· , ". .'.":\(. '" h.~·._. The AMICA News Bulletin Automatic Musical Instrument Collectors' Association

EDWIN WARD, Publisher 191 Riverview Drive (419) 849-2616 Woodville, Ohio 43469-9745

Published by the Automatic Musical Instrument Collectors' Association, a PUBLICATION DEADLINES FOR 1989 non-profit group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls, AMICA was For January/fubruary issue ...... December 15 founded in San Francisco in 1963. For March/April issue fubruary 15 For May/June issue...... April 15 For July/August issue...... June 15 For September/October issue...... August 15 For November/December issue...... October 15

CHAPTER OFFICERS FOUNDING CHAPTER IOWA Pres: Rob Thomas Pres: Rex Fritts Vice Pres: Bill Wherry Vice Pres: Leland Zimmerline Treas: Elmer & Lou Klein SecD"reas: Ed Pousch ADVERTISING Rep: Nadine Moto-Ross Reporter: Al Johnson Classified: W¢ per word, $3.00 minimum for members. Sec: Jack & Dianne Edwards Non-members may advertise at twice the above rate, $6.00 SOUTHERN CALIFORNIA BOSTON AREA minimum. Pres: Frank Nix Pres: Judy Welsh Vice Pres: Lloyd Osmundson Vice Pres: Michael Potash • See Bulletin Deadlines on this page. Payment must Sec/Rep: Shirley Nix Sec: Bill Koenigsberg accompany order. Make checks payable to: Treas: Ken Hodge Treas: Philip Konop AMICA INTERNATIONAL. Reporter: Donald Brown • Checks or money orders from advertisers in foreign coun­ TEXAS NORTHERN LIGHTS tries must be drawn on a U.S. Bank. Pres: Ken Long Pres: Dorothy aids Vice Pres: Richard Tonnesen Vice Pres: Jerrilyn Boehland Display Advertising SeclTreas: Janet Tonnesen Sec: Tim Wheat Full Page 7V2"xlO" $120.00 Rep: Richard Smith Treas: Robert & Katheryn Dumas Half Page 7Y2"x4%" 60.00 Reporter: Tim Wheat 5 Quarter Page 3 / S"x4%" 30.00 MIDWEST SIERRA-NEVADA Business Card 2"x3lh" $20.00 Pres: Liz Barnhart Pres: Bob Patton Vice Pres: Barry & Bennet Leedy Vice Pres: Richard Riley • Each photograph or half-tone $8.00. Sec: John Fischer SeclTreas: Gail Shinn • See Bulletin deadlines on this page. Treas: Alvin Wulfekuhl Reporter: Julie Riley & Bob Patton Reporter: Margaret Frazer • We recommend display advertisers supply camera-ready copy. Copy that is oversized or undersized will be changed PHILADELPHIA AREA CHICAGO AREA Pres: Paul Dietz Pres: Rob Deland to correct size at your cost. We can prepare your adver­ Vice Pres: Dave Charrier Vice Pres: Barry Schultz tisement from your suggested layout at cost. Sec: Bob Rosencrans Sec: Fred Plank • Payment must accompany order. Typesetting, layout or size Treas: Bob Taylor Treas: Joe Pekarek Reporter: Mel Septon alteration charges will be billed separately. Make checks Rep: Joan Pollitt payable to: AMICA INTERNATIONAL. SOWNY (Southern Ontario, HEART OF AMERICA Western NY) Pres: Charles Tyler • Checks or money orders from advertisers in foreign coun­ Pres: Gary Lemon Vice Pres: Gerold Koehler tries must be drawn on a U.S. bank. Vice Pres: Jim Barley SeclTreas: Kay Bode Sec: Janie McCleary Reporter: Willa Daniels • All ads will appear on the last pages of the Bulletin at the Treas: Edie Aldridge discretion of the publisher. Rep: Mike Walter Publication of business advertising in no way implies AMICA's ROCKY MOUNTAIN SOUTHEAST AREA: endorsement of any commercial operation. However, AMICA Pres: Larry Kerecman Pres: David Oppenheim reserves the right to refuse any ad that is not in keeping with Vice Pres: Owanah Wick Vice Pres: John Daly AMICA's general standards or if complaints are received in­ Rep: Don Wick Secretary: Wayne Fisher dicating that said business does not serve the best interests Sec: Art Tarr Reporter: Wayne Fisher Treas: Art Tarr Treasurer: Don Winter of the members of AMICA according to its goals and bylaws. LADY LIBERTY GATEWAY Pres: Alan Lightcap Pres: Roger Wiegand . Single back issues of the Bulletin Vice Pres: Paul Ciancia Vice Pres: Deane Wiley are available from the Publisher Sec: Michelle Pollitt Sec:rreas: Carole Wiley for $3.00 each. Treas: John Ellems Reporter: Jean Milburn Rep: Dennis Valente AMICA International

INTERNATIONAL OFFICERS AMICA CONVENTION PRESIDENT Ron Connor (501) 636-1749 BOSTON, MASSACHUSETTS Route 4, Rogers, AR 72756 August 24-27, 1989 PAST PRESIDENT Terry Smythe (204) 832-3982 -*- 55 Rowand Ave., Winnipeg, Manitoba, Canada R3J 2N6 VICE PRESIDENT Robert W. Taylor MBSI CONVENTION (314) 875-6111 TEANECK, NEW JERSEY 2508 Cimarron Dr., Columbia, MO 65203 SECRETARY Mel Septon August 30 - Sept. 4, 1989 (312) 679-3455 9045 North Karlov, Skokie, IL 60076 • Do you wish to become a member of AMICA? TREASURER Larry Norman Write to Membership Secretary. (213) 538-9461 Annual fee for U.S. members ...... $22 17700 Avalon Blvd. #295, Carson, CA 90746 Canada and Mexico (air) $28 PUBLISHER Robin Pratt Other non-U.S. countries (surface) $28 (419) 626-1903 New and lapsed members add processing fee. . .. $ 5 515 Scott Street, Sandusky, OH 44870 • Has your address changed? MEMBERSHIP SECRETARY Valerie Anderson Write to Membership Secretary. New memberships Home (803) 791-1487 • Do you have a contribution for the Bulletin? P,O. Box 172, Columbia, SC 29202 All subjects of interest to readers of the Bulletin are en­ BOARD REPRESENTATIVES couraged and invited by the Publisher. Every attempt will Founding Chapter: Gene McGraw be made to publish all articles of general interest to AMICA Southern California: Mary Lilien members at the earliest possible time and at thediscretion Texas: Richard Tonneson Midwest: Vincent Ricca of the publisher. See Bulletin deadlines on previous page. Philadelphia Area: Bob Rosencrans SOWNY: Jan Drewniak AMICA International News Bulletin Rocky Mountain: Larry Kerecman Lady Liberty: John DeParis Volume 26 Number 1 January/February 1989 Iowa: Alvin Johnson CONTENTS Boston Area: Sanford Libman Features Northern Lights: Tom Olds QRS Autograph Roll Master List - Part 1 3 Sierra·Nevada: Ray Bauer AMICA Boston - 1989 " 8 Chicago Area: Jim Edwards Heart of America: Ron Bopp Bulletin Contributions on Disc ? " 9 Southeast Area: John O'Laughlin Honorary Member List ...... 10 Gateway: Roger Wiegand AMICA Regulations " 12 Put Another Thousand In '. 13 COMMITTEES The Life & Work of Ernest M. Skinner " 15 TECHNICAL, Harold Malakinian Beware the Buyer· Final Episode 16 2345 Forest Trail Dr., Troy, MI48098 Duo-Art Piano Rolls From the Aeolian Files .. ,,...... 17 Ossip Gabrilowitsch ,.," 18 ARCHNES, Bob Rosencrans 300 Former Patients Attend 51. Rose Reunion 20 109 Cumberland Place, Bryn Mawr, PA 19010 Double Grand Piano " 20 PUBUCATIONS, Robin Pratt Eugene O'Neill Player Piano ,...... 21 515 Scott Street, Sandusky, OH 44870 Play It Again George ,...... 22 AUDIO-VISUAL, Harold Malakinian In Memoriam - Edward L. Linotti ...... " 25 2345 Forest Trail Dr., Troy, MI 48098 More About The Future of Paper Rolls 26 BBS News 33 CONVENTION COORDINATOR, Uz Barnhart 919 Lantern Glow Trail, Dayton, OH 45431 Origins of the Duo-Art - Part II 34 The Coupled Motions of Piano String ...... " 35 HONORARY MEMBERS, Dorothy Bromage Electric Reproducing Pianos - The Duo-Art " 40 157 School Street, Gorham, ME 04038-1026 Mal~ian Update " 44 AFFILIATED SOCIETIES & ORGANIZATIONS- Departments See May/June 1988 issue for addresses AMICA International 1 The Player Piano Group (England) President's Comer 2 The North West Player Piano Association (England) Rolls & Music " 14 Netherlands Mechanical Organ Society - KDV Book Reviews, 15 Australian Collectors of Mechanical Musical Instruments People " 18 Dutch Pianola Association News From the Chapters ...... 27 Society of Friends of Mechanical Musical Instruments (Germany) Technicalities ...... '. 34 Smithsonian Institution Classified Ads 46 DISCLAIMER: Acceptance of articles for publication in the AMICA News Cover: Ossip Gabrilowitsch and Cyrena Van' Gordon aboard the Bulletin does not imply a guarantee of the accuracy of the facts contained 5.5. Leviathan, 1927. From the collection of Bill Knorp. in any article, nor an endorsement of an author's recommendation. -1- The President's Corner •••

I recently received the sad said it would be for two years and he has kept his word. It is news of the passing of foun­ a very demanding job and takes a lot of time and Ed feels he ding member Ed Linotti. I had needs time for some other things. He leaves the Bulletin in good not personally known Ed long, shape and much of what he has set up will no doubt be con­ having met him at last year's tinued for a long time to come. Thanks, Ed, for ajob well done. convention. He gave an ex­ cellent program on early Our new publisher is Robin Pratt. He is no newcomer to phonographs, a subject in AMICA, having joined in 1967. I have been told he introduced which I have some interest. I Molly Yeckley to the reproducing piano. Robin also lives in Ohio, found him knowledgeable and not far from Ed Ward, which should help make the transition friendly, willing to share information and easy to talk to. I felt from one publisher to the other go smoothly. I am confident I had made a new friend and now he is gone. He has left the that he will be another in the line of excellent publishers that scene at much too early an age and will be greatly missed by AMICA has been fortunate to enjoy and your Board overwhelm­ AMICA. ingly approved him. I am looking forward with enthusiasm to the next issue, Robin's first. This issue of the Bulletin marks the last one that will be produced by our present publisher Ed Ward. Ed has done a great Sincerely, job during his tenure and has produced a bulletin of which this organization can be very proud. When he took the job Ed Ron

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TELLING IT LIKE IT IS

My "contract" with the late Molly Yeckley was for two vide a Bulletin with greater content. Let's continue on tbis years. Time goes fast when you're havin' fun. Molly also ex­ positive note with our new Publisher. Remember, The Bulletin pressed the wish that Robin Pratt would continue on at the is really the province of each and every. member, and the time I was ready to pass the responsibility of Publisher on to Publisher can only print what is provided to him. If you come someone else; and that is exactly what is going to happen. across material that is interesting to you, chances are it will Robin has agreed to begin his term as Publisher with the be of interest to other AMICAns. Why not share it by sen­ March/April '89 issue of The Bulletin. This means all materials ding it to your Publisher. intended to be included in that issue must be in Robin's hands I want to take this opportunity to thank Jay and Marilyn by February 15, 1989, to enable him to "do his thing." Engler and staff, of The Engler Printing Company, who have I want to express my gratitude to the membership for the provided many helpful suggestions along the way, and have excellent way in which you have proVided me with material always made every effort to produce a better Bulletin for us. and articles for The Bulletin during my term as Publisher. -Ed Remember, Robin will be dependent upon you for this same kind of assistance. We have proven that, together, we can pro-

******************************************************************* NEW PUBLISHER ROBIN PRATT 515 Scott Street Sandusky, Ohio 44870 (419) 626-1903 After the January/February 1989 issue, all matters pertaining to the AMICA News Bulletin are to be addressed to him. QRS Autograph Roll Master List By Rob Deland

In this issue of the AMICA News Bulletin begins a complete The "Date" column contains three different types of data, with list of QRS Autograph series popular rolls, sorted by roll number. different formats as follows: As pointed out in introductory articles last year (in the May/June 1922 Years listed without any additional information indicate the and July/August 1988 issues), QRS Autograph rolls were the first year of popularity for that piece; this information was hand-played rolls that QRS produced, and were among the first gathered from Roger Kinkle's Complete Catalog ofPopular hand-played rolls issued by any music roll company in the United Music and Jazz 1900-1950; States. This list will be issued in serial form throughout the next year or two, at the editor's discretion. ©1923 Years listed with "©" preceding them indicate the copyright I started this project in September 1987 with the intention year of that piece, which may have occured before or after of identifying all the rolls by pianists I was interested in, such as the piano roll was issued; James P. Johnson, Pete Wendling, Blind Boone, etc. Mike Schwim­ 10·24 Hyphenated dates indicate the actual month and year of mer loaned me complete copies of the July 1918 and September the issue of that roll; this implies that an original QRS mon­ 1919 ("1920") QRS Roll Catalogs from his collection, as well as thly bulletin including that title was located. copies of a QRS Autograph Roll catalog and July-October 1912 Additional composer data was also gathered from: Autograph Roll Supplement from the collection of Dick Howe. QRS Player Rolls for All Player Pianos I entered the roll data into an Apple Macintosh computer, - January 1, 1917; 200 pages, 6 x 8%" starting with the 1918 catalog and adding missing titles from subsequent sources. After finishing with the first four catalogs, Hyphenated numbers after the roll number indicate individual I began looking for and borrowing additional catalogs and titles in a medley roll, even though they are not necessarily iden­ monthly bulletins from several collectors around the U.S. After tified with these numbers in catalogs or on the rolls. In many cases going through as much printed material as possible, I began try­ the medley titles also appeared as individual rolls shortly before ing to fill holes by looking for missing data in roll collections, then the medley roll was issued; in these cases I assumed the pianist I listed the roll numbers with missing titles in the above articles. on the medley roll was the same as the pianist on the individual AMICA members were fhen able to add about a dozen more titles. roll, even if this was not indicated on the roll or in any QRS Abbreviations are used to indicate the following: literature. "F" Indicates Foreign rolls, as identified by the QRS sources; There is only one case where more than one roll was found appears immediately before the roll number when to be issued under a single number. In this case (roll # 200108) applicable; . the title is the same but the pianists are different. Both versions "(C)" Indicates composer-played rolls; appears after the have been located and the arrangements are indeed different. In pianist's name when applicable; this case I made up ''A'' and "B" designators which appear after the roll number in this list. The Reference column ("Ref.") indicates .the following sources There are a few details regarding roll arrangement which I as having been used for the information shown; in many cases, would like to clarify. It is often assumed that Autograph Rolls and additional information was also used, such as monthly bulletins: Word Rolls with identical titles are identical arrangements without Reference Source and with words (respectively). In some cases this is true. However, (A) QRS Autograph Music Rolls a friend pointed out to me that there are some cases where the - July·October 1912; 15 pages, 3V2 x 6" arrangements are completely different. He mentioned specifical­ (B) QRS Autograph Hand Played Music Rolls ly roll # 100992 which he found to be a very nice arrangement, - Circa 1914; 84 pages, 4Y2 x 6%" but the Word Roll of the same selection was a very busy (I believe the word "awful" was used) four-handed arrangement. It was a (C) QRS Autograph Hand Played Music Rolls common practice later in the Word Roll series to reissue titles - Circa 1916; 93 pages, 4V2 x 7" from time to time with updated arrangements. Usually the selec­ (D) QRS Autograph Hand Played Music Rolls tion stayed the same if the roll number was not changed, but in - Circa 1916 or 1917; 128 pages, 41,4 x 6%" at least one easel even the selection was changed. (El QRS Autograph Automatic Music Rolls Please keep in mind that although some of these rolls are - Complete to Jan. 1, 1918; 44 pages, 4111 x 6%" very common, others are exceedingly scarce, and several of the (F) QRS Player Rolls for All Player Pianos early rags listed have never been found. Those rags that have not ("1918") been found are mentioned in the 'Autograph Roll article in the - Complete to July 1, 1918; 217 pages, 5Y2 x 81,4" July/August 1988 AMICA Bulletin, and the author is still very in­ terested in knowing if any of these rolls is ever located. (G) QRS Player Rolls for All Player Pianos ("1920") I hope this list proves to be useful and interesting to everyone. - Complete to Sept. 1, 1919; 213 pages, 5\12 x 81,4" I will be happy to answer questions about any of the material in this list, if anyone should care to write (my address is 240 N. (H) 1920 QRS Roll Catalog Supplement #3 Ashland Ave. / Palatine, IL 60067). I am most grateful to Dick - Sept. 1919 to Sept. 1, 1920 Howe and Mike Montgomery for photocopying numerous rare (J) QRSPlayer Rolls catalogs and bulletins from their collections, without which this - Complete to Jan. 1, 1925; 208 pages, 6 x 9" project would have been impossible. Mike Schwimmer and Ed (M) 1985 QRS Numerical Catalog (some Autograph rolls SPt;ankle have also been very supportive and generous in loan­ listed after the Word rolls, before the "Q Series") ing Original roll information from their collections. Trebor Tichenor and Frank Himpsl have both provided helpful insights, both (AB) AMICA News Bulletin, March 1976 (VI3#2), pg. 28 because of their encyclopaedic knowledge of the music of this (AM) AMICA News Bulletin or contribution from AMICA era, and because of their vast roll collecting experience. Finally, member thanks to all AMICAns who were good enough to search through (BB) Bill Bonner's "Hot Roll" list their roll collections and send me their "Finds". I have enjoyed (MBl QRS monthly roll bulletin this challenge and I appreciate your cooperation.

(RD) The author's collection 1 This particular case concerns Word Roll #1001, which was released (RR) Richard Riley's "Hot Piano Rolls" list in February 1920 as When You're Alone played by Victor Arden and Phil Ohman. It was later reissued as St. Louis Blues, arranged by J. (TT) Trebor Tichenor's roll collection Laurence Cook ("As played by Fats Waller"). -3- QRS Autograph Popular Roll Master Ust Sorted by REF. ROLL # TITLE PIANIST DAlE 100000 ( E) 100001 Amoureuse -- Valse Lente Roberts, Lee S. Berger, RUdolph E. 7-12 ( F) 100002 My Beautiful Lady -- Waltz from "The Pink Lady" Roberts, Lee S. Caryll, Ivan 7-12 (MB) 100003 Oceana Roll, The McCowan, Riley Denni, Lucien 7-12 (MB) 100004 Dltlomem Queen Rag McCowan, Riley Hill, J. Leubre 7-12 (MB) 100005 Cauldron Rag Christensen, Axel (C) Christensen, Axel 7-12 100006 ( F) 100007 Amoureuse -- Valse Lente (Revised Arrangement) Roberts, Lee S. Berger, Rudolph E. 7-12 ( F) 100008 Justa Rag Roberts, Lee S. (C) Roberts, Lee S. 7-12 (B) 100009 Subway Glide, The Roberts, Lee S. Norman 7-12 (MB) 100010 Baboon Baby Dance Collins, Joe Cooper, Joe 7-12 (A) 100011 Reine Annette, La -- Ragtime Waltz Christensen, Axel (C) Christensen, Axel 7-12 (MB) 100012 GabyGlide Robar, Stanford Hirsch 7-12 (MB) 100013 That Daffydill Rag Robar, Stanford Mueller, B. & F. 7-12 100014 (A,G) 100015 Bohemia Rag Redgale, Robert E. Hall & Nathan 7-12 (A;F) 100016 Ramshackle Rag Jones, C. C. Snyder, Ted 7-12 (F) 100017 Soft Pedal Rag Robar, Stanford (C) Robar, Stanford (A,B) 100018 Miss Cutey Rag Schwartz, Phil (C) Schwartz, Phil 8-12 (A) 100019 Boogie Man Rag, The Schwartz, Phil Sherman 8-12 (A,F) 100020 Nineteen Fifteen (1915) Rag Robar, Stanford Dent & Young 9-12 100021 (B) 100022 Rubber Heels Rag Hille, E. W. (C) Hille, E. W. 11-12 100023 ( F) 100024 - 1 Nineteen Fifteen (1915) March Lang, Leon M. (C) Lang, Leon M. 11-12 ( F) 100024 - 2 Improvisation Lang, Leon M. (C) Lang, Leon M. 11-12 100025 (A) 100026 Goofy Rag, The Dahm, Phil (C) Dahm, Phil 10-12 100027 (A) 100028 Ragtime Jockey Man, The Dahm, Phil Berlin, Irving 10-12 100029 (A,F) 100030 Wild Cherries Rag (in Classic Form) . Robar, Stanford Snyder, Ted 11-12 100031 ( F) 100032 Midnight Express -- March Dietrich, Ursula (C) Dietrich, Ursula 100033 100034 100035 (E,F) 100036 Jamaica Jinger Rag Van Alstyne, Egbert (C) Van Alstyne, Egbert ©1912 100037 (E,F) 100038 Hold Up Rag Van Alstyne, Egbert (C) Van Alstyne, Egbert ©1912 100039 ( F) 100040 Twentieth (20th) Century March Moore, Harry (C) Moore, Harry 100041 (E,F) 100042 Y Como Ie Va? -- The Argentine Tango Dance Arndt, Felix Valverde, J. 100043 ( F) 100044 Haunting Rag Arndt, Felix Lenzberg, Julius © 1911 100045 ( F) 100046 Count of Luxembourg, The '-- Waltzes Arndt, Felix Lehar, Franz 1912 100047 ( E,F) 100048 Swanee Ripples -- Rag La Fontaine, Pierre Blaufuss, Walter E. ©1912 100049 100050 100051 (E,F) 100052 On! Wisconsin -- March Roberts, Lee S. Purdy, W. T. 100053 ( F) 100054 Triennial "K. T." March Roberts, Lee S. (C) Roberts, Lee S. 100055 (E,F) 100056 Dolores Waltzes -- for Dancing Roberts, Lee S. Waldteufel 100057 (E,F) 100058 Cannon Ball Rag Pirsell, Ed. M. Northup, Joseph C. ©1905 100059 ( F) 100060 Vision of Salome -- Waltz Bowman, Joseph Joyce, Archibald 100061 ( F) 100062 Clover Blossom Rag Heitman, Fred (C) Heitman, Fred ©1910 ( F) 100063 Junk Man Rag, The Robar, Stanford Roberts, C. Luckyth ©1913 (E,F) 100064 Floreine -- Syncopated Waltz Dietrich, Ursula Schuster, E. J. (E,F) 100065 Too Much Mustard (Tres Moutarde) Robar & Collins Macklin, Cecil © 1911 ( F) 100066 Tickle the Ivories Collins, Joe Herzer, Wallie (E,F) 100067 Favorite Waltz Strains, No.3 -- for Dancing Roberts, Lee S. (Arranged) (F) 100068 Ragtime Echoes Schwartz, Phil (C) Schwartz, Phil ( F) 100069 Ragtime Jim Schwartz, Phil Phillips, A. Fred (E,F) 100070 Panama, The - The1915 Dance Roberts, Lee S. (C) Roberts, Lee S. ( F) 100071 Mariette Heilbronner, Sollie & Cripe Courquin, Sterny (B,E) 100072 Tango Medley - for Dancing Robar & Franck (Arranged) (B,E) 100072 - 1 Down Home Rag Robar & Franck Sweatman, Wilbur C. S. © 1911 Rob DeLand 12/2/88

-4- ORS Autograph Popular Roll Master List Sorted by REF. ROLL # TITLE PIANIST DATE (B,E) 100072 - 2 You Made Me Love You Robar & Franck Monaco, James V. 1913 (B,E) 100072 - 3 Too Much Mustard Robar & Franck Macklin, Cecil © 1911 (E,F) 100073 Dreaming -- Hesitation Waltz Schwartz, Phil Joyce, Archibald ( F) 100074 Junk Man Rag, The Heilbronner. Sollie & Cripe Roberts, C. Luckyth © 1913 (B,E) 100075 Rag Medley Schwartz, Phil (Arranged) (B,E) 100075 - 1 That International Rag Schwartz, Phil Berlin, Irving 1913 (B,E) 100075 - 2 Pullman Porter's Parade Schwartz, Phil (B,E) 100075 - 3 Somebody's Coming to My House Schwartz, Phil Berlin, Irving 1913 (E,F) 100076 Nights of Gladness - Valse Heilbronner, Sollie & Cripe Ancliffe, Charles 1913 (AM) 100077 Harmony Joe Rag Heilbronner, Sollie & Cripe Schiller ( F) 100078 - 1 SomeSmoke Heilbronner, Sollie & Cripe Romberg, Sigmund ( F) 100078 - 2 Leg of Mullon Heilbronner, Sollie & Cripe Romberg, Sigmund (F) 100079 Imam Heilbronner, Sollie & Cripe Mann, Nat M. ( F) 100080 Poeme, La (The Poem) - Valse Boston Heilbronner, Sollie & Cripe Romberg, Sigmund ( F) 100081 Tell Taylor's Hesitation Waltz Schwartz, Phil Green,A. ( F) 100082 Hesitation Medley -- for Dancing Roberts, Lee S. (Arranged) (B) 100083 Tango Medley ( ?) (Arranged) (E,F) 100084 One, Two, Three -- Valse Hesitation Roberts, Lee S. (C) Roberts, Lee S. ( F) 100085 Artist's Life Waltz Sturkow-Ryder, Mme. Strauss, Johann (E,F) 100086 Mon Plaisir (My Pleasure) -- Valse Triste Roberts, Lee S. (C) Roberts, Lee S. (B,E) 100087 Tango Medley Collins, Joe (Arranged) (B,E) 100087 - 1 I'm On My Way to Mandalay Collins, Joe Fischer, Fred 1913 (B,E) 100087 - 2 Get Out and Get Under (He'd Have to Get Under -- ...) Collins, Joe Abrahams, Maurice 1913 (B,E) 100087 - 3 Apple Blossom Time in Normandy Collins, Joe (B,E) 100087 - 4 Girl in the Heart of Maryland Collins, Joe ( F) 100088 My Lady Jane Schwartz, Phil (C) Schwartz, Phil (E,F) 100089 Senora -- Tempo di Argentine Pirsell, Ed. M. (C) Pirsell, Ed. M. (B) 100090 Round the Hall -- Tango Schwartz, Phil Biese & Klickmann ( F) 100091 Pepper Pot -- One-step Schwartz, Phil Ivers, Harold ( F) 100092 Wiener Blut Sturkow-Ryder & Roberts Strauss, Johann (B) 100093 EI Choclo -- Argentine -- for Dancing Ballou, Ashley M. Villoldo, A. G. 1912 (E,F) 100094 Zema -- Valse Boehler, Richard (C) Boehler, Richard ( F) 100095 Danube Waves Waltz Sturkow-Ryder & Roberts Ivanovici 100096 ( F) 100097 Tango Girl, The Silverman, David H. (C) Silverman, David H. (B) 100098 Oh My -- from "Follies of 1914" Van Alstyne, Egbert (C) . Van Alstyne, Egbert (F) 100099 Cecile -- Hesitation' Ballou, Ashley M. McKee, Frank (E,F) 100100 Hesitation Medley -- for Dancing Ballou, Ashley M. (Arranged) (E,F) 100100 - 1 Little Love, A Little Kiss, A Ballou, Ashley M. Silesu, Lao & Nilson Fysher 1912 (E,F) 100100 - 2 Adele Ballou, Ashley M. (E,F) 100100 - 3 Bartlett's Dream Ballou, Ashley M. ( F) 1001 01 Hesitation for Dancing Ballou, Ashley M. (Arranged) ( F) 100101 - 1 I'm Falling in Love With Someone Ballou, Ashley M. Herbert, Victor 1910 ( F) 100101 - 2 Gypsy Love Song Ballou, Ashley M. (F) 100101 - 3 Barcarolle -- from "Tales of Hoffman" Ballou, Ashley M. Offenbach (B) 100102 One-step for Tango or Dancing Ballou, Ashley M. (Arranged) ( B) 100102 - 1 Crying Just for You Ballou, Ashley M. (B) 100102 - 2 Camp Meeting Band Ballou, Ashley M. Muir, Lewis F. (B) 1001 02 - 3 When the Angelus is Ringing Ballou, Ashley M. Grant, Bert 1914 (B) 100103 Bushwah Trot, The (Much Hot Stuff) Silverman, David H. (C) Silverman, David H. ( F) 100104 Havana, Argentine -- for Dancing Van Alstyne, Egbert (C) Van Alstyne. Egbert (E,F) 100105 Just a Moment -- Hesitation for Dancing Van Alstyne, Egbert (C) Van Alstyne, Egbert (E,F) 100106 American Patrol Robar & Welch Meacham, D. (B) 100107 That Hand Played Rag Silverman, David H. (C) Silverman, David H. ©1914 ( F) 100108 Juanita -- Hesitation Roberts, Lee S. (C) Roberts, Lee S. (B) 100109 My Croony Melody Romain, Jules Goelz, R. & Goodwin, J. 1914 (B) 100110 That Blissful Rag Bliss, George H. (C) Bliss, George H. (B) 100111 Tango Melody for Dancing Ballou, Ashley M. (Arranged) (B) 100111 - 1 Chesapeake Bay Ballou, Ashley M. (B) 100111 - 2 Kentucky Days Ballou, Ashley M. Wenrich, Percy 1912 (B) 100111 - 3 Get Out and Get Under (He'd Have to Get Under -- ...) Ballou, Ashley M. Abrahams, Maurice 1913 (E,F) 100112 Tres Jolie -- Waltz Sturkow-Ryder & Roberts Waldteufel (E,F) 10011 3 Wedding Dance Sturkow-Ryder & Roberts Lincke, Paul (E,F) 10011 4 Wine, Women and Song Sturkow-Ryder & Roberts Strauss, Johann (E,F) 10011 5 Wedding of the Winds Sturkow-Ryder & Roberts Hall, John T. (E,F) 100116 Estudiantina (Spanish National Melodies) -- Waltz Sturkow-Ryder & Roberts Waldteufel (E,F) 100117 Skaters, The (Les Patineurs) Slurkow-Ryder & Roberts Waldteufel (E,F) 100118 OvertheWaves Sturkow-Ryder & Roberts Rosas, J. ( F) 10011 g Morgaenblaeller Sturkow-Ryder & Roberts Strauss, Johann ( F) 100120 Jolly Fellows (Lustige Bruder) Sturkow-Ryder & Roberts Vollsteclt (F) 100121 Du Und Du (You & You) -- from "Die Fledermaus" Sturkow-Ryder & Roberts Strauss, Johann ( F) 100122 Vienna Beauties Sturkow-Ryder & Roberts Ziehrer (E,?) 100123 New Vienna (Neu-Wien) -- Waltz Sturkow-Ryder & Roberts Strauss, Johann (E,F) 100124 Blue Danube Waltz Sturkow-Ryder & Roberts Strauss, Johann ( F) 100125 Frohsinnus Walzer (Gaite) Sturkow-Ryder & Roberts Waldteufel Rob DeLand 12/2/88

-5- ORS Autograph Popular Roll Master List Sorted by REF. ROLL # TITLE PIANIST CCMFalER DATE (B) 100126 Do the Funny Fox Trot Madden, Jimmie Carroll, Harry (E,F) 100127 Ma Belle -- Hesitation Waltz Roberts, Lee S. (C) Roberts, Lee S. (F) 100128 Sari Waltzes - Medley for Dancing Dreyfus, Walter Kalman, Emmerich ( F) 100129 Broadway Trot Schwartz, Phil (C) Schwartz, Phil (B,E,F) 100130 Trot Medley Copeland, Earl (Arranged) (B,E,F) 100130 - 1 Califomia and You Copeland, Earl Puck, Harry 1914 (B,E,F) 1001 30 - 2 Croony Melody Copeland, Earl (B,E) 100131 Medley One-step -- Special for Dancing Madden, Jimmie (Arranged) (E) 100131 - 1 I Want to Go Back to Michigan Madden, Jimmie Berlin, Irving 1914 ( E) 1001 31 - 2 I Want to Linger Madden, Jimmie Marshall (B,E,F) 100132 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B,E,F) 100132 - 1 I Want to Go Back to Michigan Steindel, Ferdinand Berlin, Irving 1914 (B,E,F) 100132 - 2 Along Came Ruth Steindel, Ferdinand Berlin, Irving 1914 (B,E,F) 100132 - 3 Follow the Crowd Steindel, Ferdinand Berlin, Irving (E,G) 100133 Special for Dancing Madden, Jimmie (Arranged) (E,G) 100133 - 1 Along Came Ruth Madden, Jimmie Berlin, Irving 1914 (E,G) 100133 - 2 Don't Go Away Madden, Jimmie Feiber, Jess (E,G) 1001 33 - 3 Aba Dabs Honeymoon Madden, Jimmie Fields, A. & W. Donovan 1914 (E,G) 100134 Special for Dancing (Various) (Arranged) (E,G) 100134 - 1 Follow the Crowd Copeland, Earl Berlin, Irving (E,G) 100 134 - 2 They Start the Victrola Madden, Jimmie Abrahams, Maurice (B,E) 100135 Special for Dancing (Various) (Arranged) ( E) 100135 - 1 Do the Funny Fox Trot Madden, Jimmie Carroll, Harry (E) 100135 - 2 Broadway Trot Schwartz, Phil (C) Schwartz, Phil (B) 100136 One-step Medley for Dancing Copeland, Earl (Arranged) (B) 1001 36 - 1 They Start the Victrola Copeland, Earl Abrahams, Maurice (B) 100136 - 2 I Can't Believe You Really Love Me Copeland, Earl 1914 (B) 100136 - 3 When It's Night Time Down in Burgandy Copeland, Earl Paley, Herman 1914 (E,F) 100137 Humpty Dumpty Rag Straight, Charley (C) Straight, Charley ©1914 (E,F) 100138 Hesitation Medley for Dancing Romain, Jules Herbert, Victor ( F) 100139 Autumn of Life, The -- Valse Roberts, Lee S. (C) Roberts, Lee S. (E,F) 100140 Chanticleer Rag Steindel, Ferdinand Gumble, Albert ©1905 ( F) 100141 If I Had You Williams, Harry Berlin, Irving (B,E) 100142 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B,E) 100142 - 1 I've Only One Idea About the Girls (and That's to Love 'Em) Steindel, Ferdinand Piantadosi, AI (B,E) 100142 - 2 He's a Rag Picker Steindel, Ferdinand Berlin, Irving 1914 (B,E) 100143 At the Ball That's All -- One-step for Dancing Steindel, Ferdinand Hill, J. L. (B,E) 100144 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B,E) 100144 - 1 Ohl My Love Steindel, Ferdinand Monaco, James V. (B,E) 1001 44 - 2 I Wonder Where My Lovin' Man Has Gone? Sleindel, Ferdinand Whiting, R. & Charles L. Cook 1914 (E,F) 100145 Popularity Rag Steindel, Ferdinand (B,E,F) 100146 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B,E,F) 100146 - 1 At the Mississippi Cabaret Steindel, Ferdinand Gumble, Albert 1914 (B,E,F) 100146 - 2 You're Here and I'm Here Steindel, Ferdinand Kern, Jerome D. (B,E) 100147 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B,E) 100147 - 1 They Start the Victrola Steindel, Ferdinand Abrahams, Maurice (B,Ej 1001 47 - 2 Down at the Barbecue Steindel, Ferdinand Lewis & Erdman (B,E) 100147 - 3 All He Does Is Follow Them Around Steindel, Ferdinand (B,E) 100148 I Wonder Where My Lovin' Man Has Gone -- One-step Straight, Charley Whiting, R. & Charles L. Cook 1914 (B,E) 100149 Fox Trot Medley for Dancing Romain, Jules (Arranged) (B,E) 100149 -1 Good ad Levee Days Romain, Jules (B,E) 100149 - 2 Do the Funny Fox Trot Romain, Jules Carroll, Harry (B) 100150 Aba Daba Honeymoon -- Arranged for Dancing Madden, Jimmie Fields, A. & W. Donovan 1914 (B,E) 100151 Stay Down Here Where You Belong -- One-step Straight, Charley Berlin, Irving ( F) 100152 We Take Our Hats Off to You, Mr. Wilson -- One-step Straight, Charley Merrill ( F) 100153 When Grown Up Ladies Act Like Babies -- One-step Straight, Charley Abrahams (B,E) 100154 One-step Medley for Dancing Copeland & Straight (Arranged) ( E) 1001 54 - 1 They Start the Victrola Copeland, Earl Abrahams, Maurice (E) 100154 - 2 I Can't Believe You Really Love Me Copeland, Earl 1914 (E) 100154 - 3 When It's Night Time Down in Burgandy Copeland, Earl Paley, Herman 1914 (E) 100154 - 4 Humpty Dumpty Rag Straight, Charley (C) Straight, Charley ©1914 ( F) 100155 When You Wore a Tulip and I Wore a Big Red Rose - O-s Straight, Charley Wenrich, Percy 1914 (F) 100156 Tomorrow Morn -- One-step Straight, Charley (C) Straight, Charley ( E) 100157 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (E) 100157 - 1 At the Ball That's All Steindel, Ferdinand Hill, J. L. ( E) 100157 - 2 Chanticleer Rag Steindel, Ferdinand Gumble, Albert ©1905 ( E) 100157 - 3 Popularity Rag Steindel, Ferdinand ( E) 100158 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (E) 100158 - 1 I've Only One Idea About the Girls (and That's to Love 'Em) Steindel, Ferdinand Piantadosi, AI (E) 100158 - 2 He's a Rag Picker Steindel, Ferdinand Berlin, Irving 1914 ( E) 100158 - 3 Oh! My Love Steindel, Ferdinand Monaco, James V. (E) 100158 - 4 I Wonder Where My Lovin' Man Has Gone? Steindel, Ferdinand Whiting, R. & Charles L. Cook 1914 (E) 100158 - 5 At the Mississippi Cabaret Steindel, Ferdinand Gumble, Albert 1914 (E) 100158 - 6 You're Here and I'm Here Steindel, Ferdinand Kern, Jerome D. (E) 100159 One-step Medley for Dancing (? ) (Arranged) Rob DeLand 12/2/88

-6- QRS Autograph Popular Roll Master List Sorted by REF. ROLL # TITLE PIANIST DATE (E) 100159 - 1 They Start the Vidrola ( ?) Abrahams, Maurice (E) 1 00159 - 2 Down at the Barbecue Steindel, Ferdinand Lewis & Erdman ( E) 100159 - 3 All He Does Is Follow Them Around Steindel, Ferdinand (E) 100159 - 4 I Want to Go Back to Michigan (?) Berlin, Irving 1914 (E) 100159 - 5 Along Came Ruth (?) Berlin, Irving 1914 ( E) 100159 - 6 Follow the Crowd ( ?) Berlin, Irving (E) 100160 One-step Medley for Dancing ( ?) (Arranged) ( E) 100160 - 1 I Wonder Where My Lovin' Man Has Gone? ( ?) Whiling, R. & Charles L. Cook 1914 (E) 100160 - 2 Victor Herbert (? ) ( E) 100160 - 3 Humpty Dumpty Rag Straight, Charley (C) Straight, Charley e1914 ( F) 100161 II's a Long, Long Way to Tipperary -- One-step Steindel, Ferdinand JUdge, Jack & Williams 1912 (B) 1001 62 By the Beautiful Sea - One-step for Dancing Steindel, Ferdinand Carroll, Harry 1914 ( F) 100163 Doloroso -- A New Spanish Dance Roberts, Lee S. (C) Roberts, Lee S. (B) 100164 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100164 - 1 Love Moon -- from "Chin Chin" Steindel, Ferdinand Caryll, Ivan (B) 100164 - 2 When You're Away From the Only Girl Steindel, Ferdinand Herbert, Victor (B) 1001 65 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100165 - 1 Tomorrow Morn Steindel, Ferdinand Straight, Charley (B) 1001 65 - 2 Since You Gave Those Kisses to Me Steindel, Ferdinand (B) 100165 - 3 What Are You Going to Do Wfih Me Now? Steindel, Ferdinand (B) 100166 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100166 - 1 Stay Down Here Where You Belong Steindel, Ferdinand Berlin, Irving (B) 100166 - 2 When Grown Up Ladies Act Like Babies Steindel, Ferdinand Abrahams (B) 1001 66 - 3 Aba Daba Honeymoon Steindel, Ferdinand Fields, A. & W. Donovan 1914 (B) 100167 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100167 - 1 At the Yiddisha Wedding Jubilee Steindel, Ferdinand Piantadosi, AI (B) 100167 - 2 You Great Big Dancing Doll Steindel, Ferdinand Monaco, James V. e1914 (B) 100167 - 3 /l's Too Late Now Steindel, Ferdinand (B) 100168 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100168 - 1 Poor Pauline Steindel, Ferdinand Walker, Raymond 1914 (B) 100168 - 2 When You Wore a Tulip and I Wore a Big Red Rose Steindel, Ferdinand Wenrich, Percy 1914 (B) 100169 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100169 - 1 Whole Town's Wise, The Steindel, Ferdinand Richards, Dick (B) 100169 - 2 "m Glad My Wife's in Europe Steindel, Ferdinand Johnson, Howard (B) 100170 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100170 - 1 Dancing the Blues Away Steindel, Ferdinand (B) 100170 - 2 What a Wonderful Love That Would Be Steindel, Ferdinand ( F) 100171 Millicent Hesitation Roberts, Lee S. McKee, Frank (B) 100172 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (B) 100172 - 1 Celebratin' Day in Tennessee Steindel, Ferdinand Glogau,J. (B) 100172 - 2 My Wife is Dancing Mad Steindel, Ferdinand (B) 1001 72 - 3 How Long Have You Been Married? Steindel, Ferdinand (B) 100172 - 4 Do II With Me Steindel, Ferdinand (B) 100172 - 5 Independence Day in Dublin Town Steindel, Ferdinand (E) 1001 73 One-step Medley for Dancing (? ) (Arranged) ( E) 100173 - 1 Tomorrow Morn ( ?) Straight, Charley ( E) 100173 - 2 When You Wore a Tulip and I Wore a Big Red Rose (?) Wenrich, Percy 1914 ( E) 100173 - 3 We Take Our Hats 011 to You Mr. Wilson Straight, Charley Merrill (B) 100174 Wrap Me in a Bundle Steindel, Ferdinand Van Alstyne, Egbert (B) 100 175 Back to Dixieland Steindel, Ferdinand Yellen (B,E) 100176 Down in Waterloo -- One-step for Dancing Steindel, Ferdinand Gumble (B,E) 100177 At the Fox Trot Ball Steindel, Ferdinand Smith (B,E) 1001 78 Cotton Blossom Time -- One-step for Dancing Steindel, Ferdinand Wenrich, Percy (E,F) 1001 79 Fifty Fifty -- One-step for Dancing Steindel, Ferdinand Smilh ( F) 100180 Sellie Down in a One-horse Town - One-step Straight, Charley Berlin, Irving (B) 100181 When You Were a Baby Straight, Charley (C) Straight, Charley ( F) 100182 Winter Nights -- Fox Trot Straight, Charley Schwartz ( F) 100183 Everybody Rag With Me - One-step Straight, Charley LeBoy, Grace 1914 (B) 100184 When II's Night Time in Dixieland Straight, Charley Berlin, Irving 1914 ( F) 100185 Minstrel Parade, The - One-step Straight, Charley Berlin, Irving 1914 (E) 1001 86 One-step Medley for Dancing Steindel, Ferdinand (Arranged) (E) 100186 - 1 Back to Dixieland Steindel, Ferdinand Yellen (E) 100186 - 2 At the Fox Trot Ball Steindel, Ferdinand Smith (E) 100186 - 3 Fifty Fifty Steindel, Ferdinand Smith (E) 100187 One-step Medley for Dancing Steindel, Ferdinand (Arranged) ( E) 1001 87 - 1 Cotton Blossom Time Steindel, Ferdinand Wenrich, Percy (E) 100187·2 Down in Waterloo Steindel, Ferdinand Gumble (E) 100188 One-step Medley for Dancing ( ?) (Arranged) (E) 100188 - 1 Tomorrow Morn (? ) Straight, Charley (E) 100188 - 2 Setlle Down in a One Horse Town Straight, Charley Berlin, Irving ( E) 100188 - 3 When You Wore a Tulip and I Wore a Big Red Rose ( ?) Wenrich, Percy 1914 (B,E) 100189 Fox Trot Medley for Dancing Steindel, Ferdinand (Arranged) (B,E) 100189 - 1 Sam Fox Trot Steindel, Ferdinand Howard, George P. (B,El 100189 - 2 Silver Fox Trot Steindel, Ferdinand Lodge, Henry ( F) 100190 TantaliZing Waltz Roberts & Bliss Le Bar Nel, Frank Rob DeLand 1212/88

-7- AMICA BOSTON 1989 MATCH THE YEAR Directions: Match the description on the right with the appropriate year. 1. 1970 __ A. The headquarters hotel had the same name as the town. 2.1971 __ B. The river cruise boat carried a player piano. 3.1972 __ C. First of three conventions held in San Francisco. 4.1973 __ D. Thirteen Honorary Members came. 5.1974 __ E. A Wurlitzer Harp was the souvenir table favor. WELCOME PILGRIMS 6.1975 __ F. For the second time, the convention To get AMICA members thinking "Convention Time," here was hosted by a group before they even is a little qUiz. It isn't just for people who attend every became a chapter. convention-anyone can score high. All information came from 7.1976 __ G. Honorary Member Ursula Hollinshead the pages of Bulletin back issues. And very helpful will be the came to the convention just after list of conventions that was in the May/June 1988 AMICA News appearing on the Johnny Carson Show. Bulletin. (Answers to "Match the Year" will appear in the March/April Bulletin.) 8.1977 __ H. A year with no convention nor annual Speaking of ~mswers, the NovlDec Bulletin carried a little car­ meeting. toon with the question, "When was the Boston Area Chapter 9.1978 __ I. Organ concerts at a department store founded?" The June 22, 1978 minutes of the AMICA Board of and in a garden. Representatives include this motion: "Bob Taylor moved that recognition be given to the New England Chapter of AMICA:' 10.1979 __ J. By AMICA's unique numbering system, The motion carried. In later issues of the Bulletin, a correction the 11th convention. was made to show the chapter name as Boston Area Chapter. 11.1980 __ K. Conventioneers had to bring proof of To date, there has not been a convention/annual meeting held US citizenship. in New England. So 1989 will be a special event in a special part of the country. The Convention Committee is planning varied fare, 12.1981 __ L. There was a talk by J. Lawrence Cook. details of which will be revealed in subsequent news releases. In the March/April issue you will find registration information, so put 13.1982 __ M. Only convention held in October. the dates on your brand new 1989 calendar: August 24-27. (Board members, we'll see you a day earlier.) How handy - The Musical 14.1983 __ N. Dave Bowers was featured speaker. Box Society International Convention occurs the following weekend, just down the coast. Arrangements are being made for 15.1984 __ O. An Annual Meeting held at a member's special transportation from Burlington, Massachusetts to Teaneck, home. New Jersey. 16.1985 __ P. History of automatic musical in­ Another first! A Pumper Contest. Procedures and rules are struments illustrated by program, "From being finalized. R>r now, just start practicing. There will be a short Carrillon to Ampichron." "set" piece plus one roll of your choice-not more than two minutes of it. More information to follow. 17.1986 __ Q. Boston! REMINDER: On the hotel premises, there will be a band 18.1987 __ R. Silver Anniversary of founding of organ rally during the convention. Bring organs of all sizes. For AMICA. information, call Rally Master Marv Horovitz at (617) 729-2059. Detailed information will be included in the registration material 19.1988 __ S. Rudolph Ganz played solo piano with to be found in the next issue of the Bulletin. symphony orchestra. Ye Convention Committee 20.1989 __ T. "Discover Dayton" was the motto. AMICA Boston 1989

When was the P Boston Area E Chapter founded? A N U ,1 S

-8- BULLETIN CONTRIBUTIONS ON DISK ? By Terry Smythe

Our recent success at finding a suitable micro-computer for Ideally, contributors should prepare their contributions on an Valerie Anderson, dedicated to AMICA's membership system, at MS/DOS word processor of some kind, print that article, put it significantly low cost, is prompting this note suggesting something on a standard MS/DOS disk, and send both to the Publisher. He somewhat similar. One of the Membership tasks is the prepara­ in tum will send me the disk, and I will pass the file through my tion and publication of our Roster, presently a labor intensive desktop publishing utility, and mail the result back ready-for­ operation. camera. The ideal is not always attainable, as not all AMICAns The process of putting together and publishing our Roster are equipped with MS/DOS computers. Here's what I suggest: is functionally similar to putting together and publishing our 1. If your word processor has the facility to "print-to-a-file" use AMICA Bulletin. What is significant is that Valerie and I will strike it! That process will write, on disk, a file in pure ASCII form, up a kind of partnership, where she will be responsible for con­ fully formatted, and relatively easy to deal with. tent, and send it to me on a computer disk. I will then pass it through my desktop publishing system on my computer to 2. Describe the computer on which you are writing your articles. develop image and format, print a single ready-for-camera master A great help if the computer is MS/DOS. off a laser printer, and send that back down to Valerie for publica­ 3. Describe the word processing system you have used. e.g. tion. The only reason I'm involved in this is simply because I have WordStar, Word Perfect, PC-Write, etc. the software and access to a number of laser printers. 4. Please add your full name and current mailing address, home I see a fine opportunity here to put in place the means to progressively reduce our Bulletin publishing costs through the use phone, business phone, and if known, the telephone number of this computer. Within the various elements that contribute to of your favorite BBS you routinely visit with your computer. the preparation and ultimate publication of the Bulletin, the task 5. At home, I can "read" most any soft sectored 5 1/4" disk, of typesetting is a costly element that can be reduced with the single Sided, double Sided, 40 track, 80 track, 1.2 meg hi­ use of a computer. density, etc. I cannot "read" hard sectored disks, nor 3" disks. The critical ingredient is that members contributing must be However, there is a very high probability I can find someone encouraged to do so in the form of a disk through the mail, or locally within our User Group here who can read the disks, in the form of a file through the wire (phone). Many of our and squirt the files to me through the telephone wire. members already prepare their articles with the use of a personal computer, then print it out and send the printed copy in to the I have no idea what kinds of disks will emerge in the months Publisher, where it is passed through a keyboard once again. Here ahead, but I'm optimistic that an ever increasing number of con­ is the opportunity to progressively cut our typesetting costs. tributors will send in their contributions on disk (and paper), and I anticipate a favorable success rate in converting the articles to Right now, nobody sends in their contributions in disk form, ready-for-camera works of art. 'cause neither our Publisher, nor our printer are equipped to han­ dle this kind of input. I could be doing this right now, and in fact There are certain to be unforseen problems, for I have per­ did send through a disk some time ago, but to no avail at that sonal knowledge that "Murphy" is alive and well, and living in ex­ time. Perhaps it is timely to once again revive the concept. ile inside my computer. He is certain to strike with deadly accuracy To test the concept, and get the process rolling at no cost just when I think I've aced the current disk in hand. So please to AMICA at this time, I am prepared to accept disks from the do contribute your articles in both paper and disk form and start Publisher, pass their articles through my desktop publishing utility, now. and return to the Publisher a ready-for-camera article in galley I will return all disks back to the authors, and fill them up format, suitable for the same cut-and-paste process now done with current public domain music related software of interest. You by our commercial publisher. As more and more members will enjoy! gradually become aware that a disk copy, along with the printed copy, of their article, is acceptable, the volume of typesetting will gradually diminish. ******************************************************************* TECHNICALITIES V IS READY! By Terry Smythe With Mel Luchetti's untimely, regrettable passing, the preparation and publication of Technicalities V was delayed significantly. However, we recovered, and this fine new collection of technical articles from the past eight years of our Bulletins is now complete, and orders will be accepted. All previous Technicalities embraced three years of articles in each, and they were all priced under $10.00. This issue embraces a full eight years of articles, so is substantially larger than all previous issues. On a page for page basis, the value of this should warrant a price somewhere in the vicinity of $40. However, a method has been found, where our U.S. AMICAn dollar goes much further up here in Canada. Consequently, it will be priced at only $20 (US). All orders should be directed to: Brian Meeder 904A West Victoria Avenue Santa Barbara, CA 93101. Brian will advise me who to send copies to, and all will be mailed from my home here in Canada. Mailing should be occurring in mid-February, and copies in hand by end-February latest. -9- HONORARY MEMBER LIST By Dorothy Bromage, Honorary Member Chairman

In the AMICA Membership Directory, you will see a list of Honorary Members. In the last 12 months, I have put the list on computer, together with supplemental data I could locate, and now fve provided Publisher Ed Ward with the following chart. The asterisk refers to Honorary Members now living. You will notice some information is missing. If anyone can supply dates that will complete the record, please send to me, together with copy of backup (source). A phone call would be just fine, too. (207) 839-5700. I hope everyone will take note of my new address as of 8-1-88. Dorothy Bromage 157 School Street Gorham, ME 04038-1036 As Chairman for Honorary Members, I have acted on suggestions by members, made contacts, and recommended three new Honorary Members. Referrals are always welcome, and I will act on them. I also am grateful to members who notify me when there is anything new concerning an Honorary Member. Last Name First Name DOB Deceased HM granted Adler Clarence 03-10-1886 12-25-1969 ? Alpert (Rooff) Pauline 12-27 04-06-1988 Apr 77 Alter Louis 06-28-1902 11/1980 May 74 Armbruster" Robert 10-09-1896 May 71 Baker Edythe 1977 ? Bier Alan 01-08-1973 Dec 72 Billings Robert W 04-05 03-19-1985 May 71 Bingaman (Smith)" Ruth 08-29-1896 Dec 71 Blake Eubie '02-07-1883 1983 ? Brailowsky Alexander 02-16-1896 04-25-1976 ? Brooks Elmer 09-02 05-04-1987 Oct 69 Burger" Julius 03-11-1897 Dec 72 Carroll Adam 03-19-1897 02-28-1974 Oct 69 Chaloff Julius 09-02-1892 10-27-1979 Jun 69 Chasins Abram 08-17-1904- 06-21-1987 May 2674 Chenoweth Wilbur 06-04-1899 4/1980 Oct 71 Cherkassky" Shura 10-07-1911 Sep 77 Chiapusso Jan 1890 08-21-1969 ? Confrey Zez 04-03-1895 11-22-1971 ? Cook J Lawrence 1899 1976 Dec 72 Cooper Charles 1888 05-08-1971 Jun 69 Copeland George 1883 06-16-1972 ? Dawson Emse 1977 Jun 71 Dietrich (Hollinshead) Ursula 05-10-1886 1985 Apr 71 Dixon Frederic 1895 11-25-1923 ? Downey Lyle 12-01-1979 Dec 74 Duke John 07-30-1899 10/1984 Apr 77 Echaniz Jose 06-04-1905 12-30-1969 ? Fairchild Edgar 06-01-1898 1975 Nov 69 Fio Rito Ted 12-20-1900 07-22-1971 Jan 71 Friml Rudolph 12-02-1879 11-12-1972 1971 Ganz Rudolph 02-24-1877 08-02-1972 or 71 ? Gawlik" Adam 10-17-1903 Apr 18 88 Gold Joe ? ? ? Gradova (Cottle) Gitta 08-04-1904- 04-26-85 May 83 Grofe Ferde 03-27-1892 04-03-1972 1971 Haeseler" William Hageman Richard 07-09-1882 03-06-1966 ? Hall (Ballard)" Frances Oct 82 HONORARY MEMBER LIST continued -

Last Name First Name DOB Deceased HM granted Hanson Eddy 08-01 02-22-1986 Jun 80 Hess Myra 1890 11-27-1965 ? Hickman Clarence 08-16 05-07-1981 Oct 75 Honnert' John 07-07-1908 Sep 77 Hunholz Elmer H 12-14 ? Jan 77 Huntley (Durand) Gertrude 07-16-1888 01-16-1987 Dec 80 Johnson Johnny 1979 Feb 71 Kortlander Herman 05-21-1900 07-12-1987 1985 Laffitte Frank 06-19 03-02-1982 Sep 77 Lamson Carl E 1897 03-05-1966 ? Lange Henry W 07-20-1895 06-10-1985 Mar 76 l..eginska Ethel 04-13-1886 02-26-1970 ? Lester' Edwin 03-30 Apr 77 Link Edwin 06-26-1904 9/1981 Nov 79 Locust (Hart)' Matilda 11-28 Dec 72 Lopez Vincent 12-30-1894 9/1975 ? Loth L Leslie 10-28-1888 1975 Dec 72 Mana-Zucca 12-25-1894 03-08-1981 Apr 77 Mora Flora 11-24-1894 2-7-1987 Feb 1977 Morath' Max 10-01 Nov 15 75 Munz Mieczyslaw 10-31-1900 8-25-1976 Mar 76 Nancarrow' Conlon 83 Ney Elly 09-27-1882 03-31-1968 ? Noble Ray 1903 1978 ? Novaes (Pintot) Guiomar 02-28-1895 03-07-1979 Feb 71 Nyiregyhazi Erwin 01-19-1903 04-08-1987 Apr 77 Ornstein' Leo 12-11-1892 Jun 26 76 Pelletier Wilfred 06-20-1896 04-09-1982 Dec 2 77 Perry' Gray 12-28-1898 Dec 82 Pitot Genevieve 10-04-1980 Dec 72 Podolsky Leo 05-25-1891 10-01-1987 Mar 81 Powell John 09-06-82 10-19-1944 ? Richardson Vera 1978 Feb 71 Rivers (Moody)' Claire 03-10-1893 Jul83 Roe' Douglas 1903 ? Rydeen 0. Fred 08-19-1893 1983 Dec 72 Savino Domenico 01-13-1883 08-08-1973 ? Schneider Carl I 11-18-1976 Jun 71 Schnitzer Germaine 05-28-1889 1982 or 83 Dec 72 Smith' Leonard 09-03-1901 Nov 82 Spaeth Sigmund 04-10-1885 11-12-1965 ? Stevens Ernest L 12-15 1982 Oct 75 Stewart Reginald 04-20-1899 1984 Jan 71 Transman Alexandre 06-12-1897 11-15-1986 Jul 71 Tick' Ramsi 11-12 Jul69 Voorhees' Donald 07-26-1903 Mar 30 81 Wendling Pete 06-06-1888 04-07-1974 Mar 71 Wetzel Maurice (Roy) 03-06-1895 ? May 72 Yalko~sky (Byman) Isabelle 12-24-1906 12-27-1981 Jun 29 80 Zuck' Victor I 01-29-1908 Jun 29 79 AMICA REGULATIONS By James Doheny Under the provisions of the Bylaws, Article IV, Section 2, and others, the Board ofDirectors of AMiCA has adopted the following Regulations. The first two numbers ofeach (one Roman, one Arabic) refer to the appropriate Bylaw being implemented. When a Regulation is modified or added, the date of modification follows in parentheses; undated items were adopted by the Board of Directors at their regular meeting on June 22, 1988.

1-2-1 HEADQUARTERS The headquarters of the Association, for legal purposes, shall be the office of the Secretary. A registered agent, for the service of process, shall be designated by the Board of Directors. (Note: for 1988, the Treasurer is designated.)

1-3-1 SEAL The seal of the Association shall be circular in outline, shall contain a representation of a roll for a mechanical musical instrument, and shall include the legends "Established 1963", "San Francisco, California", "AMICA", "Automatic Musical Instrument Collectors Association, International, Inc", or appropriate abbreviations thereof. 111-2-1 MEMBERS Members, who may be referred to as "regular members" only when there is a chance of misunderstanding, shall be individual persons, each of whom has applied and been accepted in accordance with regulations, and who has paid current dues. Each member is entitled to receive all benefits of membership, including the right to vote on matters presented to the membership for action.

111-2-2 FAMILY Persons living in the same household as a member, such as a spouse, children, or others, may be invited to participate in any activities of the Association on a basis established by the sponsoring group; they shall not be entitled to vote unless separately enrolled as a member and paying current dues.

111-2-3 HONORARY Persons of outstanding achievement in the fields of AMICA's interest may be nominated for Honorary Membership by any two members. Such nominations shall be presented to the Board of Directors for action. Honorary members elected by the Board shall be exempt from the payment of dues, but shall be ineligible to vote or hold office. 111-2-4 FOUNDING MEMBERS Charter members of the Founding Chapter (San Francisco) shall be designated as Founding Members. They shall be exempt from the payment of annual dues, but shall have all the rights and privileges of membership in perpetuity.

111-2-5 CORPORATIONS No provision is made for membership by corporations or other legal entities. However such legal en­ tities may, with the approval of the Board of Directors, subscribe to the AMICA NEWS BULLETIN for a fee to be set by the Board. The Library of Congress shall receive such a subscription at no cost. Any subscriber to the Bulletin may advertise in it at current published rates.

111-5-1 DUES The follOWing schedule of dues and fees is established: Initiation fee (payable once by new members) . $ 5.00 Annual dues, members . 22.00 Annual dues, members with Canadian or Mexican address . 28.00 Annual dues, members overseas, publns by surface mail . 28.00 Annual dues, members overseas, publns by printed matter airmail . 48.00 Lapsed or resigned member, reinstatement fee . 5.00

111-5-2 DUES NOfICES - TERMINATION Dues notices shall be sent to each member in a mailing distinct from publication in the News Bulletin. Dues obligation begins on the first day of each fiscal year (January 1). A second notice, if required, shall be sent to any member delinquent on February 1st. A membership unpaid on March 1st shall be considered as lapsed, and membership is automatically terminated. Reinstatement may be obtained by payment of current andbr accumulated dues, plus the lapsed member­ ship fee; or by application as a new member.

111-5-3 RESIGNATION Any member in good standing (ie-not in arrears) may resign by written notice to the Membership Secretary. 111-5-4 INITIAL YEAR Persons joining at times other than the beginning of a fiscal year shall pay full dues for the current year. At the time of their first renewal (January 1st of the following year) they may be given a credit based.on the number of issues of the BULLETIN not received by them for their first partial year.

V-3-1 COMMITTEES Unless otherwise provided for in the bylaws or in the enabling motion creating them, the number of members on a committee shall be determined by the President in consultation with the chairman of the committee. All members of a com­ mittee shqll be appointed by the President, with the advice and consent of the chairman of the committee concerned. Unless other­ wise provided for, the terms of membership on committees shall coincide with the term of the President appointing them.

continued - AMICA REGULATIONS continued - V-3-2 EXECUTIVE COMMmEE The Executive Committee of the Board of Directors shall include the president, the vice­ president, the secretary, the treasurer, and the immediate past president. This committee shall have the power to act on behalf of the Board of Directors when so authorized by them, or in cases where immediate action is required and it would be impossible or inexpedient to call a full meeting of the Board. All such actions shall be promptly reported to the Board and a full record of them included in the minutes of Board actions. V-3-3 FINANCE The Executive Committee shall act as a finance committee. Not later than December 1 of each year, the com­ mittee shall prepare a budget detailing the expected income and expenses for the coming fiscal year, and shall submit this budget by mail to the full Board for approval. Expenses shall not exceed the budget amount without specific approval by the Board. V-3-4 MEETINGS COMMmEE There shall be a committee on annual Meetings, the chairman of which may be designated as Meetings Co-ordinator. This committee shall recommend to the Board of Directors locations and dates for AMICA meetings; shall solicit and encourage local chapters to act as hosts for such meetings; shall assist such host chapters and coordinate relations between the host and officers of AMICA; and shall perform such other related duties as requested by the Board of Directors or its officers. V-3-5 AUDIO VISUAL COMMITTEE This committee shall be charged with the responsibility of preparing, preserving, and distributing all forms of audio visual records, demonstration, techniques and other topics related to and contributing to the objec­ tives of the Society. V-3-6 TECHNICAL COMMITTEE This committee shall solicit, review, and make available to the membership thru the News Bulletin or otherwise, information on the restoration, repair, preservation, history, and other phases of mechanical music. They may also assist members with these problems. V-3-7 ARCHIVES COMMITTEE This committee shall be responsible for procuring, storing, and maintaining proper records of AMICA, its activities, and its interests, including historical material about artists, pianos and phonographs, and related matters. *******************************************************************

Put Another Thousand In •• • By Linda Lee - Contributed by Randolph Herr What, after all, can you buy for $8,000 this Christmas? Acar, Customers can specify the type of stained-glass panels. Roses perhaps, but then you have to park it. A terrific computer system, are popular; some people ask the company to match wallpaper yes, but with that you get social isolation. For about 40 people this pattems, and more unusual requests are not unknown. One man year, the answer to the $8,000 question has been a 1,000-pound ordered a clown panel for his wife's Christmas present. Mr. Har­ nickelodeon, shipped from Shakopee, Minn., a small city south of mon said the man told him, "She's got this thing for clowns: Minneapolis. Emmett Kelly, Red Skelton." "The East is great for nickelodeons," said Paul Harmon, the Since the owners will not see the half-ton machine until it arrives sales manager and an owner of the Carson City Parlour in in its padded van - and since by that point they will have paid more Shakopee. The company sells its nickelodeons complete with eight than $8,000 for the surprise inside - a great deal of trust is involv­ instruments: piano, glockenspiel, Indian wood blocks, tambourine, ed in the mail-order nickelodeon business. cymbals, mandolin, snare drum and bass drum. "I deal with quality people," Mr. Harmon said, adding: "We've "It's almost made for Christmas;' Mr. Harmon said. "It's a never had a machine come back. One time we had to exchange family-type gift, a bit of an heirloom." a stained-glass panel." John Neighbors, of Swainsboro, Ga., ordered a Cathedral Or­ . The company ships 15 to 20 nickelodeons a month - more chestrion, complete with triangle and 24 violin-flut pipes, as a at Chirstmas time - by padded van, at a cost of $250 to $700. $12,500 present for himself this Christmas. As sometimes hap­ "It depends not so much on how far it's going," Mr. Harmon said, pens, all did not go smoothly. The shipper lost the seven-foot tall "but what's on the other end. If we're shipping to a place with a orchestrion somewhere between Shakopee and Swainsboro. four-foot loading dock, it's $250. But if it has to go up two flights of narrow stairs, it's more' "The customer was unhappy, even though he had trouble say­ ing he was unhappy," Mr. Harmon said. "I told him we'd refund his The Carson City Parlour has a modest showroom filled with money, and to just send the thing back if it ever got there" slot machines, jukeboxes and video arcade machines. Its nickelo­ But the orchestrion arrived in time for Mr. Neighbors's deons are made from old piano cases by Barry Casper in a fac­ Christmas party for the choir members of Swainsbords First United tory near Las Vegas, Nev. "We get most of our old pianos from Methodist Church, where he is choir director. It offered renditions the Midwest; Mr. Casper said. The cases are expanded, stained­ of "White Christmas," "Rudolph the Red-Nosed Reindeer" and glass panels are installed and the nickelodeons are fitted with new "Jingle Bells," along with 22 other Christmas songs. works. When all is done, they offer the clang, thump and tinkle of a carousel. "It's the most fabulous thing you've ever seen or heard," Mr. Neighbors said. "fm so happy with it I don't know what to do" He "They get new keys; the harps are removed; the cases are skim plans to keep the machine planed; they get a new roll mechanism, motors," Mr. Harmon said "Some people buy two at a time: one for the city house and "All the valves are handmade You can flip a switch and get an auto­ one for the country house," Mr. Harmon said. "They've got two player piano, free play or coin. And it rewinds automatically." homes. The need two nickelodeons." The nickelodeons use paper rolls, each containing 10 to 12 "The only problem," he said, "is that some people worry tunes. Six rolls come with the machine; extra ones are $30 a roll. because we're in Shakopee They worry we're crooks. But we tell "There are 2,000 to 2,500 tunes available," Mr. Harmon said them to get in touch with the Better Business Bureau." Then he . "Some people get addicted to them. We just got one order for confessed, as if this were insider trading, "Actually, Iknow the head a thousand dollars' worth of piano rolls." of the Better Business Bureau personally, but I don't tell them that." FIGARO FANTASIE - Mozart-Liszt Vladimir Horowitz - Welte 4128 By Emmett M. Ford This roll is a red paper roll, the type Welte-Mignon first produced for the Welte player mechanism. The rolls were made in the German factory of Welte and referred to as "red Welte" or "red paper Welte." Welte rolls were produced in the U.S.A. and labeled Welte-Deluxe on a lighter grade of paper. Franz Liszt, the constant "transcriptor" of opera arias has used excerpts from the Mozart opera, "Marriage of Figard' to create a dazzling composition for recitalists. The great living pianist, Vladimir Horowitz is the ideal pianist capable of making this exceptional roll.

Vladimir Horowitz

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MICHAEL DVORSKY By Emmett M. Ford

The superb Duo-Art roll, No. 6513-4, "Sanctuary" played by Eventually Hofmann admitted he was the composer and it Josef Hofmann has the composer listed as Michael Dvorsky. A is fortunate we have his recording of the "Hofmann-Dvorsky" composition "Chomaticon" was introduced to the public in 1916 piano composition. by the Cincinnati Symphony Orchestra with the soloist listed as The notes in the 1927 Duo-Art catalog refer to this piano the French composer named Michael Dvorsky, and who was in­ roll as the first Mr. Hofmann had recorded of his compositions. habiting the Spanish ViII d'Eau of San Sebastian. The critics were The full and half-pedaling effect is a sole Duo-Art unique develop­ suspicious and some even blatantly stated Josef Hofmann was ment which creates a transparency of tone. Half-pedaling com­ the composer and Michael Dvorsky was a Hofmann alias. Hof­ prises raising the pedal rapidly and quickly depressing it again, mann denied it. He had provided appropriate directions to his the damper touching the strings only briefly and lightly dampen­ friends in Europe to parry questions and had them writing letters ing the weaker treble strings while merely reducing the volume in the name of Dvorsky and mailing them from Spain to the U.S. of the bass strings. It is employed also to cut back a mass of Hofmann was enjoying this as he did many other jokes and wrote tone; Liszt was probably one of the earliest masters. to his Wife, "is it not delicious? I think it's great fun. They surely will publish this letter with commentary, and mix up the public If the owner of the roll detects this half-pedaling it is entirely more than ever. . :' individual as to one's ear and musicianship.

-14- .~... Book Review

THE LIFE & WORK OF ERNEST M. SKINNER Dorothy J. Holden - Reviewed by Emmett M. Ford Ernest M. Skinner (1866-1960) had an education of about the tion of the Bach music, was agonizing to him, who had been so par- eighth or ninth grade, but was such a genius he developed the pipe ticular as to the sound of the pipes. organ into an instrument of sound unequaled to anything of the time. The revoicing of the pipes, which organists claimed were best suited The concept he had of the organ was of a classic sound and ar- for interpreting the music of J.S. Bach, was a resemblance of the type tistic expression. The Skinner Organ Company manufactured pipe of organ buUt in Bach's day. A study of the writings of Bach, by Ernest organs for churches, schools, auditoriums, theatres and residences, Skinner, resulted in Ernest's opinion that Bach's music would not be the latter with playing mechanisms for the rolls made by famous such if Bach had an organ of the modern kind. Bach's works and his organists of the time. The first Skinner factory was at 387 East 8th playing were required because of the type of instrument of the time. Street, South Boston, the second at Crescent Avenue Street, Dorchester Bach often complained of the small instruments which he had to use (1914), Methuen adjacent to Serlo Hall, 1929, and the final location during his life-time. was on the third floor of the Lyceum BUilding, 179 Haven Street, The book is full of rare and interesting photographs. AMICAns Reading, PA. interested in player pipe organs, and their history, will find the book Ernest was born January 15, 1866, in Clarion, PA., of parents worth a place on the library shelf. It may be obtained from the Organ who were concert singers, and Ernest was the fourth generation of Literature Foundation, 45 Norfolk Rd., Braintree, MA 02184. the famous John Alden. The book lists various installations of the player pipe organs In 1900 he applied for a patent on a device for expression in player manufactured by the Skinner Pipe Organ Company and installed in pianos and called his invention the "themodist." mansions in America. In the 1920s, residence organs became a status symbol of the Three-manual organs were installed in the homes of J. Mitchel wealthy who had incomes large enough to have a pipe organ installed Clark of Newport, Rhode Island, and Mrs. H.N. Slater of Readsville, in their mansions. Other companies were offering such instruments Massachusetts. A two-manual organ was installed in the home of T. to the public. Clarence Hollander, Wenham, Massachusetts. An instrument was in- The organist, Gordon Belch Nevin, was employed by-the Skinner stalled in the music room of the home of Walter F. Starbuck, Waltham, staff to be in charge of the roll cutting department and to arrange Massachusetts, which had a Steinway upright piano connected to the musical scores for the sophisticated player organ called the "Or- organ and the apparatus was operated by means of a vacuum-operated chestrator" which played perforated rolls much in the manner of the tubular-pneumatic action. The mechanism for the pedal board was con- player piano. By 1921 thirty-one colleges and universities had, or had sidered to be unique and the only one constructed by the Skinner fac- on order, Skinner organs. Some were prestigious schools like Harvard, tory. Another notable organ installation was in the home of William Cornell, Williams and Rutgers, Eastman School of Music, Oberlin Col- Ball (manufacturer of Ball-Mason canning jars) of Muncie, Indiana. lege and schools in Grenfield, Ohio, Cincinnati, Pittsburgh and New Another notable installation was a three-manual organ with player York. mechanism installed in the Chateau de Cande, Monts, France. The World War I began which curtailed metals and materials needed Chateau was the residence of Charles E. Bedaux, President of the in the war; such materials were of the utmost importance in organ Washington Lafayette Institute, and founder of many corporations bear- building, and consequently the company could not meet installation ing his name. This was the first European installation by the Skinner contracts or produce organs. firm, and received much publicity in advertisements. It was at this organ, Skinner organs were installed in motion picture theatres, but they Marcel Dupre played for the wedding ceremony of the former King Ed- did not have the desired sound as that found in the Wurlitzer or other ward VIII and Mrs. Wallis Simpson, June, 1937. Dupre had also played pipe organs. the opening recital on the Chateau de Cande Skinner pipe organ. An Opus 357 Skinner organ was installed in 1922, in the residence of At the beginning of World War II, materials again were required Robert Law, Port Chester, New York. It was "junked" in 1958! for war. Work and installation of Skinner products were curtaUed once more. Financial conditions were so bad the company became bankrupt Other pipe organs from the Skinner factory were in theatres. The in 1941. Mr. Skinner had purchased Serlo Hall and established a fac- Gp. 369 was installed in 1923 in the Capitol Theatre, Boston, tory in Methuen, which later burned, July, 1943. Massachusetts, and removed in 1972 and stored in St. Ma.yr's, Quin­ cy, Massachusetts, prior to the demolition of the theatre. The Skinner Company had two separate libraries of rolls for their player organs. A full automatic and a semi-automatic, playable on the Some of the former Skinner pipe organs were changed tonally, same instrument by means of a two-way switch. Other pipe organ com- contrary to Mr. Skinner's method, but fortunately some of the organs panies issued the same types of rolls. have retained their original design and tonal production_ The full automatic roll played the organist's interpretation as to An Opus 467 was installed in 1925, in the Baptist Temple, phrasing, stops, and the stopping of the roll or rewinding. The semi- Charleston, West Virginia, and is now in a private home in Detroit, automatic allowed the person to sit at the console and control the tem- Michigan. The organ was named the JAP.c. Skinner organ, and given po, registration and expression by use of different stops as desired, to the church by the children of Horace E. Dodge, the automobile or indicated on the roll, thus making the person feel as if he were real- manufacturer, in his memory. The organ was a four-manual, sixty-eight Iy producing the music. rank and was played by Palmer Christian for the opening recital, April 8, 1926. Mr. Christian was professor of organ at the University of Though Ernest Skinner had been "pushed" out of the business, Michigan. he continued to be active in voicing pipes, certain installations, and giving advice on the means to get the "superb Skinner" sound from In 1932 a comprehensive instrument, of more than one hundred the instrument until his retirement in 1949. stops, was designed and installed in Girard College in Philadelphia. The same year, Aeolian and Skinner organ companies consolidated A change in the sound of the pipe organ began with a new genera- due to the financial condition of Aeolian. The two companies did not tion of organists who wanted pipe organs to have the sound of "Bach's- merge, as Skinner bought only the player rights from Aeolian, and it time" '\nd pipe organs were voiced and regulated to meet this require- was thought Skinner acquired the organ department from Aeolian for ment. To revoice the Skinner organs, and others, to the shrill, lifeless one purpose, to get their library of organ recordings which had been sound which was considered necessary to be heard in the interpreta- made for the Aeolian player.

-15- BEWARE THE BUYER (Final Episode) By Terry Smythe "The Sweet Smell of Success Hangs Heavy in the Air!" REVIEW b. The document is dated 21 January 88. I bought the piano Last December 1987, a local Storage Company invited me on December 8, 1987, and it has been on my premises to bid on an abandoned player grand piano. I was the high bid­ since then. It could be argued that based on their posi­ der, was directed to pay for it in raw cash, and the piano was tion, the Storage Company is improperly billing for a ser­ voluntarily given up upon payment in full, and I did get a receipt, vice they cannot possible provide, illegally receiving albeit issued on letterhead instead of regular receipt form. Six monies for an impossible service, and in fact exposing weeks later, after I was deep into restoration, the Storage Com­ themselves to a charge of some kind by the other party. pany called, claiming that after all these years, the original owner 2. The person identified as the "rightful owner" happens by had showed up, they did not have the right to sell it, I did not chance to be a prominent Winnipeg business man, President own it, and proceeded to launch a lawsuit against me to recover it. of a major media service, and clearly in a position to make things quite uncomfortable for the Storage Company and its UPDATE parent company. In hopes of possibly resolving this issue Following a series of legal actions, the Storage Co. had quickly, I contacted this fellow, spent about two hours with capitulated, and proposed a Motion of Mutual Discontinuance, him, and here is what emerged of significance: declaring they "...do not wish to pursue the action further, ...and a. His father did in fact put their player piano into storage Mr. Smythe may retain the piano in accordance with his purchase with that company in 1971, but he has since passed away, thereof:' leaving behind no photographs or description, or In my last article by the same title, appearing in the documentation relating to it. This fellow could only vague­ July/August Bulletin, the saga concluded with me registering a ly recall it. Counter Suit against the Storage Company, and they had b. The Storage Company had not advised him that the registered a Reply wherein they denied each and everyone of my piano for which they were still charging him storage allegations. One of my allegations was that they had consist­ charges, and for which he is still paying, may not be on ently failed to provide proof of alternate ownership, which in fact their premises, nor under their care. My call was the first to this point they have failed to do. he had heard of it. On Friday, June 3, while doing a routine check on mycase 3. The piano I bought was built in 1912, making it 76 years old. at the Court of Queen's Bench, I learned that the Storage Com­ If it was the same piano this fellow's father put into storage pany had registered a Notice of Motion on 1 June, two days in 1971, it should have had ample evidence of some 50 plus previously, without simultaneously serving this document on me, years of use. However, my detailed appraisal of the instru­ scheduling a court appearance on Monday, 6 June. Somehow, ment clearly says it has well under ten years of use. So the their lawyer managed to bypass "service" by having the Notice piano in my living room is clearly not the same piano this declared "Uncontested:' fellow's father put into storage in 1971. In that Notice, the Storage Company was appealing to the The General Manager of the Storage Company prepared an Af­ Court for an Order to "strike" my Counter Suit on the grounds fidavit, within which he made a number of statements that are that it is frivolous and vexatious, andbr that the Sheriff replevy not entirely correct, and in fact misleading: the piano and return it to them. It is possible that had I not 1. He admits to entering into a contract on 8 December with appeared in Court on that Monday morning, notwithstanding that me to sell the piano "...at a cost of $1,500.00 believing that I had not been "served," I stood to forfeit the piano for lack of to be the approximate value of the piano." In fact, his state­ response. ment should more properly have read, ~ ..of $1,500.00 being It would appear their lawyer was attempting to rush an Ac­ the Defendant's high bid:' tion through the Court in hopes that it would all be over but the 2. He declares, "THAT despite repeated demands both verbal­ shouting before I knew what hit me. Fortunately, I did learn about ly and written the Defendant has refused and neglected and it, and did take action (I now have a lawyer) to ensure I was pro­ continues to refuse and neglect to return the piano..." How perly served, forcing an indefinite postponement. he can publicly register such a statement when Iput in writing a request for proof of prior ownership as far back as early Some interesting observations on this Notice: March and verbally as far back as January, is I believe an 1. For the first time, a "rightful owner" has been named. However, absolutely clear indication of their intent to practice both: the method they chose to do so absolutely boggles the mind. a. Legal terrorism, coldly calculated to intimidate me into They attached an almost illegible photocopy of a routine in­ caving in to their demands, and voice for storage charges, stating the individual's name, and b. The mating dance of business development, where that on the 21st of January, they were billing him for the next everything their lawyer does is a business expense for three months storage. The invoice did not show any previous which he gets paid, and is so arranged that the action amounts owing, therefore substantiating their claim that the cannot be concluded, and a follow-up action is certain, "rightful owner" was not in arrears. This document provokes for which he will also get paid. And if I fail to respond, several glaring errors, inconsistencies, and shortcomings: at my personal expense, Iautomatically forfeit the action. a. The invoice simply states that $84.00 is the storage By producing their proof of prior ownership, the detailed charge for storing "something" for the next three months, description all storage companies prepare as they receive and does in fact substantiate that the customer is not "something" for storage, the whole action would have in arrears. However, it does not in any way provide a come to an end months ago, in the presence of a better positive link to this specific piano. In fact it draws no link claim to title than mine. It is inconceivable such a docu­ at all to anything specific, for it fails to specify what the ment does not exist, for any company failing to have such goods are. a description on file, expose themselves to substantial damage claims on eventual delivery. -16- BEWARE THE BUYER continued - This I believe to be a practice of bad law, is morally At this point, I realized I was getting in over my head. I had been offensive, and in total contradiction to all that is fair, ethical, conducting my own legal work, but now I realized I had no op­ just, reasonable, and expedient. If I were to administer my tion but to secure the services of a lawyer. Following a number Department on these principles, I have no doubt I would be of inqUiries, I found a new lawyer who had been a policernan for fired on the spot for practicing bad management. ten years, and a graduate from the school of hard knocks, who 3. I told the General Manager on December 8, 1987, that Iwould agreed to take on the case 'cause of its rarity, intrigue, good ex­ be restoring the piano. Now on June 1, 1988, he is declar­ perience and a high probability of winning. ing, as if it were some new revelation, "THAT I have been A letter to the opposing lawyer, advising my position is unchanged, advised by the Defendant that it is his intention to restore the piano, and it is therefore necessary that the piano be was sent at the end of August. On 7 November 88, the Storage ~ returned to the Plaintiff forthwith so that any alteration of Company lawyer contacted my lawyer to advise ..that we do not the piano from its natural state is prevented or in the event wish to pursue this action further, ...will confirm that Mr. Smythe the Defendant has begun to restore the piano any further may retain the piano in accordance with his purchase thereof. alteration is prevented:' ...conditional upon both sides agreeing to a Motion of Mutual Discontinuance." I had the piano in my possession for six weeks before any hint of ownership problems arose. In that time, it took me I consider myself extremely fortunate to be coming out of this only six hours to reduce the player action to a box full of parts, messy affair with only very modest legal costs in the order of about with old fabric and tubing, etc., destroyed. Simple reassembly $300 (approx $250 US). My original objective was simply to be is no longer possible by any method other than complete left alone, and if the cost of that is $300, then so be it. The piano restoration, and I am the only one in the area capable of do­ is still a bargain, well worth fighting for. ing the work. Termination would be irresponsible. 4. He states, "THAT it is a further concern on the Plaintiff that A couple of interesting side issues have surfaced as a result of should the Defendant continue to be in possession of the this appalling action. It seems the Retail Sales Tax Branch of the piano he may choose to sell if' While that of course may be Manitoba Government became interested because a 7 percent true, nevertheless in reliance on the validity of the purchase sales tax was neither charged nor collected. It seems also that of the subject piano, I disposed of my other piano which can the Central Investigations Unit of the federal government Income no longer be retrieved. Tax became interested for its own reasons, and it seems also that The Storage Company has always had, but never suggested, the Manitoba Government's Consumer's Bureau became in­ another option whereby they could appeal to their parent terested when they learned that this "abandoned" piano had not company, a very large north American van lines, to search been sold at public auction as reqUired by regulation. And lastly, throughout their vast network of .similar warehouses my continuing review of public court documents continues to throughout North America, and find an alternate player grand show the so-called "rightful owner" has never launched a lawsuit piano of equal or better value to offer me in lieu of. of his own to recover this piano alleged to belong to him (nor even damages for that matter), even though nine months have The bottom line here is that I have no intention of doing without. I have certain public contractual concert com­ now elapsed since being advised of the situation, and nearly a mitments for which I need that piano, or a reasonable year since it has been on my premises. facsimile. Ahhhh How sweet it is! 5_ Needless to say, he has failed to state in his affidavit that he was the one who sought me out, invited me to bid on the piano, accepted my high bid, directed me to pay for it in raw cash, and voluntarily gave up the piano to me in return for payment in full. ******************************************************************* DUO-ART PIANO ROLLS FROM THE AEOLIAN FILES By Emmett M. Ford

International Piano Library began when Gregor Benko and The formal opening of IPAM was held April 8, 1983, celebrating William Sanaella amassed a private collection working out of a the opening of the Music Library in new quarters in the Horn­ New York brownstone; IPA was founded in 1965. IPA was bake Library building. relocated to the University of Maryland in 1977. The name Inter­ An interesting addition to IPAM was the collection of Duo­ national Piano Archives at Maryland (IPAM) was established and Art reproducing piano rolls from the Aeolian Company files. The quarters were designed for the collection. After the collection was collection included 500 master rolls which show the editing pro­ moved in 1978, a formal policy began to make the materials cedures followed to prepare the rolls for commercial distribution. available to visitors. The Ford Foundation awarded the Universi­ The Catalog of ReprodUcing Piano Roll Collection, IPAM, No. ty a grant of $43,810 "for partial support of the preservation and 2, was published in 1983. The collection has continued to grow prep~tionfor broad public access to the International Piano Ar­ with later acquisitions and other institutions are beginning to chives." Two positions were created, Head of the Music Library recognize the importance of IPAM's collection of reproducing rolls. (Neil Ratliff), and a Piano Archives Librarian (Morgan Cundiff). OSSIP GABRILOWITSCH By Emmett Ford way with a letter for the boy to play for the famous teacher. Ossip graduated in 1894, winning the Rubinstein prize and departed for Vienna for a two-year study with Leschetizky. His first public appearance was with Leschetizky and it received much praise. The next concert was in Leipzig, where he played a Beethoven concerto with the Gewandhaus Orchestra conducted by the world-famous Arthur Nikisch. His Berlin debut, in 1896, was such a success it started him on a European tour. Mr. A.M. Wright of the Everett Piano Com­ pany in America had gone to St. Petersburg to contact the young Ossip for 20 or 30 concerts. A contract was signed and the tour was made with an Everett piano which had been sent to St. Petersburg. Later, Ossip changed to the Mason and Hamlin piano, but retained a warm friendship and affection for Mr. Wright. On November 11,1900, he made his U.S. debut in Carnegie Hall receiving acclaim as one of the most important pianists of the then rising generation. Tours were made in the U.S. When he was in Vienna he had met Mark Twain and his daughter, Clara (Clemens), who was studying singing in that ci­ ty. When Ossip returned to the U.S. in 1906, he renewed his ac­ quaintance with the Mark Twain family, who had returned and lived in New York. He and Clara became fond of each other and he was a frequent guest in her parents' home. Ossip nearly died in a hospital (1909) from a serious form of mastoiditis. Clara was with him constantly giving him assurance and comfort. After an operation he was taken to the Redding House (home of Mark Twain) for recuperation. Ossip and Clara fell in love and their wedding took place in October, 1909. The couple departed to live in Europe where Ossip had been offered One of the most eminent concert pianists of his day, whose the conductorship of the Konzertverein. artistic gifts at the keyboard made him a legend in early life and Ossip and Clara received word of her father's serious illness a conductor of the Detroit Symphony for sixteen years, Ossip of a heart disease and they returned to America. Several days Gabrilowitsch crowded enough musical activity in a rather short after their arrival her father, Mark Twain, died. Several days after life to equal that of two men. her father's death, Clara gave birth to a baby girl which they named He was born in St. Petersburg, Russia, February 7, 1878, son Nina. of a lawyer. Typical of the children of the time, he showed unusual Ossip gave many concerts appearing in London with an or­ musical ability early and his first lessons were with his eldest chestra conducted by Hans Richter, and at the Royal Opera House brother, George. His piano study was later with a professional in Vienna, with Richter again conducting. Once he worked with teacher, Mme. Olga Theodorowitsch. There were arguments bet­ such excessive zeal on a difficult technical passage in the ween the teacher, who knew and appreciated the boy's talent, Tschaikowsky concerto, he strained his left arm and engagements and the mother, as to whether Ossip would have a career in music. had to be cancelled. The strain required many weeks of nursing, Finally the teacher had a plan to arrange an audition for the boy but the strained muscle never fully recovered throughout his en­ with Anton Rubinstein. Rubinstein was impressed and literally tire life. commanded the boy should enter the Imperial Conservatory. He studied piano with Anton Rubinstein, theory with Navratil, Liadoff, He returned to the U.S. in 1914 and became an American Glazounoff and Rimsky-Korsakoff. It was at the conservatory he citizen in 1921. received the attention and interest of Leschetizky's second Wife, Mme. Essipoff, then teaching at the conservatory. Though she Ossip had been interested in orchestral conducting having didn't teach him, her deep interest in the boy helped her to in­ studied with the great Nikisch. It was in 1917 that he devoted itiate Ossip in the secrets of the Leschetizky style of technique himself to conducting, and gave up composing, saying he could to prepare him for an audition with Leschetizky. She paved the play the piano and conduct-they were two jobs, but he couldn't handle three.

-18- OSSIP GABRILOWITSCH continued -

He disliked the term "conductor" and was listed as "musical at the age of 88 on November 21, 1962 (her second husband director" of the Detroit Symphony Orchestra which was given to was a retired orchestra conductor, Jacques Alexander him literally with the blessings of the rich automobile manufac­ Samossoud). Also surviving was his daughter, Nina who was the turers_ The symphony had been in existence for several years, last descendent of the famous writer and preferred to be called but had not achieved any importance. Ossip developed it into Miss Clemens. She lived off the two million dollar Mark Twain a major symphonic body. The following year Orchestra Hall was estate in a penthouse in Los Angeles. When she died in 1966, built. He was granted an annual leave of absence to give recitals her estate was left to the American Cancer Society. and appear with other orchestras. He traveled with the Detroit Symphony Orchestra giving concerts throughout the country. He A Gabrilowitsch Memorial Scholarship was established by gave joint recitals with his wife, both in the U.S. and Europe. the National Orchestral Association of New York. On September 17, 1936, a tribute to his memory was a broadcast in the New Through his efforts many famous compositions were York studios of NBC. Harold Bauer made a speech, Paul presented such as Bach's "St. Mathew's Passion;' and Strauss' Althouse, tenor of the Metropolitan Opera sang Mr. "Don Juan." During the depression (1929/30) he served an entire Gabrilowitsch's song, "Goodbye," and Oswald Mazucchi (cellist) season without a salary. His act was voluntary and he forbid any played Mr. Gabrilowitsch's "Elegie." The orchestra was conducted public notice of his action. At the end of the season the grateful by Dr. Frank Black in a movement of Tschaikowskys Fourth Sym­ orchestra members presented him with a watch in acknowledg· phony and the "Pathetique" symphony. ment of his generosity. On September 14, 1937, a grove of 2,000 trees, dedicated Ossip gave a Town Hall recital October 27, 1935, which was as a memorial to Mr. Gabrilowitsch, were planted in Palestine by the first of a series of five programs with the National Orchestra Mailamm, the America Palestine Music. He held honorary Association, in which the development of the piano concerto was presidency of this organization. presented. On this occasion he played the concerto A-Major of Bach, the concerto in D-Minor of Mozart, and Beethoven's con­ He was charming, tall, courtley and somewhat old-fashioned certo in C-Minor. in attire, wearing high uncomfortable starched collars and scarf­ like cravats; they were worn in the heat of Italy and other coun­ He gave many joint recitals with Harold Bauer in duo-piano works tries he visited. Descriptions of his piano playing covered a wide and they also recorded for Victor, a series of valuable phonograph range from his sonorous sweeping of the Tschaikowsky concer­ discs. His Welte piano rolls were probably made when he was to, the gentle weaving of the Mozart elegant arabesques, singing in Germany, the Duo-Art when he was in the U.s. at various times, the Schuberfs free-voice music, and being meditative over the late and the Ampico as well. He recorded also for Hupfeld, Leipzig, compositions of Brahms. All were an indication of his technical American Piano Company, and Welte Licensee. He and Harold ability, control and intelligence. He had an exceptional beauty of Bauer made some excellent Duo-Art rolls. Some recitals were touch and tone, and he never created emotionalisrn in his ap­ given with the American violinist, Albert Spalding. pearance on the stage. His death came September 14, 1936, in his home after an 18-month illness. He was survived by his Wife, Clara, who died

The Detroit Symphony Orchestra, Ossip Gabrilowitsch, Conducting, as It Was Last Season Before th~ Personnel was Raised to One Hundred (Photograph © Spencer & Wyckoff). Inset - Ossip Gabrilowitsch, Conductor of the Detroit Symphony Orchestra (Photograph © Mary Dale Clarke) 300 Former Patients Attend St. Rose Rehab Unit Reunion By Loydean Thomas - San Antonio Express-News, 11-14-88 Contributed by Alf Werolin and Bill Eicher The entertainment at the homecoming for former patients The daughter of a piano salesman, Bingaman made her pro­ of St. Rose Hospital and Rehabilitation Center was first-class. fessional debut at the age of 4. She sang at the Old Soldiers' It was provided by one of the guests, internationally known Home in Dayton, Ohio. pianist Ruth Bingaman Smith, who played professionally under "I sang my little song, then I lifted my skirts and did a little the name Ruth Bingaman. dance. My father was furious:' He said, "I will not have an enter­ Bingaman, a former child prodigy, played for more than 300 tainer in the house;' she relates. alumni of the physical rehabilitation program at the reception Sun­ Smith explains that in 1900, show people did not enjoy a day afternoon. very good reputation in polite society. "After I broke my hip in August, my doctor told me I couldn't "My Father thought my mother had taught me how to dance, get out of the hospital until I played for him, so I came back to when in fact she had done no such thing. I saw a little girl with play for the reception;' the youthful 92-year-old pianist said. blonde curls perform at the World's Fair, and I think I was im­ Among Bingaman's eminent teachers was the first dean of itating her;' the pianist said. the Julliard School. She also attended Yale University Music Bingaman began piano lessons when she was 6, shortly School, where she studied with Bruce Simonds, dean of the before her family moved to San Antonio. school. In 1906, when she was 10 years old, she played her first con­ In her lengthy career she has played concerts with the sym­ cert, with the San Antonio Symphony Orchestra, earning a reputa­ phony orchestras of San Antonio and Charleston, W. VA. tion as a child prodigy. She was engaged as accompanist and assistant soloist with When she graduated from high school, she again performed two Metropolitan Opera stars. with the symphony orchestra. She also toured the Keith-Orpheum circuit throughout the Bingaman remembers that the piano teacher she had when East and in New York City. she was 18 told her never to tell her true age. Her recordings in the 1930s of 16 rolls for Welte-Mignon "We will say you are 16;' the teacher said. player pianos led years later to annual engagements to play at Harrison Herman, the West Point graduate to whom the international conventions of the Automatic Musical Instru­ Bingaman was married for 20 years, did not know her true age ment Collectors Association, a practice she continues to the until they got passports for a trip to Europe. present. "He said, 'I'm not as much older than you as I thought I was; "I never let go of my music. I have kept my fingers up. I play and he sulked for a week;' she says with a laugh. almost every day;' said the bright non-agenarian, who appears After Herman was killed in World War II in the Battle of the to be at least 20 years younger. Bulge, Bingaman was married to Harrison Downe Smith. ******************************************************************* DOUBLE GRAND PIANO - By Emmett M. Ford There is no evidence of the double grand piano having a player mechanism installed, but if so, it would be a unique instru­ ment, to say the least. Gustave Lyon developed, in 1896, a double pianowhieh was manufactured by the Pleyel Company in Paris. The two systems of strings were disposed over the single sounding-board like two triangles put together to form a paraIJelogram. Two keyboards were separated by 2.45 metres, with the players facing each other. Separate mechanisms were used for the pedals, allowing each performer to sustain the other player's notes by pressing the corresponding key which vibrated by resonance. In 1898 Pugno, Wurmser, Risler and Cartot, (aIJ made piano rolls) played the Bach concerto for four pianos on two of the dou­ ble pianos. A review of the concert announced "...the double piano possesses fine sonority of perfect distinction and the qualities of elasticity, gentleness and bravura. It enables the performers to obtain a more blending ensemble than on two separate pianos:'

For a couple of years the double piano enjoyed a considerable vogue and then went into oblivion. The dlio piano team of Jacques Fray and Mario Braggiotti used the double piano, owned by Mr. Fray, in a 1940 concert tour of the U.S. Ottilie and Rose Sutro (Duo-Art rolls), sister duo-piano artists owned a double grand and used it in a recital series, of 1929, in the Washington area during the Capitol's Music Celebration. A miniature twin ebony piano is in the Maryland Historical Society, and Miss Ottilie Sutro told the curator it was an exact replica of the one she and her sister used in recitals. When 1attended the 1977 AMICA Convention in San Francisco, [ found a music store that had a collection of various styles of pianos on the second floor of the store. The Pleyel double grand was in the collection, but the collector would not talk of selling or the price. In all probability the piano is still there, neglected and in need of restoration and a home. -20- November 23, 1988

Dorothy Bromage, Publisher AMICA J'mws BUT,Il8TIN 45 Forest Road Cape Elizabeth, Maine 04107 Dear Dorothy, Our search for Bugene O'Neill's player piano has ended with the acquisition of a similar Wurlitzer. We appreciated your help in put­ ting an article in your News Bulletin and on ~THE t 0'l?leill the cover in April 1986. The result was the ~unttl FOUNDATION, ass istance of Daniel VI. Harbaugh, a member of f:' TAO HOUSE AMICA-Texas Chapter, who located this same model for us. POST OFFICE BOX 402 DANVILLE, CALIFORNIA 94526 The player piano was installed at Tao House in May 1988 and adds sienificant interest to our restoration project. Yours sincerely,

-:' :-.~ '....,;. j ~.:.... ,~~ Virgihia Rei, Restoration Chair

cc: Florence ~cAuley, President Eugene O'Neill Foundation

-21- "Canad-Ian H erl-tage" - Summer 1988 - Contributed by Ray Parkinson

Play it again, George!

The baron ofplayer pianos tells how it's done by Jake MacDonald

utumn, with its chilled (and dead) composer and pianist stage. A vast silence filled the hall, winds and gnarled trees, George Gershwin. as the orchestra struck up the first Aseems inextricably On a suitably dark and stormy unforgettable bars of"Rhapsody in twinned in our minds with night several thousand musical Blue" (theme of the movie "Man­ thoughts ofmortality. It was some­ aficionados of the great Gershwin hattan", you youngsters out there). how appropriate when the Winni­ crowded into the Winnipeg Cen­ The keys of the piano depressed, peg Symphony Orchestra recently tennial Concert Hall and took began its fall season with a ghostly their seats as the house lights Over $200 and 300 hours later, nighl of entertainment, featuring dimmed. A solitary grand piano Terry Smythe's restoration job is a surprise appearance by the great sat in the spotlightgleam at centre complete.

- 22- eerily, hesitantly at first, then the great impromptu concert, with the win­ upon which the first automatIC gleaming dark instrument began play­ dows flung open and neighbors up musical instruments appeared. ing by itself. and down the street sitting out on The first real automatic piano By itself? Yes, the instrument at cen­ their lawns enjoying the music. was called the 'Pianola', Smythe tre stage was a player piano, a Mason Smythe goes on to explain that explains, guiding me to another and Rische Duo-Art reproducing automatic musical instruments corner of the house. He shows me piano to be exact, and the wizard have been around for centuries. In a large unwieldy-looking cabinet behind the whole occult performance North America though, they first on rollers thatcanbe moved up into was a Winnipeg collector named Terry gained popularity at the turn of position along the piano keyboard. Smythe. Terry Smythe is the past The "pianist" sits down and pro-

president ofthe Automatic Musical In­ t~ PJ ' 8.~ F.F Ii:''''." pi' , '.'"'''' P .' i" '.' ti! vides power to the Pianola by strument Collector's Association, pumping a set offoot pedals. A per­ which has about 1,500 members .Qhe· forated roll of sheet music turns worldwide, and his passion is the inside the Pianola and activates preservation and restoration of musical DU01\RT hammers which strike the piano instruments that play by themselves. M 0 NTH LY keys. "The Pianola was a radical innovation in the home entertain­ ment industry," Smythe explains. The orchestra "But after just five years it was obsolete." featured a surprise The instrument that rendered appearance by the the "piano player" obsolete was the great (and dead) "player piano." Smythe's upright George Gershwin. v player pianos are handsome items 1 that might be mistaken for stand­ ~. ard instruments if not for the odd Smythe; a baronial-looking man ~ little touch, like a silver coin slot with a silvery beard, is a Manitoba mounted on the side. During the government administrator by day. 30-year period at the beginning of By night, he stalks the neon-lit this century, there were 2.5 mil­ corridors of Winnipeg's music Fully 60 years after the piano rolls lion player pianos built in North stores, searching for lone, defence­ were cut by the great Gershwin, music . America. By the mid-1920s the less player pianos. "The salesmen lovers can enjoy the composer/ phonograph began to gain popu­ performer's touch on the keys. almost hide now, when they see me larity as the home entertainment coming," Smythesays. "When they this century, when a number of centre of choice, and the player get a used player piano they'd economic and social changes cre­ piano's star began to fade. Accord- rather just strip the mechanism ated a fearsome new entity - the ing to Smythe, it was not the supe­ out of it and sell it as a standard middle class family. Through riority of sound reproduction that upright. The last thing they want Smythe's description one pictures made phonographs popular, but is to have to stall around for weeks a cluttered, ornate doily-draped their price. "The sound fidelity of while I try to find a home for the living room (or parlor, as it was some player pianos is as good, or instrument as is." then called) on a Sunday evening, better than the best high-fidelity Smythe would be only too glad to peopled with the Victorian equiv­ stereo equipment available today," take the instruments himself but alent of the Cleaver family. In the Smythe says, "But a phonograph his suburban home is already corner is an immense claw-footed wassomethingthateveryone could crowded to the rafters with auto­ piano, and the family sits circled afford." matic musical instruments of about it expectantly. There is no Today, player pianos are just every shape and function. In one satellite dish on the roof and no beginning to enjoy renewed popu­ corner is a beautifully crafted compact disc player on the shelf. larity. Part oftheir appeal rests in Swiss music box; ice crystals and The piano is the home entertain­ their status as historic artifacts, swirling skaters seem to pour out ment centre. In one respect, but Smythe says we shouldn't asSmytheopens the lid. In another though, the piano-owning public of underestimate their worth as corner lurks a huge circus bear of the year 1900 was much like the "record players." "With a modern an instrument called an Grches­ piano-owning public of today. stereo system you get a pristine tron. When it lurches into life, Many were called to ownership, sound, but with a player piano you horns blare, drums pound and the few were called to play. Picture the get a tactile sense that the musi­ organ booms with such authority same family wincing, junior saw­ cian is actually present in the that the floor trembles. When ing uncomfortably at his necktie, room." asked how the neighbors regard while Aunt Celia stumbles once To demonstrate how beautifully his menagerie of self-motivated again uncertainly into the open­ a player piano can reproduce instruments Smythe admits to ing bars of"Tenting Tonight", and recorded music Smythe shows me staging an occasional free, you will have the fertile ground his pride and joy, the same Mason

-23- /1 '-", eliminating this type of furniture from their lives. In general, any home Ed Linotti had looked exactly as if he had lived there for • ~tt 4ffi{.emorinm • over fifty years. When university funds dried up for their Sound Archive, Ed \..===./ and friends returned to San Francisco and operated a retail vin­ tage radio and phonograph store called 20th Century Talking Machine Company, located on Cole Street in the Haight-Ashbury district. Following the sudden death of a member of the household, the lure of the big city lost its charm for Ed and he purchased an old farmhouse surrounded by apple orchards in Sebastopol, north of San Francisco. While shooting a "period" television movie in Sonoma County, Walt Disney Productions aCcidently stumbled across Ed Linotti and he eventually became a consultant on the film, "The Blue Yonder" with Art Carney. Entire rooms of his house, already fur­ nished, were used as sets. One of his few regrets in life was that his musical and decorating knowledge wasn't used more frequently by the movie industry. Edward L. Linotti As a major preservationist and archivist he not only acted as consultant to other collectors, he inspired all who knew him 1941-1988 with his sense of awe and appreciation for the artifacts of the past. Moreover, he had the unique ability among collectors to At home in Grass Valley, California, on October 25, 1988, recreate the mood of a period. He felt it was not enough to wear Edward L. Linotti, a nationally recognized preservationist and old clothes, drive old cars, listen to vintage recordings, or live in popular music historian has died suddenly of heart failure. Born an historic house. One had to think as people had thought in in Oakland, California, on October 28, 1941, "Ed" Linotti was the past; to view life with a different perspective; to allow the spirit schooled at St. Leds parochial before attending Acalanes High of the early 1900s to pervade ones entire being, and let it shape School in lafayette, where he lived with his paternal grandparents, ones tastes, thoughts and overall world view. who were Italian immigrants. He later attended Diablo Valley College. After a few years in Sebastopol, Ed and three dogs left over An intense interest in the music of the early 1900s was pro­ a property dispute and purchased a 100-year-old white house in bably inspired by a spring-driven Victor talking machine heard in the historic mining town of Grass Valley, California, where his the home of some friends of his grandparents. This horn easy-going personality and love of animals was embraced by the phonograph was eventually presented to him, and for the rest locals. Ed loved pets and was always surrounded by a bevy of of his life remained a favorite part of his choice collection. Jack Russell terriers, the breed he determined to have been the Victor Talking Machine Company's trademark, "Nipper".. Throughout most of his 46 years he was widely acclaimed as an expert on the history of phonographs, including the Victor­ As a consultant, Ed Linotti was frequently called upon by Victrola, the enclosed-horn phonograph that changed the look major institutions for his prodigious knowledge of early San Fran­ and sound of home entertainment in the teens and twenties. cisco and Bay Area history. In 1983 the Lowie Museum of An­ Without the benefit of a college degree, Linotti became a self­ thropology (University of California, Berkeley) used his expertise taught librarian and archivist for music and related artifacts of in reproducing authentic music and rare printed material for its the era which pre-dates World War II. Following high school he extensive exhibit on the Panama-Pacific International Exposition worked at a few unrelated jobs such as managing a small East of 1915. Bay movie Theatre and for a while worked for the Crocker Bank. In 1966 he applied for the job of assistant archivist for the Stan­ At the time of his death, he was ascending a new career as ford University Archive of Recorded Sound in Palo Alto. During an estate liqUidator. Because of his vast knowledge of antiques this employment he organized and catalogued numerous dona­ and popular American culture, he was able to direct items to ap­ tions to the University Music Department and Archive. Occa­ propriate buyers through his huge network of collectors_ Linotti sionally a concert by the great piano roll recording artists was also sold antiques from the Roseville Antique Center. given, as well as dances to vintage phonograph records of the Linotti was a member of the Lincoln Owners' Club, numerous early 1900s. phonograph societies, historical guilds, the Art Deco Society of While working at Stanford, a small number of friends with California and was a founding member of the Automatic Musical similar interests moved into his rented house and supported each Instrument Collectors' Association (AMICA) which recently other's hobbies, which to the outSider, was like looking into a "time honored him during its twenty-five year Anniversary Convention machine": the garage boasted of no less than four vintage vehicles, in San Francisco. . the closets filled up with vintage clothes before the term "Vin­ In addition to his many friends, he leaves his father, Laurie tage Clothing Store" was known; appliances ranging from coil­ Linotti of Walnut Creek, an uncle, Frank Linotti of Applegate, top refrigerators to heat reducing cabinets were located and lov­ California, and an Aunt Betty (Mrs. Willard) Spencer of San ingly restored; vintage music was played day and night on Francisco. phonographs or the player piano; vintage films were frequently shown to friends in the living room; and the cost of all this was - Peter Mintun practically nothing, since many families in the 1960s were MORE ABOUT THE FUTURE OF PAPER ROLLS By Terry Smythe

In a previous article on this topic, I observed that nowhere capture its content into some form of magnetic data, is shared. in our club activities are we putting into place a program to I received an enthused phone call from a former AMICAn, an preserve the content of fragile paper music rolls for preservation engineer with lots of technical smarts, who in fact has developed into perpetuity. I speculated that most likely a program to con­ a computer controlled device/process which not only captures a vert that content into some basic form of electronic data storage paper roll's content, and displays it on screen in roll image, but would be a reasonable way to go. can also print it out on a matrix printer in sheet music format. Fundamentally, the problem is that the very heart of our He has sent me photographs and a brief description of what avocation-our music rolls, are rapidly expiring. We may care for he's achieved, and I've invited him to write a story about it for them in very special ways; we may continuously repair them, but The Bulletin. It is neither prudent, nor appropriate that I steal his their eventual demise is inescapable. We simply have no effec­ thunder. This is his development, and he should be the one to tive way to restore dead or dying paper rolls, as we can their target make the detailed revelation as and when he feels ready. Suffice instruments. We owe it to our descendants to put in place today now to simply express a heartfelt "WELL DONE!~ and encourage some method of preserving the content of music rolls for all time more interested members to get involved. while we still have the ability to do so. I have no doubts that other equally technically competent I do not have the technical smarts to do this, but I am AMICAns are likely developing somewhat similar approaches. I prepared to be an initial focal point of interest and activity in an am personally aware of at least one other member who in fact attempt to provoke interest and participation. From this I would has developed a computer controlled roll reader, tied into a finely hope a more formal, better organized project will emerge. Perhaps crafted punch machine, controlled by the same computer. It would the old saying, "Great oaks from little acoms grow~ is not so trite. be my hope that all such members so inclined will get in touch I've got an acorn here, now please let's give it some nourishment with me and let us begin coordinating and harnessing all that so at very least it can germinate. energy, talent, and enthusiasm. I am absolutely delighted to report that my speculation about the design and construction of a device to "read" a music roll and

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To the Publisher:

I found this 48 year old recital program and on the back was this photo; I made a copy which I will frame and will send you that copy to use and return for framing. I recall this recital very much -I sat in the front row, center of balcony in a theatre that was noted for its acoustics. Every note was heard; think it was several years later he died; at the time of the recital, or rather prior, it was thought he may cancel as his health had caused other cancellations. Emmett M. Ford

Hands of Sergei Rachmaninoff - Recital of January 15,1940 in Ar­ cadia Theater, Wichita, KS. Wm. Flota, agent. Tickets 85¢ to $2.80. Emmett M. Ford Collection.

*******************************************************************

JOHNNY HONNERT - Just at press time, word was received from Larry Norman that AMICA Honorary Johnny Honnert was taken ill and is confined to: Parkway Regional Medical Center, Room 323, 160 Northwest 170th Street, North Miami Beach, FL 33169. Let's all send him a card, or call him at (305) 651-1100. - Editor

-26- ~cmclmCIDc~cINCCCBlCmQI!ICI!lIC&lCIffi~mcr:fCRICmClBlCmaC!llC~ News from the Chapters

SOUTHEAST AREA Reporter: Don Winter

Seeburg A- Don Walsh

Wayne Edmonston opening Business Meeting. Gauioli Band Organ in background. . The Southeast Chapter is a small but intensive collecting group that meets about twice a year usually in central or nor­ thern Florida. We of course would like to try to get better par­ ticipation from our neighboring states and, in time, may succeed. Almost all our members seem to do their own rebuilding for some SOUTHERN CALIFORNIA CHAPTER statistically elusive reason; and, we seem to have a very good Reporter: Shirley Nix atmosphere of locating parts and instruments for each other On October 22, the chapter met at the home of Bill and without being mercenary about it. Hopefully, our chapter can Dawn Pumphrey. It was a beautiful balmy day, one of those which gradually grow to include more of those already in the National make you glad you live in Southern California. and within our Region.

Our host & hostess - Dawn and Bill Pumphrey. The Pumphrey's collection includes a beautiful Marshall and Joe Bailey and Wayne Edmonstons Style F Orchestrelle & Wendell Ampico Grand, a Mills Violano, a Super Junior Mason-Hamlin Ampico A. Reproduco, and fifteen assorted music boxes. It was our first actual business meeting in a while, since our last meeting prior to this one was at San Sylmar, and while it is always a favorite meeting place, it does not lend itself to a business meeting. Southern California Chapter continued -

It was really an enjoyable meeting. Dawn and Bill had gone to a lot of time and trouble to get ready for us, and it showed. Everyone had a great time, and we are all looking forward to our Christmas Party in December.

Checking out the Orchestrion. At the meeting it was brought to the attention of those at­ tending that it will soon be dues time again, and that each of us should get with it and get our dues in on time. We also decided to donate gifts to the Lanterman Center in Pomona for retarded adults. This will be done at our regular Dawn Pumphrey showing the violin made by her father - actual­ Christmas Party in December. ly, her father was her "Show & Tell': We had a Super Mart this time, and a lot of money was After the meeting, everyone was having such a good time changing hands. Everyone seemed to be going away happy. that they hated to end it, so about fifteen of us went out to din­ ner at a very good Italian Restaurant which Dick Rigg set up. It was really a great way to end a great day - thanks, Dick! As I said, we had a meeting at San Sylmar in August, but since Frank and I were on our way to the "other guy's" conven­ tion in Seattle, I can only say that everyone I talked to who was at San Sylmar said it was a really great tour, with even a fewex­ tras thrown in on the usual interesting trip.

SOWNY CHAPTER Reporter: Mike Walter Everyone was in rare form at the home of Rick and Jan Drewniak on the evening of October 22. One special reason was Dick Rigg with his "Show & Tel/" - A rol/ for some musical in­ the return of former chapter members Carl and Alice Guhlow who strument - but what kind ? moved to sunny Southern California over a year ago (although After the business meeting we had a show and tell, and we it seems much longer). We miss their smiling faces, as can be really had some interesting objects. I think the most unusual item, seen in one of the photographs. Their wisdom is also appreciated. though, had to be the one offered by Dawn Pumphrey...Her They gave us an overview of the San Francisco Convention. Since FATHER! It seems he started making beautiful inlaid boxes with our chapter is hosting the 1990 extravaganza, we listened atten­ etched glass lids inside, and put quality reuge movements in them. tively to their observations, noting those things which seemed This was done while he was taking care of an invalid wife, both to attract the greatest amount of attention. to keep him busy and to make a few extra dollars. (When he got It was a jolly night indeed. Rick, our host, gave us a grand into this, however, he made the mistake or good judgement to tour of the basement where the hot tub was just waiting for so­ fall in love with the music boxes, and as Dawn said, no way was meone to jump in. We all restrained ourselves, although there were he going to sell even one of them - hence the fifteen music boxes a few glances in its direction. Interesting instruments surfacing, in the Pumphrey Collection!) He also made a violin, which was rebuilding techniques and tricks, the reliability of a henway were also displayed. all part of the conversations which occurred during the evening.

-28- SOWNY Chapter Chapter continued - FOUNDING CHAPTER Reporter: Nadine Motto-Ros OClDBER MEETING Once again, the AMICA Founding Chapter put on its wit­ ches' hat and let the goblins and spooks have their day at Don Ellison's home in Palo Alto. Don decorated quite a bit for this holiday: spiders in webs, Frankenstein's picture on the wall, skeletons, pumpkins, orange and black streamers, etc. Mitzi Peterman came with silver tinsel hair; Dianne Edwards was a resurrected 1970's hippie complete with long black hair and peace symbols; Paul McCoy was there as either a witch or warlock. He insisted he was imitating an unnamed Founding Chapter member. Don Stofle was a punk rocker, and "Old Man Wherry" was there talking about the good ole days of '22. It's Front - Carl & Alice Guhlow . visiting guests not clear whether he meant 1922 or 1822; he says he doesn't Back - Stan Aldridge, Host - Rick Drewniak, Edie Aldridge, Toni remember. Mohney. Paul McCoy has a mean foot when it comes to pumping the Farrand upright, as well as others who took turns pumping. Don Ellison also has a Piano-corder and drum set for those who like to "tap" along with the music. Towards the end of the evening, Don showed a IS-minute color and sound film of Frank Holland's British Piano Museum. This was the film shown at the 1988 Convention in San Fran­ cisco where the projector broke down 4-5 minutes into the show­ ing. Martin Lilley let Don have the film for this evening. Don has three of the friendliest, cutest golden cocker spaniels. They were allowed to mingle with the guests. Ann Lemon, Vicki DiBello, Holly Walter, Fred Buchwald and Barb My thanks to Bill Wherry for taking notes this October 22 Sokovie eagerly sampling the comestibles. meeting.

NOVEMBER MEETING Chapter VP Bill Wherry was host for the November meeting - a Tacky Party-tacky in Orinda? Well, that's what Bill said: "Everybody come as tacky as you can:' About 20 local members attended, and it was tackier than flypaper. The trim on Jack Ed­ wards' pants pockets matched his jacket - something he used to wear to work? The finger food was exceptionally good. Some of our more elegant treats were Spam and Ho Hds accompanied by Kool Aid. Food and clothing aside, Bill's collection is superb. The large Wurlitzer PianOrchestra is the highlight. It's interesting to watch the roll changer in operation. But, the Seeburg "G" is no second. His Link 2E goes on and on. An endless roll machine is fun to watch; it looks like a big mess of paper. The Empress Electric More of the troops. Style "Y" is a toe tapper, and the Mills Violano-Virtuoso is sweet. At dinnertime, the food was excellent, as usual. After dessert Not to be left out is Bill's Steinway Duo-Art that is hooked up we all settled down for a long winter's nap. (Sorry, wrong story!) to a rare factory option - a Concertola. The Concertola is a roll We started our formal meeting and had quite a lively and lengthy player in a separate cabinet with ten selections from which to meeting, mostly concerning "The Convention Forthcoming". After choose. It is connected to the piano by an electrical cable and all was said and done we agreed that we must continue meeting can be in a room separate from the piano. It's in perfect condi­ this way. Our next meeting is scheduled for December, 'The tion; of course, Bill wouldn't have it any other way. Christmas Party!!!" There was a good showing of members from all around the Bay Area: Richard Reutlinger and Gene McGraw from San Fran­ cisco, the Klien's, Paul McCoy and Don Srickhouser of Santa Clara; the Peterman's of San Rafael; and close-ins Bernice Carnes and Roy Powlin. A good time was really had by all. Thanks Bill. MIDWEST CHAPTER Reporter: Margaret Frazer Members of the Midwest Chapter gathered November 19, 1988, at the home of Jim Weisenborne and John Fischer in Rochester, Michigan, to hear Jim's beautiful Italian Renaissance carved·case Steinway "OR" Duo-Art piano, and to play his seven­ foot Mason and Hamlin Ampico B. We also enjoyed his many other fine instruments. Jim is making plans to remodel his home and add a music room for his Estey organ.

Mirror image of the "Malolian" installation. Noon being upon us, hostess Betty Ma\akinian served a delectable lunch for the group.

Jim's Italian Renaissance Steinway "OR" Duo-Art.

Hal's 1926 Steinway "OR" 6'6" Duo-Art.

Jim's Estey Organ. We motored to Hagan's Restaurant for dinner, returning to Jim's and John's for dessert and to enjoy more of their hospitality. Sunday morning we met at the home of Harold and Betty Malakinian, in Troy, for the business meeting. In the absence of Liz Barnhart, Barry Leedy conducted the meeting. New officers were elected for the coming year. Liz Barnhart will serve as Presi­ dent; Barry and Bennett Leedy, Vice-President; John Fischer, CHICAGO CHAPTER Secretary; Alvin Wulfekuhl, Treasurer; and Margaret Frazer, Reporter: Mel Septon Reporter. Vincent Ricca will continue as the Board Representative. Lengthy discussion was held concerning our hosting an Interna­ Decisions, decisions, what to do, rake the lawn or watch a tional Convention in 1992, to be continued at our next meeting. Chicago Bears football game? The solution is obvious, attend After the meeting we enjoyed Harold's 1926 Steinway 6'6" an AMICA Chicago Chapter meeting at the home of Janet, Sarah, and Rob Deland. "OR" Duo-Art, 1924 Chickering 5'2" Ampico, Edison Talking Doll, and 1922 Chickering 5'8" Ampico. We were also treated to a mir­ October 16th found us gathered at the Deland's for a mini· ror image of the "Malolian" Ampico·style valve Hal has installed workshop, video tape tour of QRS, business meeting, great food, in his Steinway. and of course plenty of music, some automatic and some hand-played. -30- Chicago Chapter continued - Member Jerry Biasella gave an impromptu lesson on LADY LIBERTY CHAPTER repouching a Duo-Art accessory valve block using a defective unit Reporter: Dennis Valente belonging to one of our members. A few minutes and "Voila;' see how nice it works. Our host Rob then showed the video tape The September '88 meeting of the Lady Liberty Chapter was ''Punching a Hole, Playing a Roll" (available through Vestal Press) held at Richard Groman's in Bethlehem, Pennsylvania. This which is a tour of the QRS factory and of Harvey Roehls collec­ meeting was a double treat for the members since Richard is tion. A short business meeting and a wonderful potluck dinner owner/operator, (chief cook and bottle-washer) of the Keystone followed the video. Piano Roll Co. in Bethlehem. A tremendous amount of work and dedication is required to produce a selection of rolls, which when properly made, will allow our pianos to perform to their full poten­ tial. By far, the principal beneficiaries of this effort are the present­ day collectors of these obsolete instruments. Thanks, Richard! On the subject of contributions to the hobby, kudos to members Randy Herr, who pumped his pianola during intermis­ sion at a Manhattan piano concert. One fan inquired as to why Randy had to be present if the Pianola is "automatic". Fran Mayer of Mechanical Music Fame, returned from an auction at the Ar­ tona Organ-Player and Roll Factory near Syracuse, New York. Fran bought a player and spoke to Dan Speis and Rodger Mor­ rison about their plans to move enough of the original equipment to Ohio, and start cutting the Artona rolls. Thanks to David Nernoff for excellent photography. Members watch Harvey Roehl describe his collection on TV

Paul Gronmeir tickles the ivories. Greetings from the bunch at Groman's.

Chapter Treasurer Joe Pekarek says yes we have a few dollars in our treasury. Richard welcomes Patti Valente to the roll factory. To round out the day, member Paul Gronmeir, a professional pianist and player piano collector, serenaded us with many diverse selections', hand played on Rob's upright Chickering Ampico. continued - Post Script: The Bears won the football game and the lawn really didn't look that bad after all. -31- Lady Liberty Chapter continued -

The back ofa perforator. And you thought the Duo-Art used a lot of tubing! This is what is meant by the phrase "chief cook and bottle-washer~

John Ellems has discovered what Richard already knows: this roll business is complicated stuff. Several sheets ofpaper are fed through the perforator at the same time, in order to produce several rolls per run.

After perforating, inspecting, trimming, tabing, printing, spool­ ing, listening, boxing, labeling, and storing, the rolls are ready for One of three perforators at Keystone. cataloging, describing, advertising, se/ling, shipping, and billing. (Then - playing and enjoying.) -32- BBS NEWS By Terry Smythe This past couple of months, little has surfaced in the way of new software related to music, but as I was cruising around in a far distant BBS system somewhere in the South West, I found a file called MIDIBBS. In it was a list of phone numbers of MIDI-related com­ puter based BBS systems. It is dated a year ago, Sept. 87, so there will be a risk that some of the numbers may no longer be in service. However, on the assumption that some of our members who, like I, choose to mix 'n match the old with the new, perhaps there may be some merit in establishing contact with some of them. Let me know of your. experiences. ******************************************************************* This is a list of phone numbers gathered from messages and friends but have not verified. Please send any corrections or additions to the Musicians Den (104/17) (303)321-6857 7 pm - 9am Mon-Sat, 24 hrs. Sun. The number in parentheses after the number and name is the FidoNet Address. For more info on using the FidoNet Addresses, ask your local FidoNet SysOp. updated 9/2/87 (201)247-8252 THE E.B.B.B.S. (East Brunswick) (203)255-7729 Brand X SEAdog/Fido -=*=- (141/255) (203)762-8481 Wilton Woods - Wilton, CT (141/250) (206)881-1068 Maranatha Systems Software Exchange (343/12) (212)269-4879 AMuse New York City, Thomas Holaday (107/134) (212)619-9423 AMuselnewcli NY NY (107/135) (212)751-2347 ENIAC MIDI BBS - New York City, New York (212)927-6919 Super 68 NYC (107/108) (213)258-7649 Glassell Park BBS in ws Angeles - Macintosh/MIDI Music-oriented (213)548-3546 MachineDo - Way of the Machine, San Pedro, CA (213)826-4288 MIDI bbs in Southern Cal. (213)936-5544 THE SUNSET STRIP, BEVERLY HILLS, CA (214)231-1372 Rising Star, Richardson, TX (124/206) (214)250-2811 DALLAS MIDI USERS GROUP (214)276-8902 DALLAS MIDI USERS GROUP (214)276-8902 AMERICAN MIDI USERS GROUP - DALLAS, Ray Reach (214)306·1857 Danny Nix-SysOp . (215)635-5227 PHILADELPHIA AREA COMPUTER SOCIETY - Joel Diamond, SysOp & MIDI SIG leader (301)252-0717 AviTechnic (261/662) (303)321-6857 Musicians Den, 7pm-9am Mon-Sat, 24 hrs Sun (104/17) (303)427-9539 The Buck Board (303)674-1859 Fiddlers BBS, Evergreen, CO, Mark Indicator (104/606) (305)226-3310 RAM-SOFT Fido-Miami, FL (135/1) (305)596-8611 Metro-Fire, Fido, Miami, FL (135/14) (312)640-7980 The Computer Guild-Elk Grove Village, IL (313)435-7802 WALKSOFT, Troy, MI (120/20) (403)243-2272 Calgary Computer Shop (134/9) (405)733·3102 Intl. Electronic Musician's Users Group (405)733-3102 MidWest MIDI BBS-Midwest City, OK (147/6) (405)848-2828 Legal Beagle, Okla City, OK, Vic Hill (415)239-4979 Wel1Tempered BBS-SF, Ca Mark Budig (161/321) (415)594-0871 Dog Lab-Belmont, CA Bruce Oblander (161/594) ~9169 RSVP BBS, Fremont, CA (10/425) (415)943-6238 DVPC BBS, Walnut Creek, CA (161/55) (416)622-8254 The ASCII Exchange, Toronto, Ontario (148/1) (503)646-2095 MacMusic BBS, Portland, OR, John Connolly (512)826-0659 The MIDI Exchange-San Antonio, Texas (514)744-7354 MIDICOM Montreal, Michel Poirier (167/111) (526)295-0823 YCAM.P. Online Musicians Service (602)894-1470 Corwin's Keep-Tempe, AZ (114/13) (606)586-7753 CZ-UG (?) (606)727-3811 The DataNet Information System, Erlanger, KY (108/90) (613)596-9992 The Amiga Mansion, Gary Hewett (613)966-6823 Canadian MIDI Users Group, Belleville, Ontario (163/999) (615)292-1586 The Sleeping Gnome-Music City USA (116/9) (619)436-5422 PC-MIDI CONNECTION, Erik Thompson, Claus Giloi (619)452-0097 San Diego MIDI-NET (200/350) (633)966-6823 MIDILINE, Bellville, ON (148/308) (714)524-9326 Music Term No. 2, Orange, CA (103/512) (714)545-5768 Music Term No. 1, Santa Ana, CA (103/505) (718)338-3501 Gateway NRA, Brooklyn, NY, WK:6p-8a,WE: (107/222) (818)354-5065 LD Voyager -JPL- Pasadena, CA (102/962) (904)743-5114 Satchmo Pops Net 1200/24hr. (6434/251) (916)483-8032 BYTE BOUTIQUE - SACRAMENTO, CA (161/11) (916)962-1952 Now and Zen Opus - Fair Oaks, CA (161/34)

-33- ORIGINS OF THE DUO-ART, Part II By Al Pulis In the last issue of the AMICA News Bulletin, I posed several accent holes often referred to as "snake bites". The first questions regarding early Themodist development and the pro­ Themodists were 65-note. The hole punches were small round gression to Duo-Art. Press time for this issue comes almost on dots. If you look at a 65-note tracker bar you will notice that the the heels of the last mailing_ Several responses have been receiv­ theme holes are the same width as all the rest of the note holes. ed. Some comments can be passed on immediately. This identical slot width was carried over to the Duo-Art with Robin Pratt, among others, tells me that "The Life and Works good reason. So were the 65-note hole punching size for the of E.M. Skinner" by Dorothy Holden can be secured from the theme. Organ Historical Society, EO. Box 26811, Richmond, VA 23261 Theme timing is extremely critical with the ability to turn a for $28.00. Another interesting sounding book available from theme accent on and off very qUickly of utmost importance. A them is "The Composition of the Organ" by E.M. Skinner family horizontal slot would seem ideal. Production people at Aeolian from his notes, $40.00. no doubt nixed the ideal horizontal slot and went for a pair of Mr. Skinner's patent suggests that the Themodist (which 65-note punchings with tooling already in use. The smaller developed into the Duo-Art) could accent different notes of the diameter no doubt helped in clipping the timing. same chord striking the strings simultaneously. Douglas Hender· The snake bites, paired as they were, would also offer son (Art Craft) has corresponded with me at considerable length stronger roll edges. No small consideration when dealing with the regarding this whole area of Duo-Art dynamic verses time. He spring loaded Duo-Art tracker ears. Large holes equal in width agrees that the Duo-Art is much quicker in its ability to .change to two small holes and stacked close together would seem to dynamics as heard by the ear than the Ampico A. More on that make for very weak roll edges. in a later "Origins". I am trying to locate clear sharp photos (black and white if He is in the process of cutting a demonstration dynamics possible) of the very late Duo-Art "B" fan shaped pneumatics, comparison roll cut for the Duo·Art followed by the identical tests ladder chains and curtain valves. My address is: AI PuliS, 1004 (as much as possible) cut for the Ampico A. Of course the con· West Washington, Kennett, MO 63857, (314)888-6551. dition of individual pianos will enter in here. I think this will be The two photos are of a Themodist box and a very early an interesting roll for every reproducing piano buff to own and Duo-Art Theme box. The expression "box" of the earliest Duo­ demonstrate. Club meetings at different locations can try it out Art came in two parts! Origins of the Duo-Art, Part Ill, will have on different pianos. Mr. Henderson's address is : Art Craft, EO. a photo of the under side of a very early Duo-Art system with Box 295, Wiscasset, Maine, 04578 , (207)882·7420. the Themodist-like separate theme box. Several explanations have been offered for the paired theme

Very early Duo-Art Theme Box.

Themodist Box. -34- The Coupled Motions of Piano Strings From Scientific American - January 1979 - Contributed by Terry Smythe Second of a two-part series

TIME TIME FRICTIONAL FORCES tbat are proportionately larger at blgber level as a function of time made for various loitlal displacements souod pressures are Dot responsible for tbe transltloo from prompt would be borizontal translations of one anotber (/,/t). It turns out, souod to aftenouod. Sucb Doolinear frictional forces would cause bowever, tbat tbe plots are vertical translations of one anotber (right), tbe cbance to take place at tbe same sound pressure recardleu of tbe. wblcb is lodicatlve of linear frictioo. Tbus tbe prompt sound lasts tbe string's lolttal displacement. 10 that case plots of sound-pressure same amount of time regardless of tbe string's Initial displacement.

ffi :::E w ~~f+j~l+l+l-I-lrI-\J\Jt:t+#JffJfJ~~X;XXX;XXXXX;Xx)(~OOOOOO~~~~¥J.2f)OO~~'RJ.'RI:~~~ o Cl Z ~ Iii

TIME HAMMER IMPERFECTIONS can result in string amplitudes that to move because It is still being forced to do so by the colored strID" are Dot absolutely equal Here two strings are set ID motloo at tbe As a result tbe black string DOt only reacbes zero amplitude but also same time but wltb tbe colored string baYing a larger amplitude tbaD goes "beyond" It, building up a vibratioD of tbe opposite pbase by ab­ the black ODe. The motions of tbe strings start to decay, aDd wbeD tbe sorbing energy from tbe bridge. Ultimately tbe motions are endly amplitude of tbe black string approaches zero, the bridge continues antisymmetric. Sucb antisymmetric motloD gives rise to aftersouDd.

TIME

UNA CORDA PEDAL, or soft pedaJ, Increases tbe ratio of after. Iy wltb the otber string (colond). The unstruck strine Immediately lound to prompt sound by sbiftlng tbe entire keyboard so that a bam. begins to move in pbase opposite to tbe pbase of tbe otber StriDg. mer strikes only one string of a pair. The unstruck string (black) starts As a result tbere is antisymmetric motion from tbe start, allowine to absorb eDergy from tbe bridge, wblcb is vlbratlDg SyDchrODOUS- the tone of tbe plano to retain Its singing quality for quiet p....ges. In most situations in acoustical physics the motions of two strings are neither atomic particles as neutral kaons. Two phenomenon and the phenomenon of exactly the same (symmetric) nor exact­ kinds of kaon (KO and Ko). a particle-an­ "beats." If two independent oscillations ly opposed (antisymmetric). In a piano tiparticle pair. can be formed through whose frequencies differ slightly are the motions of the strings in one unison the strong interaction in nuclear colli­ added together. they will alternate slow­ group will initially be almost perfectly sions. In studying kaon decay physicists ly between a state of reinforcement symmetric. since the hammer apparent­ have identified two other varieties of (when they have the same phase) and a ly strikes the strings with the same kaon: K~, which decays rapidly. and KYo state of cancellation (when they have strength at the same time. Minor imper­ which decays slowly. It turns out that K~ opposite phase). To the listener this fections in the hammer. however. will and Ky are respectively symmetric and sounds like a steady pitch with a pulsat­ result in string amplitudes that are not antisymmetric superpositions of KO and ing loudness. which is what the word absolutely equal. Consider. then. the KO. just as the prompt sound and after­ beats refers to. In a piano. however. the case of two strings moving in phase but sound are respectively symmetric and two strings do not vibrate independent­ with the first string having a larger am­ antisymmetric superpositions of the mo­ ly. The motion of the bridge causes the plitude than the second one. At first both tions of two piano strings. As a result a vibration of one string to affect the vi­ strings lose energy. and each string loses beam that initially consists only of KO bration of the other. As a result not only it faster than it would if it were vibrating particles will also have a kink in its de­ the frequencies but also the decay rates alone. since the other one is "helping" cay curve. are markedly affected. the bridge to move. he phenomenon of antisymmetric he mere motion of a support does hen the amplitude of the second T motion in a piano also accounts for T not automatically lead to the dissi­ W string (the one with the smaller the function of the una corda pedal. or pation ofenergy. In certain physical sys­ amplitude) approaches zero, the bridge soft pedal. The normal aftersound is tems energy is not dissipated but is sim­ continues to move because it is being about 20 decibels below the initial level ply transferred back and forth between forced by the first string. As a result of the prompt sound. a ratio that is ap­ various subsystems. Consider a string the second string not only reaches zero parently pleasing to the ear. This ratio. .attached to a ring that can slide up and amplitude but also goes "beyond" it. however. is not adequate for very quiet down without friction on a fixed rod. building up a vibration of the opposite passages. When the piano is played soft­ and assume that the ring is sandwiched phase by absorbing energy from the ly. so that the amplitude of the prompt between two coil springs that act to keep bridge. Since the two strings are now sound approaches the amplitude of the the ring in its central position. When the moving in opposite phase. the bridge background noise in the concert hall. the string pulls up on the ring. the ring motion is less than it would be if one aftersound becomes inaudible. If the moves up. and when the string pulls string were moving in the absence of the notes are long. the piano will lose its down on the ring. the ring moves down. other. The two amplitudes asymptoti­ sustainmg quality and sound like a xylo­ The motion of the support simulates the cally approach each other with oppo­ phone. To prevent this the piano is motion that would be executed by an site phase. Ultimately the motions of the equipped with the una corda pedal. extra piece ofstring attached in turn to a two strings are exactly antisymmetric. whose mechanical function is to shift perfectly rigid support. Hence the effect It is the initial symmetric motion of the . the entire keyboard so that a hammer of a "springy" support is to make the strings that constitutes prompt sound strikes only two strings of a unison trip­ string move as if it were longer than it and the later antisymmetric motion of let. Instead ofexciting almost exclusive­ really is. and so to lower the frequency the strings that constitutes aftersound. ly the symmetric motion with only a of the string. A useful way of looking at the situa­ trace admixture of the antisymmetric A springy support does not. however. tion I have just described is to think of motion. the una corda pedal excites damp the motion of the string. because the original motion as a superposition of both kinds of motion almost equally. in the course of each complete Gycle en­ two kinds of motion: a symmetric mo­ Why is this'! The third string that was ergy that flows into the support flows tion and an antisymmetric one. Let me not hit by the hammer starts to absorb back into the string. As the string pulls illustrate what I mean by superposition. energy from the bridge. which is vibrat­ the ring away from its central position If I have 10 apples and you have six ing synchronously with the other two against the force of the springs the string apples, we can describe the situation as strings. The third string begins immedi­ is doing work on the ring. On the other a superposition of a symmetric state ately to move in a phase opposite to the hand. as the ring returns to its central where we each have eight apples and an phase of the other two strings. As a re­ position assisted by the restoring force antisymmetric state where I have two sult there is antisymmetric motion from of the springs the ring is doing work on apples and you have minus two apples. the start. Therefore the level of after­ the string. Therefore there is no net en­ This is silly in the case of apples but sound with respect to prompt sound is ergy transfer. useful in the case of vibrations. because markedly increased and the singing There would also be no net energy it enables us to think of the symmetric quality of the piano is restored. transfer in the case of a string attached component decaying at its characteristic The aftersound that comes either to a massive block that can slide up and rate. and the antisymmetric one decay­ from antisymmetric motion or from down without friction on a fixed rod. ing at a much lower rate (or. in the ideal horizontal polarization is quite soft Here the motion of the block is gov­ case. not decaying at all). The algebraic compared with the prompt sound. And erned not by a restoring force (since sum of the two string amplitudes drops since such aftersound arises out ofstruc­ there are no coil springs) but by inertia. toward zero. but the difference remains tural irregularities. it probably varies er­ It is assumed for the sake of simplicity constant for a long time. ratically from note to note. The mistun­ that gravity plays no role. Inertia acts to Because the most general motion of ing of strings that constitute a unison keep the block moving in whatever di­ two piano strings can be expressed as the group is a third mechanism that contrib­ rection it is going. When the block superposition of symmetric motion and utes to the aftersound. This mechanism reaches its maximum displacement in antisymmetric motion. the two kinds of is adjustable. however. and a skilled pi­ one direction. the string pulls back on it motion are the normal modes of the pi­ ano technician probably varies the mis­ against inertia in order to slow it down ano-string system. It is interesting to tuning to compensate for the erratic ef­ and start it moving the other way. Iner­ note that the break in the decay of pi­ fects of the structural irregularities in tia then propels the block through its ano-string vibrations is not a unique order to equalize the strength of the af­ central position to its maximum dis­ phenomenon in physics. In fact. the de­ tersound from note to note. To analyze placement in this direction. Once again cay characteristics are precisely analo­ how mistuning affects the aftersound. a the string pulls back on the block against gous to those 'of such elementary sub- distinction must be made between this inertia and sends it moving in the origi-

-36- nat direction. and the cycle continues to dissipating energy. Therefore the mere ring reaches its maximum· displacement repeat itself. motion of the bridge in a piano does not in either direction. the string reaches The fact that the string is often pulling indicate that the strings are losing en­ zero displacement (its central position). back on the block makes the string ergy. The bridge actually resembles a and when the string reaches a maximum "think" it is shorter than it really is. Thus third idealized case: a "resistive" sup­ displacement in either direction. the ring a massy support raises the frequency of port where the phase difference between reaches zero displacement. the string. Like a springy support. a the displacement of the support and the massy suppo.t does not damp the mo­ force on it is a quarter of a cycle. In this Tet me explain how the ideal resistive tion of the string. The work the string case the frequency of the string remains L situation exhibits the characteristics does on the block while pulling it back the same but its motion is damped. An of the aftersound of mistuned piano against inertia to reverse its direction is example of a perfectly resistive support strings. What happens if two strings are equal to the work the block does on the is a ring whose motion is governed not started in exactly antisymmetric motion string while pulling the string along as by coil springs or by inertia but by fric­ but with frequencies that are not quite inertia propels the block toward its cen­ tion. To overcome friction the string is identical? At first the support is not tral position. constantly doing work on the ring. and moving. since the initial string motion is The idealized cases of a perfectly so the string's energy is dissipated. That antisymmetric. The string with the high­ springy ring and a perfectly massy block the phase shift is a quarter of a cycle is a er natural frequency begins to advance indicate that supports can move without shorthand way of saying that when the in phase over the other string. and so their motion is no longer purely anti­ symmetric. As a result the strings exert a small force on the bridge. The phase dif­ ference between the force and the mo­ tion of each string is indeed a quarter of a cycle [see top illustration on page 126]. The strings reach points of maxi­ mum displacement when the force is smallest and points of minimum dis­ placement when the force is largest. The former relation holds because at the points of maximum displacement the strings' amplitudes are opp'osite. and so they cancel each other to produce the smallest force on the bridge. The latter relation holds because at the points of SPRINGY SUPPORT lowers the frequency of a string without damping the motion. An ex­ minimum displacement the strings' am­ ample of an Ideal springy support is a ring sandwiched between two coil springs that slides up plitudes are of the same sign. and so they and down without friction on a fixed rod. The support lowers the string's frequency because add. together to exert the greatest force It simulates motion that would be executed by an extra piece of string: the ring reaches maxi­ on the bridge. mum displacement when the string does and reaches zero displacement when the string does. On the assumption that the bridge is a purely resistive support the bridge de­ velops in turn a small motion that is a quarter of a cycle out of phase with the force. Hence the motion of the bridge is in phase with the motion of one of the strings and in opposite phase with the motion of the other. The in-phase string "sees" the bridge as a springy support. whereas the opposite-phase string sees the bridge as a massy support. This means that the frequency of the in-phase MASSY SUPPORT raises the frequency of a string witbout damping its motion. An example string is raised and the frequency of the ofan Ideal massy support is a massive block that can slide up and down without friction on a fixed opposite-phase string is lowered. It turns rod. Here the motion of the block is governed not by the restoring force of coil springs but by out that the string with the lower origi­ the effects of inertiL At the positions of the block shown here the string must pull back on tbe block against inertia in order to reverse its direction. The fact that tbe string is often pulling nal frequency will have its frequency back on the massive block means the string "thinks" of itself as being shorter than it really Is. raised and the other string will have its As a result the ideal massy support has the effect of increasing the frequency of the string. frequency lowered. so that both end up vibrating at precisely the same frequen­ cy. The decay rate. however. is no long­ er zero, as it was for pure antisymmet­ ric motion where the strings vibrate at exactly the same frequency. In other words. the mistuning generates a sound of a single frequency that decays slowly. If two strings are started with perfect­ ly symmetric motion but with frequen­ cies that are not quite identical, one string will begin to fall behind the other RESISTIVE SUPPORT leaves the frequency of the string undisturbed but damps its motion. in phase. As a result the bridge motion An e:nmple of a perfectly resistive support is a ring that slides up and down on a rod but whose motion is retarded by friction against a waiL The string's motion is damped because the string will not be. exactly a quarter of a cycle Is constantly doinl work on the rinl to overcome the friction between the ring and the wall. out of phase with the motion of either The phase dilference between the displacement of the support and the force on it is a quar­ string. as it would be if the strings had ter of a cycle: when the rinl reaches a maximum displacement, the string reaches zero displace­ continued to move in a perfectly sym­ ment; when the string reaches a maximum displacement, tbe ring reaches zero displacement. metric fashion, The frequency of each -37- II string is raised or lowered, depending on whether the phase difference between the motion of the string and the motion of the bridge is closer to the phase differ­ ence. that characterizes a springy sup­ port or closer to the phase difference that characterizes a massy support. Once again no beat is heard as the fre­ quencies are brought together. Since the slight mistuning introduces a trace of antisymmetric motion, the damping is a little smaller than it is in the perfect­ ly symmetric case where the precisely tuned strings cooperate fully in moving the bridge. In the cases of initial symmetric mo­ TIME tion and initial antisymmetric motion RESULTANT FORCE (colom! curve) on the bridge of a piano is proportional to the algebra­ the presence of resistive coupling tends ic sum of the strings' displacements. When the motions of the two strings (black curves) are al­ to lock together the frequencies of the most perfectly antisymmetric, the resultant force on the bridge is about a quarter of a cycle two strings but to alter the decay rates. out of phase with the motion of either string. That the phase shift is a quarter of a cycle is a Of course, there is a limit to how far shorthand way of saying that the resultant force is smallest when the strings reach points of apart the original frequencies can be. As maximum displacement and greatest when the strings reach points of minimum displacement. the mistuning is increased the phase dif­ ference between the strings increases un­ til it reaches a quarter of a cycle. where the frequencies break apart. At even greater phase differences beats are heard, and the decay rates of both the symmetric motion and the antisymmet­ ric motion become equal to the decay rates for uncoupled strings.

hen two strings are in tune, their W motion can always be expressed as the superposition of symmetric and an­ tisymmetric modes. When two strings are slightly mistuned, their motion can still be expressed as the superposition of two modes: an almost antisymmetric mode whose damping is small, although not quite zero. and an almost symmetric mode whose damping is large. although not twice as large as the single-string rate. In both modes the amplitudes of the two strings are equal. If a hammer strikes the strings at the same time and ..J W with the same strength. the exactly sym­ ~ metric motion the hammer excites is not a normal mode; rather. it must !Zw ~ be viewed as a superposition consisting w mostly of the rapidly decaying (almost ~ symmetric) mode but containing an ad­ 0. 1/1 mixture of the long-lived (almost anti­ o symmetric) mode as well. The amount W > of this admixture depends on how differ­ ~ ent these normal modes are from per­ w a: fect symmetry and perfect antisymme­ try, which depends in turn on the extent I of the mistuning. IA The major difference between the o'=-----.L1-----.L,-=-o------!.L.------=-::30 contribution to the aftersound due to the mistuning and the contributions due to TIME (SECONDS) the horizontal polarization and the anti­ KNOWLEDGE OF ANTISYMMETRIC MOTION makes it possible to construct a piano symmetric motion is that a skilled piano that could Introduce an accent Into the middle of an otherwise sustained note. The piano could tuner can adjust the former but not the be made with split dampen that would separately stop the motion of each string in a unison latter. I think this explains seemingly group. At time If a hammer sets In motion the two strings and at time B one of the strings is random variations in unison tuning that damped. The top plot shows the relativesound-pressure level as a function of time, and the bot­ were observed by Roger E. Kirk of the tom plot shows the relative displacement level of the undamped string. From A to B the curves are tyfllcal ones that decay rapidly at tint and slowly at the end. When one of the strings stops D. H. Baldwin Company. A skilled pi­ moving at B, the strong antisymmetric motion of the two strings abruptly stops and the un­ ano tuner varies the mistuning in such a damped string immediately starts to decay at the original rapid rate. The sound pressure ex­ way as to make the aftersound uniform periences a sudden increase because there is scarcely any antisymmetric motion to retard the and smooth from note to note by com­ motion of the bridge. The sudden increase gives rise to an accent in the middle of the note. pensating for the irregular effects of the -38- horizontal polarization and the antisym­ that could introduce an accent into the metric motion. In this way the piano at­ middle of an otherwise sustained note, tains its characteristic beauty of tone Picture a piano with split dampers that less skilled piano tuners are unable that could separately stop each string in COINOLAS to induce. To test my hypothesis I would a unison group. Perhaps a special pedal have one tuner tune the same piano a would control the split dampers. Now number of times. with someone else de­ consider a unison group of two strings. Supremacy thru their tuning it in between. If the same "ran­ When the corresponding key is de­ dom" mistunings manifested them­ pressed, a note is heard that has a typical Performance selves each time, it would prove that the mixture of prompt sound and after­ mistunings were not random at all. sound. After a few seconds the symmet­ Piano physics has now reached the ric component of the motion has com­ stage where each step forward raises pletely died away and only aftersound more questions than it answers. For the can be heard. At this point the special investigator this is an extremely exciting pedal is depressed that damps the mo­ stage. The trial-and-error method that tion of one of the strings. As a result has historically characterized the devel­ the strong antisymmetric motion of the opment of musical instruments is partic­ two strings abruptly stops and the un­ ularly inefficient for such a huge acous­ damped string immediately starts to de­ tical structure as a piano. where the in­ cay at the original rapid rate. The sound vestment required for a new design is so pressure suddenly increases, as the am­ large that it discourages experimenta­ plitude of the motion of the bridge soars tion. For this reason the emergence of a in the absence of the retarding effect of detailed physical picture of the work­ the antisymmetric motion of the strings. ings of the piano promises to have a In this way a sharp accent is introduced tremendous impact on piano technolo­ into the middle of the otherwise sus­ gy. Even the present incomplete picture tained note. Other ways of controlling suggests innovations. For example, the tone quality will become apparent once understanding of antisymmetric motion the physics of the piano is completely points to the construction of a piano worked out. , I I I I Durability that has I 1 I 1 I 1 defied the years I , I 1 1 I I 1 1 I , / I 1/ t V l/) I /I w I /' U 1 z 1 // W I :J // 1 ______J..1 _ 1 o 1 crW ----.------u.. ,1 w : // , o / I o / 1 :::i; 1/ I V I /1 I /1 I / 1 I / 1 1 /I I / t I / 1 I / I I / 1 I / 1 / , I ,/ 1 , 1 Known Values I , I , I I Proven Satisfaction 1 I I 1 t 1 w Your territory may be open ~ cr ~ Man"raelllred by u w o -4 -3 -2 o 4 The Operators Piano Co. MISTUNING 71S N. Kedzie Ave. FREQUENCIES OF A PAIR OF STRINGS lock together when the motions of the strings Chicago lIIinoi. are coupled through a purely resistive support. The mistuning, or difference between the un­ coupled frequencies, is given in "natural units," whicb are related to the single-string damp­ ing rate. For a typical pair of strings In the middle of tbe keyboard, one natural unit is about a third of a vibration per second. The broken lines in the top graph indicate the frequencies in the absence of coupling. The point where the broken lines cross each other is where the two "The Music Trade Review" strings'have exacOy the same frequency, In a piano the presence of a purely resistive support November 7, 1929 causes frequencies with a mistuning of either + 1 or -1 natural unit to come together and lock at a common frequency. For smaller mistunings the frequencies stay locked but the decay rate, From the Collection of Don Teach wbich equals tbe 'single-string rate for larger mistuning&, splits for the two strings (bottom). -39- ELECTRIC REPRODUCING PIANOS - THE DUO-ART By Wilberton Gould - From the Dec. 1928, Feb. 1929, March 1929, and May 1929 The Tuners Journal Contributed by Don Teach and Dick Merchant

In the servicing of the Duo-Art mechanism it is absolutely only by a set of accurate gauge blocks that are made for that necessary that the technician understand the expression system purpose. It is also necessary that there be just enough tension and the principle under which it functions. The only tools required on the springs to bring the accordion pneumatics back to rest are a screw driver, a Duo-Art test roll and a musical ear. The men­ snappily, with not too much or too little tension. Care should be tion of this last item might seem out of place in this series, but exercised in this operation; if there is too little tension the accor­ facts have proved otherwise. dions will not come to rest qUickly enough, and if there is too As the expression box is the heart of the Duo-Art, through much tension the accordions will lag in their collapsing, with the which it is possible to reproduce the artist's musical thoughts, result that the knife valve will not open enough, as it should. this phase will be gone into quite thoroughly in order that the Likewise, the tension springs on the regulators should not be principle on which the Duo-Art operates may be understood in drawn down to a greater degree than is necessary, but should its simplicity. All references made to the expression box will apply be just taut enough that they do not rattle. Pulling down the ten­ both to the grand and upright models, with one exception, which sion springs on the regulators is frequently done because of lack may be referred to in the Duo-Art 1927 service manual, and which of knowledge. When this is done it upsets the zero setting of the will be taken up in its order later in this series. regulators, and if this operation is carried to the extreme it will The adjustment of the various degrees of shading in the Duo­ ruin the springs for the fine setting of the accompaniment or the Art must be approached from a musical standpoint in order to theme and it will be impossible to bring down the tone to that achieve effective results. Assuming, of course, that mechanical softness so much desired by real music lovers. If the springs have conditions are equal, it is possible through the unique dynamic been ruined the only remedy is new springs. Therefore, it is sug­ control to control the entire register of the instrument either by gested that a tuner tread very softly along this path. the accompaniment regulator or the solo regulator, as will be pro­ Before going further into the expression box, the expression ved as this series advances. control ports on the tracker bar should be explained, so that they The keyboard of the instrument is divided musically into may be better understood when referring to the expression box. theme, or solo, and accompaniment in the same manner as if it Referring to the illustration "E" at the bottom of page 17 of were played manually. For example, the matter of carrying the the manual, we find the following: melody from the bass to the treble, or crossing the hands, or car­ Bass End Treble End rying the melody from the treble into the bass, is effected through Re-roll Soft Pedal the accompaniment regulator or the theme regulator, as the case Sustaining Pedal Electric Cut-Off may be. There is no duplicate control system in the Duo-Art, one Bass Theme Treble Theme for the bass and one for the treble. On the contrary, one regulator, No. 1 Dynamic Accompaniment No. 1 Treble Theme either the accompaniment or the theme in conjunction with the No. 2 Dynamic Accompaniment No. 2 Treble Theme theme valves, may control the entire register. In order to unders­ No. 4 Dynamic Accompaniment No. 4 Treble Theme tand how this is accomplished it is necessary to know the travel No. 8 Dynamic Accompaniment No. 8 Treble Theme of atmosphere from the pneumatic stack to and through the ex­ It will be noted that the note holes start at the fourth hole pression box, and also to know what is taking place during the from the bass end and the fourth hole from the treble end, reading operation. from the outer edge toward the middle; that is, the first speaking Referring to the phantom view on page 17 of the service note is No. 5 and the last No. 84, making eighty speaking notes. manual, it will be noted that figures 19 and 25 are the main supply This applies to the modern type Duo-Art. In the older models from the pneumatic stack to the expression box, bass and treble the speaking scale is full eighty-eight notes on straight eighty-eight ends. Under normal conditions, that is, when the theme secon­ note rolls, but still remains eighty speaking notes on the Duo-Art dary valves (figures 16 and 27) are up against their top seats, reproduction. they cut off air channels from chambers 20 and 24. This causes Note holes, 1, 2, 3 and 4 at the bass end and 85, 86, 87 the atmosphere entering the nipples (figures 19 and 25) from the and 88 at the treble end have each directly above them a perpen­ pneumatic stack to enter the accompaniment chamber (figure 22) dicular oblong port. These oblong ports are the accordion dynamic and pass down, as indicated by the arrows, into the accompani­ control ports and are connected by tubing to the Duo-Art cut­ ment regulator, through the knife valve port and thence to the out pouch blocks directly behind the spool box. These blocks pump. By this it will be seen that air travel is through the accom­ contain a series of four pouches on either side of the blocks, one paniment regulator as long as the theme secondary valves remain on the bass end and the other on the treble end, and are con­ against their upper seats, thus proving that normally the instru­ nected to the supply from the Duo-Art cut-out block on the left­ ment is under accompaniment control. hand end of the spool box, being marked "Duo-Art On" and "Duo­ The degree to which the strength of the blow is governed Art Off." With the Duo-Art lever at the "On" position, atmosphere by the movement of the knife valve is controlled by means of the is admitted to the underneath side of the note pouches on the accordion pneumatics 6, 5, 4, 3, 31, 32, 33 and 34 in conjunc­ blocks marked 1, 2, 3 and 4 notes and 85, 86, 87 and 88 notes, tion with the theme secondary valves 16 and 27. The collapsing which inflates the pouches and cuts off the note holes from the travel of the accordion pneumatics being 1/16th, 1/8th, 1/4th and tracker bar. With the Duo-Art switch at the "Off' position, the 1/2 inches, as these accordion pneumatics collapse they control process is reversed, and air is admitted to the underneath side the opening of the knife valve port. The greater the area of the of the accordion port pouches. Now with the Duo-Art switch at knife valve port the stronger the blow given. the "On" position, atmosphere is admitted through anyone of the accordion dynamic control ports above the note ports, passes It will be noted that there are adjusting screws on the cross through the pouch cut-out block, thence to the accordion primary bars of the accordion pneumatics. These should not be disturb­ valve box, from there to each of its respective primary valves, and ed, as they are set correctly at the factory and should be adjusted in turn to each of the accordion dynamic pneumatics on the Electric Reproducing Pianos continued - expression box. In the upright model the dynamic valve box is The moment one or both of the theme secondary valves drop, assembled on the expression box frame, and in the grand model since the theme regulator suction is usually of a higher intensity it is attached to the frame of the case as closely as possible than that of the accompaniment regulator, this stronger suction The theme valve ports on the tracker bar lead to the theme will draw the flap valves (21 and 23) to their seats and cut off primary valve box (valves Nos. 29 and 30) and thence to the channel 22 from the pneumatic stack. Thus, momentarily, the theme secondaries in the expression box. (See figures 17 and 18 stack may be entirely cut off from the accompaniment regulator, in illustration "E".) but only when the stack is opened to the theme regulator. When this occurs, the air from the stack entering chambers 20 and 24 The re-roll port and the port in the take-up spool lead direct­ will pass down and over the theme secondary valves and into ly to the repeat and re-roll primary valve box underneath the key the channel underneath and directly behind the accompaniment bed, which valves control the re-roll and repeat pneumatics. In channel (this channel is shown but is not numbered on the phan­ the upright model, the electric cut-out switch port on the tracker bar leads directly to the electric switch pneumatic, on the right­ tom view, but is indicated by the arrows from the theme secon­ daries), through the port shown leading into the theme regulator, hand side of the case, and in the grand model to the switch primary valve box undemeath the key bed on the left-hand side and thence to the pump and exhaust. of the expression box. This condition can happen collectively or singly, as the case The sustaining pedal port on the tracker bar leads directly may be, according to the cutting on the music roll. It will be to the sustaining pneumatic in the grand type, and to the pedal remembered that the strength of the blow is governed by the regulator in the upright model. The soft pedal port leads to the movement of the knife valve within each of the regulators. This soft pedal primary valve box in the grand model and to the pedal movement is controlled by the collapse of the accordion dynamics, regulator in the upright model. In the later types of grands, the and the theme valves determine the note or notes that are to be soft pedal not only raises the hammer rail but also shifts the ac­ accented by accenting any note or group of notes whenever a tion, thus giving extremely fine shading in the soft passages of direct passage is opened through the theme regulator to the pump. music. If, as has been shown, the path of the atmosphere can be We will now show how the air travel is changed within the changed within the expression box, it is then proved that the expression box when a theme perforation appears on the music theme regulator may control every note in the register. While the roll, and just what happens when this action takes place. accompaniment regulator does likewise, the theme may accent any note without interference from the accompaniment regulator Referring to the phantom view on page 17 of the Duo-Art and may accent any individual note in either the bass or treble service manual it will be noted that figures 16 and 27 are the bass action, thus proving that this mechanism is truly based on a and treble theme secondary valves. They are controlled through the bass and the treble theme primary valves located in the valve musical principle and that it will reproduce exactly the perfor­ box on the top action at the left of the tracker box. The theme mance of the artist upon the keyboard of the instrument. primary valve box is shown at the right of the expression box Manual control of the Duo-Art is obtained by means of a on page 17. Figures 29 and 30 are the bass and treble theme system of levers situated on the key control slip of the instrument. valves respectively, and are connected to the secondary valves Normally, they are used only when a roll other than a Duo-Art in the expression box and to the tracker bar. As previously stated, is used, and then only with the Duo-Art switch in the spool box under normal conditions the theme secondary valves are against at the "Off' position. These levers give the operator direct con­ their top seats, thus compelling the atmosphere from the trol over the movement of the knife valves in both the accom­ pneumatic stack to travel through chambers 20 and 24, through paniment and the theme regulators as well as control over the the flap valves 21 and 23, into chamber 22, down through the theme valves. Illustration "G" on page 21 of the service manual channel, as indicated by the arrows, and through the knife valve shows one of the regulators, accordion dynamics and manual con­ port of the accompaniment regulator, and thence to the pump. trollever. It must be remembered that the levers have a down pull The question arises, How do the secondary valves remain on the heels of the knife valves the same as the accordion against their top seats? As stated above, there is a theme primary dynamics, and that the levers control the movement of the knife valve box located on the top action at the left of the tracker box. valves and the opening of the ports. Under normal conditions, the valves in this box are at rest, or The more the levers are moved from their normal position, down against their bottom seats. Atmosphere is admitted over the greater is the intensity of the suction built up in the regulators the tops of the valves, passes through connecting tubes and in­ and correspondingly the stronger will be the force of the blow flates the pouches under the secondary valves, thus holding these of the striking pneumatic. secondary valves tightly against their upper seats and preventing any passage of air from the pneumatic stack to the theme The theme levers control the movement of their respective regulator. The inflation of the theme secondary pouches just men­ pallet valves underneath the key bed, allowing atmosphere to be tioned is accomplished by the action of the theme regulator suc­ admitted through the ports of the pallet valves directly to the tion which entirely surrounds the top surfaces of both theme primary valves instead of through the tracker bar. By the use of secondary pouches. The moment theme perforations appear in these levers it is possible to pick out any single note in either the the music roll, atmosphere is admitted througb the theme ports accompaniment or the theme and accent it at Will, which follows in the tracker bar to the primary pouches, inflating them and rais­ the same principle as the cutting of the music roll. ing the primary valves to their upper seats. This action cuts off The spill valve, or atmospheric intake, is located in the rear the atmosphere which was admitted through the top cups and of the Duo-Art expression box. It is'properly adjusted at the fac­ permits the suction of the theme primary box to exhaust the tory and should not be tampered with. As either the theme or secondary valve pouches through the bottom cups, causing the accompaniment regulator intensities increase, this valve begins secondary valves to drop and thus momentarily open a channel to close and when the intensity of either regulator reaches the between the pneumatic stack and theme regulator. The opening tenth degree it is fully closed, remaining closed from this tenth of this channel is the action whereby the air from the pneumatic degree through the fifteenth. Below the tenth degree, it is either stack is changed from the accompaniment regulator to the theme regulator. closing or opening as the regulator intensities are increasing or

-41- Electric Reproducing Pianos continued - decreasing, being fully open when no accordion dynamics are col­ lapsed. This spill valve is returned to its normal position by the THE DUO-ART UPRIGHT GOVERNOR action of a coil spring, which should be adjusted just strong The Duo-Art governor is extremely sensitive and positive in enough to give it a positive return motion. If it is adjusted too operation. Reference to illustration "Won page 35 of the Duo­ strong, it may retard the motion of the accordion dynamics and Art 1927 service manual will show that the atmosphere from the thus affect the normal expression. (See illustration "J" on page wind motor enters the governor at channel No 6, passes through 28 for the method of connection and its operation.) channel No 3, provided the tempo port is open to ten or more, The tracking device shown in illustration "e on page 32 is through knife valve port No 5, and out through channel No 8 simple and positive in action, and when understood correctly is to the pump. Spring No 9 is the opposing suction in the gover­ very easy to adjust. It should not be condemned if it fails to nor pneumatic. Figure No.3 is the tempo port, No 2 is the tem­ operate correctly. It should be remembered that not only this type po control slide valve, No 4 is the reroll port and No. 7 is the of tracking device, but every other type, was tested under many re-roll slide valve. Figure No 1 is a bleed channel connecting with and varied conditions and that when installed in the instrument the outside air. Its function is to prevent the wind motor from it did its work. The greatest trouble encountered in adjusting any creeping when the tempo is at 0, but this channel is cut off when tracking device is lack of knowledge of the principle under which the tempo is advanced three or four points. Adjustment of the it operates. In adjusting the Duo-Art tracking device the power governor will be taken up later under the caption "Testing." should be on and the tracker bar covered with a roll. The tempo In the grand Duo-Art the governor is practically the same, should be set at zero and the tracker ears moved away from the except that the action cut-out is in the modulator box undemeath edges of the paper. The tracker pneumatics should be centered the bed next to the rotary pump, and its function will be discuss­ exactly and the top drive shaft at the right of the spool box should ed under the heading "Duo-Art Grand Modulator Pneumatic." be at center of the shifting cam (figure 8). Figure 1 shows a turn­ SUSTAINING AND HAMMER RAIL LIFT buckle, which adjusts the position of the cam. This turnbuckle has left and right threads and is supplied with lock nuts, which The entire layout of the tubing and control of the sustaining should always be set tight after the adjustment of the cam has pedal and the hammer rail lift will be found in illustration "N" on been made. page 37. There are three valves in the sustaining pedal valve chamber and two in the hammer rail valve chamber. Those who When the tracker pneumatics have been centered and other are familiar with the Duo-Art since its inception will readily see adjustments made so that the note holes in the music roll align the advantage of this arrangement over the older model. with those in the tracker bar, the tracker ears should be sef. These ears should be so adjusted that they just touch the edges of the Quietness of operation is highly desirable, and it is obtained paper, and the screws (figures 2 and 3) should be tight. Under through the medium of the multiple valve control in conjunction no condition should the tracker ears be bent into position with with the pressure regulator. A knife valve and a regulator spring a pair of pliers. This would not only be bad practice and show are attached to the pressure regulator pneumatic. Adjustment of a lack of knowledge on the part of the service man, but there this spring will control the action of the sustaining pedal, the ac­ would be danger of damaging the ears to such an extent that cordion pneumatics and the hammer rail lift as regards snappy they might have to be replaced with a new set. Many music rolls action and quietness. The sustaining pedal and the hammer rail have been ruined through faulty and incorrect setting of the tracker are also controlled through the stop buttons, figures 2 and 3. Too ears, and the blame placed on the tracking device. If tracking great a tension on the regulator spring No. 1 will cause noise and devices were able to speak what stories they could tell! valve clatter, and too little tension will produce sluggishness of the action. In this unique control it will also be noted that there Note: is regulated and unregulated atmosphere. In the December, 1928, installment in this series it was stated In the upright Duo-Art, in conjunction with the soft pedal or on page 286, second column, first paragraph, that with the Duo­ hammer rail lift is a pallet valve (not tllustratedl whose function Art lever at the "On" position atmosphere is admitted to the is to collapse No.2 accompaniment accordion pneumatic on the underneath side of the note pouches on the blocks marked 1, expression box to compensate for the lost motion created by the 2, 3 and 4 and 85, 86, 87 and 88. It should have been stated hammer rail lift. In the grand model the sustaining and hammer that atmosphere is admitted to the top side of these pouches. rail lift pneumatics are controlled from the modulator pneumatic, In the same installment, page 286, second column, third and perform the same duty as stated above. paragraph, appeared the statement: "In the upright Duo-Art model In illustration "0", page 38, are shown the tubing layout, valve the electric cut-out switch port on the tracker bar leads directly control and the position of the repeat slide valve block of the to the electric switch pneumatic on the righthand side of the case." upright Duo-Art, located on the left side of the roll box. In this Reference to illustration "0" on page 38 of the Duo-Art service illustration the switch valve block is mounted on the right-hand manual will show that the tube leading from the switch cut-out, side of the case, and shows the pneumatic and the valve box as or motor port, goes to the left and passes through the repeat slide a unit. In the grand model, the switch unit and the switch block where, if the slide block is in the "Off' position, it connects pneumatic are separate units, but the principle remains the same, with the tube leading to the switch valve box (figure 8). no matter how the units are assembled. In next to the last paragraph in the same installment, page 290, it was stated that in the later types of grand Duo-Art pianos GRAND DUO-ART MODULATOR CONTROL PNEUMATIC the soft pedal not only raises the hammer rail but also shifts the The modulator control box (illustration "P,' page 41) is shown action. By referring to illustration "S" on page 46 of the Duo-Art only in the grand model and only in instruments of late manufac­ service manual it will be seen that only the shifting of the action ture. Its function is to modify, or soften, the normal Duo-Art is accomplished by atmosphere being admitted through the soft without affecting any of its dynamic gradations. It also controls pedal port in the tracker bar, while the raising of the hammer rail and regulates the supply of atmosphere to the accordion dynamics is accomplished by placing the modulating lever, on the control and the sustaining pedal and contains the cut-off valve which cuts strip, in the soft position. off the top action on rerol!. A pallet valve block is situated underneath the key bed at the front left-hand end of the case and

-42- Electric Reproducing Pianos continued - is connected with levers marked "Concert," or normal, "Soft;' or upright action regulating, attention should be called to the fact dance. This pallet valve block is known as the dynamic valve that the more knowledge the technician has of action regulating block, and is made up of two pallet valves, with four nipples on the better equipped he is to service the piano. A well-regulated the later types and three on the older types. When the dynamic action is a pleasure and a joy not only to the manual performer lever is at the "Soft" position the pallet is opened, and atmosphere but it is an absolute necessity in order that the best results may is admitted to the valves of the hammer rail and No. 2 accordion be obtained from the reproducing mechanism. Conversely, a poor­ pneumatic on the accompaniment side. Through another nipple ly regulated piano action is an abomination both to the performer atmosphere is also admitted to valve No. 10, which raises and and the hearer, and will defeat the best efforts of the technician forces the air entering chamber No. 13 to pass through the knife to adjust the Duo-Art mechanism. valve port No. 17 and cuts down the dynamic power of expres­ Therefore, before attempting to adjust the Duo-Art it is ab­ sion one-half. When the dynamic lever is at the "Concert" posi­ solutely essential that the piano action be in proper regulation. tion it has no effect on the modulator control box, but collapses See that the hammers travel correctly, that all flanges are tight, the accompaniment accordion pneumatic No.8, so that the and that the junction block under the key bed on the grand is softest power of expression is power eight. tight in order to avoid leakage. Inspect all supply tubings for Attached to the grand governor tempo control box and to leakage. Be careful not to overhaul any of the screws. Clean the the grand modulator control box are two small pneumatics, one spool box gearing of dirt, grease and oil, and inspect the ladder (No. 14) on the modulator box and the other on the governor chains for excessive lag. Do not squirt oil on the transmission. box. Pneumatic No. 14 on the modulator box collapses and opens This is bad practice, as if oil is used it is apt to reach the gum port No. 3 on the modulator box, and is a pump relief on reroll tubing, in which event it is bound to destroy the body of the tub­ when these two pneumatics are teed together. ing. Use a good quality of lubricant, but not too much of it. Do The spring No. 20 on the modulator is set correctly at the not use oil or grease on the air motor. factory, and set so that the degree of modulation is one-half the On new set-ups or demonstrations be sure that the correct full volume of the Duo-Art. This will correctly control the action type of electric motor is installed in the instrument and that the of the accordion pneumatics on the expression box and the ac­ voltage and cycle are correct. Eliminate all undue motor noises, tion of the sustaining pedal. This spring should not be tampered see that the belt travels true from the motor to the pump and with. Should it be necessary to get at valves Nos. 10 and 5 on that it is just tight enough that it does not slip on a full load. In the modulator box, this may be accomplished by removing the the later types of the Duo-Art the belt slack is taken care of lower cap, where slide valve No. 4 is situated, but as these valves automatically by springs, while in the older types provision is made are of considerable size thiS occasion seldom arises. . for taking care of this adjustment. Make sure that the motor frame does not touch the piano frame, as this would cause an annoy­ GRAND CRASH UNIT ing motor hum. While the expression box of the grand is constructed Be sure to pump out the tracker bar ports with a reliable somewhat differently from that of the upright; on account of the pump. different designs of the pianos, there is no difference in the prin­ ciples of the expression control. The grand expression box has Place a Duo-Art test roll on the carrier shaft and with the a crash valve unit which acts only when power fifteen comes on; lever at "Play" and the tempo at 0, test for quietness. Eliminate that is, when all of the accordion pneumatics on the theme or any undue noise. Set the tempo at 70, and with the roll running solo side are collapsed. The action of the crash valve gives a direct test the speed of the tempo; correct if necessary. On this test passage to the pump, and when the crash comes on it cuts around the Duo-Art lever must be at the "Off" position, and the test roll the theme knife valve direct to the pump and in this way causes should run seven feet a minute, or three and one-half feet in one­ the maximum hammer blow. half minute. lf the tempo is too fast decrease the tension of the governor spring, and if too slow increase the tension of the spring. When setting the crash valve all theme pneumatics should (Refer to illustration "M," page 35 of the 1927 service manual.) be collapsed, valve arm No. 6 (see illustration "R," page 45) should The tracking device may also N tested at this time. (Refer to pages be up, and the adjusting screw in the arm should just raise pallet 32 and 33 of the service manuaL) valve No. 5. Should it fail to do so, one or two turns of regulating screw No. 6 should be sufficient. Rough adjustments may be made SUSTAINING AND SOFT PEDAL TEST with regulating screw No. 7 and fine adjustments with screw No. With the sustaining and soft pedals in their "On" position 6. Care should be exercised that the upward travel of arm No. the wedge dampers should clear the strings at least one-eighth 7 is not so great that it will act when power fourteen comes on; of an inch and the hammer rail should move forward to within in other words, the pallet valve should not rise more than one­ one inch of the strings. In the grand, the hammers should lift five­ sixteenth of an inch. eighths of an inch from their normal position. Spring No. 1, il­ KEY FRAME SHIFT lustration "N;' page 37, controls the speed of the sustaining and soft pedals in the upright, and spring No. 20, illustration "p," page As previously stated, the key frame shift (illustration "S") is 41, controls the speed of the sustaining pedal in the grand. (See installed only in the grand Duo-Art and only in the later models, comments on Modulator Control Pneumatic in THE JOURNAL but in conjunction with the hammer rail lift, this attachment per­ for March, page 402.) mits very fine shading of the music. The key frame shift operates only when No. 1 treble end port is open. There is a separate valve ACCORDION DYNAMICS box for this unit located in the rear of the case near the sustain­ With the Duo-Art switch lever at the "On" position, the ac­ ing pedal pneumatic. Lost motion of the shift unit may be con­ cordion dynamics should collapse in their order, Nos. 1, 2, 4 and trolled by adjusting screw No.6 on arm No. 5. This unit is silent, 8, on both the accompaniment and the theme sides. Should they powerful and positive in action. fail to operate in their given order test directly at the primary ac­ THE DUO-ART cordion valve box, removing the tubing leading to the dynamic that is not operating, and correct. While it is not intended in this series to deal with grand and Electric Reproducing Pianos continued ­ ACCOMPANIMENT ZERO SETTING, TEMPO 80 run, making it considerably harder to play than the accompani­ As this setting is the most important, it is essential that on ment run with the loud pedal off. The reason is because the notes the first arpeggio test the notes should speak evenly, distinctly are shorter and consequently play faster. In the second run of and softly. Watch for weak notes in the second run, and correct the accompaniment with the loud pedal off there are nineteen if too loud. When making adjustments, do not tamper with the notes played and in the theme run, with the pedal off, there are leather nuts on the accordion dynamic support rod. (No 14, il­ fifteen shorter notes played in one-half the space. It is easily seen lustration "E," page 17.) They are set correctly at the factory, and that more pressure is needed to play the second run of the theme should be left alone. Regulator springs Nos. 2 and 35, as well with the pedal off and the shorter notes. If the theme zero is then as all other springs, were covered in a previous article in this series. set so that it plays about every other note on the second run, Carefully read instructions on this test, pages 23 and 24 of the with the pedal off, the one degree louder has been obtained as service manual. described in test No.8, Theme Zero Setting, page 24, of the ser­ vice manual. If both accompaniment and zero settings are pro­ Adjusting screws No. 7 and 8 are of different colors, one be­ perly regulated the accordion dynamic chord test which follows ing blue metal and the other white. (See illustration "F,' page 18.) will meet the requirements of the chord test in the roll. Note tests Screw No. 8 is a' lock screw and must be loosened before it is carefully, and also test reroll and repeat in the order given in the possible to adjust the movement of the knife valve, through the service manual. medium of screw No.7. Failure to loosen screw No. 8 is apt to damage adjusting screw No.7. After the arpeggio test is set cor­ KEY SLIP CONTROL LEVERS rectly tighten lock screw No.8. In the upright model tum screw Test key slip manual control levers to see that they move freely No. 7 to the left to make the tone soft, and to the right to make and do not bind. In extremely damp weather the bushings may it loud. On the grand, tum adjusting screw No. 7 to the left to become swollen, when the levers will bind. This binding must be increase and to the right to decrease the volume. eliminated, as any constraint in the freedom of these levers will In setting the arpeggio test as above, observe the movement affect the movement of the knife valves in both the accompani­ of the accompaniment and theme regulator pneumatics. As the ment and theme regulators. volume increases the pneumatics will tend to close, and as it Now, a final word about any and all adjustments and regula­ decreases they will open. This applies to both grand and upright tions of the reproducing mechanism: know what you are doing models. and why you are doing it. Be honest with yourself; if you do not THEME ZERO SETTING know how to make the adjustments do not attempt them. It will be safer. As previously stated, the theme zero setting is one degree Any questions on the operation and adjustment of any type louder than the accompaniment. When adjusting the theme zero of the Duo-Art mechanism which a service man desires to ask setting follow the same procedure as when setting the accom­ will gladly be answered in THE TUNERS' JOURNAL through paniment. It will be noticed that the loud pedal is on with the the department devoted to such inquiries. first run of notes on the theme arpeggio, then off with the next

******************************************************************* MALWAN UPDATE By Harold Malakinian, Technicalities Chairman A few years ago I began searching for a more precise method trois pump output pressure, as the pump pressure must be the of producing and maintaining the intensity levels in the DuoArt same every time a given intensity is called for. Any variance of reproducing mechanism as compared to the original design. The pump pressure will make the above mentioned intensity louder results I was looking for was accurate vacuum pressure levels at or softer than intended. This is very important. the various intensity steps. Also, adequate air volume delivery at The Duo-Art pump pressure at "zero" intensity is about 25 those intensities. inches of water vacuum, with the spill valve fully open. With the My search led me to adopt the Ampico "B" method of inten­ spill valve closed, pump pressure is at its maximum. This could sity step selection. That is, using an air tight membrane covering be 60 to 100 inches of vacuum. This affects the overall loudness the outlet from the stack to the vacuum pump, as a master con­ level of the piano and governs the amount of energy to do work trol valve. By varying the amount of vacuum and atmosphere mix at a given point. In the original Duo-Art system, the spill valve on the opposite side of this membrane (intensity steps) the grip is mechanically connected to the accordion pneumatics. on the membrane is lessened by the pumps power, and air flow That is: The opening and closing of the spill valve position is deter­ takes place from the stack to the pump. The air volume delivery mined by the number of accordion pneumatics actively collaps­ system was also borrowed from the Ampico "B': A sampling of ed, thru a series of links and levers, regardless of air flow the vacuum levels established by the intensity steps are fed back demands placed on the system. thru the intensity regulators, controlling the output pressure When a certain intensity is called for, say to play 6 notes accurately. at medium loudness, intensity number 4 may be selected. Then, I constructed and installed such an intensity mechanism in say, the next passage may contain 8 notes and is to be played my grand piano and reported my results in a previous article. Since softer. The roll coder may elect to change intensity levels or simply then, I received many letters questioning the compatibility of "Duo­ maintain the previous level and strike the 8 notes. Since the pump Art" rolls using "Ampico" expression. The main point of controver­ spill opening is fixed by number 4 intensity, no extra air can be sy appears to be the spill valve! Yes, the spill valve. generated. The net result will be the 8 notes will be played softer, The spill valve is an opening to atmosphere that "spills" at­ as this takes more energy than playing 6 notes. This is the much mosphere into the vacuum pump to relieve the strain on the pump discussed fall off principle unique to the Duo-Art. dUring times of low vacuum requirements. This valve also con- -44- Maloian Update continued - A BETTER WAY? In the Ampico system, the spill valve opening is governed by a pneumatic that reduces the spill or leak to atmosphere, by I am currently designing a Duo-Art system based on the just collapsing and closing off the spill hole. The more this pneumatic mentioned features. The main change will be to up scale all the collapses, the more pump vacuum pressure is produced, and is present components. The "new" Duo-Art uses 5/8" dia. air available to do work. passages, where as the original uses 1" dia. air passages or about twice the capacity. Up-scaling is necessary to get adequate air This spill valve pneumatic receives it's source of vacuum flow to the bigger pneumatics, air motor, etc. I am anxious to power from a sampling of the stack pressure, which it is con­ build this new design in my quest for the "Perfect Duo-Art:' nected to, regardless of the intensity setting. This, of course is opposite of the Duo-Art. The net result is a fairly cons­ The previously described Ampico valve style Duo-Art system tant stack pressure at a given intensity setting, with no marked that I built works extremely well. It's been in use almost daily since "fall off principle" as in the Duo-Art. 1984. It possesses full range reproduction. But, there is still this one nagging point questioned in theory: The Ampico "B" and my "Duo-Art" system establishes the intensity levels by adding a fix­ THE AEOLIAN DUO-ART "B" ed amount of atmosphere to a varying amount of vacuum What's this all leading up to? The Aeolian Duo-Art "B". pressure as produced at the stack at the time of intensity selec­ This "designation" was put on the last efforts of Aeolian by Robert tion. This self-regulating feature could, however very remote­ M. Taylor and Jeffrey Morgan in an article written by them a few ly, effect the Duo-Art reproducing integrity. I have checked many years ago Dating from the late 1920's onward, Duo-Art went thru DuoArt rolls and have not seen any coding intricacies previously several refinements. Especially after the merger of the Ampico alluded to that would effect proper reproduction. and Duo-Art companies. This last effort was a complete redesign­ The fan accordion bellows system of the new Duo-Art re­ ing of the Duo-Art system. tains the mechanical intensity step selection process and may Most notable among the many changes are: possess a degree of the "fall-off' characteristics deemed so necessary by some critics. 1. The accordion pneumatics are fan shaped, like the fingers of your hand when spread out, they are fixed at one end. In the roller curtain Duo-Art, as well as our home made pouch style system, response time was very rapid because of the effi­ 2. The "knife" valve is now a roller curtain. Much like a window ciency of the mechanism. Restraints have been added to slow shade, this leather curtain rolls over a hole leading to the pump. down the system to the original Duo-Art response time. The accordion pneumatics are directly connected to the mov­ ing end of this roller curtain by a short length of chain. No more This does not degrade the system, as the principle effort was linkages. No more direct mechanical connection to the to produce a more accurate vacuum level and an adequate air spill valve! flow at any given intensity. The need for such an update was perhaps prompted by more accurate master roll recordings. With 3. The spill valve is governed by a pneumatic that reduces the the combining of Aeolian and Ampico, the spark chronograph spill to atmosphere by collapsing and closing off the spill hole. invented by Ampico was used for recording rolls for both com­ This pneumatic gets it's power from a sampling of the stack panies. A need may have been apparent to play back the more vacuum being fed into it. Sound familiar? It should be, for you subtle hammer strikes accurately. The new Duo-Art "B" system see it works just like the Ampico spill valve previously described. is more compact, has fewer parts, and above all was cheaper to (So much for "fall-off" and all it's influences?) produce. For all it's simplicity, the new Duo-Art mechanism is made 4. No more crash valve, the crash type accents are performed well and is as reliable as any Aeolian product. by an additional spring on the reservoir bellows. This spring comes into play when highest vacuum is called for. NEW ANSWERS 5. Electric motor drive for the take up spool. Air motors use about one third of the vacuum generated by the pump. With electric A few years ago one of our local politicians told this story: motor drive, the need for high capacity pump volume is diminish­ Ivisited myoId law school to see one of myoid professors. While ed. Consequently, all components have been down sized. The I was waiting in his office I saw his latest test to be given to his striking pneumatics are of the 2 tier design instead of the original students. "Hey!" I said, "these are the same questions you asked 3 tier design and are much smaller. us when I was a student here." "Yes, they are;' said the professor, "but, today the answers are different." 6. Some pianos were eqUipped with remote roll cabinets called a "Concertola': These could hold up to 10 rolls which could be So is it with the Duo-Art? With new ways of doing old indiVidually selected. things, which way was really the best? I have not heard a Concertola Duo-Art, but I have been told Some day soon I hope to find out. by those who have that they express very well. "Smoother than any Duo-Art I have ever heard"; "so realistic, very subtle, every coding change seen on the roll can be heard"; "plays softly with ******************************* no skips or misses" were some of the comments. This updated NEW PUBLISHER design encompasses the Duo-Art intensity step selection with a more constant air flow control as in the Ampico. Robin Pratt 515 Scott Street - Sandusky, Ohio 44870 (419) 626-1903 ******************************* -45- ****************************************************************************************** CL.ASSIFIED ****************************************************************************************** FOR SALE CRANFORD, NJ, Sunday, April 23, 8 a.m. - 4 p.m. World's WEBER UNIKA in perfect condition, with more than 80 rolls. Il­ luminated with coin slot. No. 2627, all original, $55,000.00. largest one-day phonograph-music box automated instrument show PHILIPPS PIANELLA CORONA IN PERFECT CONDITION. at the Coachman Inn, Exit 136, Garden State Parkway. Records, The only complete instrument of its kind in the world. See page 264, parts, memorabilia, repairs. Only minutes form Newark Airport. Free Reblitz. More than 80 rolls. Double illumination both sides, hand Newsletter from Bilton, Box 25007, Chicago, IL 60625. painted pictures, and coin slot. All original. $45,000.00. W.e. Viser, UPRIGHT MELODANT ANGELUS PLAYER PIANO, Kerkstraat 102, 5126 GD Gilze, The Netherlands. (31) 01615-1681. serial 101340, Mfg. by Emerson-Angelus. Professionally restored, ROLLS, RECORDS AND INSTRUMENTS: 60 Wurlitzer refinished, electrified, and modified to play Ampico rolls. Includes PM rolls $1780. 100 Aeolian Orchestrelle 116-note rolls $980.00. 114 antique rolls (many expression), original Angelus instruction WURLITZER 150 Band Organ choice restored $35,000.00.55 manuals and catalogs, and bench, $4,000. Ed Christiansen. 99 Kay BLUE AMBEROL cylinder records (inc. Uncle Josh, Whistlin Jim, St., Newport, RI 02840. (401) 847-6519. Etc.) $150.00. 40 Red Welte rolls $1,200.00. Apollo push-up STEINWAY DUO-ART GRAND PIANO, 6'2", model player restored $1,200.40 Aeolian 46-note organ rolls $480. Link XR262176, made in 1928, walnut case, original, complete, Nickelodean restored w/pipes $18,000. 40 58-note piano rolls $400. unrestored, fine condition, w/bench, $9,500.00. CHICKERING European Orchestrion Phillips Violine restored $32,000. 4 AMPICO "A" GRAND PIANO, 5'8", model HGE135124, Wurlitzer Organette (W) rolls $120. 127 Art Echo rolls $1,270. made in 1922, mahogany case, original, complete, unrestored, Peerless "0" Nickelodeon restored $6,500.33 Pianino rolls $190. w/original bill of sale and bench, $3,300.00. Bill Koenigsberg, 77 Mortier Dance Organ $35,000. 28 Apollo 88-note 15 1/4" rolls High Pine Circle, Concord MA 01742. (508) 369-8523. $224.00.300 AMPICO rolls $1,200. 34 Apollo Concert Grand 15W' rolls $272.00. 20 Orchestrion "0" re-cut rolls $440. ORCHESTRION AND COIN PIANO ROLLS. Hundreds Wurlitzer style"N Nickelodeon w/Pipes restored $18,000. BUY­ available from stock. Catalogs: "0" $2.00; "N, "G-4X," Wurlitzer ING: All types of rolls and musical instruments. Wayne APP and Pianino, $1.00 each; "M," "OS-NOS," cassette tapes, $.50 Edmonston, 2177 Bishop Estates Rd., Jacksonville, FL 32259 each, refundable with order. Gottschalk Music, 208-G South First, (904) 287-5996. Call any morning, afternoon, or evening: Cha~paign, IL 61820-4120. (217) 351-1099. ARTCASE WEBER DUO-ART SN77278 WR, 5'8" mahogany STROUD DUO-ART, 5'2" walnut Chinese art case, nine legs, case, bridges and ivories in excellent condition. Instrument is com­ 1932 late model with all controls in spool box. Excellent restorable plete with matching bench $4,000. Jon or Tish (716) 624-5552. condition $3,250.00. Ron Olsen (612) 529-4998. REGINA AUTOMATIC CONCERTO (changer) style 300. Ful­ PIANOCORDER INSTALLATIONS, Sales and repair. ly restored inside and out. With 12 good 32" discs. Asking $26,500. America's #1 installer and dealer. All tapes in stock. Grant Leonard, For information call Larry Karp, 2557 Perkins Lane West, Seattle 401 West Lake St., Minneapolis, MN 55408, (612) 824-6722. We WA 98199. (206) 284-9203. also buy. 200 DUO-ART REPRODUCING ROLLS, all originals in fine MARSHALL & WENDELL AMPICO "B" Grand Piano, 4'8" playing condition, $6.50 each. Individually selected titles $7.50 each. William & Mary style, 1931, complete and unrestored, $4,800. Audiographic Duo-Arts, $10.00 each. Bill Koenigsberg, 77 High Pine Marshall & Wendell Ampico "A" Grand, 5'0" Willam & Mary Circle, Concord, MA 01742. (508) 369-8523. case, mahogany, 1923, complete unrestored, matching bench Circa 1900 EDISON CYLINDER PHONOGRAPH with $2,950. Chickering Upright Ampico, 1922, original unrestored, records. Shaver, needles, and recording tube in excellent shape. Desire $1,950. Bill Koenigsberg, 77 High Pine Circle, Concord, MA 01742. to sell to person who will enjoy and share. Thomas DaVies, RR (508) 369-8523. 1, Box 159E-2, Celina, TN 38551. AMPICO "B" PUMP. Welte Licensee: Drawer, grand expres­ "Original" WELTE-MIGNON upright, 5' high (early model) sion, upright expression, pump, stack, etc. Link continuous roll - drive $1,800., rebuilt $4,800. Nicholas Fiscina, 634 Randolph Ave., Cape assembly. Larry Broadmoore. (818) 365-6231. Charles, VA 23310. (804) 331-2907, NY No. (516) 661-9270. NEW AEOLIAN DUO-ART ROLL CATALOG. Complete STEINWAY "0", Pedal 88165 note Metrostyle Themodist. listings of U.S. and British issues by artist (with notes), composer, Piano and player meticulously restored. Includes original provision number and title. Hardbound, 325 pages with dust cover. $40.00 for connection to pipe organ $20,000. Also two pneumatic stacks, plus $2.00 postage and handling ($4.00 outside U.S., surface mail). good working order, one for Steinway "0" one custom made for Stein­ Order from author Charles Smith, 625 S. Myrtle Ave., Monrovia, way B (7') Geoffrey Kaiser, Box 222, Sumneytown, PA 18084. CA 91016. MASON & HAMLIN AMPICO GRAND, 5'4" reproducing PIANO ROLL AUCTIONS. Since 1970, we've been conduc­ piano restored by Bill Ackman of Cleveland (includes restringing, ting monthly auctions of vintage reproducing and 88-note rolls. We repinning, rebuilding and refinishing). Case is burl walnut with mat­ also issue re-cuts of all types of rolls and produce our own exclusive ching bench and 80 rolls. Circa 1926, $13,500. Aeolian­ original rolls of classic jazz and ragtimeperformances. We now serve Hammond Player Organ, perfect example of one of 210 made many AMICAns, so won't you give us a try for your roll needs? Mike in 1938. A 2-manual organ with foot pedal and speaker cabinet. Has & Fred Schwimmer, 325 E. Blodgett, Lake Bluff, IL 60044. matching bench, two original covers, and 50 rolls, $3,000. Pop' per's Welte Konzertist Piano, nice refinished German piano AUCTION - PIANO ROLLS, reproducing, 88-note, organ, with rebuilt stack and pump. Plays good, includes 39 recut rolls, records, sheet music. Send name & address to: Larry Norman, 17700 $2,500. Ron Bopp, Rt. 5, Box 62, Joplin, MO 64804. (417) Avalon Blvd., No. 295, Carson, CA 90746. 782-1199.

-46- FOR SALE continued - MASON AND HAMLIN AMPICO "A", 5'8~ Very clean original unrestored, excellent ivories. Serial No RA36725. $8,500. Arnold Levine, 2634 Woodlawn Rd., Northbrook, IL 60062. (312) 564-2893. WANTED 1925 STEINWAY ROLLS FOR MILLS VIOLANO. Especially looking for Strauss Waltzes. Will pay top dollar for Strauss. Please contact Wayne Butler, DUO-ART "OR" 6'6" Box 465, Jaffrey, NH 03452. (603) 532-8633. or 532-7943. PIANO ROLLS FORPIANOWDEON, a chUds electric piano Modern Walnut case Contact R. A. Meyer, 800 Gass Ave., Belleville, IL 62220. UNRESfORED AMERICAN CABINET ORCHESTRION, Model "L" Plate with or without drums. Most interested in Seeburg KT Eagle, but New valve and pouch leather, will conSider others. Jack Stevens, 5044 Bellaire, North Hollywood, CA 91607. (213) 825-5663 weekdays. new hammers, DISC AND CYLINDER MUSIC BOXES WANTED. Also dampers and pinblock. want music box parts, discs or anything music box related. Top prices paid. Arnold Levin, 2634 Woodlawn Road, Northbrook, IL 60062. (312) 564-2893. All center pins regulated to MUSIC BOXES WANTED. BUying disc and cylinder music proper friction tolerance. boxes, monkey organs, unusual organettes, musical clocks & watches, mechanical birds, automata, etc. Martin Roenigk, 26 Audio/Video Tapes available. Barton Hill, East Hampton, CT 06424. (203) 267-8682. **************************** $25,000.00 NEW PUBLISHER Randolph Herr Robin Pratt 111-07 77th Avenue 515 Scott Street - Sandusky, Ohio 44870 Forest Hills, NY 11375 (419) 626-1903 (718) 520-1443 ~***************************

To WELTE COLLECTORS From CHARLES DAVIS SMITH ~amHu Compiler and Annotator, Duo-Art Catalog 4ffi{aSllU & Published November, 1987 THE AMP/CO I have nearly completed a compilation of rolls issued for Here is an opportunity for you to acquire one of the the Welte-Mignon: Frieburg "Red"; Poughkeepsie "Red"; rarest and most desireable reproducing pianos ever made. Dewxe ReprodUcing Roll Corporation; Welte-Mignon Cor- This Mason & Hamlin Style RA (5'8"), serial No. 43936, poration (Purple Seal); Green Roll; Pianon . was carefully crafted over a ten month period in 1935 and I plan to publish a catalog which will include: by artist; factory fitted with the advanced Model B Ampico by composer, by number; alphabetical by title; with reproducing mechanism. Only 250 Mason & Hamlin biographical notes whenever possible on both artists and com- pianos were sold with the Ampico B. posers; and issue dates where known . In order to bring this piano back to its original level of excellence, the following steps are indicated: Also to be included is a history of all entities and per­ 1. Replace all strings and tuning pins. sons, with previous references gathered into one place, as well 2. Install new hammers and dampers. as never-published materiaL... 3. Rebuild and regulate the action. Roll Titles and additional data are still needed. I ask your 4. Replace missing or split key ivories. help. Please write, advising me of your special area of Welte 5. Rebuild the Ampico mechanism. It appears to collecting. I will then ask specific questions, whether on Red be complete and original (never worked on). roll; Dewxe; Purple Seal; Green; etc...... The case has some nicks and scratches; it is in good enough condition to leave as is, but the perfectionist would Some difficult Red popular titles are still needed. Also, probably want to have it professionally refinished. if you have known rare rolls or rolls that are special in some When thorougWy restored, this piano will be the focal manner.... And, if you have a collection of literature or historical point of any colleciton, large or small. material, please advise.... $12,500.00 I will answer all inquiries and suggestions.... Jim Prendergast 18964 River's Edge Drive, Chagrin Falls, Ohio 44022 Charles DaviS Smith, 914 Norumbega Drive (216) 543-9521 . Monrovia, CA 91016

-47 - BROUGHER RESTORATIONS Reproducers, Nickelodeons MBS and Fine Grand Pianos Mid American Chapter COMPLETE RESTORATION FACILITIES Band Organ Rally OWNER OPERATED 21 years of experience in each related field will be held at of restoration. CASE AND VENEER REPAIRS Cross Road Village, Michigan FINEST HAND-RUBBED MIRROR FINISHES July 13-15, 1989 OR SATIN FINISHES AVAILABLE VOICING AND lONE SPECIALIST Hosted by Concert Quality Regulation Lowest Prices, Known References, John and Nan Flint Guaranteed Work. only the worlds finest known grades ofmaterials are used. For details call the Flints They are always fresh and continually checked. Hot glue and original materials used throughout at (313) 476-0163 wherever possible Craig Brougher \'): 3500 Claremont Independence, MO (816) 254-1693 64052

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BROADMOORE AUTOMATIC PIANOCORDERThl INSTRUMENT RESTORATIONS UPGRADE ANNOUNCING Restoration 0/ orchestrions and reproducing pianos The Piano Automation our specialty. MIDI Converter Finest materials used. Take your Pianocordertm piano and add our easily-installed MIDI Converter. Throw in an electronic keyboard or synthesizer, and what "Each part is treated as the most important happens? You can add strings (or horns or chimes or...) to your piano part in the machine." performances. Want to make new tapes but don't have the Pianocordertm record option? Simple. Just playa MIDI keyboard and your tape library grows. Put a MIDI sequencer (or MIDI-equipped We are authorities on authenticity. computer) in your "recording studio" to record, orchestrate, compose, transpose, (bulldoze?), edit new music or old tapes. (" I should be Prices of restoration vary according to the grade of painting the house, but just a few more measures and mv first work you select - from "Excellent" to ''Perfect.'' concerto...") . No trade secrets - we will gladly discuss procedures Call or write. We'll even try to explain this new-fangled MIDI stutT thoroughly with any customer. and why you don't have to spend ten grand on a shiny-new black upright to enjoy your own music on a real piano. ~ 22 years experience - references proudly given upon request. ASK ABOUT CUSTOM MIDI CONTROLLERS FOR ELECTRICALLY-ACTUATED INSTRUMENTS ~ Laurence Broadnioore, Owner 1709 "C" First 5t. IPIANO AUTOMATIONI ~ Fem;;;/~A:~:231 ~ 651-A Morse Street, San Francisco, CA 94112 . San 415·239-8319 Pianocordertm is a registered trademark of Marrantz Co., Inc. b:~r==::::NlHIC:==.llrlC==t-I.-c:==t-I'-C:=::::M....c:=ij -48- ADVERTISING Classified: lO¢ per word, $3.00 minimum for members. Non­ AMICA ITEMS FOR SALE members may advertise at twice the above rate. ($6.00 minimum.) AMICA BULLETINS, BOUND ISSUES: 1971, 1972, • See Bulletin Deadlines on inside front cover. Payment must 1973 bound Bulletins at $15 each. 1974, 1975, 1976, 1977, accompany order. Make checks payable to:: 1978,1979,1980 bound BuUetins at $18 each. 1981, 1982, 1983 AMICA INTERNATIONAL. bound Bulletins at $21 each. 1984, 1985, 1986 and 1987 bound • Checks or money orders from advertisers in foreign countries Bulletins at $24 each. PRICES INCLUDE POSTAGE AND must be drawn on a U.S. Bank. HANDUNG. Spiral bound to lie flat. Send order to Mary Lilien, 460 Olympiad Dr., Los Angles, CA 90043. Display Advertising Full Page 7W'xlO" $120.00 AMICA TECHNICALITIES BOOKS: Half Page 7W'x4%" 60.00 Volume I ...... (1969-1971), $9.50 postpaid 5 Volume II ...... (1972-1974), $7.50 postpaid Quarter Page 3 / S"x4%" 30.00 Volume Ill ...... (1975-1977), $8.50 postpaid Business Card 2"x311z" 20.00 Volume IV ...... (1978-1980), $6.50 postpaid • Each photograph or half-tone $8.00. Volume V ...... _._.. (1981·1988), $20.00 postpaid Reprints of interesting technical articles which have appeared in • See Bulletin deadlines on mast head. the AMICA News Bulletin, arranged and indexed into appropriate • We recommend display advertisers supply camera-ready categories. Brian Meeder, 904A West Victoria Ave., Santa copy. Copy that is oversized or undersized will be changed Barbara, CA 93101. to correct size at your cost. We can prepare your advertise­ Roll Leaders: Duo-Art, AMPICO and Welte: Excellent replicas. ment from your suggested layout at cost. For order form, see mailing cover of Bulletin or write to Brian • Payment must accompany order. Typesetting, layout or size Meeder, 904A West Victoria Ave., Santa Barbara, CA 93101. alteration charges will be billed separately. Make checks AMICA STATIONERY: $3.50 (letter size), $3.20 (note size), payable to: AMICA INTERNATIONAL. including mailing charges. Fine quality stationery with ornate • Checks or money orders from advertisers in foreign coun­ AMICA borders. Each packet contains 25 letters and matching tries must be drawn on a U.S. bank. envelopes. Send orders to Tim Passinault, 105 Hemlock St., Munising, MI 49862. • All ads will appear on the last pages of the Bulletin at the discretion of the publisher. AMICA STERLING SILVER PINS: $8.00 each, postpaid. Very attractive on your lapel or dress. Send orders to Tim Publication of business advertising in no way implies AMICA's Passinault, 105 Hemlock St., Munising, MI 49862. endorsement of any commercial operation. However, AMICA reserves the right to refuse any ad that is not in keeping with Please make ALL CHECKS payable to AMICA's general standards or if complaints are received in­ AMICA rNTERNATIONAL dicating that said business does not serve the best interests of the members of AMICA according to its goals and bylaws.

WANTED

AMPICO "B" DRAWER PARTS Especially Electric Music Roll The Microscope Drive Motor of the ear The ordinary microscope reveals difficult measurements as the time re­ and Ampichron Clock marvels imperceptible to the unaided quired for a valve to travel from ita eye. The Chronograph does the same lower leat to its upper seat-and to for the ear. measure other intervals of leas Lban the tho\UtUldth part of a second. The well-trained. sensitive ear of Call or Write: the tuner hears difference3 in sound. The Chronograph i. one of many thst are not apparent to the ordinary scientiric dC\-lces used in the Research listener. Yet. were his ear 100 rimes Laboratory of the American Pian-o Shreveport Music Company more sensitive. this instrument GOuld Company. in developing at:J,d testing measure hammer blows more accu­ the Ampico and the piano. rately than he could determine differ~ Each month we will tell you more Attention: Don Teach enees in the resulting sounds. about the work this Laboratory is con­ stantly doing to further refine and im­ The Chronograph is used to deter· prove the Ampico and the pianos 1610 East Bert Kouns mine hammer velocities-to make such named below.

Shreveport, Lousiana 71105 AMERICAN PIANO COMPANY Malon & Hamlin. Knabe. Chiekering. j.6:C. FilCher. Phone (318) 798-6000 M.ub.1I 6: Wenddl. Hainu Bro•. 584 Fifth A venue New York

From the Collection of Don Teach 12 'fHE MUSIC TRADE REVIEW OCTOBER 31, 1925

Our Aim Is "Good" ! Quality in production, plus a genuine interest in the suc­ cess of its dealers, has ever been an outstanding charac­ teristic of the liberal SEE­ BURG policy. Reaching beyond the ordinary to the unexpected, it fosters a re­ lationship grounded in faith and confidence. KT Special

ee'======(lO J. P. Seeburg Piano Co. "Leaders in the Automatic Field" 1508-10-12-16 Dayton Street CHICAGO ADDRESS: DEPT. "D" L From the Collection of Don Teach