Moderato 1-60 12 December 1921 Roll 2 – Largo 2-60 12 December 1921
Grainger English Folk Song Accompaniments - collected and set by Grainger
#1 - Barbarous Ellen 19 28 February 1918 #2 - Country Gardens #3 - Duke of Marlboro (collected by Miss Lucy Broadwood) #4 - Dublin Bay #5 - Lord Bateman #6 - O My Love She Was Born in the North Country Wide #7 - The White Hare #8 - The Golden Vanity
#1 - Captain Ward 22 28 February 1918 #2 - Paul Jones
#1 - Sprig of Thyme 24 28 February 1918 #2 - Lord Melbourne
#1 - Seven Men From All The World 26 28 February 1918 #2 - Knight and Shepherd’s Daughter
Grainger Faeroe Island Folksongs #1 - Tjugundi Bidil (The 20th Wooer) 9 22 February 1918 #2 - Leikuns Fagurt i Foldum (Fair is Play in the Green Fields) #3 - Uelbornir Menn (Well-Born Men) #4 - Uncle Ned
Lullaby - from ‘Tribute to Foster’ None 12 November 1915
Sketch for Sea-Songs (Beatless Music) None 28 July 1922
The Warriors Sketch of Slow Movement from ‘Warriors Ten-Some’ Version A 1 22 February 1918 Version B 12 22 February 1918
Grieg Norwegian Folk Songs - Opus 66 Version 1 C-5334 10 August 1927 Version 2 C-5334 25 November 1929
268 Composer Title Number Recording Date Grieg Wedding Day at Troldhaugen - Opus 65 No.6 C-5335 13 November 1929
. Tchaikowsky ~ Piano Concerto No. I in B flat minor - Opus 23 C-I087 1925 - piano solo part only C-I088 1925 C-I089 1925 C-1090 1925
DUETS (Four Hands) GRAINGER, Percy and GRAINGER, Rose Grainger (Percy) Two Musical Relics of my Mother #1 - Hermundi Illi (Herman the Evil) #2 - Dorset Tune (English Trek Tune)
RollI Edited Copy 4 22 February 1918 Roll 2 Edited Copy 6 22 February 1918 Roll 3 Edited Copy None 8 August 1922 Roll 4 Edited Copy None 8 August 1922
GRAINGER, Percy & LEOPOLD, Ralph
Delius North Country Sketches #2 - Winter Landscape, #3 - Dance C-5347 1 November 1927 #4 - The March of Spring C-5348 9 November 1927
MUSICIAN'S WIFE: "DEAR ME! I WISH GORDON WOULD MEMORIZE A UTTLE 'FAUST' FOR A CHANGE; I'M TIRED OF GLORIAED JAZZ!"
269 VARIATIONSDuo-Art: ON THE THEME
By Geoffrey Kaiser
My earliest memories are of my grandfather's "magic" Mr. Gould appears to be totally unaware of the existence of piano… a Haines Ampico-A which we were allowed to watch the fan system. Is this a hands-on technician speaking? His from a respectful distance. After he died, we got the piano. I article, however, is one of the sources quoted by some to back remember Mom & I buying new Ampico rolls at H.L.Greens in up their point of view about the super-sacredness of the 1/16”, Philadelphia, Pa. They still had the wrappers on them. Where 1/8”, 1/4”, 1/2”, settings of the accordions. In the early 1950s they got them is anybody's guess. Everybody said I'd get tired we still encountered many original leather-covered accordions. of it, but here I still am, 50 years later. I did tire of the Ampico, Leather is much given to stretching. It is no surprise that so but fell in love with the Duo-Art. My first ones were Strouds, much attention was paid to careful setting of accordions in the and then an early model virgin Steinway upright. Several things '20s. They had to be on the list of those things to check on about it that I remember were: every service call. They were not set and then forgotten. They A double pallet on the soft pedal, connected to #2 Theme were reset as needed on the spot. The measurements in the and #2 Accompaniment, respectively. (Usually if there is a soft manual are for the technicians use. Just like the chord progres- pedal pallet, it is only a single) sions in the test roll, which are there to be used to check and A double pallet on the back of the expression box, tripped refine the resulting performance of the settings. The difficulties by the Accompaniment spill lever. When Accompaniment hit associated with resetting accordion travel were completely 16, it triggered both Theme primaries. The volume output eliminated in the fan system as I will illustrate. produced by the addition of the last 1/16” of accordion closure Then there are the regulator springs. They seem to have was quite different from that which one would be led to expect changed Theme/Accompaniment wire thickness over the years. looking at the expression graphs and displacement charts in the 55/55, 55/53, 53/50, 50/49, and 49/47 are all pairs that I've January 2001 AMICA Bulletin. measured. It seemed to me that the closer to 1930 the piano The wire thickness of both springs on the regulator was built, the more likely it was to have had lighter springs. pneumatics was .055". This is the only Duo-Art I ever This was not a scientific study, just something I noticed. The encountered that appeared factory original like this, but I year of manufacture, however, does not seem to always be the haven't been religious about keeping data. reason. There was an AR that was virgin, and sat where it had A knife spill-valve that was operated by BOTH Theme and originally been placed. The room was, in my opinion, too small Accompaniment which is familiar to anyone who has worked for even an XR. When the A was rebuilt, however, it sounded on an ordinary Duo-Art. perfectly delightful in that space…. It had 50/47 springs, and These four things affect the volume output in important, like the ordinary uprights, early US grands and English grands, specific ways, and as time went by, all of them were abandoned no crash. Were the springs installed at the factory? By a by Aeolian. This is only a partial list of the changes that dealership? Or by an ordinary local technician? If there was Aeolian made as it developed the fan-system. no factory involvement, then who supplied the variety of For instance, while many Duo-Art uprights were built with factory-style springs. Mr. Gould, after allowing for some single pallets on the soft pedal, I've not seen evidence of many "slight" adjusting by tightening the regulator springs", tells us having originally been tubed in. Later schematic charts do not that if the springs have been over-tightened and "ruined"…. show the pallet(s). Many, if not all, later uprights, were not "the only remedy is new springs." Imagine how tightly they even built with the pallet. Yet amazingly, we find in the would have had to have been to "ruin" them. A lot more than supposedly definitive 1929 article by Wilberton Gould (Tuner's when the piano is cranked up, doing Franz Liszt. My suspicion Journal, 1929, AMR reprint 1983 in "The Duo-Art") " in is that it would be someone (not a trained technician) trying to conjunction with the….hammer rail lift is a pallet valve….. The make up for leather stretch. More germane, however, is the function of this valve is to collapse No. 2 Accompaniment… presumed source of the springs: the factory. (not illustrated)…to compensate for the lost motion...") He is To continue, a 9'6" Steinway has two 17" pumps, and when obviously not aware of the fact that by then few if any that baby cranks up, you really don't want to be in a 20’x20’ Duo-Arts were being produced with that option (one good room with it. The expression curve, and volume output are reason the pallets were "not illustrated"). The literature calls it a noticeably different from an XR, particularly in the upper compensation for lost motion, but from what I've seen, it seems volume levels. best suited to compensate for homes without air-conditioning, Years ago I saw a late 20s grand with no spill lever on the or pianos that needed smoother action or player adjustment. Accompaniment side, and no evidence that one was ever there. A well-adjusted piano does not need power 2 to keep it I put a lever on, but have come to rethink doing so, particularly from dropping notes. after Aeolian abandoned closing the spill from the
270 Accompaniment in the Fan System. This change not only has spring on the Theme regulator. and a model B drawer. Clearly interesting effects on the overall expression curve, also relieves the fan system had not been completely abandoned. Perhaps the motor and pump from much unnecessary work. significantly, the stack is wood, not the metal Concertola stack. By 1930, Aeolian had moved a long way from identical Had Aeolian given up on the metal stacks? (I suspect so.) Or expression regulator springs, power A- 2 on hammer rail lift, run out of them,……. and this was the last gasp? and the double pallet on the Accompaniment 16. Some years back, I decided that Aeolian and American had both concluded by 1930 or so that what many people were looking for was background music for cocktails and dinner, and with Milne's help, they were going after that market. It was then that I came across my first fan-system. This has sometimes been called a model B Duo-Art, but I have yet to see any factory literature so designating it. Sometimes they are presumed to be only found in Concertolas, but this is also not the case. Neither have I seen any original literature about the several variants of the fan systems or how to set them up. Photo 1 One purpose in writing this article is to find out how many Is this the only one of these? Its owner, when it was here, "fans" still exist, and how many variations of it there are. Of thought so. Note the drop screws used as limiters in the the 14 that I can account for, most are lying "captured" on stationary leafs of the top row of pneumatics. How would one someone's parts shelf. Though most look alike, there are at least adjust the lower ones (if present)? 5 variants. Those that are operating sound to me like they have The spring setup is more bizarre than any of the others. It fallen victim to the idea that they should be set to sound like has no wound springs at all. standard model Duo-Arts. I want to know how other people are setting them, and, if there is any extant factory information, I want to see it. Mr. Gould may not have known anything about them, but from what I've listened to, Milne most certainly did. And so did everyone else at Aeolian. Development: Alan Lightcap points out the similarity between the Duo-Art fan system and the 1911 Welte expression system where a leather belt is pulled over a pulley to open a curtain. This was changed around 1922 to a ladder chain over a sprocket opening a cone-shaped valve. The same man (Tolbert Cheek) who held some later patents on the Welte mechanism seems to have been involved in the development of the Concertola (1927-28). The timing is also interesting in that the 1911 Welte/Bockisch patent ran out in 1928. This bit of history needs an article all its own. The earliest Duo-Art fan system may have been installed in a 1928 Weber grand (photos 1 & 2) which had only the pump under the piano. It surfaced in the Philadelphia area. Every- thing else...including the expression box and stack is above the keyboard. The stack is metal with very small pneumatics, typi- cal of later Concertolas. It was apparently an experimental Photo 2 model. The location of the expression box can be seen on the upper right of photo 1. Yet another fan system is found in a 1929 Weber Same instrument as in photo 1, view from reverse side. I grand. It has no crash valve. It runs the metal stack with very can count six leaf springs on the expression box. Wish I could small pneumatics, typical of the Concertolas. It has an early say more about it, but the piano went west somewhere. A local model B Ampico style drawer. Was this the beginning of a AMICAn went through it some time back, it is installed in a completely new line? Some have ventured the opinion that standard stretched-case Weber grand piano, ca. 1928. I wish development of the fan system was abandoned, because it didn't whoever has it, or rebuilt it, would write us an article about it. work. A second expression box with this spring system has sur- But, probably the last Duo-Art produced by Aeolian (in faced (photos 3 & 4). Bill Koenigsberg found it some years ago 1936) is a mere 50 miles from the above one. It came to in a parts dump... sans spool box. Apparently, it was not Philadelphia, Pa. from Cincinnati via Texas. It too is a designed for installation in the type of top action as shown in crashless fan system, but equipped with an adjustable leaf photos 1 & 2.
271 like, but I have not seen any original directions for the technician. Its manner of operation is obviously not covered in the 1927 manual, or in the test rolls that have been made available. I am convinced, that the development of the fan-system was not abandoned, as has been suggested, due to technical inadequacies. Further, the existence of the crash in several different models, which were probably built after 1928 and possibly as late as 1938, indicates to me that Aeolian did not discard the crash either, as some of us once thought. An Photo 3 - Koenigsberg unit interesting fact about most of the fan system expression boxes I've seen, (whether they had a crash or not) is that all the major Note the double leaf springs on the Theme. The secondary sections are interchangeable, screw for screw. Furthermore, leaf springs on the Theme appear to engage progressively, but I they are gasketed, but NOT glued together. From my have not seen it operate. This one is definitely a six-spring. experience, straight-line theory for setting the Duo-Art, gets It has five chambers (pictured later) in the interior base bent beyond any relevance by what the fan system can do. box. The chamber for the crash is closed off with pieces of I came across my first fan-system in Atlanta, GA. about 25 pump cloth. years ago, in a player parts dump. We were in a hurry, so I Furthermore, it does not use ladder chain to pull the grabbed what I was sure of…. the box, the separate spill, the curtain. It uses what appears to be belly cloth over a pulley, stack. I couldn't find the top action. I remember something in similar to the unit depicted in photos 1 & 2 and the early the far corner that looked like a cross between a jukebox and a Welte-Mignon. supermarket chicken rotisserie, but didn't even consider that it might have something to do with the rest. Silly duck, me. I'd really like to know what happened to the rest of that Concertola That expression box is pictured next:
Photo 4 - Koenigsberg unit, a different view Does this one predate or post date the ones with only wound springs? The ones with a combination of wound and leaf springs? No dates available. Photo 6 The next one is a model with both a wound and a leaf spring on the theme. Technical observations: - The supply tubes from the pump to it, and from it to the stack are all standard 1 1/16". - The ports inside the regulator pneumatics are square (1/2"x 1/2") for Accompaniment, and rectangular (1/2"x5/8") for the Theme. Much smaller than anything I'd ever seen before. (Twenties grands and uprights are usually 3/4” diameter holes for Accompaniment at the flap valves, and 1" diameter holes for Theme.) - The regulator pneumatics are mounted on a 3/4 inch thick board with 1/2" channels drilled throughout to route vacuum. - The regulators are covered with light-weight pump cloth, not the usual motor cloth. Photo 5 - The regulators have only the usual two wound springs of There is no leaf spring on the accompaniment, making this unequal weight (hidden by the fans in this picture). one a three-spring model. The leaf spring does not engage until - The crash is actuated by a pallet, mounted on the side of some point up the expression line. I think power 10 is a place I the Theme fan accordion.
272 Photo 7 -The (five chamber) base box The top chamber has the Accompaniment flaps closing 1/2" round holes. - The next two chambers have the theme valves (which are thrown by pillow pouches). Photo 9 - The crash is at the bottom (thrown by pillow pouch). - Those tiny pneumatics are tubed in series with the 4 All of these ports are 5/8" and round. It doesn't appear theme accordions…at least on this model. One model to have as much flow capacity as an ordinary model. had them tubed, according to nipple labels to T- #2, #4, #8, and crash. There are several important technical changes that Aeolian has made here: First the Accompaniment does not have any effect on the spill; Second, the spill does not necessarily close down at power 10-T Third, is a set-screw in the bottom of the spill box that pushes against a spring on the bottom of the spill arm. This screw is labeled "turn screw in to raise pressure (sic), turn screw out to lower pressure." I think it could be better labeled "turn screw in to RAISE VOLUME LEVEL OF CRASH, turn screw out to LOWER VOLUME LEVEL OF CRASH", because that's precisely what it does. Photo 8 -The Pneumatic spill that came Also, the modulator has been discarded, and its functions with five chamber base box. redistributed as follows: The spill is a separate box with 4 oval pouches on the floor, - There is a pillow pouch next to the brass plate which, which push the arm against a brass plate (an oval 1-1/2” x when activated, pushes down on the arm for soft play, 2-3/4”) that closes a much felt muffled spill hole (an oval 1” x there are separate governors for the soft and sustaining 2 -1/4"). A 10/32 screw hole in the center of the plate is sealed pedals, Stack cut-out and reroll spill are their own unit. by valve leather on the up-push button on the arm when rising Before getting into some of the ways the system can be set vacuum levels are called for. The 10/32 hole is opened by the up, let me say something about the other variants I've seen. retreat of the arm to ensure that the brass plate and the vacuum Later, a four-chamber fan system turned up which had no drop, when called for. possible provision for a crash. The chamber in which the crash - The arm rides on a pin through one end. The further the was located in the previous had been replaced with a solid 1" pouch is from that fulcrum, the more leverage it has. thick piece of wood so that the box in this one had only four chambers. Otherwise it was in almost every other way a - Different sizes of bleeds are used to change the strength duplicate of the five-chamber model, EXCEPT that it had a of each pouch. leaf spring on both the Theme and Accompaniment side, - The pouch well for #8 in the spill is deeper, and its making it a four-spring system. I'll explain how I think the leaf up-push button longer than the rest. springs figure in later. That was some years ago, and I cannot find any pictures. - Each pouch is activated by a tiny pneumatic The next (next picture) that opens a port to outside air often variation (to the through a second bleed, usually .061. right) belongs to - The 5th pneumatic activates the soft play pillow pouch Alan Lightcap. which applies opposing force against the down-push button visible on the left top side of the arm. Photo 10
273 Like most, it originally ran a metal Concertola stack. Sadly its date of manufacture has also been lost. At first glance from the outside, it looks exactly like mine, but inside it obviously is not. I was amazed when we opened the base box. Obviously, there is no provision for a crash. It has only 2 chambers clearly much less expensive to build. Some have ventured the thought that the fan system was basically a cost cutting measure. From that standpoint, the 2 chamber would most likely be of later con- struction than the 5 chamber model. Later, I spoke with a highly respected rebuilder who told me that he was never satisfied with how the crash worked on Photo 12 - Two-chamber truck (left). two 5-chamber models that he had rebuilt. Does this mean Aeo- Five-chamber truck (right). lian first tried the fan system with crash, then dumped it? This would argue in favor of later manufacture. Makes ….Maybe, maybe not. some sense, but then maybe it is so late that Aeolian-American As the plot thickened, I joined those who thought the crash just grabbed what they could & banged it together. It would had been abandoned due to technical inadequacy….for a while. be interesting to be able to date these design differences for Technical observations about the two-chamber pictured certain. above: - The springs attached to the “truck” depicted on the right - All of the dimensions of the interior channels are larger of photo 12 provide tension on the curtains as the than both five- and four-chamber models. For instance, accordions call for changes in vacuum levels. The left the ports in both Theme and Accompaniment regulator truck’s springs are not pictured. pneumatics are 5/8" wide with a square end where the - Both the five-chamber and the two-chamber models cited curtain begins to open, but rounded on the other end (see were built to run identical, metal stacks. It may be photo below). The body on which the regulators are important to note that this was not always the case. mounted on the five- and four-chamber models is 1" Furthermore, when they were interchanged in the same thick; on this model, it is 1 1/4". The channels running piano, they acted quite differently, (as do an upright inside the body of this third variant are much larger and Steinway and a 9'+ Steinway) but still well within the can pass much more wind. parameters of the variety of responses a knowledgeable - While this one does not have a crash, it does utilize a Duo-Art technician can achieve. This should begin to leaf-spring on the theme, making it a three-spring model. raise flags in a technicians mind about accordion settings This single-leaf spring was heavier than any of those on and actual volume output above power 8. the four-chamber model. Before introducing the next example of fan system, let me provide some background. Thirty years ago, I had a 7' 1910 Steinway grand lengthened to 7'6", and built a Duo-Art for it. The stack that I built was an orthodox cross valve period 1915 style. For the top action, I pirated a Model B drawer. I wanted to play long play rolls. All of Carnival fits together, and there are many other rolls apparently recorded as one, and then cut up. I think the second part loses its esthetic context during re-roll. Because the Duo-Art has the "motor-off" hole in the tracker bar, a 1/4 inch hole punched in the roll will register on play so I can re-set tempo when necessary, but it does not have time to register on re-roll. Now the three roll set "Twilight of the Gods" is, for me, Photo 11 - Regulator pneumatics: from above the kind of musical experience for which the Concertola was described two-chamber unit: developed, only better: You don't have to wait through re-roll. The same is true for many other three- and four-roll sets, For this picture the curtain and wooden cylinder on the including Ray Siou's LPs. I have over 100 long-play rolls. (As right, are removed. The cylinder in the left regulator is not an aside, Uprights are the best candidates for LP spool-boxing inside the curtain where it should be. In the lids you see the as the space is nearly all there, and the vacuum brake is easy to machine screws that hold the regulator's wound spring arms. copy and make as a clip-on accessory…. with no new screw The extra hole on the left is for a .061 bleed into the theme. holes, so why not?) The black arms hold the ladder-chains…. more on them later. Eventually, I dumped the cross-valve stack. I know they The wooden cylinders that roll the curtains of the have a following, but when the cross impressions (stigmata?) regulators in #11 (above) are of a much more sophisticated begin to show up in the valve leather, it seems to affect volume design than the five- and four-chamber models: differently for each note, for every accordion setting. In my experience, notes drop or play too loud; Zero has to be higher
274 and higher to compensate. Regular size round valves can run - There is an Accompaniment-style flap valve… inside the fast enough to read chains (if the bleeds aren’t right). Most Theme regulator pneumatic. It covers the exhaust port later Steinways had round valves: as did every fan system of leading to the Theme secondary valve chamber. One which I've heard. I know there are those who'll get in a fluster, purpose it serves is to prevent the Theme regulator from but I've made my choice. being fully exhausted during a crash event. This will I also retired the Model B Ampico drawer top action for a prevent it from slamming shut, thereby isolating LP Duo-Art electric roll drive, keeping the second most impor- whatever suction level it was regulating from the effects tant technical advance of of pump suction during the crash event. By isolating the model B, the vacuum regulated Theme suction from crash suction, equalibrium play-break. I ran this is concisely and more rapidly reestablished. piano on a standard 20's - Zero is adjusted by turning the leather nut on the hook at expression box, until fall the end of the ladder chain. of 2001, when this latest fan system made its debut. End view It is pictured next along with the standard, grand expression box.
Technical information; - There is nothing Photo 13 new about this one, except its shape. - These boxes are essentially the same size, and fit in the exact same space in the piano. - None of the supply tubes need to be changed. Change over installation time: 5 minutes, (including coffee break). Photo 15 - The fan accordions are located where the conventional - The end view shows the usual wound springs and the leaf accordions usually are. springs. Note adjustment provisions to separately set - The crash primary valve is mounted on the side of the engagement of Theme and Accompaniment on leaves. box, as usual. - Also visible are round holes in fan-accordion mounting - The crash pallet is in full view of the technician…. brackets through which a small screwdriver can be no feeling around, no contorting. inserted to easily change the travel on powers A1 & T1. - The regulator pneumatics are on top, toward the - The screws for resetting 2, 4, & 8 are also easily soundboard, like some very early grands The tops are accessible, and in the technician's full view. Tiny not covered with pump cloth but, like the other fan amounts of adjusting that, in my view, would never systems, with a 1/4" board, gasketed and held down show on any measuring devices (and I've made my share) with screws. are easily effected. - The bleed in the theme chamber, (found on many later This feature addresses the difficulty of resetting earlier models), is like the other fan systems, through the top style accordions to more closely fit mandated test roll board. In this one it is a 5/32" hole which is shut down specifications. This adjustability is as technician-friendly as by a tiny pneumatic (shown in the next picture) activated tubing-around-the end of the keyboard through spring loaded by power 8-T, making it more like a secondary spill than junction blocks. Once you've had one, you'll never want to go a mere bleed. back. - On the bottom front, tubes enter the muffler-box for the pneumatic spill control, shown opened below.
Photo 14 Photo 16
275 Another one of the important changes, which the Don't let that just blow by, think about it for a while. fan-system makes (shown in this "view from the end picture"), I believe that what is happening here is really significant, is that it discards the mechanical linkage of the earlier so let me say it another way so that it is perfectly clear: models. The fan-system opens the ports in the Theme and 1. The crash is independently adjustable. Accompaniment regulator pneumatics by pulling a ladder-chain across a sprocket. This should not be dismissed as simply some 2. The volume outputs of (both) higher Theme and kind of economy measure. This change totally eliminates the Accompaniment powers (10 to 15) can be varied, ... effect on the expression curve produced by the arcing of the stretched or compressed… independently of the initial mechanical linkage in earlier models. The effect of arcing is settings on their respective accordion pneumatics... as well well known, and measurable. Correctly setting the mechanical as the crash. linkage has been addressed in technicalities discussions off and 3. The differences between Theme and Accompaniment on for years. This is why we are advised against moving the are increased. leather nuts on the upright accordions in the 1925/27 manuals. The effect that arcing has on the expression curve is one more Think about the times that you may have heard important aspect that the computer generated straight-line someone say something like "The Duo-Art gets too loud graphs do not adequately reflect. The ladder-chain and sprocket too fast, and stays there". Or weakened (wound) springs reinterprets the volume output of every accordion setting from can knock the top off the expression curve. This does not top to bottom. Yet another important step in reinterpreting the relate to how this baby works. meaning of accordion-generated signals is the introduction of 4. The change from the mechanical linkage with its arc the leaf-springs. effect, to the fan's chain link/pulley system is major. On some models that have them, they are screwed to the stationary board of the regulator pneumatic. The mobile side of the regulators is covered with 1/4'' wood (not cloth). To this mobile side, a stop is mounted (much like the one on the More technical information: sustaining pedal pneumatic) to set the free travel distance BEFORE engaging the leaf spring, distance of travel. On - The interior accompaniment ports at the flap valves are others, this situation is reversed. Years ago, on my first common 20’s size (3/4"). The theme ports at the point of fan-system I set the Theme stop to engage the leaf spring at the interior theme valve also common 20’s (1"). power 16, because I was told by an highly respected straight- Compared to the other fan models, this one can move as liner, that this was the crash. Foolishly, I believed him. But set much air as any ordinary 20’s model. that way the volume output of the crash is essentially a power - The ports inside the regulator pneumatics are like the 2 16 and dull as dishwater. That same technician also insisted that chamber fan model: 5/8" bore, squared on one end. the fan system has no crash valve, the disconnect seemed puzzling at the time, as my first one (the 5 chamber model) - The spill is located in its usual area, but it is the fan obviously had one. I presumed at the time, that what was meant system variety, not the 20's knife valve. It takes up the was that the crash made little or no difference. Sometimes I'm whole end of the box. embarrassingly slow. I set that earlier fan-system aside for - The expression box at the spill end is enlarged, but years, joining others who thought the whole idea of the protrudes no farther than the mechanical linkage on fan-system was a failed attempt to cut costs. standard models. It is the same size as the separate Years later, I was looking closely at the screw (examples of spill box supplied with most fan systems. which can be seen in the end view of variant #5) that moves the stop, and noticed it appeared to have been originally set to - The pouches that operate the spill, theme valves, and engage much earlier (thankfully I hadn't polished this screw… crash are all on the bottom board that you would see and the evidence… away). At what lying on the floor looking up… appeared to be its original setting, it gasketed together, easily engages at about power 10. Oh my. disassembled (See photo 17). By moving it, I found that I could Before going any further, I suspect vary the volume output of powers 10 there may be some shaking their to 15. This is not wishful thinking: heads about all those leaky gaskets in it is factually borne out by the middle of the winter. But this is readings on my vacuum gauge. For where sponge neoprene is a real instance, in my newest fan unit, that boon. No glue necessary, just a cheap last power step (# 15) at the top of the but carefully cut neoprene gasket Accompaniment curve is also vari- 1/16” thick squashes to nothing, able, and not inconsequential when it and seals perfectly. If earlier model comes to overall volume output. Duo-Art expression boxes were This box and the 5-chamber gasketed and screwed back together model work similarly. Photo 17 like this, the next guy would
276 probably really appreciate it….I sure would. set of accurate gage blocks", but by 1929, I think he is out of the loop technologically speaking….as is the 1927 Manual. The - The spill pouches are oval and the same size as those on fan system with its leaf springs, its pneumatic spill and its the other fan systems except that the one farthest from rectilinear ladder-chain linkage is a different ball game. the fulcrum is larger, deeper and stronger than the rest. But before talking about how I adjust this system, here’s - It has the set screw to change pump (crash) "pressure". what I did to the piano that it’s playing. Having surmised that Aeolian kept reworking the Duo-Art from the beginning, why - There are 3 access tubes for testing Theme, let the Great Depression put a stop to further development? Accompaniment, and spill "pressures." - There are 3 leaf springs, two on the Theme side and one Bleeds: on the Accompaniment side, making this a 5-spring On my own piano, I kept the separate bleed board. I did not model. It is able to pass as much wind as any 20s model mount it on the stack, but hung it from the key bed, 2" below that I've heard, but the spring set-up makes it possible to the key bed, and 2" from the stack for reasons of serviceability. set the powers 0 – 8, and 9 - 16 where they are most In my case this meant I could use straight pieces of tube rather pleasing. I don't feel like I'm stuck with a pianist who is than elbows. Once they were shellacked in place, I dimpled playing my piano as if it were on stage at Carnegie Hall. them with a counter sink, and then drilled the bleeds in. I found Like the AR that I referred to earlier, this one can be that in my piano I needed to change to .062" bleeds, but then adjusted to fit the room in which it is playing, only much I'm running round valves, and my pouches and wells are super more so than that AR. The difference between the 'teens tight. Steinway Vertegrand with a single weight spring for both Theme and Accompaniment regulators and these with 2, Hanging the Poppets: 3, 4, 5, or 6 springs, all of different weights cannot be American addressed the problem of uneven strike very ignored or minimized. As I see it, to pass over spring effectively in the model B Ampico. If you wondered earlier weights or strengths is to dismiss almost everything what I thought the most important advance made by the Aeolian did after 1925. model-B, this is it. The following adaptation of this idea was passed on to me by Alan Lightcap, and I am deeply in his ADJUSTMENT SETTINGS: debt for it. This is the part of this article that I was warned by several I took the set of Steinway shanks that were discarded when rebuilders of note not to write. "The straight-liners will crucify I had my hard old knockers replaced with a fantastic new set of you", "They'll put a target on your back and shoot". But it's time someone got up the nerve to point out that the emperor is missing some important stuff, so, here goes. We're all aware of the 1/16”, 1/8”, 1/4”, and 1/2” standard settings on the accordions. I believe that it does not take setting up very many Duo-Arts to know that these are rough, ballpark settings, computer graphics to the contrary notwithstanding. It is tough enough to get all of my stack valves to move exactly .038 inches (my preferred setting for original, late-style round valves). I feel that thousandths of an inch on an accordion setting can make an important difference in volume output. Accordions cannot be fine-set on a bench. Anyone who has Photo 18 fudged on an upright by twisting its leather nuts (illegal), or tightening its springs (marginally legal), rather than taking the hammers... and made Model B style flanges as shown. The time to adjust the screws per the service manual, knows what threads on the Steinway drop screw are the same as the Aeolian I'm talking about. Some slight changes in regulator spring poppets! tension can be helpful, as the manuals point out. Personally I I installed these on my stack in 1985, and have had no prefer no tension at all on the springs, when the piano is off. problems at all with them. Slight variations in accordion travel for powers 1, 2, 4, & 8 IN - First, I hang the poppets on the upper guide rail. REASONABLE COMPLIANCE WITH test roll specifications This required shortening the wood poppet itself about and the 1925/27 manual (see pg. 25, test 9, last sentence), are 3/16" to allow space for a plastic nut and a felt punching usually necessary, and do not adversely affect the higher power to provide a soft landing on top of the poppet guide. volume output…particularly on the fan system. I believe this is why the should-play and the shouldn't plays are on the test roll. - Second, with the piano action on the bench, removed The true setting for most pianos is somewhere around there. from its frame, I slip the empty action frame in place in It’s one of my beliefs that one of the most important places to the piano, and one by one put the keys in, ADJUSTING make the fine adjustments is on accordion travel. THE POPPETS SO THERE IS NO LOST MOTION I know this runs counter to Mr. Gould's 1929 article that they between the top of each poppet and the bottom of each "are correctly set at the factory and should be adjusted only by a corresponding key. This is standard procedure when
277 reassembling a grand. The only difference now being, Aeolian, as we have seen, seems to have dumped the idea the pneumatics no longer need to land on the felt strips of tubing A-2 (Accompaniment - 2) in series with the hammer below the key-bed per original Aeolian provisions. rail lift. Wilberton Gould, in his 1929 article, comments about the key frame shift in later grands, "... in conjunction with the"-"'.., - Third, I set the travel ofeach pneumatic in the manner hammer.r~llift....this attachment permits very fine shading ofV~ , the stack originally provided for (The nut and felt the mUSiC. Well I confess that I don't know anymore about punching in the middle of the poppet). what he was thinking when he wrote that than the average person, but it gave me an idea. I had my machinist make me a With these changes to the pneumatic stack, it is possible to key shift lever that was styled the same as a standard Duo-Art move the pneumatics up and down the poppets to strengthen or under-the-keyboard shift, except that it is 24" long, to get past weaken the strike as needed with out changing the travel, much the pedal box (yes, I couldn't help it, I built it to be a pedal as one would do with the Model B. electric) The shift lever is operated by a standard-size, key-shift So, with the piano turned on, and blank paper over the pneumatic and single valve. tracker bar, I go down under. I placed a pallet valve on the Accompaniment accordion Lying underneath the piano, I pull enough 9/64" tubes off with a very light leaf spring to close it. It works in reverse of in the treble so that one more off will barely play. One by one I the way the crash works. It is OPEN on powers A-O, 1,2 and 3. pull off and reconnect all tubes and set all the rest of the When 4 comes on it closes. It is adjusted with a 6/32 screw just pneumatics so that each note just barely plays. I set the first like the crash. ones as well. No need to run around for a note compensation The signal thus created goes through a single signal gate, roll. Once set to strike evenly, the test roll can be used to set the like Aeolian used to turn the last 4 notes off in the bass and zero. Both arpeggio tests should be able to play all notes now, treble when the Duo-Art is on. except that the second one is Whisper-soft. An ideal test roll This gate is opened or shut by a crash style valve, above exercises all 80 notes this way. Thanks to Robin Pratt, I have the keyboard, running on Theme primary strength vacuum a Leabarjan, so making one was easy. Nothing about how (to ensure swift, reliable action). Duo-Art rolls were originally coded to function has been The valve itself is operated by a pallet on the hammer-rail changed. They just play even better. lift, like Aeolian used back in the teens to turn power A2 on. The drawing below shows both how I hang the poppets. To The result is that when the hammer-rail (soft-pedal) is on, save space it also shows the soft-pedal compensation lift. and the Accompaniment is below 4, the keyboard shifts, the 1------...,....--- hammers play on 2 of 3 strings in the treble, and 1 of_ 2 in the mid range, with the un-struck strings vibrat;' -: NUT ing sympathetically. In pianos that already have an ORIGINAL POPPET GUIDE BRACKET V CENTER RAIL ~ pneumatic shift, it's not all that hard to do. ORIGINAL WOOD POPPET GUlDE-+ This creates a perfectly delightful set of sub-intensities for both Accompaniment and Theme right where they sound most musical-- without risk of '~~~;:~~~~~~~~I making notes drop. I run the signal tube from the MOUNTING BRACKETS pallet at the hammer rail lift through the Duo-Art TRAVE~:.:~dFELT i ...... ,"--__ on/off switch in the spool box to make it optionaL .. I -.1 MOTOR CLOTH HINGE ( FULL LENGTH) though I rarely turnit off. HINGED "B" FL'tGES THIN WOVEN ACTION FELT When I installed this on a 20s style grand expression COLD- ROLLED STEEL, 1/4" X 112" X FULL LENGTH box, I made a metal arm 3-5/8 inches long, 1/4" x 112" thick to replace the arm between the top of the accompaniment accordion and the rest of the mechan Drawing 1 icallinkage. This is essentially an extra long arm like the metal arm Aeolian used in later pianos, (when they put the A word of caution is in order here: I've run across two later manual volume controls in the spool box). A leathered hole in model (round valve) Steinways where the original flanges were one end per Aeolian specs to hang the accordion from, a 1/4" so close to the pneumatics that the hinged flanges would not fit. diameter hole in the middle with a #8-32 thread set screw in the In this case either the stack needs to be moved about 1/8 of an middle (per original Aeolian specs), leaves enough extra length inch back, or the original flanges kept. In the latter case setting to just about touch the back side of the expression box. The pneumatic travel will take much more time, but the results can reverse operating pallet with a very light leaf spring (remove be the same. Frankly, I think it's easier to move the stack, and the wound spring, bend a piece of metal packing crate strapping well worth the effort. & screw it to the end) is mounted here, against the backside of the expression box. The point at which the arm engages the Sub-zero intensities? pallet has a # 6/32 screw 1" long in it (much like the one on th~""'"~_ , Why not have a sub-zero intensity, particularly if it can be crash lever, only longer) for adjustment purposes. One otherV done without recoding the rolls? While were at it, why not have " change from typical Aeolian styling here is that I mount the several? screw the other way around (upside-down).....but first I grind
278 its head flat & polish it slick, then I cut a slot in the other - Third, I check the hammer rail lift to be sure it moves (threaded) end with a hacksaw for my screwdriver. The rest of according to specs (5/8") I re-run testing of all notes with setup is done the same way as earlier described. (A similar the soft pedal on. All notes should still play, and the lever from the accordion to the pallet can include proper alter- dampers should not leak. If there is leakage, I re-set the ations for earlier models so that the hand operated lever system dampers, not the hammer rail. This is too critical to works per original specs.) actual volume output to fudge on. Raising the hammers FYI, when I do a crash lever, I make a new lever slightly less than called for, is like resetting all the accordions. longer than the original, move the 6/32” adjustment screw (with The loss is real, and across the board. This is a setting its polished head towards the pallet) as far out on the lever as I that's really worth the effort. can. I also sand the pallet base a little shorter. This increases the Now I run the arpeggio zero tests. Single notes with the lever's travel, and enables me to easily set the crash to operate sustaining pedal on should play. With the sustaining pedal off, reliably when it should. Actual sizes of a new lever will vary ALL the notes in the faster arpeggio should (contrary to the test according to piano, because Aeolian used different length crash roll instructions) now play whisper soft. This is not an error on levers to begin with. I don't think it wise to discard original the test roll, rather it is evidence of an evenly adjusted stack. If parts, so I find a place to fasten them to the expression box. any note does not play, I screw the pneumatic more widely Who knows, the next guy might want them. open until it does: conversely, if a note stands out, I screw the pneumatic more closed. An ideal test roll would test all notes Lost motion: A-2 on hammer rail lift revisited: for evenness of strike. This test is also really worth the time to be careful about. Aeolian coded rolls with the difference that I became convinced that a compensation rail to lift my the damper springs make in mind. That's why its on the test roll. poppets when the hammer rail lift was on, would be a step When playing at really soft levels, this is a place that notes will forward. It is easy enough to build; there is plenty of space so I drop……But NOT because the rolls are poorly coded. Having did it. It follows the basic design used in the Recordo done this, I've set my zero……for now. Marionette, which I prefer over the model-B Ampico. Out Remembering that raising and lowering the "pressure" on rigged as it is, it effects the least amount of changes to the the spill has little or no effect on the actual volume output for original stack. Shown in the earlier drawing, it has three any given accordion combination below power 10, I think it's pneumatics, each 1 1/2" x 3", mounted on a 1/2” x 1/8” x time to set the crash where I think I want it for my much too stack-length cold rolled steel piece readily available at any good small living room (25’ x 40’). hardware store. This is in turn mounted on the stack where the It doesn't have to stay where I put it; I'll leave it there for as bleed board usually is. The pneumatics are tubed in series to the long as I want. I like it to stand out, but not so much that it keyboard shift valve, removing any possibility of catching as causes tea cups to crash to the floor. Doing Zero and Crash the shift moves only when the hammer rail is up. They connect level first is how I set the range within which my visiting artists to the underside of the poppet rail lift by 1/16” x 3/8” x 3” steel will play my piano for me. I change the crash if the mood hits. brackets. The poppet guide brackets fasten to the bottom side of Changing Theme zero in the fan system does not require the 1/4” x 2-1/2” x stack length lift board with # 8/32” thread resetting the screw on the crash pallet because Theme zero is flathead screws. The original guide rail brackets are already set by moving the nut on the ladder chain….yet tapped to receive the # 8/32 screws. The poppet brackets in turn another technician-friendly change. land silently on thin woven action felt. This saves space and - Next I set Accompaniment 1,2, and 4 to the test roll. If I assures me of the right places to place the action cloth bumpers. ran the zoo, this would have 4 chords or maybe even 5, It's kind of cool to watch work…………, but is it worth it? each with one more note so the range between should The down side to it is that Model-B rolls were coded with this play and shouldn't play could be more distinctly heard. feature in mind; Duo-Art rolls were not, so the result is to actu- With the notes all striking evenly, these settings can be ally raise volume output slightly when in fact my goal is to much more precisely set than before. An ideal test roll lower it. Furthermore, having done a careful job hanging the would have chords that test all notes on the keyboard. poppets and adjusting the pneumatic travel, notes don't drop anyhow. If I had to choose, hanging the poppets and redoing - Next I rough set the theme just above the the bleeds are far more important to me. Accompaniment zero setting and play a bunch of rolls that exercise low powers… there are some chords in So, here's how I set my Duo-Art up: "Moment of Despair"(67839) that are just that. To begin with, having straight-line bench set my "Foggy day" (01101), "Afternoon of a Faun" (6532), accordions and installed everything in the piano, I rough set "Lotus Land"(6096), “Hymn to the Sun"(6857), zero. everyone has their own favorite rolls for this part. I note chords that skip or play too softly, and alter the - First I play the test roll section where one by one all accordion travel, (I know my notes strike absolutely notes are played, and quickly repeated (clogged or partly evenly by now), thus finely setting A-1, 2, & 4. These clogged bleeds will show themselves here). settings will likely still read 1/16”, 1/8”, and 1/4” to the - Second, I check the travel of the poppets, then the travel naked eye. There is no way in hell that this can be called of the pneumatics so all notes play evenly. "force fitting": there is also no way it can be done away from the piano.
279 - Next, with a vacuum gauge, I set Theme 1,2, & 4 only one leaf spring makes no screw holes in critical or origi slightly above (half way between) their Accompaniment nality-damaging places. You may wish to put the leaf springs on counterparts. the movable side of the regulators, and the stop on the other edge (reverse of above). However, this will require removing-, j - Then I set both powers 8 with the vacuum gauge so that the box from the piano. The results are technician-friendly. ~ they are just above (by "one degree") their respective V You may also wish to back the Accompaniment spill lever combinations of 1, 2, & 4. This is why I believe a "play off somewhere between just a little to all the way. Just be sure shouldn't" is irrelevant to power 8. I think blindly setting that there is enough vacuum to power the Theme pneumatics. power 8 to travel precisely 1/2", is, particularly in a fan This may require the addition of some felt to the spill hole. system, nothing short of inane. There's nothing that I can offer to make setting the old-style I then set powers 10 -15 to fit comfortably above 8, and accordions any easier. below crash level. This is done by moving the stops on the Do not expect any noticeable difference in the softer regulator pneumatics to the appropriate points of engagement powers. If the piano or the player action is uneven, this is not a with the leaf springs. Where there are leaf springs on Theme cure for those problems. Evening out the strike intensity can be and Accompaniment, the Theme leaves, like their wound spring achieved by setting Accompaniment so low that a single note counterparts, are likely to be heavier than those on the barely speaks, then placing shims under the pneumatics that Accompaniment regulators. I then use the vacuum gauge to play too loudly. What a pain. It's best to have a good, slick check through Theme and Accompaniment combinations to be action to start with. sure that no Accompaniment combination equals any Theme combination.....ever. This of course means undoing the nipples Pneumatic stacks and the fan system: so that one by one each of the 32 accordion generated Should you run across a fan system of the 2 chamber Accompaniment and Theme powers can be measured and noted variety, and be wondering what pneumatic stack might be best on a piece of paper. Powers 1-8 will rise in volume output for it to operate, in my opinion, the regular size round valves more slowly, powers 10-15 being more steeply and more and the small expression size valves which were both used on widely spaced than on the earlier models. Yes, it takes time, but, some two tier uprights and a few grands seem to be best. as I see it, anytime two different settings can achieve the same My grand runs on upright Steinway (early 20s) graduated vacuum level, the results are a loss of capability. I think it is pneumatics. Large pneumatics and cross valves can be run by best to do this after the vacuum that runs the accordions is set as my big square box. the vacuum level can effect the tightness of closure, changing I now know of at least 14 fan systems. the resulting volume output. Yet another reason the accordions Now it's your turn to pay me back for all the effort of can't be completed on the bench or at the factory. writing this article (I'm not a writer, so it took forever) For reasons now obvious, I believe the fan system, is a neat If you have a fan, or know of one, working or not, I'd like to feat of reengineering. Unlike the Model B Ampico, the rolls know about it. don't need to be recoded to work. I have yet to find a roll that Ifyou find another version, I'd like to knowabout it. works less well than before. I have 2000 Duo-Art rolls and play them a lot, and have since I was a kid.....50 years ago. Please tell me: How many springs, leaf and/or wound? Results: When the sawdust settles, I have Milne for How many chambers inside? cocktails & dinner, alive, expressive -- but not loud. Niginski Has it a crash or not? dancing the "Afternoon of a Faun" across the stage of my When was it born? fantasies ...all but real.. ...In conclusion: I think there are many What kind of stack does/did it run? Duo-Art pianos which could be much improved by being Is it alive, or lying dead on a parts shelf or in a dead piano? straight-lined. But I think that between 1925 and 1938 Aeolian seemed to be saying quite clearly "Don't stop there." Of the 20 or so grands with long play spoolboxes and electric roll drive, do any of them use a fan system? Ifso which FAN SYSTEM THINKING AND THE kind? Please give the serial # on the roll UPRIGHT DUO-ART drive motor. I'll publish the results if I get enough If you have an upright Duo-Art, a info. and umph. All owners' names will few screws, a sustaining pedal stop, a be kept confidential. leaf spring, and an hour, much of this "technology" is on your doorstep. \ Geoffrey Kaiser Modifications to an upright Box 222 expression box: } Sumneytown, Pennsylvania 18084-0222,.y~ If you wish, you can add 1, (as 215-234-8424 IV ~ shown) 2, or 3 leaf springs. Adding
Drawing 2
280 LateLAT EDuo-ArtDUO-ART PPianosIANOS By Robert Taylor & Jeffrey Morgan
Editor’s Note: This article first appeared in the July 1984, AMICA Bulletin. The reprint below is updated and includes corrections published in the September/October, 1984, AMICA Bulletin.
Toward the end of the 1920’s, the Aeolian Company with may be a safe assumption to presume that Aeolian purchased their Duo-Art took several different directions concurrently in from the American Piano Co. one of their Model B Ampico redesigning their instrument, rather than a single direction that drawers. One indication of this can be seen in photograph American Piano Company took with their Ampico Model B. number 2 of the 1929 Weber drawer, where the end plate by the One form was a traditional installation of the Duo-Art tracker bar has been ground free of the “APCo.” Ampico logo mechanism, but instead of wind motor, they substituted an and a geometric pattern substituted instead. This is an attempt electric motor with a reversible cone drive tempo device; this by the Aeolian Co. to conceal the origin of this drawer. has been called by several people the Model B Duo-Art; and, for lack of a better term, this will suffice. This particular article focuses on late model Duo-Arts incorporating the Model B Ampico style drawer, a second variation. Two pianos of this second type will be described in detail: a late 1929 Weber in an Italian Renaissance case, and a 1936 Weber in a Queen Anne case. Both these pianos incorporate a Model B style Ampico drawer, but in some ways they are quite different. In the very late twenties Aeolian designed a remote piano playing unit called the “Concertola,” which was either a carrousel device, holding a number of rolls made to play a Duo-Art reproducing piano from a remote location controllable by a set of controls at one’s armchair, or a single roll-playing device which was also remote from the piano. These devices were designed to enable Aeolian to easily install the Duo-Art 1929 Weber system in many types of pianos because they no longer required the piano to be stretched to incorporate the usual Duo-Art above-the-key spool box. These “Concertola” pianos were available in many different art styles and looked just like a normal piano, not having an extended case for the Duo-Art spool box, a drawer, or any other device at the piano for playing the roll. The roll was in a remote unit, and the information was sent to the piano by means of an electric DC System which was then translated into vacuum by use of a magnet-rail valve system. This particular type of Duo-Art was also called the Duo-Art remote piano. The 1929 Weber we assume to have been a Concertola piano but for some reason the original owner decided to have the capability of playing rolls at the piano itself. For this reason, Aeolian found itself in a quandary because their technology in 1929 Weber 1929 only incorporated the type of spool box that would require case modifications be made to the piano. This piano, already The other interesting thing about this particular 1929 being designed to be used with the Concertola system, prohibit- Weber is the fact that Aeolian also saw fit to veneer the top ed this type of case modification. The logical answer, therefore, panels of the drawer, which Ampico normally did in black would be to hang a drawer under this piano similar to that being shellac. Also evident is the fact that this drawer is an earlier used by both Ampico and Welte Mignon Licensee. However, production model B Ampico drawer due to the absence of a the Aeolian Co. did not produce any type of drawer containing modify switch. In addition you will note that the tracker bar is a a spool box and roll transport mechanism. Because of this, it stock Duo-Art tracker bar milled out to accommodate the
281 2. 1929
1929 Weber
2. 1936
1936 Weber Model B tracking fingers. Compare this now with the drawer from the 1936 Weber. There you will see a much later Ampico drawer, evidenced by a provision for a modify switch. In the 1936 drawer, the Duo-Art tracker bar is literally custom-made, having the complement holes visible in the detailed picture, milled out separately from the rest of the bar. In addition, the loud pedal hole is milled out by hand. This bar 2. 1936 detail is pretty much a hand-made Duo-Art bar, probably modified from a regular Aeolian 88-note themodist bar. In the late 1936 88-note rolls. No other function is caused by this switch on Weber, there was no attempt to conceal the fact that the drawer 88-note position, and in this way it differs from previous was a product of the American Piano Co. since, by now, both Duo-Art instruments where the expression system was also companies had merged. The merger had occurred in September, turned off. In the case of the 1929 Weber there is no provision 1932, resulting in the formation of the Aeolian American whatsoever for playing 88-note rolls. Corporation. Thus, the end plates on the tracker bar clearly The next set of photographs (#3) shows the accordian- show the APCo. logo. pneumatic driving systems and loud and soft pedal air The other feature of this drawer is the modify switch which governors for both these pianos. Again the 1929 system is in this case is not a modify switch but an 88 on/off switch, one pretty much the stock Concertola system where the 1936 position being Duo-Art, the other for playing 88-note rolls. The Duo-Art system uses a similar driving unit but made of some 88-note-roll position of this switch merely collapses the number unusual hardware. This resembles in some ways the Welte two and four Accompaniment accordian pneumatics bringing Licensee technology. Other than a difference in hardware, the up the sound level to a medium level suitable for playing function of both these systems is nearly the same.
282 3. 1929 3. 1936
4. 1929 4. 1936
5. 1929 5. 1936 The fourth set of photographs shows the main expression has an adjustable helper spring that may be called for practical units of both pianos. The 1929 system had been bypassed by a purposes a “crash spring” that comes into play at an adjustable prior rebuilder and has not yet been restored; however, it will point anywhere from power ten to full power on the Duo-Art. serve to show the differences between these two systems. Both The threshold adjustment for this spring (which is attached to systems use the fan-shaped accordian running a chain drive to a the top of the theme expression governor) is visible on the leather flap valve somewhat similar to the later (ca. 1922-28) bracket holding the Theme accordian pneumatic for this system used in the Welte original expression governor. The governor. Again, other than the presence of the spill control unit differences in these two systems follow: and the crash spring on the 1936 unit, both these units are similar in function. There is a slightly different type of hardware in the 1929 and 1936 units but the main difference is the absence on the Photograph set number five shows the entirely different 1929 of a spill control unit and the presence on the 1936 of such spill systems used on these pianos. The 1929 Weber uses a a unit which is somewhat similar to an Ampico ‘A’ amplifier graduated spill system exactly the same as used on the control block, except that this unit samples Theme and Concertola system which progressively closes the spill valve as Accompaniment rather than Bass and Treble. Also the 1936 unit determined by the number of Theme accordions collapsed. For
283 6. 1929 6. 1936 example, Theme accordian number 1 collapsed would close it a little bit, number 2 would close it a little more, number 4 more yet, number 8 almost entirely closed. This particular governor would open the spill somewhat when the soft pedal unit is activated, allowing the piano pump more spill when the piano was playing very softly. In this photograph this particular unit has been bypassed by the prior rebuilder. The 1936 spill unit is remarkably similar to the Ampico Model A spill. It is a pneumatic controlled by a spill control which is visible in the previous set of photographs which samples vacuum from both Theme and Accompaniment levels. It would determine the amount of suction fed to the spill pneumatic on the pump, thus more-or-less closing off the spill to the pump in proportion to the amount of vacuum needed by 7. 1929 the expression units. Again, this later 1936 Weber employs concepts that are almost entirely derived from Ampico Duo-Art service can be achieved by equipping it with a set of technology. graduated pneumatics which would yield more even playing at low suction levels. Aeolian American did the former, but not The sixth set of photographs shows the two stacks for these the latter. Ironically, during a prior restoration, a technician pianos. The 1929 Weber has the Watts-nickel-plated-brass stack mistakenly changed the Bass/Treble break back to Ampico. used in most all the Duo-Art remote Concertola units. This After all, it was an Ampico stack, wasn’t it? Until this error stack incorporates Zephyr skin pillow pouches moving a valve was rectified, the musical results derived from this stack of very small mass. The stack is basically two tiers were unique. incorporating four different sizes of pneumatics, Aeolian continuing their graduated pneumatic technology even into this The final photograph (#7) shows the position of the pump late stack. and motor. In both these installations the pump is hung inverted as well as the motor . . . with the belting run on the top towards The stack on the 1936 Weber Duo-Art is unique in the fact the sounding board. The particular photograph here happens to that it is an Ampico stack. It is a three-tiered stack incorporating be that of the 1929 Weber, but the motor and pump of the Ampico Model B style ball-valve units; it does not use 1936 Weber are also similarly mounted. This covers the major flange-finger capstans but, rather, straight poppet wires, so it is differences between these two pianos. similar to a very early model A Ampico stack except that it incorporates Model B ball valves. This stack is similar to the stacks Ampico used on later custom installations because of the (The 1929 Weber is now restored, and the 1936 Weber is compactness of the stack. The stack is also generally found in the property of Robert M. Taylor.) late Ampico economy grands which would incorporate B drawers with a “baby Ampico” expression system using a single crescendo of the Model A type and a grasshopper pump. Due to the fact that this stack in the 1936 Weber was easy to produce and compact, it is found on many inexpensive pianos of the late thirties produced by the Aeolian American Corp. When employed for use in a Duo-Art system, this stack must, of course, first have the Bass/Treble break changed from Ampico to that of Duo-Art. Additionally, better performance in
284 TECH TIPS Repetition Tester Blurb From Dan Barrett
The repetition capability of pneumatic valves is an important test of their proper function. They are expected to be able to repeat upwards of twelve (verify this number?) times a second to keep pace with marimba passages or other quickly repeated notes. Testing this capability with my thumb over the end of a hose proved more than I (and it) could handle; so, I designed and built this simple rotary valve, to provide for fast switching on the tracker bar tubing connection while the stack was dissassembled. It consists simply of a disc of plexiglass or polycarbonate mounted with a screw to a smooth board; a ring of holes drilled through the disc matches up with a single hole in the board, which has a nipple installed in it for connecting tracker bar tubing. When the disc turns and each of the holes in the disc match the hole in the board, it provides the valve on signal as if a hole in the test roll was passing over a tracker bar hole. The joining screw is adjusted so that the disc will tum without too much friction. A dry lubricant can be used between them to permit snugging them tighter together (I put graphite on the wood). With the other valve connections to the tracker bar capped, I attached the nipple of the device to the valve being tested. With the suction source set to 4 inches water column, I turned the crank on the switching disc. It has eight holes, so one revolution of the disc switches the valve on and off eight times. Thus, one tum per second gives eight valve cycles per second, two gives sixteen, three gives twenty-four, etc. (I was tickled to see the valves in an Aeolian stack handling twenty-four cycles per second without stalling, at - 'four inches of vacuum!) If a faster repetition rate is desired, either tum the crank faster, or divide the hole circle into more segments >--Jnd drill more holes. The design of the unit can be made more ergonomic as you prefer. (I don't suggest motorizing it, however, unless you like frustrating valves, or are out for serious bragging rights!)
FROM VALVE
PLEXIGLAS DISK
,--...r--- CRANK HANDLE
WOOD BASE
VALVE REPETITION TESTER
285 THE ILLUSTRATED LONDON NEWS, DEC. 18, 1909. - H84
A NEW BRITISH INDUSTRY: THE MAKING OF MUSIC - ROLLS FOR PNEUMATIC PIANO, PLAVERSo
A VERY IMPORTANT INSTRUMENT: THE PAPER MAKING CERTAIN THAT EVERYTHING IS AS IT SHOULD BE I SOUND ON A LENGTH OP PAPER I PLACING THE PERPORATED TESTING MACHINE, BY WHICH THE CU:UA'I'1C ROLLS ON SPOOLS. INFLUENCI:!. AND EFFECT OF HUMIDITY ARE EXAMINING MUSIC- ROLLS. Dl!.TEH.i\IlNED.
THE making of music-rolls for pneumatic piano- twenty-four copies are cut at the same time. Each players is an interesting process. The compositions of these copies is, in its turn, tested for errors by an desired, having been selected, are marked out on the ingenious device. This consists of a long box with a " master-rolls" by a staff of musicians. This" master glass lid, the width of the roll of music~ This box roll" consists of a sheet of strong, flexible cardboard, is lighted by electric lamps, and the roll, accurately SOIT.e fourteen inches wide, the length varying accord superposed upon the proof-roll, is passed over the ing to the piece of music. It is first laid out in bars, glass lid of the box. If the perforations agree exactly, after which each note is carefully marked iu its proper the light shines clearly through them. If, however, place, attention being also, given to expression-e,g., one hole be a little too long or too short, the whether the note is dotted, staccatu, etc, Experience inequality in the light is immediately apparent to and experiment combined ,have taught the musician the operator, who marks it, and it is sent back to how long a given perforation must be to represent a the cutter and rectified. In addition to the notes, given note, and as each bar is laid out it is checked, the musician marks the roll indicating how the piece so that it is impossible fur any en'ors to occur. The has to be played-e.g., where it is ," piano," "forte," notes made' by the J:Ousician are next punched out. and so on. These expression-marks are indicated by This work is done 'by a boy with a punch of the lines, having the musical symbols P, F, etc" placed requisite length and a wooden mallet: He cuts the opposite to them. These liues are transferred from the lines where marked. and so makes 'the stencil. This original roll by means of carbon paper, and are then "master-roll I' is then taken to the perforating ma perforated by means ofa small punching-machine. This chine, where an exaCt copy-a proof-is made from master-expression stencil is placed over each music it. 'T 1is proof is then tried on a piano-player, being roll in turn, and ink being forced through the holes can d by two musicians, one of whom plays the produces a continuous series'of dots, which eadily carr- .ion., while the other watches the original seen by the operator when he is playing piece, scor~~r errors, Then they change places, so that The letters P, F, etc" indicating the exp e" ,lin, are the sliohtest jOilCCU1~~is bcund to be discuvered. stamped as in ~ile musician's copy. Th" roll, tJ;lus com- The aster-roll" having been found correct, or pleted, is finally put on a spool by ingenio chin- rna, ,'it is taken to the cutting-machine, where ery specially invented and designed for tho rpose.
THE LATEST" RECORDING PIANO," WHEREBY A COMPOSITION IS REPRODUCED EXACTLY AS PLAYED.-THE PIANIST PLAYING IN THE ORDINARY MANNER, HIS PERFORMANCE IS RECORDED BY DOTS AND DASHES EXACTLY REPRODUCING ON THE ROLL OF PAPER SHOWN IN 'fHE LEFT-HAND PIC1URE NOT ONLY THE MUSIC. BUT ALSO THE TEMPO AND EXPRESSION.
Tbe advent of the pneumatic piano-player. an invention which enahle, tho'c who do not know a note of mu,ic to play in the manner of the great ma.ters. haa brought a new industry to tbi. country, tbe malc.ing of mu.ic-rofls. Not only doe. the piano literally play itself. but be who i' directing it i. enabled by a .eries of mal'Jc.s on tbe music-roll .0 to regulate tbe speed and expre••ion wo~k Th~ tv that he can obtain a precise interpretation of the being gi';en. malc.i'ng of,the roll itself i. most interestinll. a. anyoDe wbo has visited tbe premise. of the Perf"rated Music Company, Ltd.. 00 --.l of' 197 and 199. City Road, E C., can te'tify, It i. a branch of work that call'- for great .Ic.iIl, aDd thc cxcellence of tbe results gained are.•tanding te.thrJoiala to tbo.c concerned in it. MechanicalMECHANICAL MMusicUSIC By Michael A. Barnhart Mechanical Music Instrument Computer Interface (MMICI Not MIDI) – Part III
Part II presented the logic design and computer parallel lower register mode printer port interface for operation of up to 128 individual notes (address word 0000 Not0) in an individual rank. This last part presents optional division div01 div02 div04 div08 addressing modes for operation of multiple ranks and operation of an external timer. A few comments relating to hardware lower nibble Not-a01 Not-a02 Not-a04 Not-a08 fabrication and software development are also presented. address bit (1110) (1101) (1011) (0111) ADDRESSING MODES data Registration for operation of multiple ranks (or channels in bit Hex Dec Hex Dec Hex Dec Hex Dec MIDI terms) can be accomplished by assigning modes to the "address word". The primary address mode is the "driver" rank d0 01 | 1 09 | 9 11 |17 19 | 25 mode where at least one of four bits is set "high" "Not-0" in enable d1 02 | 2 0A |10 12 |18 1A | 26 each of the "lower nibble" and "upper nibble" of the "address number d2 03 | 3 0B |11 3 |19 1B | 27 latch". A "lower register" mode "address word" can be d3 04 | 4 0C |12 14 |20 1C | 28 established with at least one of four bits set "high" "Not-0" in d4 05 | 5 0D |13 15 |21 1D | 29 the "lower nibble" and all bits set "low" "0000" in the "upper d5 06 | 6 0E |14 16 |22 1E | 30 nibble" of the "address latch". An "upper register" mode d6 07 | 7 0F |15 17 |23 1F | 31 "address word" can be established with all bits set "low" "0000" d7 08 | 8 10 |16 18 |24 20 | 32 in the "lower nibble" and at least one of four bits set "high" "Not-0" of the address latch. A an optional external "timer upper register mode mode" "address word" can be established with all bits of the (address word Not0 0000) "address latch" set "low" "0000 0000".(Table 3.) division div10 div20 div40 div80 address word upper nibble Not-a10 Not-a20 Not-a40 Not-a80 address | upper | lower address bit (1110) (1101) (1011) (0111) mode | nibble | nibble data note driver | Not-0 | Not-0 bit Hex Dec Hex Dec Hex Dec Hex Dec lower reg. | 0000 | Not-0 rank d0 21 | 33 29 | 41 31 | 49 39 | 57 upper reg. | Not-0 | 0000 enable d1 22 | 34 2A | 42 32 | 50 3A | 58 timer | 0000 | 0000 number d2 23 | 35 2B | 43 33 | 51 3B | 59 d3 24 | 36 C7 | 44 34 | 52 3C | 60 Table 3. Address Modes d4 25 | 37 2D | 45 35 | 53 D9 | 61 d5 26 | 38 2E | 46 36 | 54 EB | 62 The upper and lower register modes can select up to four d6 27 | 39 2F | 47 37 | 55 FD | 63 divisions each, as established by the individual bits of the d7 28 | 40 30 | 48 38 | 56 40 | 64 respective lower and upper nibbles of the "address word". Each "division" can provide up to eight "rank enable" latches as set Table 4. Rank Enable Assignments by the "data word" associated with the "address word". This approach can provide registration "rank enable" for up to The explanation of the simple logic for the selection of 64 ranks (or channels). (Table 4.) If there is an application that "rank enables' is not to be easily understood. A SN7425 Dual requires addressing more than 64 ranks the upper nibble can 4-Input NOR Gate on the Interface Board is used to detect the be used as a higher order Chamber and Chamber Section "lower register" and "upper register" modes. (Figure 7 an addressing matrix to provide registration for up to 1024 ranks. expansion of Figure 6) The "lower register" or "lreg" line is established by the NOR Gate results of the "address word" "upper nibble" direct "Q" 4 bits. In a similar manner the "upper
288 In most cases where an application requires only one rank r------~r------' I"'~-----, ,..------, : dO I--14tdO : of 128 or fewer solenoid drivers, such as my Seeburg MO, the : dl ~ Ii ~ rl Hedl l: division and rank enable selection logic and latches need not be. l~ ~m&l .1; &l .>~~~ 5: ~'~ :lld4 ;;IlQ ;;..§i§Hed4 -g: provided. The "rank enable" line required for the Driver ~ : IS /~ .. jdlO cc I !SN7402 Quad : 04' '03 01' '01 24' '23 2l' '21 lH!,p~.t~QIL_J I 2-lnput NAND 2 3 555 Mu1tivibritor Figure 8. Division & Rank Enable Selection Logic & Latches 4 16 kHz Oscillator ~°1~~~~~~~~~~~~~~~~~~~~~ Ct-O,OJ uf 7 Rtl =5kohms register" or "ureg" line is established by the 4-Input NOR Gate ~ni... load Rt2 - 5k ohms ,------•I Cbyp =1 uf results of the "address word" "lower nibble" direct "Q" 4 bits. : SN7400: i NANn: - b I rl-+-t-lb II ~ Rtl Rt2 A single gate of a SN7400 Quad 2-Input NAND Gate is ll used to detect the simultaneous ON state of the "lower register" : Ii ~u~JI ~~: Lower ~= '11 I ~ : Counter wi ~cOunter Mbb.:J1 1(';'...- 0000 1:1 555 ~ line and the "data strobe" line. (Figure 8) The output of this Long L:.. L- Out ~3 LE 3300_ I I 1.Jl· ..IL 2-Input NAND Gate is a "Not lower strobe" or "Not-Is". A SN7402 2-Input NOR Gate is used to detect simultaneous ON state of one of the four Not "Q" "address word" "lower nibble" Figure 9. Timer Down Counter & Oscillator bits (Not-aOl, Not-a02, Not-a04, or Not-a08) with the ON state of "Not-Is" resulting in the output of a corresponding "division SN74193 Synchronous 4-Bit Up/Down Counters that count set" (sdOl, sd02, sd04, or sd08). In a similar manner a single down from a loaded 8-bit "data word" value. The counter gate of a SN7400 Quad 2-Input NAND Gate is used to detect continuously counts down or free runs from a 16,000 Hz the simultaneous ON state of the "upper register" line and the (16 kHz) oscillator. A suitable oscillator can be made with a "data strobe" line. The output of this 2-Input NAND Gate is a 555 Timer-AstablelMonostable Multivibrator linear integrated "Not upper strobe" or "Not-us". A SN7402 2-Input NOR Gate circuit with appropriate timing resistors and capacitor. ~ is used to detect simultaneous ON state of one of the four Not "Q" "address word" "upper nibble" bits (or inverted "sect. Upon receipt of the "Not-timer strobe" (Not-ts) the first enable" lines) (Not-alO, Not-a20, Not-a40, & Not-a80) with the counter loads all 4-bits to 0 (0000), the second counter loads the ON state of "Not-us" resulting in the output of a corresponding "lower nibble" of the timer "data word" (dO, dl, d2, & d3), and "division set" (sdlO, sd20, sd40, or sd80). The "rank enable" the third counter loads the "upper nibble" (d4, d5, d6, & d7). latches of the selected "division set" are set ON or OFF by the The first counter in effect synchronizes the remaining two selected "data word" bits (dO, dl, d3, d4, d5, d6, or d7). The counters to "Not-ts" and divides the oscillator rate by 16 to ~ Figure 8 circuit with the appropriate setting of "jumpers" 1000 Hz or 1 millisecond intervals. The second and third ( 1provides for the selection of any 2 of the 8 divisions and any 4 counters count down the intervals from 1 millisecond up to 256 . . of the 8 "rank enables" in each division. LED indicators are milliseconds in 1 millisecond intervals as set by the timer "data placed on each of the Not-"Q" latch outputs to provide an word" Time delays greater than 0.25 seconds are accomplished indication of "rank enable" operation. by multiple "timer mode" address and data word outputs. 289 The "Not-ts" line simultaneously, with the counter load, To be safe one "despiking" capacitor should be used for every sets a R-S flip flop made from two 2-Input NAND gates of a two integrated circuit packages used. Any unregulated power SN7400. This R-S flip flop holds the "Busy" return to the supply voltages for Vcc and Vs should be carefully isolated computer parallel port "high" to prevent additional outputs until and/or insulated. Any accidental short between unregulated the counters count down the set time delay. When all three voltages to Vcc is instant death for integrated circuits. counters simultaneously reach "0" (0000 0000 0000) a Ribbon cables are a significant development in the world "Not-borrow" output is generated that is used to reset the R-S of electronics. For example ribbon cables are extensively used flip flop to a "Not-busy" state or a "low" "Busy" return that in Personal Computers. Point to point cables for digital data allows the computer to continue with the program. A LED is with their attendant multi-pin connectors are difficult to included on the R-S flip flop to provide an indication of assemble and maintain and are a major cause of poor reliability. proper timer function. If the LED does not work try reversing Ribbon cables are very easy to assemble. The two parts of the its polarity. ribbon connector can be attached anywhere along the cable, in seconds, by application of pressure using a bench vise. Multiple CONSTRUCTION CONSIDERATIONS connectors can be attached to the ribbon cable without cutting In applications requiring fabrication of multiple identical the cable. The mating connector on the circuit board is a simple Driver Boards the use of simple printed circuit cards should be multi-pin header. The last card on the end of the cable should considered. A printed circuit (pc not to be confused with PC provide terminating resistors on each conductor to ground for Personal Computer) is made by placing a "resist" material in the impedance matching. (In my case 100k ohms) form of an electrical circuit on a layer of bare copper clad that has been deposited on a insulator board, typically fiberglass SOFTWARE CONSIDERATIONS epoxy. The printed circuit is formed by etching away the The operation of MMICI is primarily dependent upon unwanted copper in a ferric chloride bath leaving a circuit of software reading and interpreting MIDI files. The following is copper lands protected by the "resist" that is cleaned off my limited understanding of the MIDI Standard and MIDI file afterwards. There are several ways for making "home brew" format. This understanding is very incomplete and sometimes printed circuits: One is by directly drawing the circuit on the may be in error, but, enough for me to develop a software copper with "resist" pens and decals. This is tedious and should program to operate MMICI from a simple MIDI file be used only when making a single board; Another is a MIDI, Musical Instrument Digital Interface, is the photographic process which is best left to production established protocol standard for the asynchronous transmission professionals: Many years ago I attempted to use a silk screen of digital data related to electronic generated music on a serial process which is involved, requires a fair amount of equipment, (single wire) bus. The MIDI Standard is established and and is messy. An easy and quick way to print the "resist" on to controlled by the MIDI Manufacturers Association. The MIDI the copper is by the "PRESS-N-PEEL" process. Using the data rate is set at 31.25 Kbaud (one thousand bits per second) "PRESS-N-PEEL" process I first drew the required circuit Data is sent as a 10 bit serial word (byte) consisting of a start pattern on a 1:1 scale using a simple auto-cad program. The bit 8 data bits (d0 to d7) and a stop bit for a total of 320 mirror image of the circuit pattern is then printed on to the microseconds per 8 bit byte. Asynchronous means that the "PRESS-N-PEEL" transfer film with a Laser (Not ink-jet) words or bytes are not necessarily sent in a repetitive sequence printer. The circuit pattern is then transferred to the copper clad or that the time between words (stop and start bits) can be using a hot household iron. Some practice of ironing time and variable depending upon byte function and "real time" temperature adjustment is required. After the board has cooled occurrence of musical events. the film is peeled off leaving the "resist" on the copper ready to etch. This relatively simple process can result in a very neat MIDI data is formatted into multi-byte "messages" board. I used the "PRESS-N-PEEL" process to make double consisting of Status byte followed by one or two Data bytes, sided circuit boards. However, The "PRESS-N-PEEL" film is and System bytes followed by any number of Data bytes. MIDI not stable enough when hot to maintain registration accuracies data is fundamentally numerical values organized as 3 bit (0 between the two sides sufficient to allow feed through between through 7), 4 bit (0 through 15), and 7 bit (0 through 127) the two sides with the 0.1 inch pin spacing of the integrated binary numbers. The Status byte has three parts with the format circuits. After etching the boards are drilled to insert the of (1sss nnnn): The first bit or "Most Significant Bit (MSB)" is component leads and integrated circuit pins. I used a #65 drill set to 1 to identify the byte as a Status byte; The next three bits bit in a small high speed rotary tool mounted in a miniature drill identify one of seven Status functions In other words the upper press. Even with extra hard drills it will take several to 4 bit nibble of the status byte has the value of 8 to E hex; The complete the process. Drilling fiberglass epoxy is equivalent lower 4 bit nibble identifies one of 16 MIDI Channels for which to drilling rocks. the Status command is directed. Channels can represent ranks, instrument voices, traps or registries and are numbered 1 to 16 The Vcc power supply stability is critical for proper (0 to F hex, Channel #1 is 0 hex, Channel #2 is 1 hex, etc.). operation of integrated circuits. Multiple transitions of logic The Data byte has two parts with the format of (0ddd dddd): levels at the same instant can generate sharp "glitches" or The first bit or "Most Significant Bit (MSB)" is set to 0 to "spikes" in Vcc that can cause unintentional triggering of flop identify the byte as a Data byte; The remaining seven bits is a flops and latches. These "glitches" are extremely difficult to binary number or value of 0 through 127. The System (Status) detect using standard test equipment. To avoid Vcc problems byte has two parts with the format of (1111 nnnn): The upper each board is provided with its individual +5 volt, Vcc, 7805 4 bit nibble is set to all ones, F hex, to identify the byte as regulator, heat sink and large filter capacitor. Further small .01 a System byte; The lower 4 bit nibble identifies one of 16 microfarad, disk, "despiking" capacitors, connected from Vcc to System Functions related to information and synchronizing Ground, are mounted at regular intervals along the Vcc lead. operations. 290 The two "messages" established by the MIDI Standard differences (delta-time, "t" for tick) between events. This is applicable to mechanical music operation are Note On and Note accomplished by adding delta-time one to four bytes to the Off. The remaining bulk of the MIDI Standard that relates to beginning of each MIDI event Status and System message. the electronic generation of music through the complex control With "delta-time" the MIDI file message has the following of audio frequency synthesizers and amplifiers is beyond my example forms: comprehension and my desire to understand and and can be One Byte Delta-Time (0 to 127 ticks) ignored. (0ttt tttt) Delta-Time, 7 bit binary number The MIDI Note On (9 hex) "message" has the form of: (1010 nnnn) Status Byte, Note On (0kkk kkkk) Note Number Status Byte Note Number Velocity (0vvv vvvv) Velocity (1010 nnnn) (0kkk kkkk) (0vvv vvvv) The MIDI Note Off (8 hex) "message" has the form of: Extended Two Byte Delta-Time 14 bit number (128 to 16,223 Status Byte Note Number Velocity ticks) (1001 nnnn) (0kkk kkkk) (0vvv vvvv) (1ttt tttt) First byte delta-time, upper 7 bits (0ttt tttt) Second byte delta-time, lower 7 bits (1001 nnnn) Status Byte, Note Off The first Data byte after the Note On or Off Status byte is (0kkk kkkk) Note Number the binary number (kkk kkkk) for the note (key) affected (0vvv vvvv) Velocity (See Part II, Table 2) in one of 16 Channels (rank or voice) specified by the binary number (nnnn). The second Data byte after the Note On or Off Status byte is the velocity binary value The extended (or variable length quantity) two to four byte (vvv vvvv) for the Note On attack and Note Off decay for the delta-time, each with the most significant bit set to 1, introduces note affected. The velocity, generally, is not applicable to additional bytes in the data stream which are ambiguous in mechanical music operation and set to some constant value value to the status byte and system byte. A "Sequencer" device such as 64 (40 hex) and is ignored. The only condition for for or program now must apply a set of rules to the digital data Note On and Off in MIDI is that for every Note On Status byte stream sequence to recognize the existence of an extended there should be an equivalent following Note Off Status byte. delta-time value. The delta-times for messages of subsequent In the electronic world recovery time is instantaneous. In a events occurring at the same instant of time are set to zero, In repetition, MIDI can perform a Note Off followed by the same the operation of a mechanical music instrument from a MIDI Note ON in the same instant of time. In fact MIDI is capable of file non-on/off note related status and systems messages may be repeating the same overlapping Note On without a previous ignored. However, The delta-times of all MIDI events should Note Off event. These operations are often used and are be recognized and used. I have not seen more than two bytes acceptable to the MIDI Standard as long as there is the same used for extended delta-time in the MIDI files that I have number of Note Off as there is Note On for the same note. worked with. The value of an extended delta-time message The MIDI Standard maintains time as "real time" in its must be established by deleting the Most significant bit (MSB) asynchronous serial data stream. Time between notes and time of each delta-time byte and combining the remaining bits into a duration of notes is established by an actual performance and single long binary number. The delta-time of a MIDI event maintained by recording the serial data stream on continuous becomes: tt tt tt tt tt tt tt ticks. The actual delta-time value of a constant speed magnetic tape. Multiple MIDI serial data single "t" or one "tick" is initially established in the preamble of streams can be recorded and played back on Multi-Track tape the MIDI file and can be changed at any place (or time) in the recorders. The MIDI Standard establishes timing requirements file sequence. for the purpose of synchronizing multiple serial data streams The MIDI file is organized into a multiple File Block between tracks and tapes and for cuing. MIDI time is a Structure each identified as a Track and referred to as "Chunk". separate standard set by the Society of Motion Picture and The preamble of a MIDI file has the following form in hex: Television Engineers (SMPTE Time Code). 4D 54 68 64 00 00 00 06 00 01 00 0# 00 ## The MIDI Standard was established just prior to the Personal Computer revolution. With the advent of personal The first 4 bytes (4D 54 68 64) is ASCII code for MThd computers it was only natural for MIDI to be adapted, with (MIDI header). The next (totally useless) four bytes (00 00 00 expanded capability, to computer usage. To arrange and edit 06) is the number of bytes (6) in the MThd file block. The next MIDI as a computer digital data file is termed "Sequencing". A (important) two bytes (00 01) defines the the MIDI file Type computer program or hardware that generates a MIDI Standard (Type 0, Type 1, or Type 2). Type 1, shown in the above serial data stream from a computer digital data file is termed as example, is the preferred file type, in capability, capacity, a "Sequencer". To my knowledge, the MIDI Standard does not flexibility, and complexity, using separate multiple file block presently establish a standard format for MIDI computer digital Tracks (MTrk Chunks) for each Channel, Instrument Voice, data files. Detailed descriptions and specifications, using tempo changes, or other functions beyond my understanding. different terminology to explain the same MIDI file format do Real time from start is independently maintained in each track not establish a controlling authority. I presume that the by delta-time for each event occurring in the track. The next MIDI digital file format is established by consensus of the two bytes identify the number of file block (MTrk) tracks in the commercial users. In other words the format for MIDI MIDI file. The next (obscure and hopefully not used) byte (00) computer files is adaptable to the user’s needs. relates to one of four SMPTE frame rates. The last byte (##) In order to adapt the MIDI Standard to a 8 bit parallel then relates to SMPTE resolution sub frame rate. When the digital file it is necessary to transform "Real Time" to time SMPTE frame rate is set to (00) the last byte (##) represents 291 resolution as pulses per quarter note (PPQN =3D ##) and of tempo is accomplished by deleting (truncating) the least effects the rate at which the MIDI file is played when SMPTE significant byte (the third tt) and applying the following is not employed. algorithms: The Type 1 MIDI file with its multiple file block (MTrk) tempo =3D (tt tt 00)/(2 X (07 A1 00 hex)) sec/quarter note tracks stresses my programing ability and my DOS "Quick C" compiler ability for multiple pointers in the management of tempo =3D (tt tt)/(2 X (07 A1 hex)) sec/quarter note large memory multiple access to the limit. As it turned out, the 60/tempo =3D (120 X (07 A1 hex))/(tt tt) BPM Type 0 MIDI file combines all of the MIDI event messages in to one continuous (MTrk) (intermingled data) track which can The value of a single delta-time "Tick" can now be established: be easily stepped through byte by byte, message by message, in Tick =3D tempo/PPQN sec/tick time sequence. It is possible to convert a Type 1 MIDI file to a Type 0 MIDI file by using a commercially available MIDI event delta-time =3D (delta-time ticks) X (Tick sec/tick) Sequencing Programs to load a Type 1 file and "Save As" a Type 0 file. The Type 0 MIDI file has the following form in external clock value =3D (event delta-time) X (Clock Rate) hex: Text, Marker (00 FF 06 ## ch ch ch ch) is a Meta-Event 4D 54 68 64 00 00 00 06 00 00 00 01 00 ## that inserts ASCII character (ch) string in to the MIDI file to convey text information. FF 01, FF 02, FF 03, FF 04, FF 05, Followed by: FF 07, FF 08, and FF 09 are all text Meta-Events. Each has a 4D 54 72 6B ## ## ## ## 00 FF 58 04 nn dd specific identified purpose. cc bb 00 FF 51 03 tt tt tt 00 FF 06 ## ch ch End of Track (00 FF 2F 00) is the definitive marking of ch ch . . . . tt 9n kk vv . . . . tt 8n kk vv . . . . 00 FF the end of an MTrk. FF FF FF FF is a Personal Computer 2F 00 indication of End of File (EOF). Multiple FFs should be avoided. The Type 0 (MThd) header is the same as as the Type 1 (MThd) header above with the two byte file type set to (00 00) One last word of caution in using MIDI files for and the two byte MTrk number set to (00 01). The Header file Mechanical music. MIDI provides no control of time duration block is followed by the one track file block that starts with 4 between repeated notes. In fact MIDI allows for multiple bytes (4D 54 72 6B) which is ASCII code for MTrk (MIDI overlapping note on without an intervening note off. The Track) followed a 4 byte (32 bit) binary number of bytes in process of reading mechanical music rolls and books in to MTrk. MIDI files can result in the lengthening of the notes to the point of insufficient time for off recovery in a note repetition. For The MIDI file format redefines the the MIDI serial some unexplainable reason even overlapping notes are a standard System message for reset (FF) to identify non-MIDI common occurrence. An attempt to edit MIDI files to shorten "Meta-Events" which can occur at any place or time in MTrk. repetitive notes to provide enough time for recovery and to Meta-Events have the form of: tt FF nn ln dd dd ... eliminate overlapping notes was tedious and the results were for The byte "tt" is delta-time. The byte "nn" is the the most part disappointing. I finally resorted to adding a Meta-Event identification number. The byte "ln" is the number software routine in the process of reading a MIDI file that or length of bytes in the Meta-Event. The bytes "dd" are the checked for recovery time prior to each note on. Whenever the information bytes relating to the Meta-Event. In the MTrk recovery time was too short the routine would insert a short example above, are Meta-Events that are applicable to additional period of time to allow for mechanical note recovery. mechanical music: The additional time period was later removed to maintain Time Signature (00 FF 58 04 nn dd cc bb) is expressed as overall timing. This, to my satisfaction, resulted in a significant four numbers. "nn" and "dd" represent the "numerator" and improvement in performance. "denominator" of the Signature as noted on a sheet of music. MMICI, Mechanical Musical Instrument Computer The "denominator" is a negative power of 2. That is 2 =quarter Interface, is a protocol for the asynchronous transmission of note, 3 = eighth note, and 4 = sixteenth note. The "cc" digital data related to computer control of mechanical operated expresses the number of MIDI clocks in a a metronome click. acoustical instruments on a parallel (8 + 3) wire bus. A MMICI The "bb" parameter express the number of noted 32nd notes in message consist of two bytes: The first byte is an Address Byte a MIDI quarter note (24 MIDI clocks). For example 6/8 time to a 8 bit latch or storage element. The second byte is a Data with metronome click every 3 eighth notes and 24 clocks per Byte of 8 bits stored in the addressed latch. The address byte is quarter note would be the following Mete-Event: FF 58 04 06 non-numerical with individual bits set by position to form a 03 18 08 Maybe a musician would understand all of this. As it two dimensional matrix of latch enables (Table 5). Out of turns out, I use none of this information for the operation of 128 possible Address Byte combinations only 25 are used. MMICI. 16 combinations with two bits set ON, one in the lower nibble Tempo (00 FF 51 03 tt tt tt) is expressed bytes "tt" for a 24 and one in the upper nibble, are used as Driver Address to bit binary number for microseconds per quarter note. For assign Data Bytes to operate up to 128 notes (or combination of example a tempo value in hex of 07 A1 20 is 500,000 notes, drums and traps, and registers). 8 combinations with one microseconds or one half second for a quarter note that equates bit set ON in the byte to assign Data Bytes to enable up to 64 to 120 beats per minute (BPM). Tempo is carried to an ranks (or other functions). One unique Address Byte with all extremely small and accurate number in order to maintain bits set OFF to assign a Data Byte to a clock counter for timing. synchronization between multiple tracks over the length of the Data Bytes with the exception clock byte is also non-numerical piece. In my case, using one track type 0, such extreme with individual bits set ON or OFF by position to switch ON accuracy is not required. For my application the determination or OFF individual musical notes or enable individual ranks 292 (Channels). The MMICI Address Byte/Data Byte pair Address Byte Data Byte Description messages are autonomous in that they need not be sent in any Binary Hex Binary Hex sequential order to identify the purpose of preceding or (0000 0000) (00) (0110 0000) (60) Delta-Time following bytes. 96 millisecond (0000 0001) (01) (0000 0010) (02) Div. 1, Rank 3 OFF, Clock | Lower Nibble Registers Rank 2 Enabled | (0100 0010) (42) (0000 0010) (02) Note G3 ON (0000 0000) | (0000 0001) (0000 0010) (0000 0100) (0000 1000) (0000 0000) (00) (0110 0000) (60) Delta-Time (00 00) | (00 01) (00 02) (00 04) (00 08) 96 millisecond ------(0000 0001) (01) (0000 0001) (01) Div. 1, Rank 2 OFF, (0001 0000) | (0001 0001) (0001 0010) (0001 0100) (0001 1000) Rank 1 Enabled (01 00) | (01 01) (01 02) (01 04) (01 08) (0100 0001) (41) (0100 0000) (40) Note E4 ON | (0000 0000) (00) (1011 0110) (B6) Delta-Time (0010 0000) | (0010 0001) (0010 0010) (0010 0100) (0010 1000) 192 millisecond (02 00) | (02 01) (02 02) (02 04) (02 08) (0000 0001) (01) (0000 0100) (04) Div. 1, Rank 2 OFF, | Rank 3 Enabled (0100 0000) | (0100 0001) (0100 0010) (0100 0100) (0100 1000) (0010 0100) (24) (0000 0001) (01) Note C3 OFF, (04 00) | (04 01) (04 02) (04 04) (04 08) Note C2 ON | (0000 0000) (00) (0110 0000) (60) Delta-Time (1000 0000) | (1000 0001) (1000 0010) (1000 0100) (1000 1000) 96 millisecond (08 00) | (08 01) (08 02) (08 04) (08 08) (0010 0100) (24) (0000 0000) (00) Note C2 OFF | (0000 0001) (01) (0000 0010) (01) Div. 1, Rank 3 OFF, Upper Nibble | Note Driver Registers| Rank 2 Enabled Table 5 Matrix Address Map (Binary and Hexadecimal) (0100 0010) (42) (0000 0000) (00) Note G3 OFF (0000 0000) (00) (1111 1111) (FF) Delta-Time Upon powering up the system, the many latches are 255 milli sec randomly set and must be cleared. The procedure is to first turn (0000 0000) (00) (0110 0000) (60) Delta-Time extension on the logic power supply and send the following sequence of 96 millisec Address Byte/Data Byte pair messages to the MMICI Interface. (0000 0001) (01) (0000 0001) (01) Div. 1, Rank 2 OFF, Rank 1 Enabled (0100 0001)(41)(0000 0000) (40) Note E4 OFF Address Byte Data Byte Description (0000 0001) (01) (0000 0000) (00) Div. 1, Rank 1 OFF Binary Hex Binary Hex (0000 0000) (00) (0110 0000) (60) Delta-Time (1111 0000) (F0) (1111 1111) (FF) Set all Upper Nibble 96 millisecond Rank Enables (0000 1111) (0F) (1111 1111) (FF) Set all Lower Nibble I am now at a point where I have two very different Rank Enables systems, a MIDI File and the MMICI Interface and Driver (1111 1111) (FF) (0000 0000) (00) Clear all Note Drivers Hardware. In order to tie these two systems together a (0000 1111) (0F) (0000 0000) (00) Clear all Lower relatively simple MIDI Sequencer program is written in "C" Nibble Enables (Microsoft Quick C for DOS) to read the MIDI file data and (1111 0000) (F0) (0000 0000) (00) Clear all Upper output the applicable data in the MMICI format. This program Nibble Enables performs the following functions: The first two message pairs combine all register addresses List the Type 0 .MID files in a designated directory. with the data bytes set to enable all rank latches. The third Select One or more .MID files to play message pair combines all note driver addresses with the data byte set to clear all note driver latches. The last two message Open a .MID file, confirm the MThd header, confirm the pairs combine all register addresses with the data byte set to Type 0 file format, and identify and save the time resolution clear all rank enable latches. After this message pair sequence byte, PPQN, Synchronize to a sequence of file bytes and step is sent, the solenoid power supply may then be turned on and through the file byte by byte, using algorithm rules, to identify music messages commenced. individual Meta-Event messages, Status event messages, and The following is a short example of Address Byte/Data System messages. Byte pairs sent to the MMICI Interface to play notes of a Detect an initial Meta-Event for text and display available musical piece. information including song title, composer, song type, and length of time. Address Byte Data Byte Description Present a display of a musical key board to display notes Binary Hex Binary Hex played, drums and traps played, and registers active. (0000 0000) (00) (0011 1100) (3C) Delta-Time (Photograph 9) 60 millisecond Detect initial and intermediate Tempo Meta-Event values (0000 0001) (01) (0000 0100) (04) Division 1, Rank 3 and determine timing parameters. Enabled Detect delta-time values, convert values to MMICI one (0010 0100) (24) (0100 0001) (41) Note C3 ON, millisecond values, correct for any previous note recovery Note C2 ON 293 ~ ~/ ----..) Photograph 9 MMICI Computer Display times sent, and output "Clock Address" with "Time Data Byte" the first part of this treatise the Seeburg MO has been to run off. extended upward with the installation of drums and traps. Detect "Note On" Status Messages and use "Channel (Photograph 10) There should be room for future installation Number" and "Note Number" for table look ups to establish of a xylophone and additional pipe work. "Driver Address" and "Data Byte" bit position for note to be I have given some thought as to what additional work played. Look up the "Note Data Byte" associated with the needs to be accomplished with MMICI. First of all the MIDI to "Driver Address" and set note bit on. Save "Note Data Byte" MMICI sequencer needs cleanup and improvements. Second is and output "Driver Address Byte" and "Note Data Byte". Show to establish a format for a MMICI (.MCI) computer file and note On on the display. This Note On step also includes a write a version of the MIDI to MMICI sequencer to subroutine that checks for note recovery time in a look up table translate directly to the MMICI file format. The MMICI file and outputs an additional "Clock Address" with "Time Data should be a lot smaller and a MMICI sequencer a lot simpler Byte" for any additional required recovery time. than MIDI. An example for a MMICI file format, in hex, pre Detect "Note Off" Status Messages and use "Channel sented in Address BytelData Byte pairs could be as follows: Number" and "Note Number" for table look ups to establish "Driver Address" and "Data Byte" bit position for note to be (00) (00)(00) (01) (FO) (FF) (OF) (FF) (FF) (FF) (OF) (00) (FO) (00) terminated. Look up the "Note Data Byte" associated with the "Driver Address" and clear note bit off. Save "Note Data Byte" (00) (01) (FE) (11) (01) (##) (00) (01) (FE) (01) (ch) (ch) (ch) (ch)... and output "Driver Address Byte" and "Note Data Byte". (00) (01) (00) (01) (FE) (12) (nn) (dd) (00) (01) (FE) (13) (tt) (tt) Remove note On from the display. This Note Off step also includes a subroutine that sets a note recovery time for the (00) (01) (01)(04) (24) (41) (00)(60)(01) (02) (42) (02)(00) (60) note in a look up table. As delta-time is run off, the time is (01) (01) (41) (40) (00) (B6) ...... (FE) (FF) (00) (01) (FO) (FF) subtracted from the entries in the recovery time table. Detect "End of Track" Meta-Event and End of File (EOF), (OF) (FF) (FF) (FF) (OF) (00) (FO) (00)(00)(01) (FF) (FF) (FF)(FF) close file, clear display, output the clear driver latches and register latches sequence, and repeat the program for the next The first 4 bytes (00)(00) (00)(01) establish Address r selected MIDI file. Byte/Data Byte synchronization. Whenever, in a MMICI sequence there are two zero bytes (00) (00) followed by a This brings us to the present as to what I have non-zero byte, the second zero byte is a Clock Address Byte accomplished. I should mention that since the completion of 294 extended 16 bit Delta-Time binary number. This should greatly reduce the size of the MMICI file. The last Meta-Event is an end of track indicator followed by an output sequence to clear all Register and Driver latches followed by End of File. With the existence of a MMICI file, there should be some way of editing the file or composing a new file. One possible approach would be a relatively simple program that could decompile a MMICI file to an ASCII text file format that could be edited with a standard word processor. Another program could then be used to compile or recompile the text file back to the MMICI format. This is just a thought. The only other effort with MMICI that I have in mind is a long term project where I can bring up the Wurlitzer Theater Organ one rank at a time. The following is a list of resources that may be of some value to the reader. SMALL PARTS INC. Phone: 800 220-4242, Web Site: www.smallparts.com A supplier of a large selection of tools (small drill bits), parts and materials for hobbyist, research, and engineering. JAMECO ELECTRONICS Phone: 800 831-4242, Web Site: www.jameco.com A supplier of a large selection of new electronic parts, Photograph 10 Seeburg MO with Drums components, and equipment at low prices for one of a kind and quantity purchases. followed by a Delta-Time Byte. Random double zero bytes will frequently occur throughout a MMICI file providing a ALL ELECTRONICS CORP. continuous check on Address Byte/Data Byte synchronization. Phone: 800 826-5432, Web Site: www.allelectronics.com Except for the preamble there should be no other three zero A supplier of of new and surplus electronic parts and byte (00) (00) (00) sequences. supplies. Source for "Press and Peel" pc board fabrication The next 5 Address Byte/Data Byte pairs (F0) (FF) (0F) film and for low cost surplus solenoids in quantities. (FF) (FF) (FF) (0F) (00) (F0) (00) is an output sequence to clear all Register and Driver latches. TURBOCAD LE PROGRAM Download from www.imsisoft.com, Free Software, select The MMICI file can accommodate a Meta-Event "TurboCAD LE", Never Expires. A very competent, easy equivalent identified by a unique (FE) Address Byte followed to use, and free CAD software program. A very large file by Meta-Event number Data Byte. (FE) Meta-Events can be to download, one to two hours depending on internet numbered 1 through 255. If this number of Meta-Events is not speed. sufficient, additional Meta-Event Address Bytes can be used. For example (FD), (FC), (FB), (FA), and (F9). Meta-Events ADVANCED HEX EDITOR (AXE) 3.0 PROGRAM should not have any zero bytes (00) so that they can be Download from www.jbrowse.com. Free to try $25 to terminated by a Clock Address Byte/Delta-Time Data Byte. purchase. A very good program for examining file structure The first Meta-Event (FE) (11) (01) (##) (00) (01) is Time in hex and ASCII Resolution providing an equivalent PPQN number MASTER TRACKS PRO 6.8 The second Meta-Event (FE) (01) (ch) (ch) (ch) (ch)... (00) Order from www.GVOX.com $79 An alternative MIDI (01) is an ASCII String in the preamble to provide Title, sequencer and editor Composer, Arranger, etc. information. Other ASCII string Meta-Events (FE) (02) through (FE) (0F) can be used for I see again that I have reached or exceeded Robin's size arrangement duration, roll manufacture, roll number, instrument limit and I am overdue on his deadline. It is now time, with type, lyrics, etc. some relief, to bring this epic treatise to an end. If you have The third Meta-Event (FE) (12) (nn) (dd) provides a Time read through all three parts of the article, please let me know, Signature even if you have little understanding or disagree. For you to get this far, I must have excited some interest, inspiration, or effort. The fourth Meta-Event (FE) (13) (tt) (tt) (00) (01) in the For me it would make the whole effort worthwhile. preamble sets the Tempo. The same Meta-Event can be used to change the Tempo anywhere in the MMICI file. Mike Barnhart [email protected] The Address Byte/Data Byte pairs following the Tempo Meta-Event are Clock, Register, and Driver outputs as given in the example above. In the MMICI file format double Clock Address/Delta-Time Data Bytes should be treated as an 295 ATTACHMENT 1 - Component Descriptions Page 1 .~ 7400 QUAD !-INPUT NAND GAil 782 QUAD 2-INPUI' HOI GATI 'lOP V1IW AI four poIIlIIweloala HOI ..,be UllCflnlhp.nrl.llIr. On .,....-.wtIh lnput ....the output II low. All four pullhe logic NAND '-'1lIIG1" ..... II~. On ..,OM ...... 1Ilput II low the output II ...... ,.,.. If WIMrn W 1nputI ....,. outpIIt IIItft1a, 1hat ..cIraII ...... the output IIlow. II both IogIcllIIy ...... &on! .... 7 pInouII. 7410 IRlPU 3-INPUT NAND GAil SM7425 DIAL 4-.M'UT MOl GATIS W'''' STIOU ." STROBE Vee 2D 2C !G 28 2A 2V .~ ) .-' TOf'VllW AII ...... ~ NAND ....1lIIG1" ..... 1rld.p.ncIentIy. On ..,one .... when any Iftput II low. the output II driven to a ,.." .... When 011 ...Inpub en "'''. the output II driven to a low .... 18 STROBE 1C 10 lV GND 10 V• G(A+B+c+DJ 7475 QUAD LATCH (Level-Sensitive) 14 1ClZQ 1ll Sl't~JQ 4Cl 'ntis padtage conIalnl four IIMIII'IGt)' elements. Note the unusual ... ply COIHledIans. 'The memorI.. are controlled In pairs with an Ena"'t. control. If the Enable control I. high, the memarles foIIoyt the Input. thereby prC) f' \'Idlne the input altnal at Q and the complement aI the IIlpUt at a. A low at the 0 Input appeal'l GI a low at Q and a high at Q. 296 78055-VOlT, 75G-mA REGULATOR 7805 Rl 8 4 7 DISCHARGE OUTPUT OUT 3 +-----1 m COMPAT ISLE '1" tIIO '$V 1VI 2A4 lY2 P£RlOO: 0.685 (Rl +2R~ C U6 fR£QUENCY: IRI +2R2) C liMitS: ~ RI +RZ "" 3.3 IlMg MIN Rl OR R2"" Ik MIN R£COMMlNOEll CAPAC IfANC£: 5CIl Pf ~ CAPACITANCE "·lIMITED 8Y ClEAKAGE TIME HIGH R1+RZ O.001 L----l_-L_-U.-_...... ---l"'---' DUTY CYCLE: • -TluCLDW' -RZ 0.1 Hz I Hz 10HZ 100Hz 1kHz 10kHz 100kHz "'" FREE RUNNING FREOUENCY L.- -=-__--' (Al Graph 01 R., R.. C, and o~rallng frequency. (B) Design equations. SN14121 MONOSTABlE MULTIVIBRATOR 2N2222 Transistor Re.1f , STI Icon .... , .. , ...... NPN ~ 1. An external ClP8cltor may be connected between Cext (positIve) and Rext/Cext. Typical hFE ••.•.....••. ,., .200 ~ 2. To use the Internel timing resistor, connect Riot M8>C Ratings: to Vee- For Improved pu!te width 8ccurecy and VeE· ...... 3OV repeatability, connect an txtll'mil r"stor betW8In p Ie ...... 800mA l~ Rext/C.xt and Vee with Rlnt open-elrcl.llted. Dissipation ...... 1.eW l.~..rl.;JUJl~_~ NC ,No internal connection 1I He Al A2 B Q GND AppI.icetions: Designed for high-speed. medIUm pOWer switchin 8'lO general 100". FUNCTION TA8LE purPOSe amplifier appI~, ~_GJ)'~'" INPUTS OUTPUTS At A2 B Q a Pin 1 Emitter .J" L X H L H ~ Pin 2 Sase -' LH L H .,..., x· Pin 3 Collector /" x X L L H ~ ~ I I 10". 9 H HX I. H f:l:P '" § ~.' H • H .n. U :I: • H H ..n.. 1.I :0I• Of a ~ ~ H .n.. 1.I ..".. a·I I ~ c'\" L X t .n.. 1.I 801'TOMV1EW i ..",.V ~ x I. t .n.. 1.I -'lll i <5 1 2 4 7 10 20 40 . R...-Timing Resistor Vell.le-kfi FAST IWITCHING OIOD£ 1.14 CATHODE END IS DENOTED BY COLOR BAND 1N914 UNIT WDrIdna ...... V..froM -eeoc to 1WC 75' V "'--AectifIId Forwwd CumInt litlor belOW) 2&OC 75' rnA ...... e-t. 1 ...... oC 600" inA 'Power ..(or below) .·C 2l5O" ",w 297 REPORT PERIOD: JUNE 1, 2001 TO MAY 30, 2OO2 ANNUALAnnualREPORT ReportCORRECTION Membership Secretary, Bill Chapman - June 1, 2002 MEMBERSHIP New Members Profile: Most new members own a single upright player. Almost July 31, 1999 ...... 1551 all inquiries revolve around ordinary instruments. In the past June 1, 2000 ...... 1494 year only 3 out of perhaps 100 inquiries were about reproduc- June 1 2001 ...... 1459 ing pianos or other sophisticated instruments. June 1, 2002 ...... 1375 Conclusion: AMICA must turn attention to the maintenance of the Membership Renewal Rates organization or plan for an orderly decline. It is possible that A look at the membership as stratified by longevity with revenues will drop to the point that the traditional functions the organization. In an effort to clarify the evolvement of the may be impaired. membership the dropouts were separated into three groups. New means and methods need to be addressed to attract the Older Long Term Members: attention of younger people and middle-aged people. The cost of instruments may be a factor in limiting the size of the As of June 1, 2002 there are 186 (former) members who organization. Newer members may need technical paid dues is 2001 that did not renew their membership for 2002. information leading to repairs for their unrestored (and less In this population, there were 64 members who joined 30 to 12 costly) instruments. years (1971 to 1990) averaging about 20 years continued membership. This probably indicates that part of our decline Breakdown of members by payment type: in membership is due to aging to the point that AMICA is no longer important. 2001 2002 Medium Term Members: Bulk Mail: $37 / $32* 1249 members $42 / $37* 1163 members A significant number (86) of members dropped out after Air Mail: $63 50 $68 42 belonging from 11 to 3 years. It is this group that is neither an First Class: $52 130 $57 89 aging casualty nor a trial member. If this group medium length Surface Mail: $43 31 $48 33 members were polled about their reason for failure to renew their membership, it would probably shed light on the reason Canada: $43 38 $48 37 for dropping out. From there AMICA could take corrective TOTAL: 1498 1364 action if needed. This may yield more potential for increases in membership than any other category. *A number of new members paid only $37 Short Term Members: because brochures are still in existence At look at more recent members indicates that 21 (former) that indicates the old rate. members joined in recently (1 to 1.5 years ago) and did not Revenues from 17 members (approximately $541) are paid renew. These may be considered trial memberships, of which ahead into 2003 and 2004. there will always be a given number. How this group perceived the organization might be important to maintaining Last minute (before the convention) update: memberships. This has more relevance than the problem of Later Renewals: In late February 2002 reminder letters aging that is immutable. were sent out to 302 members who had not responded to their Membership has declined for the fourth straight year. Four regular dues notice of early December 2001. Few complaints deaths were reported, and it is likely that other non-responses to were received about the dues increase. Only about 82 people the annual renewal letter were also due to the infirmity of the responded to the reminder letters with some 18 more that could member. However there were 81 new members during the not be determined whether they were responding to the initial reporting period. Losses exceeded the gains by 7. notice or the reminder notice. Normally 200 responses result from 300 reminder letters. “Snowbirds” often have delays in Analysis: getting their renewal notices so there will be some delay in this The aging population accounts for a significant loss to smaller select group. the organization. There is reason to believe this trend will continue. New members are usually not young single people, but instead they are married and established couples. There seems to a trend indicating that recent joiners did not find the organization sufficiently rewarding to continue their membership. 298 l£TT£RS... Dear Dan, AMICA International Board, and AMICA members, We were extremely pleased to receive the AMICA International Award at the convention in Springfield. To receive this award is a real honor, and it is greatly appreciated. We joined AMICA in 1972 and soon got a Weber Duo-Art. Richard was looking for a music-related project that would require a computer to control a machine in real time. He first thought of controlling the piano directly from the computer, but eventually selected a piano roll reader and punch as a suitable project. This "project" and AMICA has been an important part of our lives. Our association with AMICA has been rewarding on many levels, and we treasure the friendships we formed over the years. Thank You Richard & Janet Tonnesen MUSIC Tt-H t J\JtlWedd",n 9 .. ,he < ""oren - "'-../-I THE ETUDE 6 JanulUY1M2 299 THE EXPRESS TIMES OCOBER 2, 2002 EASTON, PENNSYLVANIA PeoplePEOPLE By Jenna Portnoy Sent in by William Dean RICHARD GROMAN OF KEYSTONE MUSIC ROLLS Buyers stalk former Forks’ Giant for Deals FORKS TWP. – Folks who crave Moravian sugar cakes, chocolate cakes and pies won’t have to wait much longer. By November, Richard Groman hopes to open a specialty bakery at the Bethlehem salon and café he co-owns on Walnut Street. But he won’t have to start from scratch. At the auction Tuesday of items from the former Giant Grocery store in Forks Township, Groman picked up tattered baking pans and crumb-filled bagel bins once used by At right, auctioneer Brent Semple, right, takes bids in the bakery department of the former Giant store. Giant Supermarket workers. He will At left, pastry chef Laurie Cote and Technicolor Day Spas co-owner Richard Groman, use those items along with his both of Bethlehem, wait to bid on items for sale families’ recipes and logos dating own bakery, which Richard Groman sold years ago. The most back to the 1920s when he opens the bakery. recent owner, Steve Hassick, closed shop in August. In August, the Sullivan Trail store moved a quarter-mile Groman, who is professionally trained in the art of baking, away from the former Laneco building to a new facility. spotted the best cooking equipment buys. “In my lifetime, I’ve Workers abandoned tons of behind-the-scenes equipment, been to literally hundreds if not thousands of auctions,” Richard including miles of shelving, an 80-gallon mixer and two lobster Groman said as small business owners followed the auctioneer tanks. into the meat locker. “In the beginning they can feel the crowd Richard Groman and nail technician Laurie Cote, who will and tell whether they have to coax money from them.” run the salon called Technicolor, ignored the hanging scale, The auctioneer didn’t make too much money off George three-basin stainless sinks and meat saw. An hour into the Dergham, who tagged along with Easton resident Aoutele Elias. auction, they zeroed in on the good stuff. Dergham, who recently opened a store on Kearney Street in “If you follow the auctions – it’s amazing the deals you can Allentown, will eventually get cigarette racks for free from get if you know what you’re looking for,” Groman said. They company distributors. But buying them from Giant for $5 or snagged pans – originally $17 a piece – for just over $2 each. $10 eliminates at least three more months of waiting. Solid wood sliding storage drawers would have cost them Scott Hubany spent a bit more. He bought shelves to store hundreds if bought new. Groman shelled out $60 per piece and the automotive parts that he trades on-line through his is convinced that all they need is some funky enamel paint. Hellertown business, East Coast Classics. Hubany is A clean, beige color will compliment Technicolor’s modern constructing a building to house the car parts, but wouldn’t décor. The bakery’s “old-fashioned, but sophisticated” know how to fill the thousands of square feet that Giant is trademarks and stamps will add some history, he said. trying to unload. Groman’s grandfather worked for the original Daddy “Basically, that property’s for sale,” Giant spokesman Groman’s Moravian Mints in the 1920s. When that business Denny Hopkins said. “There’s some things happening right moved to Hollywood, California, the grandfather started his now, but I don’t have any details on that.” 300 July-August AMICA Bulletin. He restored a Seeburg Mortuary Organ that originally had a piano with two ranks of pipes, and added a new spool frame, stack and air motor. On top is a frame holding a full selection of percussion News instruments, as seen in the photos. It can now play a much larger selection of music than the one roll that came with it, and it sounds like a Weber Maestro with all of the From modifications. Additionally, the Weber Ortero, Mills Double Violano, Chickering Ampico Grand and the monkey organ kept us entertained all evening. The Chapters The next morning we drove north to Vandalia, Ohio and the historic home of Margaret and Lawrence Frazer. Lawrence’s latest project is a pianola which he had admired many years earlier, but didn’t buy at the time. It recently became available, and he had it fitted to a piano in his workshop. Many of us had never played this early of an instrument, so had to try it out. After brunch, we held the business meeting, and welcomed several new members to the group. We discussed the installation of the Reproduco in the First Ladies Museum, in Canton, Ohio, which has been delayed by construction in the theatre area. Members shared their ways of making more people aware of mechanical music. Dan and Carol Harrett restored a player piano for a museum and make sure it is demonstrated to students and tour groups who visit. Visit the Web site at museumsusa.org for more information on state museums and how you can help. New member Natalie Novak shared the brochure she and her MIDWEST CHAPTER family created that explains the basics of pianos and what happens to them as they age, as well as their restoration Reporter: Christy Counterman processes so people can get an idea of what to look for – a President: Judy Chisnell (517) 433-2992 great way to introduce people to pianos and player pianos. We would like to thank the Barnharts and Frazers for again hosting a wonderful weekend in Dayton, and would like I think perhaps this was the first time that our chapter had to welcome our new chapter members to AMICA. two different agendas to begin our fall meeting in Dayton, Ohio, on September 7. After gathering at Mike and Liz Barnhart’s home, we divided in half as the men went downtown to the huge Mendelson’s liquidation warehouse store whose motto is “The First Place to Look for Every Last Thing”. There were tools and bargains galore. The women traveled to the Oregon Historic District where son Steve Barnhart has a 150 year old brick home. Featured was his Weber Duo-Art grand. Afterwards, we went shopping at the newly opened Webster Street Market, housing collectibles, crafts, and antiques in what appears to be an old depot. We had a scenic tour through Dayton, carpooling back to the Barnharts for a mart before dinner. Young’s Jersey Dairy in Yellow Springs is a complex with ice cream parlor, miniature golf course and driving range, barns, and our destination, a large “home-cooking” restaurant. The theme, as you might guess, is “cows” and the grounds were decorated by large cow statues all painted in different themes by local artists. They are to be auctioned off at a charity fundraiser later this fall. Our group filled the large Sherri Neff, Donna Counterman, Wes Neff, and Hilda and Warren Merchant celebrate Ohio’s Bicentennial at Young’s. side dining room and we all had our fill of food and their signature ice cream. Then it was back to Mike and Liz’s for the evening to enjoy their collection of instruments and to see Mike’s demonstration of his latest project, outlined in the 301 Terry Warner demonstrates his “pianolist” technique. Sherri Neff takes her turn at the Pianola as Carol Thiel looks on. Mike Barnhart, Rollie Chisnell and Dave Caldwell get Mike Barnhart demonstrates his Weber Ortero. an inside look at the Seeburg MO. Peggy Warner enjoys photos of Lawrence Frazer (r) explains the restoration of his earlier gatherings with hostess Hazelton Bros. Welte to Dan Harrett and Karl Thiel. Margaret Frazer. Liz Barnhart takes a turn cranking the monkey organ as Steve Dunham and Hal Malakinian watch. Kathy Hartley enjoys the music from the Barnharts’ Weber Ortero, with details pointed out by Natalia Novak. The mart is becoming a regular feature of chapter meetings. Bennet Leedy, Jack Linker, and Carol and Dan Harrett check out the Welte selection. 302 Close up of the key restoration of the Frazer’s Hazelton Welte-Mignon. Lawrence Frazer and Mike Stephens discuss the roll selection for the Welte. NORTHERN LIGHTS CHAPTER Reporter: Dorothy Olds President: Dave Kemmer April Meeting A typical northern Minnesota April day didn’t prevent several chapter members from bringing their piano rolls to Don Barton’s third annual player piano flea market. Many people went away with good bargains . . . piano rolls and other associated items. The afternoon found members at the Heights Theater in Columbia Heights (a part of the Twin Cities). It was a full house for the community. They and our members enjoyed several silent movies. Among them . . . the manufacture of piano rolls with performances by Lawrence Cook and Max Kortlander. Plus we saw the Laurel and Hardy film “The Music Box” and a Buster Keaton film. Both Liz Barnhart at were accompanied by Carl Eilers on the pipe organ, which the keyboard has been almost completely restored. of son Steve’s Weber Duo-Art. Early evening the group gathered at Nye’s Polonaise Restaurant in Minneapolis. Following dinner, V.P. Phil Baird conducted our meeting in the absence of President Dave Kemmer. As members and patrons left the restaurant, we were greeted by a snowy wet storm, occluding street and road signs. Being unable to read the signs and not too familiar with the streets in Minneapolis, it took this reporter two hours to get to her destination which would have taken 1/2 hour on a clear day. Steve’s house is the brick one in the middle. Seven player piano vendors sold rolls at Barton Player Piano’s 3rd annual flea market, Tom Wurdeman standing at left. Mike Barnhart converted this J.P. Seeburg MO by adding the percussion above and more. 303 July Meeting The Steinway Syncue On the weekend of July 19-21, sixteen of our members traveled to Barrington, Illinois to the home of the Sanfilippo’s, to hear the “Concert for Life.” We had the opportunity to view the many instruments and enjoy the spectacle of the beautiful music salon while listening to the sounds of the mighty Wurlitzer pipe organ played by Lynn Larson and sometimes accompanied by the orchestra. It was more than worth the trip! August Meeting The third weekend in August 2002, the Northern Lights Chapter members traveled to Oronoco, Minnesota. President Dave Kemmer hosted the meeting at his home in the 1875 school house. During the business meeting President Kemmer tendered his resignation. Phil Baird will assume the position. Of course the other attraction is the annual giant flea market, of mostly antique furniture. Members searched through many Another view including his aisles of interesting items. Some of us found a treasure or two. collection of brass “plates” Dave has many unusual artifacts decorating his home . . . too many to describe. Amidst his collections, one finds an Allen Theater Organ, A.B. Chase Grand Pianos. The nine foot grand is fitted with a PianoCorder Vorsetzer set-up to play from a cassette or computer. There are also square grands, concert harps and pump organs and of course, the very special Steinway Synque and Square Grand serving table. As usual, no one went away hungry. However, some members may have taken the opportunity to drive to Ron Olson Rochester to view one of the world’s most famous pianos on having a Coke display at Hamilton Music. Prior to being here it was displayed at the Smithsonian Institute as part of the 300th anniversary for pianos. It can be seen until early September when it will be transported to a museum in California. No other music store gets the honor of displaying it and only Dave Kemmer is allowed to work on it. As a result, TV and news media are falling over themselves to get interviews. CBS did nationwide coverage with Dave Kemmer as part of their Morning Show. This is Liberace’s 1/2-million dollar 9-foot Baldwin concert grand which is covered with 200-pounds of genuine Austrian Rhinestones. This is the piano which was used for his 1986 final performances at Radio City Music Hall in New York. Nancy and Richard Nicholson, Paul Watkins, Jason Beyer and Barb Watkins Ron Olson, Barb Watkins, Nancy Nicholson, and Rick Norquist Richard and Nancy Nicholson, Jason Beyer, Rick Norquist, Ron Olson, and Phil Baird relaxed and listening to the organ played by Carl Eilers. 304 Karl at the organ Don Jones and Craig Remmen October Meeting The afternoon of October 20th at 1:00 p.m. found us at Fabulous Fern’s Restaurant for their Sunday Brunch and the start of our chapter meeting. Discussions during the meal covered a variety of topics, some related to and some not related to AMICA. Some of Dave Kemmer’s Following the meal we drove a few blocks to the home of artifacts Phillip Baird and his friendly boxer dog, Willa Rose. Phil lives in a period brownstone built in 1899. His apartment is quaintly furnished with cane seat chairs, and other furniture to compliment the time in which the building was constructed. However, what is most interesting are the ancestral photos A serious discussion, that are in his “hallway gallery”, along with older art works. Terry Goepel and He does have a modern kitchen. But, don’t step out the back Phil Baird door . . . no porch, no steps, only a basketball hoop and a drop of about 30 feet. He has hopes for a deck! His upright Aeolian resounded with gusto as Don Barton pumped. He also has an Edison disc phonograph. President Baird conducted the business meeting. Items discussed were the cost of sending meeting notices to area international members in attempting to attract new chapter members. Also discussed International dues from chapter members. Don Barton reported on progress of plans for 2005 Convention. Following adjournment, Phil served up a scrumptious dessert to energize us for our trip home. Our next meeting will be at the home of Ron Olsen. The 1875 School House Northern Lights Chapter members enjoy a lunch and buffet at Fabulous Fern’s Restaurant, before adjourning to Phil Baird’s home. President Dave Kemmer, Karl Eilers, Ron Olson 305 Our chapter’s newly-elected president, Phillip Baird, holding his boxer dog, Willa Rose. Dennis Dahlman and Dave Don Barton and Dorothy Olds sample Kemmer are ready for Phil’s delicious desserts. Ron Olsen pumps after-meeting snacks. a player roll on Phil’s recently restored Aeolian- Themodist piano. Howard O’Neill (treasurer), Don Barton (2005 Convention Chairman), and Jason Beyer (secretary) leaving, after a great meeting. Jerrilynn Boehland and Dorothy Olds offer their comments during our business meeting. Rick Norquist, Tim Wheat, and Jerrilynn Boehland rest comfortably in Phil Baird’s beautifully decorated condominium. PACIFIC CAN-AM CHAPTER Reporter: Carl Kehret President: Kurt Morrison Our October meeting was held in the Tacoma home of our chapter president, Kurt Morrison. Beautiful Northwest Fall weather was out in full force. Kurt’s many restored juke boxes, slot machines and pin-ball machines were a hit and David Kemmer, everyone admired Kurt’s Stickley furniture. His big cat, Max, Mrs. Marilyn Mattson, Dr. Roland Mattson, even put in an appearance. and Jason Beyer in The center of attention was the restored 1927 Chickering business meeting. Ampico (5’4”) with a Spanish Art Case. We enjoyed hearing many rolls, and then Nathan Bello gave us a small preview of the treat awaiting everyone at the AMICA International Ron Olsen and our Convention in Portland next August 20-24. Nathan will play a president, Phil Baird, full concert then. listen to reading of minutes. As usual, lack of good food was not a problem as we ended the day with a potluck dinner. 306 Our chapter president and meeting host, Kurt Morrison. His cat, Max, isn’t sure about all this. Norm Gibson and Tom Blackwell enjoy the sunny day. Tom’s dog, Roo, didn’t mind it, either. Dan Brown talks with visitor Shawn Fox (Ohio) while Christie Bruntlett and Rob Wilson listen in. Nathan Bello gave us an impromptu concert while his dad and Tom Blackwell listen. SOUTHERN CALIFORNIA CHAPTER Reporter: Shirley Nix President: Frank Nix Rob Wilson waiting for a haircut, or What is probably our last organ rally for the year was maybe expecting the old phone held October 12 and 13 at the Fullerton Arboretum in behind him to ring. conjunction with their Arborfest Celebration. This is a big event for the Arboretum, and they are very anxious to have us every year. It’s a great family fair, with a favorite being the “Ugly Bug Fair” . . . the kids flock to that part of the funfest in droves. There they can hold a millipede, a tarantula, a snake, a toad or lots more ugly bugs and things. They find out that it’s Wes Spore tries out Kurt not so bad, and pretty soon they are going from one to the Morrison’s 1927 Spanish other while many a mom stands back and grimaces. Art Case Chickering Ampico Another favorite booth is the Orange county Raptors . . . a group which saves injured raptors and always has some unusual birds to see up close and personal. This year they had a beautiful red-tailed hawk and two varieties of owl . . . one large and one small. They can’t be touched, but you can get right up to them, and I think it helps people to see what lovely animals they really are. Of course, there are other booths filled with garden items, from plants and hand-made ceramic bowls to bird boxes and statuary. It’s fun to watch the people leaving with wagonloads of plants and goodies. Food? Oh, yes. This year we were treated to barbecue beef sandwiches by the Arboretum, and they were really quite good. The kids, of course, love to crank the monkey organs, and Peg Kehret tries one of Kurt’s we have plenty of those. We hand out cards showing they restored slot machines. cranked a monkey organ at the Fullerton Arboretum with a picture of a monkey cranking an organ with many different borders and decorations, and the kids love them. In fact, one boy was at the Canada’s site and when they invited him to crank their organ, he wanted to know first if he would get a AMICA International President, card if he did. Dan Brown, came up with three Jerry Pell and his son Darren had to have the best spot in lemons in a row on this try. the whole place, though. They were set up next to the ice 307 cream stand, and the proprietor, in the interest of “treating his rolls, and it was lots of fun. neighbors well” offered them all the ice cream they wanted An added attraction was the presence of Jeff Bryan, for the two days at no charge. We’ve had several organ whom you may remember from Sacramento and the pumper owners ask for that spot next year! (Jerry, however, has contest there. Fortunately for us, Jeff is a good friend of the already staked it out . . . sorry, people. Besides, if anyone else Richardsons. He played the pumper piano for us, and he really were to get that spot it would have to be us . . . it would be too is super! We all felt we hadn’t heard a pumper piano played hard to decide who would get it otherwise.) with so much expression and feeling before. When he tired of We had large organs, too, brought by Mike and Marilyn pumping, he sat down and played the piano himself, playing Ames and Dave and Darlene Wasson, and medium organs old favorites along with his own compositions. What a lot of there with Lloyd and Brooke Osmundson, and our talent that young man has. Limonaire. Monkey organs came with Peter and Rhoda Our own Jerry Pell showed us that he isn’t lacking in the Breede, Bill Klinger, Ken Hodge, Ervin and Betty Canada, talent area, either, when he sat down and played for a Frank and Shirley Nix, and new member Bob Meyer. If I while . . . not the pumper, just played the piano. forgot anyone, I’m sorry. Lisa had fixed us a lasagna dinner, and her cooking is The people attending the event really seem to enjoy the superb. Her salad had to be tasted to be believed, and oh, music, and we get lots of comments about what a great feeling those sweet onions and mushrooms! When it came time to it lends to the festival. A lot of people remember the organs leave, we all left stuffed, but happy! from when they were young, and many We owe the Richardsons a great big thank good memories come flooding back, you. They really went out of their way, which is nice. and it was the perfect end to a great Many of the vendors, too, thanked us weekend. for being there. They say it really brings people in and makes it good for them. Besides, they enjoy the music. One lady said she cried every time Jerry Pell played “The White Cliffs of Dover” because it brought back so many memories. It was nice to see several of our local AMICA members out for the Festival. Dave and Darlene Wasson relaxing in the shade We really appreciate the support we get and enjoying the music of “Trudy” from the local chapter when we do these rallies. We had some out of town visitors, Darren and Jerry Pell too, from AMICA. Dianne and Marvin Polan were out here from New York and came out for the rally on Saturday. They didn’t make it again on Sunday since their son was getting married and I guess that was more important. It was nice to see them, and I was glad they made it out. We had a great weekend, with a good crowd. The Arboretum people were a little worried, since the very important Betty and Ervin Canada and their monkey organ Angels ball game was on in the afternoon, and they didn’t know if we would have much attendance. (We did New member Bob Meyer, who brought his have quite a few people with radios monkey organ. and earphones.) When Sunday closing time rolled around, those of us who could make it were invited to the home of Norm and Maggie Richardson for dinner. The Richardsons are members who live very close to the Arboretum, and they are most gracious. Their daughter, Lisa, is a gourmet cook, and a meal at the Richardson’s is not to be missed. We had a little car trouble, so we Marv and Dianne Polan and friends visiting with were a tad later than most. When we Frank Nix and Roy Beltz. arrived, the pumper piano was going great guns, and several of our members gave it a try. Ken Hodge Maggie has accumulated a really super collection of good 308 The beautiful red-tail hawk showing off for the camera. SOWNY CHAPTER Reporter: Frank Warbis President: Mike Walter Norma Marciniak, a member of the SOWNY Chapter, invited us to the August meeting of the Theatre Organ Society of Buffalo which took place at the Lockport Lock of the Erie Lloyd Osmundson – Canal, the eighth wonder of the world. whatever he’s buying, you can Much remains the same on the Erie Canal today as it was bet there is in the 1800s. Hand-dug to connect the Hudson River with the chocolate Niagara River, the 363-mile Grand Old Erie Canal is truly a involved! great engineering feat. Originally, 83 stone locks overcame the 571-foot difference in the level between the rivers. Enlarged in the early 1900s, now 35 locks allow larger vessels to travel across New York State. We experienced a unique 2-hour cruise which included “locking through” and being raised the 49 foot elevation of the Niagara Escarpment in the only double set of locks on the Erie Canal. We passed under bridges that rise straight up, saw water cascade over Lockport’s famous “Flight of Five” 1840s locks and traveled through the solid walls of the “rock cut”. Our captain described the architecture, sights and folklore along the way. After the cruise we attended a dinner and listened to a fabulous synthesizer concert given by many members of the Frank Nix giving a organization. lecture on monkey organs to a Boy After dinner, we held our business meeting, with many Scout Troop. thanks to Norma for arranging the trip. Norm, Lisa and Maggie Richardson and Jeff Bryan - this group fed and entertained us Sunday evening. Our lock boat for the trip with our captain. Jerry Pell tickles the ivories while Jeff Bryan looks on. 309 We wait for the lock to fill up Entertainment being the synthesizer organ – great sound!! Now that our lock is filled, we move on to the next one. We continue up the river to the raised bridge. Our business meeting after dinner. 310 FOR SALE ADVERTISING 1924 MARSHALL AND WENDELL 5’ GRAND AMPICO A GENERAL INFORMATION ABOUT REPRODUCING PIANO. Plays great! Player fully restored; piano ALL ADVERTISING IN THE AMICA BULLETIN refinished; piano action regulated and reconditioned with new key bush- ings, key bed felts, and new key tops. Includes matching bench, $4000 All advertising should be directed to: or best offer. Call for pictures. Pat Dewitt, Ft. Wayne, IN 260-749-7737 Robin Pratt 260-429-7384; [email protected] (6-02) 630 East Monroe Street Sandusky, Ohio 44870-3708 ORGAN DONOR – 1931 MARSHALL & WENDELL AMPICO Phone (419) 626-1903 model “B”, #112,223 has had a hard life, 5’2” body worn out. Need like e-mail: [email protected] piano for model B transplant procedure. A musical gift of life for your Ad copy must contain text directly related to the product/service piano, mechanism will be restored and installed into your piano. Ben being offered. Extraneous text will be deleted at the Publisher’s Gottfried, Ben’s Player Pianos, 315-858-2164. (6-02) discretion. All advertising must be accompanied by payment in NEW PIANO ROLL BOXES - 2 sizes available for 88 note: Large (fits U.S. funds. No telephone ads or written ads without payment will 2 3/4” Flange)covered with Black Alligator Paper(Top), Black Leather be accepted. This policy was established by a unanimous vote of (Bottom) or Brown Leather Paper (Top & Bottom)$2.50 ea. the AMICA Board at the 1991 Board Meeting and reaffirmed at + Shipping. Small (fits 2” Flange) Covered with Black or Tan Leather the 1992 meeting. AMICA reserves the right to edit or to Paper (Top), White Litho (Bottom)$1.20 ea. + Shipping. 65 Note reject any ad deemed inappropriate or not in keeping with Roll Boxes Maroon Paper (Top), White Litho (Bottom) $2.25 ea. AMICA’s objectives. + Shipping. A 10% Discount will be given on orders over $10.00, The BULLETIN accepts advertising without endorsement, and a 20% Discount on orders over $100.00. Many other Repair implied or otherwise, of the products or services being offered. Supplies available (Parchment Leaders, Flanges,Tubes, Tabs, Publication of business advertising in no way implies AMICA’s Repair Tissue) California Player Roll Co. www.calroll.com endorsement of any commercial operation. (760) 244-ROLL (7655) (6-02) PLAYER AND REPRODUCING ROLLS for sale. Newly re-cut AMICA PUBLICATIONS RESERVES THE RIGHT TO “Magic Melodies” DUO-ART and AMPICO rolls and new “Top Hat” ACCEPT, REJECT, OR EDIT ANY AND ALL 88 note roll. Original and other re-cut rolls; program rolls for AMPICO SUBMITTED ARTICLES AND ADVERTISING. and DUO-ART. All in excellent condition. Write or call for listings. All items for publication must be submitted directly to the Magic Melodies, 360 Lawless Road, Jamestown, KY 42629, Publisher for consideration. call 270-343-2061. (6-02) CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimum AMPICO, DUO-ART & WELTE Rolls, great selection of popular, for AMICA members. Non-members may advertise double the classical and medleys. Also, 88-Note Piano Rolls, hundreds of used rolls, member rates ($10.00 minimum). Because of the low cost of - $3.00 each plus shipping. Also New Old Stock QRS Rolls, $5.00 each. advertising, we are unable to provide proof copies or “tear sheets”. Will furnish lists on request. Dave Caldwell, 400 Lincoln Lake Road NE, Lowell, Michigan 49331; E-mail: [email protected], DISPLAY ADVERTISING (616) 897-5609 (6-02) Full Page — 71/2 " x 10" ...... $150.00 Half Page — 71/2 " x 43/4" ...... $ 80.00 WANTED Quarter Page —35/8 " x 43/4" ...... $ 45.00 RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike 1 Business Card — 3 /2 " x 2" ...... $ 30.00 Kukral 812-238-9656 or [email protected] (6-04) Non-member rates are double for all advertising. ENCORE AUTOMATIC BANJO ROLLS, original or recut. Yousuf Special 6 for 5 Ad Offer - Place any ad, with no changes, for a Wilson, 636-665-5187; email – [email protected] (6-02) full year (6 issues), and pay for only 5 issues. Payable in advance. ROLLER ORGAN WANTED. Will also buy your surplus or duplicate Photographs or halftones $15.00 each organ cobs. Call 512-869-9009 or email [email protected] Loose Sheet or Insert Advertising: Inquire Peter Manno. (1-03) We recommend that display advertisers supply camera-ready AMPICO, DUO-ART & WELTE RECORDO Rolls wanted. I’ll copy. Copy that is oversized or undersized will be changed to buy small or large collections. Now is the time to clean out duplicates and correct size at your cost. We can prepare advertisements from unwanted tunes! Contact: Dave Caldwell, 400 Lincoln Lake Rd. your suggested layout at cost. Lowell, MI 49331, phone 1-616-897-5609, E-mail: PAYMENT: U.S. funds must accompany ad order. Make check [email protected] (2-03) payable to AMICA INTERNATIONAL. Typesetting and WANTED! ARTECHO, APOLLO, CELCO Reproducing rolls. 1 or layout size alterations charges will be billed. 1000. Also QRS Apollo 58-Note rolls (Square Chuck Drive) and QRS Automatic (Red “X”). Also available For Sale, newly scanned and recut DEADLINES: Submissions must be received no later than the first of the odd months (January, March, May, July, September, ARTECHO TEST ROLL, $18 ppd. Robin Pratt, 630 E. Monroe St., November). The Bulletin will be mailed the first week of the Sandusky, OH 44870; (419) 626-1903, [email protected] (3-03) even months. (Rev. 6-98) ’s Player Piano Ser vi Ben A Complete Restoration Service ce For The Pneumatic Piano “Be grateful for luck. 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Wri te for latest clean custom-built heavy-duty trailer. catalog, or e-mail us (please include P.O. Professional and personal service. address): [email protected] John P. Wrasse Phone: 563-872-3495 - Cell: 563-580-2472 PRECISION MUSIC ROLLS E-mail: [email protected] 1043 Eastside Road 31449 216th St., Bellevue, IA 52031 (6-02) EI Cajon, CA 92020-1414 (2-03) • ..! -.. AMICA ITEMS FOR SALE rr ~~~ ~fba' ~ ~1Jl~\j~CS~ Get the Whole Story! VJ;~aVJJVJJ~~~ The AMICA Bulletin remains the single source of complete information about the technical and~ g social aspects of our hobby. No home library would be complete without a FULL SET of the AMICA Bulletins, bound into sets by year. In addition, technical articles published in the bulletin have been extracted and published as invaluable reference volumes. More than 30 years of knowledge, discovery and revelation can be found in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space! ORDER TODAY! In stock/or immediate shipping via United Parcel Service or US Mail. AMICA Technicalities The AMICA Bulletin Since 1969, AMICA has been publishing into bound vol umes, collections of technical articles written and con 1971 through 1999 bound annuals tributed by its members for publication in The AMICA Bulletin. They may be purchased as follows: of the AMICA Bulletins Vol J- 1969 to 1971 $10.00 $24.00 (U.S. Dollars) per year postage paid Vol 2 - 1972 to 1974 8.00 Vol 3 - 1975 to 1977 9.00 Make checks payable to: AMICA International Vol 4 - 1978 to 1980 7.00 Send Orders to: Stuart Grigg Vol 5 - 1981 to 1988 20.00 Vol 6 - 1989 to J993 20.00 Grigg Graphic Services, Inc. ",.-.... Postage Paid 20982 Bridge Street Please note: Supplies of the earlier volumes may be Southfield, MI 48034 temporarily unavailable as stock is depleted. Fax: (248) 356-5636 Overseas orders may take longer than domestic shipments. e-mail: [email protected] ~ A 312 The Golden Age of Automatic Musical Instruments By Arthur A. Reblitz For a preview of this important new book, please visit our website: www.mechanicalmusicpress.com “This new book is without a doubt the finest book on automatic musical instruments that will be published in our lifetime... I dare say it is every bit as essential as Bowers’ Encyclopedia. Don’t miss it!” Rob DeLand, BluesTone Music Rolls, Grayslake, IL. Only $120 each, plus $5 postage and handling for single copy USA ground shipment. For payment information, shipping rates on multiple copies, air mail, insurance, and outside the U.S., contact: Mail To: Mechanical Music Press-A • 70 Wild Ammonoosuc Road • Woodsville, NH 03785 603-747-2636 (Voice/Fax) or 877-760-8243 • E-mail: [email protected] WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com • [email protected] (6-02) 313 YOUR ADISWANTED! For the NEW 2003 AMICA Membership Directory The 2003 AMICA Membership Directory is being organized as you read this. Now is the time to send in an advertisement for your business, your collecting wants, services or related items for sale or simply a “Best Wishes AMICA!”, we want your ad. Including your ad in the new 2003 Directory will give you years of visibility as well as reference for yourself and other members. Plus, your paid ad will help AMICA directly by offsetting some of the production costs. Many AMICA Members refer to their Directory regularly for ads, products, services, telephone numbers and addresses. Finding others who might own a similar instrument and getting help becomes a simple task with the instrument listing! Travel, locating and visiting other members becomes a breeze! The AMICA Directory is an excellent resource! THE AD RATES FOR THE 2003 AMICA DIRECTORY ARE: FULL PAGE – 7 1/2’ x 10”...... $200 HALF PAGE – 7 1/2” x 4 3/4” ...... $110 QUARTER PAGE – 3 5/8” x 4 3/4”...... $65 Photo/s included in ad @ $20 each (unless ad is complete and camera ready.) Make your check out to AMICA and mail it with your camera ready copy to: AMICA Publications – Directory Robin Pratt, Publisher 630 East Monroe Street Sandusky, Ohio 44870-3708 You may submit your ad in a simple written form and we will do the composition for you and dress it up. What could be easier? If you have any questions about your ad, its composition or cost, contact the Publisher directly at: (419) 626-1903 or email: [email protected] Thanks, AMICA really appreciates your help! 314 “The Rose City” PORTLAND, OREGON AMICA 2003 Pacific Can-Am Chapter solicits ideas for workshops and presenters for the 2003 Convention August 20-24, 2003 If you would like to be a presenter or have suggestions for workshop topics, please contact: Carl Dodrill 4488 W. Mercer Way Mercer Island, WA 98040 Phone: (206) 236-0067 Fax: (425) 696-0082 E-mail: [email protected] 315 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface. A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American) Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders. E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common) Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from for- Minimum Order: $10.00 A ______And send to: eign countries B ______must be drawn C ______BRIAN K. MEEDER on U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______ 316 ~~~~~ is the real talking machine; The "Victor" its sound is natural. Band playing, monologues, comic or religious songs, all are reproduced 'AllW1 APiano as clear as if the artist was present. When ordering, get the latest styles-we charge no more than others who offer you old ~,1) .l1li By Mail. styles. Get our full catalogue FREE. E. L. Cuendet, 1 Barclay St., New York. You c,an buy an IVERS & POND Piano just as cheaply, as safely, and 1 as satisfactorily of us by mail as in . person at our warerooms. How? SO DAYS FREE TRIAL Write and we'll tell you. . $10 Worth of Record$ FREE ~ Slmplywonderfall Tbellmlt We send our pianos on trial at our ')( J~MN'/r~~ Jtu~Mrbn~~ expense to any part of the United OGItAPB on so Day.' Fr•• ~ States where they are not sold by a Trllll. and OJ> terma ..low Be local dealer. Send us a postal card 82 A TH~~th, :~~~~rc~ao:st~~ tr~~ l~t~~~ ~~u~~"~':. suc.h ta~~~~ct~~~~: iJT1agIDa~ V> flmcy the spirit of the famous composer ~e enjoyine- its wonderful hannonles as produced by an e~pel1: pianist. Would you know these inde.scrlliable beauties of the Vo.e tonc? Call ~:r~~~,(l:e\~:r~~~keai~~n~~~:I~o;~~~~S;u~~~~:~~~~i~~do~~rinu~~~~~~~e~::: Sold on montblypayni"ents and delivered. freight prepaid, at your house. For catalogue and full informatioll apply to VOSE & SON'S PIANO CO" J7f1 Trcmoh~ Street, BostoR, Mass. THE BABY ~bttlttrtnJ ~ttlUO~ HE name is familiar throughout the civilized world, and the won T derful achievements in the art of piano building are most fully exemplified in our instruments of the present year. They are the result REGINA MUSIC BOX pianofor~e A MUSICAL WONDER. of eighty years of experience in construction. PLAYING 1000 TUNES. We would especially call.attention to the "QUARTER U() GRAND," de~~)liB~~u~i8.I);nfi~~~~~l:;d~ ~~~~~:·of~~~:;tf:~o;l~~:; the smallest Grand embodying modern principles ever made. wherever llsed. It plays • EL CAPITAN MARCH and all the lalest music, and is unrivalled as a social entertainer. Indestructible metal tune discs are used, and the box is safe In the hands of a child. They run MANUFACTURED SOLELY BY from 10 to 30 minutes wltb eaeh winding, PIANOFORTE The New Orchestral Regina. Thrs larf:cst mU'Sic box ever made and a ctnnplete orcheslra In CHICKERING & S 0 NS MAKERS it~elr. Arranged wJlh mDney drop attachment for hotels and Established in 18'3 791 Tremont Street. Boston. Mass. ~~~HCl~~~Spo~n~~t~~o~tt~li~;T~~B~~~~:~~g:;~~ REGINA MUSIC BOX CO., Rahway, N. J. BEFORE: Main l:-xpression box in damaged deteriorated condition. Unit was neatly hypassed in botched restoration attempt. Note missing elbolVs covered up. AFTER: Completed Main Expression box showinJ? placement of elbows lostfrom previous restoralion attempt. BEFORE: AFTER: Close up oftheme side ofMain Expression box. Unit Same view showing correct material usedfor covering was actually worse than it looked due to internal the Accordian. Re-covering accordian in incorrect splitting ofwood and water damage. leather using bad workmanship had constituted the complete restoration attempt ofMain Expression. LATE DUO-ART EXPRESSION BOX Before & After Submitted by Jeffrey Morgan