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PRESIDENTBob Rosencrans36 Hampden Rd.Upper Darby, PA 19082

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Published by the Automatic Musical Instrument Collectors' Association, a non­profit club devoted to the restoration, distribution and enjoyment of mUSicalinstruments using perforated paper music rolls.

Contrlbutlonl: All subjects of Interest to readers of the Bulletin areencouraged and invited by the publisher. All articles must be received by the10th of the preceeding month Every attempt will be made to publish all articlesof general interest to AMICA members at the earliest possible time and at thediscretion of the publisher.

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ROLL LEADERS: DUO-ART, Authentic. Fororder sheet, see the April 1973 Bulletin. NickJarrett, 3622 21 st street, San Francisco, CA94114.

AMICA TECHNICALITIES BOOKS:Volume I (1969-1971 ), $5.50 postpaid;Volume II (1972-1974), $7.50 postpaid,Volume III (1975-1977), $8.50 postpaid.Reprints of interesting technical articleswhich have appeared in the AMICA Bulletin,arranged and indexed into appropriatecategories. Send orders to: Jim Weisenborne,73 Nevada Street, Rochester, MI 48063.

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"They All Laughed When I Sat Down AtThe Plano, But When IT Began To Play."This sound and color super-8 movie,produced by AMICA members, is availablefor loan to AMICA members and chapters.For more information write to Howard Koff,2141 Deodara Drive, Los Altos, CA 94022.

Jnfernafional JlcNJfBJl fa. ..,-----

122122

105113114115115118

SUMMER BULLETIN SCHEDULEAs indicated in last month's Bulletin, please take note that thiswill be the last Bulletin issued until the combinedAugust/September Bulletin to be prepared and mailed to youfor delivery in September. There will not be a separate Augustissue.

Deadline for the August/September Bulletin will be August10th.

ERNST SCHELLING(LOAN) ROLLS NEEDED

The New Jersey Chapter of AMICA has decided to present an"Ernst Schelling Soiree," to be presented in the local (cultural)theatre as an historical tribute to him, at his birth place.

We do have some Schelling rolls, however we would like tobuy or borrow more for this concert. If anyone can assist, thefollowing Duo-Art rolls are needed:

#7215 Nocturne (Ragusa - played by Paderewski-ALL theothers were played by Ernst Schelling).

#101588 Home, Sweet Home.#5770-86-99 Sonata B Minor, Liszt.

And the following WelteMignon rolls:

,/ B 1448 Mazurka C Major Gp. 56, #2, ChopinC 1444 Nocturne B Major, Gp. 62, #1, ChopinC 1450 Soiree dans Granade, DebussyC 1451 Tacatta, Debussy

1445 Etude, A flat Major, Gp. 10, #10, Chopin1446 Etude F Major, Gp. 25, #3, Chopin1447 2 Preludes, C Major, Gp. 28, #1 & Bb Maj., #21,

Chopin1449 Prelude & Fugue, E Minor, Mendelssohn1452 Au Chateau de Wiligrad, Schelling1453 Romance, C# Minor, Schelling

Please contact: William Dean, 15 Hahn Street,Washington, NJ 07882

Cover - Design created from a 1925 Duo-Artadvertisement. Reprinted from Through You I LiveForever, courtesy Beckett/Zahm.

INDEX

INTERNATIONAL AMICAAMICA FORUMINSTRUMENTSROLLS & MUSICMIDWESTIOWABIOGRAPHICAL SKETCHES

Harold SamuelTECHNICALITIES

- 105-

SOLO-CAROLAINFORMA1"ION EXCHANGE

As a by-product of the Ilgenfritz study, I have started tocompile a list of all Solo-Carola rolls. There are apparentlyabout 600 by the numbers that I have seen, and about a thirdof these have been identified, listed, and cross-indexed withRecordo and Imperial where possible. About 80% of the rollslisted to date have exact counterparts in Recordo or Imperialand may have equivalents in both.

I will be glad to provide a listing of these 200 known rolls(numbers only) upon receipt of a return envelope with a 15¢stamp. Any additional numbers that anyone can provide willbe added to the list. The present version of the list (includingtitles and artists) is available for postage and copy cost ($1.00),but I suggest waiting for an updated version including thedata that will hopefully be forthcoming from this request.Bobert H. Bowerman, 222 Maintonomi Avenue, Middletown,RI 02840.

COLOR COVER MATERIALNEEDED FOR CHRISTMAS BULLE"rlN

BY TOM BECKETT

The last couple of years we have been very fortunate inhaving excellent material donated to us for use in making upour Christmas issue (December) cover. So far nothing reallysuitable has come in this year and so I ask that anyone whomay have something that is seasonally appropriate pleaseconsider forwarding it to us for possible Bulletin use. Youroriginal will be carefully handled and returned and you willbe given published credit for the cover.

NOMINATING COMMITTEE SELECTIONThe AMICA Nominating Committee announces it has selectedTom Beckett as its candidate for the office of Publisher forthe upcoming 1 year (1979-80) term.

Bill Eicher, Chairman AMICA NGMCGM

EDITOR'S NOTE: The following article on the evolution ofthe music roll was photographed from the original printed inan August, 1927 copy of "The Tuner's Journal" contributed byDick Merchant.

The un;derlinings were drawn in by the original owner (notDick). The article was not re-set (without underlines) becauseof the length involved. Article begins on page 106.

I have a photograph of an old print dated1657, thirty-seven years after the Pilgrimslanded at Plymouth Rock, which shows abeautiful pipe organ operated by such a roll.The entire mechanism was driven by anovershot water wheel. In Latin is a com­plete description of this organ which tellsexactly how the music was laid out. I shallread a translation of the Latin:

WHEN Mr. O'Meara asked me to talkto you on the subject of evolution, Iimmediately asked him if he did not

realize that many people associate evolutionwith the monkey, and he replied that thereare just as many who associate the musicroIl with the monkey. I asked him whathe meant and he quickly explained that hereferred to the music roll that Tony puts inhis hand organ while ] ocko collects thepennies.

The Evolution of the Music RollBy Charles F. Stoddard (Inventor of the Ampico) , Director, Research Lab­

oratory, American Piano Company, New York CityConvention Address

January 24, 1842. Until about 1850 theonly mechanrca11yoperated keyboard instru­ments were organs. At this time, we findHunt and Bradish in Warren. Ohio. takingout a patent on a little pianoforte controlledby a paper music roll and actuated by acrank turned by hand, so we may safely saythat aoout 185U was the earliest date of apiano player actuated by a paper music roll.This patent of Hunt and Bradish is accom­panied by a drawing of a little piano withonly thirteen strings which could be carriedaround easily under the arm. The illustra­tion shows the crank, but as no monkey isshown I presume it was not carried underthe arm or strapped over the shoulder.

The first music rolls which were laid outwere merely perforated rolls with the notesexactly as they were shown in the sheetmusic, thus leaving it entirely to the operatorto provide the musical expression. A great

Transfer the Pythagorean melody to the many thousands of players were sold whichaforesaid phonotactic cylinder. Since the were operated by these crude mathematicallymelody consists of 54 times, or measures, laid out music rolls. How well do we allthe whole circumference of the cylindershould be divided into 54 equal parts; then remember having a neighbor who owned oneeach part should be subdivided into three of those piano players! Those owners had aparts since each note of this melody equals lot of fun trying to put musical expressionone-third of a measure. In the figure the into those mechanically played notes, but theheavy lines drawn longitudinally on thecylinder mark the first division into 54 neighbors suffered a lot of agony.parts, the dotted line shows the subdivisions Generally speaking, the owners of thoseinto three parts. Then transfer to the cyl- instruments had about as much idea of musicinder the melody and fix the teeth whichcorrespond to the notes in the proper places. as the old fellow in the country church or­

chestra who played the piccolo. At one ofNotice particularly that we have a com- the vesper services at which the orchestra

plete description in 1657 of the exact method performed this particular old fellow got theof laying out a music roll which was fol- pages of his sheet music mixed so that helowed up to the first part of the present was playing the third page while the rest ofcentury. the orchestra were playing the second page.

The little wooden roll filled with pins that A distinguished gentleman who sat in theTony puts in his hand organ is made by the third pew was so upset by the mistake thatselfsame method that was used in the earliest he could not repress his feelings and in hisautomatic keyboard instruments. disgust said right out loud, "the damn fool

piccolo player." After the orchestra hadIn about the year 1840 we find the first completed its selection, the minister stepped

mentio~ of the use of the continuous paper to the front of the pUlpit and asked the per­roll whIch later supplanted the pin cylinder. son in the congregation who called the pic­Claude Felix Seytre of Lyons, France, ap- colo player a "damn fool" please to standpear_s to be the inventor of the perforated up. The distinguished gentleman did notpaper tI.Ote sheet. ThiEl patent was dated stand up, but a little deacon in the back of

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ically produced music: Simultaneously withthe development of the Welte, there was asimilar development made in this countrywhich later was brought out by the Amer­ican Piano Company and is now known asthe Ampico.

Sometime after the Ampico, came theDuo-Art, which was also entirely automatic.These reproducing instruments were alloperated by electric motors instead of byfoot pedals.

With the advent of the Ampico, therecame another improvement in the musicroll, the development of a means for produc­ing tonal effects which had been, up to thattime, regarded by many musicians as notbeing within the realm of mechanism butwere rather, as they liked to express it, "Amanifestation of the soul of the performer."This inve:ltion consisted of arbitrarily ex­tending the perforations of certain notes inorder to carry their tones across from oneharmony to another-thereby obtaining pre­cisely the effect which the performer did byhis subtle operation of the damper pedal.Numerous patents were applied for andgranted to the American Piano Companyon this method of obtaining these subtletonal effects.

the church rose and said, "Preacher, may Isuggest that you do not try to find out whocalled the piccolo player a damn fool, butthat you try to find out who called the damnfool a piccolo player?"

It was a long time before it became evi­dent that the general public were not musi­cians. They loved music, but they did notknow how to give musical expression.Realizing this, many inventors in the field ofthe player piano set about to constructvarious devices which would help the publicto give musical expression to those mechan­ically played notes.

In 1891 R M. Hunter of Phila.del.phiaconcelved..Jba idea of putting a wa1LY line antnt IlluSIC roll to denote when the musicshould be played loudly and wIlen softlv.This was the first step m the lonv roadtraveled m the development of the marvelouspresent day players.' From this Importantstep, tfie evolution of the music roll took aturn toward producing various effects auto­matically instead of leaving them to the dis­cretion of the operator of the player piano.

Following Mr. Hunter by nearly ten years~

F. L. Young of the Aeolian Company con­ceived the ide'Ulf the M etrostyle, which wasalso a wavy line running the length of thesheet and a pomter attached to the tempo The next development in the evolution offever, the index end 01 WhICh reached up to the music roll came in the method of record­the tr:acker bar If the tempo lever were ing a musician's playing. Mr. Welte'smoved so that this index end of the pointer method was secret, so we cannot know howfollowed the line the various retards and it was done. The method used in the earlyaccelerandos and other tempo effects were days of the A1npico was covered by a patentrendered in musical style. granted about 1912. This consisted of

placing electric contacts on the piano keySome five years later the Themodist was which would indicate on a moving sheet the

invented simultaneou-Sly by Mr. Crooks and length of time it took the key to be de­Mr. -skinner. 1'lli£ improvement in the pressed. Vve can readily see that it requiresmUSIC roll consIsted of inserting supple- a much longer time to depress the key wheninentary verfOlatrorrs on the edge of the playing a soft note than it does when play­sneer opposite each theme or mefody note. ing a loud note. So a long mark denotes aThese pe_rioratians controlled a mechanism soft note and a short mark denotes a loudwhich aULUII1<illCally brought out the melody note, with various gradations between.of the pi~e.

This Ampico process of recording, likeWhile these later improvements were go- most of the others, was kept a profound

ing on in this country, Edwin Welte in Ger- secret. Many people were skeptical aboutmany was attacking the probLem in an en- it being possible to record all the delicatetirely new manner. He was takmg an actual shadings that a pianist gave to his playingrecord of a musician's playing and repro- and they regarded these secret recordingducing it entirely automatically. Mr. Welte's processes as "the bunk." Only recently hasmusic roll contained supplementary' perfora- the American Piano Company decided totions which controlled the force with which break away from this great secrecy and tothe different notes were struck. His show what it is doing in the way of record­achievement was by far the greatest step ing. There are some recent improvementsforward made up to that time in mechan- in the process upon which patents have not

- 107 -

been granted, and these of course must for.~ while be kept secret, but in the main, Iwill explain how it is done.

Any process of recording which goes infor extreme accuracy entails an unbelievableamount of labor and expense. I have inmind a very wonderful record of Lhevinne'splaying of the Blue Danube Waltz whichtook over five weeks to complete, and repre­sented over 100,000 operations. This piececontains 7~915 notes and every note requiredthirteen or more operations before the recordwas ready for publication.

Generally speaking, the method employedin making an Ampico recording is a com­plete and thorough measurement of everydetail of the playing, reducing the same toterms of simple figures. These figures,which show with great exactness just whatthe artist does, are then translated into -sidehole perforations which cause the Arnp1~co

to give forth exactly the same music as doesthe artist.

Two records are taken simultaneously ofthe artist's playing, one of the notes and thepedaling, and the other of the dynamics.The record of the notes consists of penciledmarks made on a moving sheet. The exactposition of the pedaling is recorded as is alsothe speed with which the pedal is depressedand released. The dynamic record consistssimply of measuring with great accuracy theamount of energy in the hammer just at theinstant it strikes the string. It is right atthis point where the secrecy of the Arnpicomethod exists, but I may say that the accu­racy of this measurement discloses differ­ences in the pianist's touch ten times moredelicate than the human ear is capable ofdetecting.

In the Blue Danube Waltz) Shultz-Elvertranscription, played by Josef Lhevinne,there are, as I said before, 7,915 notes, andthe dynamic force with which Mr. Lhevinnestruck everyone of these notes was measuredaccurately.

AMPICO RECORDING INSTRUMENT

- lOH -

The first operation on the note record is also indications which show exactly howa check of each and every single note with fast the dampers were lifted from thethe notes on the sheet music to eliminate strings or returned to them, and how deeplywrong notes. We call the checking of each the dampers sunk into the strings.individual note with the sheet music one To solve this troublesome problem of re­operation, so that in the note check-up of the producing these subtle tonal pedal effectsBlue Danube Waltz there were 7,915 oper- with a mechanically operated pedal mechan­ations. This took one operator about three ism, the Ampico uses a patented process .ofdays. While the notes are J;>eing ch~cked, extended note perforations. We can readtlythere are two operations gomg on m the understand that so long as a note perforationdynamic record, one the identification of the is extended, just so long will the key remainmarks and the other the measurement of depressed and the .damper .be held ~ff thethem. ' The two sheets are then put on a string, and the stnng contmue. t~ smg. orpantograph table, which makes it very easy vibrate. If the record of the artIst s playmgfor the operator to transfer the figures of shows that he "half-pedaled" in a giventhe dynamic sheet, which show the loudness place, and did not damp out certai~ ton~swith which every note was struck, to the which had been sounded, the perforatIOns mnote sheet. This entails another 7,915 oper- the music roll controlling these tones willations, making a total of 31,660 .operations be extended right through that part w.hereto this point. The roll is then gtven to an the mechanical pedaling damps the strmgs.operator who translates the re~ord of .the We must remember that mechanical pedalingpedaling into extended perforatIOns whtch, is not "half pedaling," but complete pedaling.with the automatic damper pedal of the re- The tonal effects obtained by this process ofproducing piano, control the qua~ity of ton.e. extended note perforations are identicalThis is one of the most interestmg steps m with those obtained by the artist.the process of editing the roll. Now we I have gone into an explanation of thishave a note sheet with a figure at the begin- detail at great length as it is one o! t~ening of every penciled mark telling exactly peculiarities of the Ampico record whlc.h IShow loud that note was struck. Another

d 1 very often misunderstood. Many. tImesoperator then takes the roll an trans ~tes in the record there are as many as etghteenthese figures into side hole perforatIOns or twentv note perforations being extendedwhich will control the loudness of every J

. at the same time. This makes it appear asnote, so that the performance t~e Amp'tco if the artist had held down that many noteswill render is exactly as the artIst played. .This necessitates 7,915 more operations, and with his fingers, which would be an Im­on this particular roll required nearly five possibility. What the artist did do was to

keep that many strings singing by t~edays of the operator's time. manipulation of his damper pedal, a!1d m

The producing of subtle tone shading order to give precisely the same qualtty ofthrough pedaling is a very important part tone as the artist did these perforations areof the playing of every great pianist. There extended as we see them in an Ampico musicis full pedaling and half pedaling. Half roll.pedaling is a quick use of the damper p~dal Up to this time no holes have been placedwhich does not wholly cause the strmgs in the record, but it is now ready for thetouched by the dampers to cease sounding. preliminary perforating. This is done byThe vibrations of a half-pedaled string con- hand. A perforation about one-fourth oftinue long after the artist's finger has left an inch long is placed at the front end ofthe key.. Thel2e vibrations mingled with all the penciled lines indicating notes, ex­those of the notes struck in a harmony im- cept the very shortest, for which a muchmediately following create one forni of what shorter perforation is used. A single ro~mdis known as tone color. This is one of the hole is placed at the end of each penctledsubtle things that makes piano playing so line. With these preforations merely at thewonderful. It is something thoroughly beginning and end of the penciled lines theunderstood and constantly used by the great record is now ready to go to the automaticartists. stencil making machine. It must be realized

Extended marks on the side of the Ampico that it has not yet been put un a player,record show exactly where the damper therefore it has never been heard, althoughpedals lifted the dampers from the strings more than 71,235 operations have been doneand where they were returned. There are on it.

- 109 -

The automatic stencil machine finishesthe stencil completely, and a trial cuttingwith it ready to be heard, in less than anhour and a half. In the old days much ofthe work of laying out a stencil like this wasdone by hand, and the Blue Danube U7 altzwould have taken six boys about three daysto complete.

The dynamic figures are copied from theoriginal note record into this new trial rollwhich comes from the stencil machine toguide the editor in the next operation, whichis a complete inspection of the roll to seethat no errors of any kind exist. After allcorrections are made in this proof roll andtransferred to the stencil, another cuttingis made and the piece is now, for the firsttime, ready to be heard by the artist.

The record submitted to the artist is aperfect performance, an exact duplicate ofthe one he gave when making the record.

THE AMERICAN PIANO CO.BUYS CHICKERING BROS.

Acoustigrande to Be Known as Marshall & Wendell Acoustigrande-C. C.

Chickering, Chickering & Sons Vice-President.

Chicago, III .. January 23. - Alfred Wagner, vice-president of the American

Piano Co., who was in Chicago for a few days thiS week on his way to the

PaCifiC Coast, announced formally the fact that the American Piano Co. had

purchased the entire business of Chickering Bros., of this city, manufacturers

of the Acoustigrande, the purchase including all the good-will, scales,

patterns. patents, etc.

The change has been heralded for some time, but nevertheless much interest

was shown in the formal announcement of the purchase and particularly in the

fact that Clifford C. Chickering, formerly head of Chickering Bros, will

become affiliated with Chickering & Sons of Boston as vice-president of the

corporation

The Acoustigrande in the future will be known as the Marshall & Wendell

Acoustigrande, and Mr. Chickering has for some time been making ready for

thiS transfer of the Acoustigrande to the Foster-Armstrong Co

Up to , 890 Clifford C. Chickering had been with Chickering & Sons and then

became interested in the manufacture of pianos in Chicago. He now becomes

again associated with the old house of Chickering, and returns to the same

Chickering & Sons factory at 791 Tremont Street, Boston, where he first

became connected with the piano industry under the tutelage of the eminent

C. Frank Chickering, who had so much to do with the development of the

Chickering & Sons piano and who made a name as an authority on scale

drawing.

Mr. Wagner, who is also preSident of Chickering & Sons, when seen in

Chicago expressed sincere gratification upon Clifford C. Chickering's return

to Chickering & Sons and stated further that there was nothing more to say

than "This is where he always should have been."

It is seldom that the artist requests anychange. I f a change is made, it is not a cor­rection. Hearing the record, the artist be­comes his own critic and if a change is madeit is to meet his wish to alter slightly hisown performance.

The record of the Blue Danube Walt.zcontains about five times as many notes asthe average record and it required consider­ably over 100,000 operations to bring it tocompletion, but the result fully justified thegreat effort.

Now we see on looking back that in thebeginning the music roll contained only thenotes, and the person owning the player wassupposed to put in all of the musical ex­pression. The evolution of the music rollhas carried it to a highly developed productwhich leaves absolutely nothing for theowner of the instrument to do but to insertthe roll and turn on the switch.

The factory of Chickering Bros. here will be taken over by the city of Chicago

as a result of condemnation proceedings to make room for the southSide

boulevard extension.

From The MusIc Trade Review, January 31, 1925. Contributed by Mike

Montgomery.

AMPICO OFFERS TOUCHINGMEMORIAL TO HERBERT

Provides Means for Impressive Feature in Memory of the late Victor Herbert

at the Recent Friars' Frolic in New York.

The Friars' Frolic, an annual event in New York's theatrical circles, was thiS

year held at the Manhattan Opera House on Sunday evening, March 20. A

feature of the program was an ensemble number entitled "Our Composers," at

which there appeared as in former years the follOWing: Irving Berlin, Jerome D.

Kern, George Gershwin, George W. Myer, Harry Archer, James V. Monaco,

LOUIS Silvers, M. Ager, Cliff Friend, Henry Santley, Joseph Santley, Isham

Jones and Dave Stamper.

In addition to several pieces for a group of pianos, each composer played

someth,n9 of his own. Since the gathering of the Friars last year one of their

group of composers, Victor Herbert, has passed to the great beyond. In the

circle of grand pianos, at which the musicians sat. one remained with an

empty bench. It was in Victor Herbert's accustomed place. When it came his

turn to play there was an expectant reverential silence and then from the

Instrument there came the strains of his "Kiss Me Again," from "Mmle.

Modiste" in the composer's well-known interpretation. It was Victor Herbert's

own recording of this favorite number played by the Ampico. The incident was

Impressive and touching, his name appearing on the program as of old and

under it the line: "He being gone yet speaketh."

From The Music Trade ReView, April 11, 1925. Contributed by Mike

Montgomery. (Editor's note - ThiS fairly well confirms the version "-

presented In the April Bulletin, page 51, by Andrew L. Stone.) - / '178

Do You Think of a Piano as Your Best Friend?From the San Francisco Chronicle, May 7, 1979. Contributed by Bill Knorp.

B.r Blake GreenPianos, says the pian"

ist Bert Bales, are likewomen. He strolres"'tbesmooth, milky-white keys.runs his fingers up over!be curved ebony. SInceeach one is different, theyconstantly surprise you.

But there are types,says Bales: To get to knowa Steinway, say, "you haveto work a lot harder.

they're more sophisticated and a little more on thebrittle side." With a Baldwin, "you can relax more, feelcloser to them straight off."

It's all a matter of taste, of course, but, while someof the best pianos Bales has known are Steinways - theone he is fingering is the Yamaha upright at theWashington Square Bar and Grill- if he could have(:lny piano he wanted (that's not a leer, that's just theway Bales always looks when he talks about pianos),ne'd choose a Baldwin grand. "My favorites havealways been Baldwins."

You call this sort of thing anthropomorphizing­the attaching of human traits to inanimate objects.Invariably, according to John Steinway, the great­grandson of the man who founded the piano companythat bears his name, men think of their pianos aswomen and women think of theirs as men. An Israeliwoman remembered by piano tuner Peter Wolford,'called her black Bechstein 'Bruno.' "

Pianist Myra Hess ttJought of her pianos asbusbands. "This," says Steinway, "produced a ratherpeculiar telegram: Tm divorcing No 1, l?lease sendNo.2,' she once wired the company. We knew what ::.heJIleant, but I wonder about Western Uoion."

It isn't necessarily a sexual thing, however.Vladimir HorOWItz referred to his piano as "my dear..nd inseparable friend." After Brazilian pianistGuiomar Naval'S spent a little time with her "old pet,"fhe rose and apologized: "Hc's not well today; he has atold."

Pianos have been known to bring out the malechauvinistic side of musicians: "The piano," Philippe[ntremont insists, "is a mall's instrument - the king ofthe instruments."

It isn't just pianists who humanize their in­struments. Violinists do it. Guitarists do it. "The gUitar,"~id Andre Segovia, "is a difficult instrument for aoerfectionist because of the influence of the girls - theleminine curves - on its nature. Sometimes it can be"ery sweet and nice, sometimes hysterical." Bassists do;1. "The bass," said Vernon Alley, "is a veI;Y physicalInstrument. The sound that comes out of it fits me, suitsmy nature."

This isn't ridiculous. People think this way aboutcars and airplanes and boats, so why not musicalinstruments? A wood instrument, after all, has beenconstructed from a living thing, tuner Hoy Foremanpoints out.

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I learnedt:o play the piano - my,piano teaChermight ~k'eUIDbliageat my use IJf1~word "play" - 011an oldl1pright that bad bM.o..JUf 1I1OUl~'s.l1bad Iyorykeys -wbich WOUld be impossi~lEno fina in anewupright (and most grands) in thiS ag:e of "ivortne" ­and no matter bow often· it was tuned, the middle Galways stuck. The last time we saw the tuner, he waspatient, but firm: "Madam, I have done everything Ican for this piano. The kindest thing you could dowould be to put it out of its IIiiSery."

Sometimes the pianists take matters into their ownhands. Harlem-stride pianist Mike Lip&kin learned totune and repair pianos himself ~ause, "contr:ary toopinion, jazz pianists don't like to play on tacky, tinny,ouMf-tune uprights." John Horton Cooper remembersjobs whe"n the piaIlQ was 50 bad the musicians "took awhole handful of the hammers with them so nobodyever had to play that piano again."

Bobby SbortJs what is called a "Baldwin artist,"buthe prefers to play on a Bechstein (as dO!E!SCoo~)ifone is available (Baldwin doesn't mind - it happeJJ$ toawn the German company.) In his New Yo~k digs, Shwtnas "a room of its own" for his Bechstein. (Fats Wan~frequently traveled with a Hammond organ, for whichhe reserved a separate hotel room, but, to avoid a seriesof double entendres, we'll restrict this piece to pianos.)

The pe~nal relationship that pianists have withtheir instruments is "why most concert pianists willschedule themselves to arrive a day ahead: so they canmeet the~piano,get to know, become friendly with it,"Steinway says.

Unlike instruments such as the Violin, pianos donot improve with ag~ but stilI some people talk abouttheir pianos as if they were wines. Peter Mintun, whoplays upon a Grotrian-Steinweg at L'Etoile, has a 1915.Steinway he received from singer Dana Sweese that heproudly calls "one of the vintage Steinways."

(The notion that Steinway once produced a .superior piano to todilY'S line is something thE/Stemwaypeople go to great pains to deny. "That's the popularthing to say about a lot of things - that.the~'re 'not.made today like they used to be' - but m thJl$ case, Itisn't so," says Eric SChwartz, a vice president orSherman Ciay the local Steinway dealer. Spokesmenfor the compa~yalso insist that European Steinways,made in the company's Hamburg factory, are nodifferent in quality than the ones made in Long IslandC~y.)

like good women (or men), pianos shouldn't beto!lsed out or traded in when the new models arrive.Will] prover care, they can last a long time. aJtfJ.Qugh.asWOll'Jrd says, tht:people wbohave proudly held ~totheir square rosewood pianos that camea~ theHom don't have much more by'now·tban a pretJy .case.

While many pianists think of pianos as indt.d11alswith personalities of their own, it is ironically S1Ilpeople on whom the instruments depend. In tbisrec;pect, nightclub owners and others responsible forthe care and feeding of pianos often do not tare verywell in the musicians' hierarchy.

"They hire som~body like Earl (Hines) and a bandlike his and payout the money, but why would theythink we were going to sound good with a really badpiano?" asked Cliff Smalls.

Hines, however, says he "raises ,cain" only withclub owners "who can afford a good piano and have adog. Most (club owners)," he says, "don't know anythingabout pianos. They th.ink you protect a piano like youprotect a bar - Wipe it off. And some piano players arereally hard on a piano."

Writer/pianist Don Asher recalls being booked foran "elegant Piedmont lawn party" where the hostesshad brought her spinet outside the night before andafter all the hours in the damp air, "all the hammersstuck like flies to molasses." The hostess' son "stoodbeside me, hour after hout that night, reaching in andpulling the ~ammersback."

Most of the time it is impossible, but there are,Asher says, instances of the artist being able toovercome the limitations of the instrument. At a Bostonclub, the "piano was a monster." The pianist in theopening act jazz trio was beside himself. GeorgeShearing followed the group, Asher remembers and,"with his sensitive touch, he knew which notes totouch, which to baby. He transformed the instrumentinto something beautiful."

Every so often, however; a club owner comes alongwho turns out to be the best friend a piano could have.Take the case of Walter Pastore, a North Beach night­life type who spends his evenings amid the pool tablesand pinball machines at El Matador.

His establishment ("the Matador," as it is generallyknown) was once a jazz club, and in that jazz club,Pastore had a small Yamaha grand that, he liked tobrag to people, "was a magic piano, a one-in·l0,OOOpiano - the one when everyone does everythingright."

Mose Allison picked out Pastore's piano for nim,and the owner had it tuned every week: "At a timewhen the job was done for $10 or $15, I paid $25 to getthe best" John Lewis of the Modern Jazz Quartet fell inlove with that piano, Pastore says. So did Bill Evans. Ah·mad Jamal looked at the piano, informed Pastore that"those Japanese don't know how to make pianos."

Then, recalls Pastore, who has a flair for thedramatic, "he gives it a little of this" - Pastore wigglesthe fingers of his right hand - "and a little of that" _the left - "and two and a half hours later, he's stillplaying my piano!

"I had a guitar player once who insisted on puttingout his cigarets on the back of my piano,"Pastore says."So one night I puffed up a cigar just as he was wiping

off his gUitar. Wben hegot it all nice and into thecase, I put the cigar out onthe guitar. He says, 'areyou crazy? This is a $500Spanish guitar!' I say, 'gee,it looked like an ashtrayto me - and a lot cheaperone than my $3000 asb·tray."

Then there was thebass player who put hiscase on Pastore's

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piano."He'd take the bass out and then slide the caseoff." One night when the bassist arrived at the club, thethird leg of the piano was resting atop his bass.

"Nobody," says Pastore, "f-- around with mypiano."

When El Matador closed as a jazz club, "I couldhave put an ad in the paper and sold her to just anyjerk," Pastore ~ys, but he took the piano back to Val StRegis at the Yamaha dealership "and asked him to findher a good horne."

Regardless of how eloquently people wax aboutthe voice and soul of a piano, about its aesthetic color·tones and how it can express human emotions andsentiments, there is no avoiding the fact that the pianois also a mechanical, scientific instrument.

In this respect, pianos are much like cars or otherappliances. Their buyers comparison shop. Eachmanufacturer has different models. Some instrumentsare easier to handle, some have a faster pick up. Therewas the Little Old Lady who asked Wolford if he tuned"Harley Davidsons - she meant Hardman Pecks."

Just as in other areas of commerce, the Japaneseare giving the rest of the world a run for their money."Every third piano sold in the world today," says St.Regis, "is a Yamaha."

Boesendorfer has been called "the Rolls·Royce ofpianos" (more like a Mercedes, however, since thecheapest Rolls these days is $70,000 and a super-duperBoesendorfer costs $46,299) by no less talented pianiststhan Victor Borge and Garrick Ohlsson. RogerNoteware, a classical·turned-jazz pianist, grew upplaying a Steinway, but, after making the acquaintanceof a Boesendorfer (last year he bought a 9-foot-6 model,the largest grand the Viennese companymanufactures), he "wonders if Steinway ever made agood piano."

Now owned by the American piano eompany,Kimball In~rnational Inc., Boesendorfer turns out onlysome 600 pianos a year (compared to Kimball's (JO-70,000)and has all the custom touches one might expect of thecreme de lacreme: ivory keys, more of them in,thelarger, longer models (97 keys in the 9-foot-6 piano vs. 88in the usual9-foot concert grand) and a mirror-like,high-glossy finish.

Since playin~ the piano is, in most cases, not thepath to riches, most pianists can only lust after themodel of their drelms. Even when they can afford thebest at home, the nature (size) of the instrument meansthey still play upon what's available in public.

But even the greats don't always feel that stronglyone way or the other about the makes of pianos. IrvingBerlin composed "White Christmas" on an old upright.Pianists who work from arrangements may requireinstruments that don't vary much in tone, says Hines,"but I don't play nothing the same way twice.

"What difference does it make that a piano has 97keys?" Hines asked one afternoon after rising fromplaying an upright he described as "better than some.

"Most people in the audience don't even know ifyou've used allBB."

PERSONALIZED AUTO PLATEBY BOBBY CLARK

left in the sun to bleach it out to white. It would be quiteyellowed if taken from a carcass, as it turned quickly after anelephant's death. So, in effect, when we expose this "deadivory" to daylight (preferably a North light if you don't wantto wreak havoc on your piano's case) it will again go throughthis bleaching-out process which seems to take from three tosix months. The only requisite from that point on is to see thatthe fallboard is not left down over the keys for any greatlength of time.

Ivories are best cleaned of dust and grime simply by using aslightly damp cloth or sponge and wiping them dry with aclean, dry rag.

Has anyone else heard of the "dead and/or alive" ivorytheory?

The technician who relayed this information to me, by way ofqualification, was manager of the Toledo (Ohio) SymphonyOrchestra for twenty-five years, played first-chair clarinet init, and studied under Percy Grainger at Interlochen, Michigan.He does not mess with players and/or reproducers butunderstands their raison d'etre and respects them.

JAPANESE PIANO ROLLINFORMATION

BY VERNON BROWN

On page 74 of the \'lay 1979 AMICA Bulletin a few questionsare asked about Yamaha Music Rolls. Some years ago I foundhere in Tokyo a Yamaha player, ordinary foot-pump variety,and three Yamaha rolls. I bought the rolls and still have one ofthem - having sent the other two to collector friends in theUnited States. The leader and box label of the ones I foundare different from the one you show in the Bulletin -indicatinga design change along the way somewhere.

I can answer some of your questions-to the best of myknowledge. As far as I know (1) No rolls are being cut inJapan at present, (2) few if any rolls were exported to theUnited States, (3) no reproducing rolls were produced inJapan, and (4) at least three AMICAns have or once had oneYamaha roll each.

Correspondence with Nippon Gakki revealed that "about 80units of player piano" were produced by Nippon Gakkibetween years 1921 and 1932 and rolls were produced byNippon Gakki for these pianos. Most of the rolls weretranscriptions of Japanese music, mainly old folksongs. Theroll I have is a transcription of Japanese koto (harp) music.The company does not have exact data because all recordswere lost or burnt during the last war.

!!'1Cltorum-.--

Jlmica

Bobby Clark writes: Here's another one for your collection.As far as I know, AMICA and OliO-ART would still beavailable in South Carolina. I did not have to get on a waitinglist for AMPICO. Apparently these names are not too popularhere.

TICKLlN' THE IVORIESWON'T MAKE THEM WHITER

BY MOLLY YECKLEY

Among the many not-well-known facts concerning pianos isthe one regarding "live" and "dead" ivory. It has been a sourceof mystery to me why an 1898 Steinway concert grand that iskept in a box built for it, hidden behind curtains on a darkstage, has the most beautiful snow-white ivories of any pianoI've ever seen. When we encounter yellowed keys, it usuallymeans the fallboard has been kept down for many years and Ialways thought it was this simple lack of light to the keys thatmade them yellow. In a sense, I was right, but not for thereason I had thought.

In the bad old days (for the elephants) they were sometimeskilled for their ivory tusks, and for that reason only. This isknown as "live ivory" because it came from an animal whowas wearing them at the time. This sort of ivory was usedonly on the biggest, best of the line pianos. (it surely musthave cost more.) "Dead ivory" on the other hand, came fromelephants that were found dead by natives, and the ivory was

Editor's note; ln response to a request for AM1CAns tosubmit their hobby-related personalized auto plates a fewissues ago, response hasn't been as much as 1 hoped. it is notnecessary to send a photo - ;ust drop me a card with the"name" of your plate.

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Jnsfrumenfs-

THE CURIOUS ROLLMONICA "cnBY A. X. PERT

Last February 17, UPS carried a story of a disastrouswarehouse fire on the outskirts of Dismal Seepage, Ohio. Thedestruction was almost total, and the loss ran into thehundreds. What UPS did not report was that while the frontpart of the warehouse was totally destroyed, the fire wasstopped before it destroyed the long-closed rear portion of thebuilding. When this unburned section was examined, it wasfound that the room contained all the remaining instruments,rolls, blueprints, records, shipping lists, photographs, diaries,personal letters, etc. of the Rollmonica factory. Now aftermuch investigation, the tragic tale of the world's loss, the lossof the Rollmonica "C", can be told.

We're sure that everyone is aware of the famous Rollmonica'sModel "A" and "B" and there is no need to describe or discusseither model at this time (see AMICA Bulletins Aug. 1953 &Sept. 1956). While the "A" and "B" were wonderfulinstruments, the Rollmonica "c" was the zenith of technicaland musical development in the field of automatic musicalinstruments. As we began to sift through all the records,blueprints and diaries contained in this long lost room, wecould only wonder what might have happened to the musicalworld if indeed the Rollmonica "c" had reached world-widedistribution. As we continued to read these records, we feltthat the world should be informed of its great loss, a losscaused by the whims of one person, the Countess BeatriceRemildia-Smythe, principle stockholder and president of thelong defunct Rollmonica Company - but more on this later.

The records made it very clear that the Rollmonica "c" was atotal re-design, in fact a design that was technically six yearsahead of its time. We can briefly list some features found inthe Rollmonica "c" as noted in its promotional literature:

1. Can produce musical effects equivalent to a 37-piecedance orchestra or a 28-rank theatre pipe organ;

2. Is capable of playing softer or louder than ever previouslypossible;

3. Absolute reproduction of artist playing - "The Master'sBreath in Your Mouthpiece;"

4. New long playing recordings, playing upwards to 124minutes allowing complete symphonies to be recordedwithout interruption;

5. New simplicity of body construction, one piece;6. Exclusive recording artists;7. Sixteen nuances of blowing;8. Perfect recording, plus perfect replaying;9. Art cases available (hand carved);

10. Endorsed by leading colleges and conservatories;11. Artionic rolls available (musical instruction by leading

musicians);13. A simplified reproducing system with reduction of

moving parts to zero;14. Improved roll drive with even speed provided by breath

drive rather than hand drive;15. Large library of recordings in preparation.

The "c" had a remarkable reproducing system (a technical

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article is planned for a later date with drawings) with 16intensity steps with floating crescendo. It was possible toreduce the intensity steps to 7 when it was necessary toproduce a singing tone and half pedaling. The recordingswere all hand blown and were accurately recorded, using arecording machine which could measure the breath used toplaya selection to 1/5000 of a mili-zephyr (one zephyr equals200 deci-poofs). This was 600 times more sensitive than theear could hear. All rolls contained a statement that the rollswere hand blown and that their use was authorized only forthe New Rollmonica. These statements were always signedwith the artist's signature printed in Olde English script.

One feature of the new Rollmonica was a new line of artcases. Records show that many ROllmonicas were shipped toItaly where master Bakelite carvers took the plain Rollmonicacase and created carved masterpieces. There are photographsof wonderful Spanish prime evil, timely Adams modem, allthe Louies including the VII, IX, and of course, Mediterraneandone in Bakelite fruit finish. These masterpieces took days todo, and many owners vied with each other to see who coulddesign and order the most complex and ornate design.Newspaper clippings of the day reported that the DowagerEmpress of First Street did indeed have the most elaborateRollmonica to be found in Gentle Rumblings, New Jersey. Shehad vied with her sister-in-law, Amelia di Brettville-Coupe foryears, but all reports confirmed that the Empress had wonwhen she had a Rollmonica built that had 134 sets of reeds, in,of course, and art case (with gold highlights), which could beheard for 3.3 miles on a quiet day.

The list of wealthy and prominent owners was veryimpressive indeed. We found names such as Baron HermanVon Blotlow, Bruce Bennett Brown, Amelia Grace Caladicott,Clarice Kelly-Kerr, Marchesa Maria V, Senorita Consuelo vonTacos, and of course, His Holiness the Pope who had three ­one in Rome, one on his yacht and one in the country. The listof music schools and conservatories endorsing the newRollmonica runs six single-spaced pages. A list of Gold Medalswon at various fairs and expositions covers three additionalpages. There are seventy-three pages of testimonials (withphotographs) of the leading musicians of the day, all attestingto the quality of the wonderful new Rollmonica. There is alsoan impressive list of exlusive recording artists. The library ofrecorded music includes classical, dance, popular, SousaMarches for marching bands and prison wail. There is also alarge selection of recordings that were blown in Europe, notto mention recordings for Rollmonica and harp, Rollmonicaand tuba and a long playing concerto series designed forRollmonica and symphony orchestra.

We are quite sure that the Rollmonica would have swept themusical world and would have been designated (by the U.S.Government) as one of the 9 musical wonders of the world,had it not been for the whims of the Countess. She in her lackof foresight, decided just before the world-wide introductionof the new Rollmonica, to drop the line and switch allmanufactors and sales to a self-playing ocarina. Unfortunatelythe ocarina simply did not have the necesary inherent musicalqualities found in the Rollmonica. The ocarina did not havethe tonal spectrum nor power that could be obtained with awell-voiced Rollmonica. It is suspected, from evidence foundin personal notes, that the Countess switched from theRollmonica to ocarina because of an affair she was havingwith a supplier of the varigated plastic used only in theocarina. This varigated plastic produced the wrong tonalstructure for use in the Rollmonica, and it could not be carvedinto beautiful art cases. Thus, the musical world lost the new

Rollmonica because of a little multicolored plastic.

The irony is that shortly after the line was dropped, the Italian. carvers sent the Countess a sample of their latest efforts, a

carveable multicolored plastic that could be used for theRollmonica which they called "Primavera in Summer." Alas, itwas too late. The Countess Beatrice Remildia-Smythe had

-..J switched all her assets to unredeemable ocarina shares. Theultimate irony is that shortly after the switch, the plasticsalesman dropped the Countess for a blonde musical combsaleslady, whom he found in the local Dismal Seepage fiveand dime store.

Hopefully, someday someone will come along who can andwill begin again with the Rollmonica "C" and restore thisgreat instrument to its rightful place in the musical world.

aolls and &rusle

"An Everlasting Love" - The Bee Gees hit the deck againwith yet another hit. The song is written by Barry Gibb andrecorded on RSO records by Andy Gibb. The song wascopyrighted by Stigw'ood Music Inc. The piano roll is QRS1110-632 played by Bob Berkman. The writer has listened tothis roll several times over and could not see anything morethat could have been done to it. The opinion is that this roll isa very good representation of this song. If one wants to judgeBob Berkman's piano style this is the roll that should be used.The arrangement even ends nicely. Good going to everyoneresponsible for this production at the QRS Company.

MIDWEST CHAPTER MEETINGBY MOLLY YECKLEY

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PIANO ROLL REVIEWBY DAN TUTTLE BY DAN TUTTLE

88-NOTE ROLLS

"When the Red Red Robin Comes Bob Bob Bobbin' Along"- A foxtrot written by Harry Woods and copyrighted byIrving Berlin Music. The piano roll is Playrite 115090 and isplayed by John Porter. Playrite rolls are known for havinggood arrangements and this is also a good example of goodarrangement in an old standard favorite. It jumps right intothe song chorus from the first of the roll, then has a sort ofcount down with chords before going into the verse. Thischord count down is smooth and shows some interestingplanning on the part of the pianist.

"Moonbeam, Kiss Her for Me" - Another foxtrot written byHarry Woods and copyright by Remick Music Co. in 1927.The piano roll is a US 1144268 played by Fred Parsons. Theverse of this song has a very interesting sound due to itsmelody being minor in sound for the first two measures ofmusic, then for the next two measures it resolves to a majorsound melody. The main melody of the song is very simple.Almost too simple for the writer to handle but I am gettingused to it. The arrangement of the roll is a plus for thisweakness in the chorus. The arrangement makes the interest inthe song survive, mostly just to hear the next verse. The wordsare good but nothing special.

"Whose Pretty Baby are You Now" - Alstyne and Kahn arethe writers of this slow drag foxtrot song. This song is thoughtto be fashioned after the song hit "Pretty Baby." The roll isUniversal #2003 and is played by George Gershwin andassisted by R.E.O. (Speedwagon?? ... Naaaw). The roll isarranged in the ever popular saxophone style. Thoseinterested in George Gershwin's playing style on this rollshould rest assured at one listening, one can determine thatMr. Gershwin was not allowed within three feet of the piano.The song is good for its type. A good George Gershwin roll?No.

Saturday-Sunday, 21-22 April, 1979

AMICA has discovered Columbus. Yes, the capital city ofOhio. In a recent conversation with an AMICAn who shallremain nameless (for his protection!) I mentioned that I hadnot yet reported on the Columbus meeting. I told him I waswaiting for inspiration so that this meeting report will notseem like others that have gone before.

This person is also a member of ATOS (American TheatreOrgan Society) and he commented that sometimes whenreading glamorized write-ups he isn't sure that he has attendedthe same meeting the reporter has written about. So, I decidedto let it all hang out, in the vernacular, (bet you didn't know ithung out there!) and if you will excuse my parenthetical prosewe will proceed. Bear with me and I will write you the barefacts.

Some of the "kitchen help." L. to r: Bill Griffin, Norm Dolder,Bobby Clark, Rob Watts, Gary Shipe.

First, I went a day ahead of time because I had rumors of astained glass factory in a section of southern Columbus and

because I wanted to personally meet and greet Trudy Maierwho flew down (no comments, please!) from Minneapolis justto attend the chapter meeting. The stained glass factory is alland more than I expected-if you need anything done orbeveled, write to me and I will give you the name andaddress. They are craftsmen of the highest order.

Oh, the meeting . . . It began on an unseasonably warm(stinking hot!) day in April with cocktails at 6 p.m. at thehome of Norm Dolder, Bill Griffin, and Rob Watts, No, notthree homes; three out of four owners. The fourth guy waswisely out of town so he didn't have to work his head offentertaining picky AMICAns. The buffet said "ChickanDivan" which I assumed meant we had to sit on a sofa, couch,or davenport to eat. They misspelled "divine," which the'entire meal was. (And one of them is a schoolteacherl)

Yeckley taking notes. Upper: Prendergast, lower: Snyder,right: Landstrom.

Donald Gren, professor of Piano at OSU, performs Chopin onthe Chickering.

The in-process restoration of this area of homes known as"Victorian Village" doesn't really prepare you for Solid StatelyBrick with Beveled Glass Doors and Windows. I hope some ofthe glass shows up in the pictures. (They are a Stan Favret­Molly Yeckley effort ... his are the ones in good focus.) Theflaw in the ointment is, of course, that only the street floor ofthe house is redone. As my mother would be the first to say,the upstairs looks like our house on any normal day-a mess.(I've been looking at kitchen cupboard doors for two months

now, without getting any sort of urge to finish paintingthem-the dishes are much easier to get at with no doors inthe way ...)

A Weber Duo-Art took up most of what was once properlyca'lIed a parlor. If the owners hadn't said so, I'm not sure that Iwould have guessed that this has been a problem piano. Theproblem is that they seem unable to decide whether it's a 1916 '-......./,model or post-1925. That's some problem! It plays well iIJ L-,spite of its inde~rminate age. , ' ; I

I ..: _ L .)

We had some reatpeople there too, not just our ghostly .guestsat the pianos, -Cha~re) Lavric is an engineer who has donedrawin~s publrsnid %_ Yf~?1 Pr~ss. Two. facts I recall:Charles real name IS c..Drago) which he said no one wouldremember, so of course I did, and second, we all "oohed" and"aahed" over a wonderfully detailed set of drawings he hadjust done and I don't have the foggiest notion of what theywere. Ampico "B", I suspect. He was delightfully entertainingand we were all thrilled to be able to see the drawings pre­publication.

The Chickering Ampico "A" in the "other" parlor made asuper vehicle for pianist Donald Gren (not Green, Tom B.,GREN!). He is a professor at The Ohio State University -see,I remembered the THE; they're fussy about that inColumbus-and he played the Liszt Transcendental Etude"Harmonies du Soir." Boy, did he play it. It is at times likethese that I wish all of our piano rolls were live-in pianists. Orat least a technician or a Perfectly Restored Piano in the housewould be a treat. The I could point to the pianist and say "see,

L. to r: Blinn-Minnick (or is it Minnick-Bllnn?) and BillGriffinat the Moeller.

like that-that's the way it's supposed to be done. And nobodysniffed and said "well, MY piano does that well" either. (Nowis the time to get tacky and claim that the rolls played almostas welL) The unfortunate thing is that I can't say for surebecause while you could have heard a pin drop during the liveperformance, the conversation begins when the rolls do. Ithink because the conversationees know instinctly that a pianoroll is not going to turn around and glare at them. I tried, ofcourse, but couldn't manage to glare at everyone in the room.Another glaring error, sigh.

We split up into groups and went either next door to theLandstrom residence, down the street to the Shipe residence,or to couple-of-blocks-away-by-van to the Bunn-Minnickresidence. (It's obvious that we were in a residential "­neighborhood.)

We heard a - it says here - 1975 Storey and Clark (Yamaha)_with a Pianocorder Vorsetzer. I remember another elegantrestored home (I can't vouch for the second and third floors)and everyone being much impressed by the sitter-in-front-of,which is about as close to "vorsetzer" as you can get inEnglish. As in many other homes I tried to walk off with piano

~- scarves, I was upset with myself for not bringing any glass­cutting tools. I want those beveled glass windows!

Bill Eicher (l.) presents charter to Bennet Leedy.

The Bunn-Minnick home features a 2/6 mostly Robert Mortonpipe organ with a Moller Artiste Reproducing Player. I lovedit, and so did Bobby Clark (visiting the midwest from thedeep southern state of South Carolina) who played itmanually and footally. Do I mean pedally? This home is reallyin a state of flux! Not to mention plaster, wallboard, a hidden

/' staircase with no railing at the top and a library that willinclude both second and third floors. In this {me, I tried tomake off with the greenhouse windows over the kitchen sink,but was clever enough to make it appear that I only wanted aglass of water to drink.

Now, I've saved the Gary Shipe dwelling for last. It featured a5'2" 1932 Stroud Duo-Art equipped with Baldwin hammers(which is what I'm getting for the 1932 Marshall & WendellAmpico "B" after hearing these!). Talk about sweet-voiced - itwas pure honey. And don't you just love this description of a"closet" organ: "0/4 hybrid Scrounger Special composed of 2ranks and 2 half ranks of a Moeller Artiste Semi-ReproducingPlayer Organ." (Well, what do you expect of a rank amateur?)I understand that some sort of gizmo board has now beenordered so that everything will play when it's supposed toand the rest won't when it's not. (That's what he said!) TheirStroud has since been sold and replaced (impossible!) with aWeber Duo-Art. There is also a Welte A.B. Chase in the wingsand an Ampico somewhere-we're negotiating for anotherColumbus meeting sometime next year, which will come as acomplete surprise to those who hosted this year's. :'-lot toworry, fellas; our next chapter meeting isn't even utitilSeptember, scheduled for Meadowbrook Hall in Michigan. (Ihad to put it in somehere, editor ... ).

Columbus is really Camelot. It didn't rain 'til after nightfall. Itdid serve to cool things off for Sunday, so on Sunday we frozeby comparison.

Morning came, as it usually does, and we got ourselves./ together in time to get the Dolder-Griffin-Watts co-op (that's

not "coop," Tom; it means cooperative effort) somewhere

• H7-

around 9:30ish precisely. These AMICAns were able to answerthat age-old question for us-which came first, the chicken orthe egg? We had the chicken on Saturday night and the egg onSunday morn. The breakfast menu (no choice) was Eggs SanFrancisco, which they propably call Eggs Tempura Columbusor somesuch in California. It was delicious, whatever it was,and was welcomed by starving AMICAns (about 50 of them)as were the delicacies of the night before . . . oh, it was"brunch" not breakfast, I see from my food-spattered notes.

Somewhere either before or after we had a technical sessiongiven by Ben Wiant (not Giant, Tom B.) and we heard someinteresting theories, as we always do when two or moretechnicians are rubbed together-sparks. No, I just rememberthe crestfallen look of an AMICAn who had just spent anominal egg (arm and a leg) to have a new soundboard put in(his piano, and here's Ben telling us that if the piano soundsgood before, it'll sound just as good after restoration,assuming the soundboard is sound and has same. What Iremember best is something I've been saying forever:assuming you have done all that is necessary and desirable,ALL reproducing pianos should have the same quality of-reproduction. It's like the man says about pumping out yourtracker bar - do it, do it! We all know this but don't alwaysthink it applies to us. The same goes for regulatingmecahnisms in pianos ... don't stop with voicing if you neednew hammers and replace the strings if they're tubby. Don't"make-do" but "re-do." End of Sermon, and thank you BenWiant.

911 Neil Ave., Columbus, Ohio. Domicile of Dolder, Griffin,& Watts. All the windows have beveled glass.

Donald Gren played again, too; this time it was three ChopinEtudes. Op. 25 in A-flat (thirds in trills) and Opuses (OPI?) 25in C Major and the Rev. (That's Revolutionary Etude, not avisiting minister, Tom). It sure is amazing to see what fingersactually can do, rather than just watching notes gomysteriously up and down. It was very well done and equallywell received.

The kitchen staff was remarkable throughout all of this. It

consisted of Norm Dolder, Bill Griffin, Jim Fanno, Rob Watts,and Bobby Clark with assists from various cocktail waitersthroughout Saturday evening. The kitchen extends into adining room and on into a full-size, believe-H-or-notgreenhouse. Orchids in bloom, more of those beveled glasswindows thither and yon and even in the walls. No, thegreenhouse was not made of beveled glass, but it wouldn'thave surprised me if it had been. Everything else was sotastefully done!

L. to 1': Landstrom, Weisenbome, Favret, Eicher, Maier en;oySunday brunch outlay.

L. to r: Alvin Wulfekuhl, Bennet Leedy, Lawrence Frazer atthe Chickering "A" Ampico.

Now, I began all of this by saying that it was all going to betold. And I did. And I had a wonderful time. And I always do.And I almost forgot that Bill Eicher, AMICA InternationalVice-President on behalf of the International presented aformal, framed charter of Midwest AMICA to the President ofthe chapter, Bennet Leedy. Now let's see if we can loose thisone! (I'm sure I remember getting one once before but no oneseems to remember who has it or where ... ). The businessmeeting seemed concerned with two items: where to meet forthe rest of the year and who's going to the PhiladelphiaConvention.

This was our very first meeting in Columbus - I hope none ofus disgraced ourselves (I don't remember seeing any puddleson the rugs) and that we will all be asked back next year. I

- I~.-

mean that nobody spilled his/her drink on' the carpeting, ofcourse.

Editor's note: From the parenthetical instructions to the editorin this article one' would think Molly doesn't believe I canspell. It's just that Ms. Yeckly's original is filled with so manyerrors that even I don't catch them all. (What can you expectfrom a reporter that writes "notes" on h~r own dress! . see -../'photo #2-no paper in evidence - & referll in article to "foodspattered notes';:)

IOWA CHAPTER"A LITTLE BRITT 0' HEAVEN"

BY DICK PARKER

The most difficult part of being a chapter reporter is trying torefrain from too many oooohs and aaaahs and gee wizzes aseach reporting time comes around. Each meeting really doesseem greater than the last though it is illogical to assume thatwe are just somehow arranging our meetings in ascendingorder. Like the first whiff of apple blossoms each spring, orfor those less poetic, the latest foldout in Playboy, there hasnever been anything quite like THIS meeting.

This time I figured we were in trouble. On the way to themeeting some of us took the opportunity to stop for a couple "­of hours at Tom's Musical Museum, a large and high qualitycollection where we not only listened to what we had time forof the dozens of instruments, but also go to talk shop with theman who keeps them working. With his thick (Cockney?)accent and the noise from the machines, I'd best not try towrite any technical manuals based on what I understood,however.

L. to r: Terry Goepel, Ai Johnson, Roger Anderson (Whiteshirt), Martin Hubbard, Bob Shimp plus one in the doorwaywhose name the mental wiwrd forgot . . .

Well, that is a very hard act to follow, but Terry Goepel must.have known we were coming and what route we might followbecause he had spent the best part of two weeks tuning andregulating his entire collection and was ready for us. TheKnabe Ampico, the "dumb" Howard Welte Licensee thatdidn't seem to realize it was only 5'2" and couldn't sound like

~that, and the Eberhardt A roll nickelodeon were, to put.it theonly way I know, fantastic! I don't know rubato fromrhubarb, but (and excuse me for this) I do know what I likeand I like what we heard. I definitely like ppps and FFFs intheir proper places, and they were there! Those of you whoare William Tell fans would have loved this afternoon in

Terry Goepel (l.) and Roger Anderson hy the Knahe.

particular. The Lone Ranger rode again and again via both thej Ampico and the Welte in what appeared to be a comparison

concert between the two pianos, with no winner announced,at least while I was in the room. Which wasn't very often.Terry has rooms filled with things that we never even got tohear that afternoon; probably stuff we didn't even see. Afootpumped grand, a Cecilian push-up that looked like it justcame from the factory, and a good start on a collection of oneof each of all models of Victor record players evermanufactured are just a few of the things that come to mind.Terry has been collecting since he was 12, originally much tohis father's chagrin-no longer, I suspect.

LaVern Velau (with smile) and others en;oying themselves.

- 119 -

Terry's home is decorated with all the things that went alongwith the player piano era making it almost like beingtransported back in time and really adding to the effect. AIJohnson had even found a stovepipe hat and was reluctant toleave without it.

Co-hosting with Terry for this meeting was Ron Olsen whoproved he has talents at the salad bar as well as at the piano.Several members were seen making a number of return tripsto the table, but I won't mention numbers or names, beingpersonally involved.

The business meeting consisted mainly of discussion ofpossible meeting day changes due to the likelihood of Sundaygas station closings in the future. The status of a longproposed rebuilding project for a local museum was broughtup again. An ad in a recent Bulletin for parts for this particularinstrument brought no results, but since then I have found agear that is the proper size and an old take-up spool that canbe adapted fairly authentically so we may get started soon.Also mentioned was the upcoming family camping outingplanned for our August meeting in Northeasy Iowa. It shouldhe a blast.

The Eberhardt Nickelgrahher.

The Lone Ranger having ridden off into the sunset, Terryinvited us to visit his workshop some blocks away and therehe had another pleasant surprise for us. There, tucked away ina small corner was the finest sounding Reproduco piano/pipeorgan I have heard anywhere. Perhaps it was the mere fact ofbeing in a small place that made the bass so evident. If so, itshould never be moved from the spot-it's· worth it. It alsodemonstrated the amount of effort put into the preparationfor this meeting as Terry says this is one of the hardestinstruments to keep pipes and piano in tune with each other.

Britt, Iowa is best known for its annual Hobo Conventionduring which a national Hobo King and Queen are chosen.Permit me, if you will, to say - ready?? - there were nobummers this day. I thank you. WE thank YOU, Terry, for agreat day.

Contributed by Frank Adams.

- 120 -

May, 1930. Contributed by fohn Semmens.

... THE ...

DUO--ARTPianola Piano

In STEINWAY, STECK,STROUD & W orid·famed

WEBER

Grand and Uprie,ht StylesWILHELM BACKHAUS.who records exClusively for

the Duo-Art.

Like the majority of concert pianists of International renown.Wilhelm Backhaus entrusts his interpretations only to the Duo­Art Reproducing Piano.

And not only Backhaus.. Nearly all of the foremost livingpianists now record exclusively for the Duo-Art. includingPaderewski, Bauer. Grainger. Hofmann. Friedman and Cortot.These recordings cannot be played on any piano other than theDuo-Art.

The following recordings of Wilhelm Backhaus are available:

BOHEMIAN DANCE in F Major .. .. .. .. SmetanaLA DANCE D'OLAF, Op, 33, No.2.. .. .. .. .. .... .. MangiagaUiCONCERTO, Op, 25 .. MendelssohnDEDICATION WIDMUNG " .. .. .. .. SchumannLIEBESLIED . . .. .. .. .. ., Kreis/erROMANCE from CONCERTO, Op. 11 .. .. ChopinSERENADE from DON JUAN .. .. .. MozartSERENADE (STANDCHEN) .. .. .. StraussSONATA in C Minor, Op. 13, PATHETIC.. . BeethovenVARIATIONS ON A THEME OF PAGANINI BrahmsWALTZ frum BALLET "NAILA" .. .. DelibesWEDDING MARCH AND ELFIN CHORUS MendelssohnETUDE DE CONCERT, No.2 .... Lis=t

The DUO ART is available in a wide range of prices and conuenientterMS of payment may be arranged.

The Aeolian Cotnpan y(AUST.) LTD.

201-203 COLLINS STREET, MELBOURNE(next R~gent Theatre)

- 121 -

~io9rapRical~KefcRes

HAROLD SAMUELBY EMMETT M. FORD

Harold Samuel, pianist, teacher, composer and piano roll artistwas born in London, May 23, 1889, a poor boy of Jewishextraction, son of Moses and Victoria Mollan Samuel.

He entered the Royal Conservatory to study piano withEdward Danreuther and composition with Sir CharlesStanford. His debut was in 1898 in St. James' Hall in London.He specialized in the music of Bach, becoming a noted andexceptional interpreter of the composer's works.

Mr. Samuel gave recitals and appeared with orchestrasthrough the British Isles. Choruses for light operas weretrained by Mr. Samuel. He became a faculty member of theRoyal College as a professor of music. His concertappearances slowed as he could not compete with the digitaldemons of that era, so he became an accompanist.

In 1919 he returned to the concert stage, performing an all­Bach program at Wigmore Hall and his repeat performance ofBach made him "an apostle of Bach." In 1921 he gave a seriesof six Bach recitals on successive days, all different programsand all played without the printed music. His virtuosity madehis "Bach Week" a brilliant and popular music event in the

- 122 -

London music sessions and brough him international fame.

Mrs. Elizabeth College invited him to come to the UnitedStates in 1924 to. play at the Berkshire Chamber MusicFestival. The recitals were so successful he was invited toappear in a concert of the Beethoven Association in NewYork, Boston, Yale, Bryn Mawr and Vassar Colleges. "-./

Returning to the United States again for a 1925-26 tour, hegave Bach recitals for six consecutive days in Town Hall,observing the 250th anniversary of Bach's birth. Though heplayed the works of other composers he held more interest inthose of Bach. His last recital in the United States wasDecember 9, 1935 in Town Hall. Mr. Samuel returned toEngland and died on January 16, 1937 at his home inHampstead at the age of 57.

His compositions include an opera, short operettas, incidentalmusic for plays, some songs and instrumental works. Late inlife he wrote an operetta, "Rumpelstilzkin."

The Duo-Art rolls are works of Bach and the phonographrecordings made in the 1930s are excellent and now rarities.Though a modern piano was used, he created an interest inthe compositions. In a 1934 HMV (English) recording, hejoined Isolde Menges to record the six Sonatas for violin andcembalo by Bach. Mr. Samuel used the piano in place of thecembalo.

d'ecRnicalifies

AMPICO B DRAWER PROBLEMSROBERT W. TAYLOR

Several years ago when I restored my first Ampico B, (anearly model) I discovered some shortcomings in the drawer.At that time I cautiously considered a minor modification. Notonly has my modification proved successful, but I havediscovered the factory also identified the same problems andcorrected later models in a similar fashion.

Problem #1 - Sluggish shift to reroll.All Model B drawers use pedal pressure to operate threedrawer components. They are: (1) Tracker, (2) Music RollBrake, and (3) Reroll Valve/Pneumatic. Pedal vacuum isusually 16"-18". The tracker and the music roll brake bothhave continuous atmosphere bleeds. The available vacuum isvery limited for operation of the reroll valve and pneumatic.As the 8T hole is opened for reroll another atmosphere bleedis opened and the remaining vacuum may be too weak to shiftthe transmission into reroll.

Late Model B drawers solve the problem by running anadditional pedal supply line to the drawer. This line is directlyconnected to the reroll valve. Additionally, the line is isolatedfrom the tracker and music roll brake. The isolation isaccomplished by changing the internal windways in the valvemounting block. My modification does not include theisolation and, therefore, the windways need not be changed. ~

Merely ''Tee'' an additional 7/32/1 supply line at the pedalregulator. (The factory placed an additional 7/32/1 elbow onthe regulator.) Run the new 7/32/1 line at the extreme bass sideunder the stack and to the drawer. Black electric tape can beused to secure the new line to drawer harness. Inside thedrawer, "Tee" the new line into the pedal supply line at a

~. point close to the valve block.

This modification adds only a line and no component ischanged. If the shift to reroll is still sluggish, check thefollowing:

1. Reroll pneumatic is hinge bound or covered with a cloththat is too heavy. (Most new motor cloth is too heavy ­use Bilon or Polylon.)

2. Reroll valve has ball bleed. The ball bleed should beremoved and hole plugged.

3. Tracker ears spaced too far apart.4. Missing constrictions in tracker and/or music roll supply

line.5. Over center spring on transmission too strong.

Not all early B drawers have the problem of sluggish reroIIshift. It appears to be a combination of many points offriction. The variables will determine actual performance.

Problem #2 - Sluggish tracker.This is identified by the tracker not collapsing on both sidesagainst the shifter block. The additional supply line asmentioned above will help. Also check:

1. Tracker pneumatic hinge bound or covered with a cloththat is too heavy. (Bilon or Polylon is okay.)

2. Tracker pneumatic is not airtight.3. Tracker ears spaced too wide.4. Missing constriction on music roll brake.5. Clogged constrictions on tracker.6. Pneumatic spring too strong.

./" Problem #3 - Valve chatter noise during rewind.This noise is heard when 5B hole is opened during rewind.The chain perforation at 5B makes the "c" valve chatter. Onlate model B drawer the ball bleeds are removed and the holeplugged on the drawer valves A, C, and D. I recommendremoving all ball bleeds in these valves as they serve no usefulpurpose. After the ball bleeds are removed, plug the hole withbees wax or other suitable substance. This will not eliminateall the noise however. In addition, completely cover the topvalve seat by placing a tight fitting circle of cardboard in thevalve's top plate.

Problem #4 - Uneven roll drive speed.Frequently the motor resistance (governor) is burned out. Thisis characterized by jerky motor operation and TV and radiointerference. Suspected resistors should be checked andreplaced if necessary. 400 ohms should be used. Mallory2HJ400 will fit in the space provided. A .47 micro farad 200vcapacitor may be placed across the resistance to reduce radio­TV interference.

Problem #3 - Grinding gears at end of rewind.The concept of the brake engaging to stop the take-up spooljust as the transmission shifts to "play" is good, but it does notalways work. Continuous gear stripping will eventually lead toa costly replacement. Late B drawers improved the brakesystem but a small modification could benefit all B drawers.Place a restriction in the line to the "Play" (Repeat)pneumatic. The proper constriction size is about 1/16/1. Thiscan be made by melting solder in a 7/32/1 nipple and drilling a1/16/1 hole in the solder. This nipple is now placed in the lineclose to the repeat pneumatic. Vary the drill size if necessary

to get a positive but "stripless" shift.

The Model B drawer is capable of being precisely adjusted.Unfortunately, little is written about how the adjustmentsshould be made. I plan to share my thoughts on this subject ata later date. If anyone has noticed anything unusual abouttheir model B drawer, I would like to hear about it. Allunusual findings will be compiled and submitted to theBulletin.

REPLACEMENT BEARINGSFOR AMPICO PUMPS

WITH METAL CONNECTING RODSBY RICHARD F. MERRILL

The connecting rod bearings on Ampico pumps with metalconnecting rods use cone nuts with loose ball bearings.Sometimes the balls break, or the cones become worn and thepump will knock. Exact replacement bearings do not seem tobe available. A suitable replacement bearing is a #629, (alsoMRC# 39ZZ or SKF #P9 - 2RS). These bearings are 1.0236inch outside diameter, slightly larger than the original bearingraces. You will have to bore out the connecting rods to 1.0236in. (26mm). This can easily be done using a 1 inch adjustablereamer. Ream the connecting rods for a press fit, and stakethe new bearings in place. The original cone nuts are used tocenter and lock the new bearings in place.

Exact fit replacements for the other bearings in the Ampicopump are: No. 203 (40mm O.D., automobile alternator size)for the main bearings, and No. 200 (30mm O.D.) for thespider. Double sealed, pre-lubricated bearings arerecommended for all three applications. Always install thebearings by pressing the outer race only. Never pound thebearings or press them in a way that puts excessive force onthe balls.

WORK HAS STARTED ONGREAT NEW AEOLIAN ORGAN

Duo-Art Aeolian Pipe-Organ for Kindt Theatre Concertorium, Davenport, la.,

Now Being Constructed at Garwood, to cost $180,000.

The great $180.000 Duo-Art Aeolian Pipe-Organ planned for the Kindt Theatre

Concertorium in Davenport, Iowa, is now under construction in the factories of

the Aeolian Co at Garwood, N. J. The instrument is to be one of the largest

ever built and in resources and perfection of equipment, it is said, will surpass

any organ in the world. It is being designed especially for radio broadcasting

from Station WOC, located in Davenport.

This particular organ will feature six manuals. Heretofore, the maximum

number of manuals, even in the largest organs, has been five. The added

manual was introduced in order to bring the tremendous resources of the

organ under perfect control of the performer, and to permit effects that

hitherto have been impossible.

Frank Taft, head of the organ department of The Aeolian Co., and deSigner of

the organ, has introduced thiS new departure in organ building. He has

arranged for the gradual tilting of the fourth, fifth and sixth manuals at varying

degrees toward the performer. This makes it possible for an organist of

medium height and reach to play comfortably on any two of the six manuals at

the same time. The placing of the manuals also permits "thumb" work and

staccato chord playing without interference from the overhang of the keys.

Numerous combination pistons and controls to be introduced in this console

will be in accord with The Aeolian Co.'s latest equipment.

The specifications of this organ include many new and unusual improvements

in organ bUilding, necessary to cope with the great size. Among them is an

open diapason pedal stop of 64-foot pitch, the largest pipe of which will be 64

feet long by four feet square, probably double the size of any pipe in the

world's biggest organs. Included also will be two new groups of stops, invented

by Mr. Taft and placed for the first time in any organ. They are the orchestral

brass organ and the vox humana choir. The former is a close approximation of

the brass effects in a symphonic orchestra. The latter is an elaboration of the

present type.

The huge instrument is the gift to Davenport of Dr. B. J. Palmer, head of the

Palmer School of Chiropractic in that city. Some months ago a Duo-Art

Aeolian pipe organ was installed in the home of Dr. Palmer, and by reason of

ItS success, he entrusted to the Aeolian Co. the bUilding of his gift organ. The

design of the Kindt Theatre Concertorium, which will house the organ, was

Inspired by the form of the Mormon Tabernacle in Salt Lake City, Utah. It is

320 feet long, 160 feet wide and 90 feet high, with a seating capacity of over6,000

From The Music Trade Review, March 14, 1925 Contributed by MikeMontgomery.

Editor's query - can anyone shed more light on this organ? Although the

article refers to the organ as a Duo-Art, which implies it is a reproducing

player, nowhere does the article mention the player system. An organ of this

magnitude would be way beyond the useful capabilities of the OfA system

anyway without some rather substantial coupling or else simply it could have

been hooked up to play only a part of the total organ. Anyone in the IowaChapter care to give us a follow-up?

NEW MEMBERSPaul & Donna Gloeckner: 41 Clover Lane, Hightstown, NJ08520.

William & Kathryn Kerchner: 1511 Dauphin Ave.,Wyomissing, PA 19610. 1919 Wurlitzer band org; 1924 Nelson­Wiggen nick; 1900 Regina mb.

William Weissman: 29 Edgemoor Road, Cheltenham, PA19012. 1924 Weber Duo-Art; 1918 Chickering Ampico.Referred by Bob Taylor (PA).

James H. Katz: 256 Prince Albert, Westmount, Quebec,Canada, H32 2NG. Referred by fohn Kelly.

Gail & Anne Burcham: 4150 Meadow Wood Road, CarsonCity, NV 89701. 1928 Steinway Duo-Art; 1918 Steinway uprDuo-Art. Referred by Bill Pixley.

David B. Clemens: 33421 Spinnaker Drive, Laguna Niguel,CA 92677. 1919 Weber Duo-Art; 1920 Knabe Ampico A.

Dr. James T. Fanno: 2915 Croydon Drive N.W., Canton,OH 44718. 1928 Steinway Duo-Art. Referred by Bobby Clark.........................................................Douglas Smith: 8500 Steele St.. Denver, CO 80229. 1924Brinkerhoff upr plyr. Referred by Roy Garish.

Elliot Neufeld: 971 Neil Ave., Columbus, OH 43201........................................................ .

CLASSIFIED

FOR SALE: 5' 11" Chickering about 1925. Excellent condition,Amplco mechanism missing - $2950. Austin - (512) 454-7046.

------------------------'-..,./FOR SALE: Player Theater Pipe Organ - Robert Morton 39A, 2manual 4 ranks, xylophone, chimes. Very compact, will fit almostany residence. Pipes self-contained in cabinet 9' wide, 5' high, 5'deep. Base pipes lay down behind cabinet. Duplex rollmechanism uses standard rolls. In excellent playing condition.$12,000 or trade part for unrestored coin piano. Ron Bennett,(214) 424-8454.

FOR SALE: Weber Duo-Art grand, 5'8", S.N. 78553. Piano inexcellent restorable condition. Ivories good, original finishmahogany and in poor condition, bench included. STEINWAY XRDuo-Art 6', S.N. 274618 (1932), basic piano excellent, Duo-Art inexcellent restorable condition, ivories perfect, with bench. Finishmahogany - good condition. The pianos must be sold - makeoffer. Owner: Charles Paris, Atlanta North Piano Co., 2782Atlanta St., Smyrna, GA 30080. Phone (404) 436-8088, Home(404) 435-3527.

FOR SALE: 1927 Marshall & Wendell Ampico A Studio upright#108115. 46" high, top loader. New strings, pins & dampers. Goodoriginal finish. Mechanism partially restorted (retubed). $4,500.Mark Jones, 11106 Polaris, San Diego, CA 92126.

FOR SALE: World's largest stock of music boxes, nickelodeons,orchestrions, band organs, organettes. Also tremendous selectionof rolls and discs. Slot machines, arcade machines, old posters,cash registers, clocks. Large illustrated catalog $5 (subscription$15 for next 6 issues). Or, send for free brochure describing ourstock and services. Complete worldwide shipping facilities. Or,visit us. Just 15 minutes from Disneyland. American InternationalGalleries, 17792 Fitch St., Irvine, California 92714 (714) 754­1777.

FOR SALE: Two Violano rolls @ $50.00 each. 200 Stoddard A, B(few) Ampico rolls. Original and in excellent condition. Small rolls@ $3.00 each, Large rolls @ $6.00 each, plus handling. 1924Aeolian Duo-Art 11 rank residence Pipe Organ, complete withoriginal floor plan, piano adapter, test roll & over 200 rolls. Makeoffer. Larry Martineau, 461 Calle Yucca, Thousand Oaks, CA91360.

FOR SALE: Farrand-Cecilian 65-note player with original 1905factory inspection slip. Bolt-in triple stack. Beautiful Hondurasmahogany with carvings. Some interior work needed due to agebut not use. 34 rolls. Make offer. Dan O'Brien, Box 2181, Polson,MT 59860. (406) 883-5042.

FOR SALE: 1924 Marshall & Wendell 5' Ampico A. Completelyrestored and refinished 1973. Excellent condition. W/bench and100 rolls. $8500. Bob Fleming (714) 838-1024.

WANTED: Urgently want for immediate confidential cashindividual music boxes, nickelodeons, orchestrions, as well ascollections. Immediate decision, immediate payment. And, wetake care of shipping. Send a Polaroid snapshot and briefdescription of what you have. Thinking of selling? Think of AlGI.American International Galleries, 17792 Fitch St., Irvine,California 92714 (714) 754-1777.

Mechanical

CLASSIFIED

FREE LISTS: All types rolls, cylinder records and machines.Discs, cobs, sheet music, catalogs & literature. Mechanical musicand much more. Our 21 st year ... VI & SI'S ANTIQUES, 8970Main St., Clarence, NY 14031.

Q. R. S. ROLLS: 25-30% discount. Shipped directly to you.Authorized dealer. Write - Baley's, 310 Grandview, Kalamazoo,MI 49001.

FOR SALE: Mandolin attachments - fit all upright pianos.Easy installation. Tabs pre-cut with metal clips already attached.Kit includes necessary hardware. $16 postpaid in U.S. Quantitydiscount. W. F. Knapp, 2819 53rd St. N., St. Petersburg, FL33710.

AUCTION: AMPICO, DUO-ART, WELTE & 88 NOTE ROLLS.SHEET MUSIC: 45 & 78 RPM RECORDS. WRITE FOR LIST. I. L.CORDELL, 2240 LORAIN ROAD, SAN MARINO, CA 91108.

WANTED: Edison Phonograph Doll; Regina & SymphonionMusical Savings Banks; Capital Cuff Box style "F"; music boxeswith vending devices; unusual crank organs; original catalogs formusic boxes and crank organs; Regina music box with bells;Symphonion Mantel Clock. Marty Roenigk, 26 Barton Hill, EastHampton, CT 06424.

."

lI'ited movilg & storage inc~'IM5 CLEVELANO-COLUMBUS-OAYTONu 513/461-5044

WANTED TO BUY

* Unusual or fancy roll cabinets.

* Quality reproducing pianos.

(Please send pictures and prices)

* Also want classic Welte, Ampicoand Duo-Art rolls.

OUR VANS ARE IN ALL 48 STATES

Bill Eicherc/o United Moving & Storage, Inc.1728 Troy StreetDaylon, OH 45404 --LiMoN.

STEINWAY grand piano 6'1" Style "M" Duo-Art player, custommade walnut elaborate art case with inlaid marquetry, completelyrebuilt and refinished, genuine ivory keys, virtually a new piano.With 50 rolls $32,000. Also Stein_y Style "L" grand 6'4", Duo­Art player completely rebuilt and refinished, walnut case$19,000.00 Box 171, Alpine NJ 07620. Telephone (201) 768-2261.

TRADE: Complete Ampico B player action for top-qualitymonkey organ with familiar tunes. Miscellaneous Ampico A and Bparts for original copy of "Knabe - The Piano Beautiful." DickHowe, 9318 Wickford, Houston, TX 77024.

BUYING: AMPICO, DUO-ART, WELTE & OTHER TYPE OFROLLS. DESCRIBE AND PRICE. ALTMAN 8970 Main Street,Clarence, NY 14031.

MONTHLY ROLL AUCTIONS: Reproducing 88/65-note, plusmusical miscellany. Specify interests. Mike & Fred Schwimmer,241 Harbor, Glencoe IL 60022.

FOR SALE: 1920's Ampico "A" model, Franklin, 5'4" reproducinggrand piano. Plays beautifully. Tuned November, 1978. Ampicorebuilt and wooden shell refinished In 1970. $4,000.00.Vincennes, IN (812) 882-8303.

FOR SALE: Old sheet music auction; Ragtime, Blues, BlacksEtc. Markwitz, Box 367, Port Washington, NY 11050.

{jjor the ,,(0 ....Tuned and untuned percussions

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Keyboard piano with mandolin and newxylophone. Nicely rebuilt and refinished.Quarter-sawn oak case. $9,800.

PEERLESS

Cabinet orchestrion. Contains 8 instruments.Pneumatically partially rebuilt but case needsrefinishing and piano work is necessary. Quarter­sawn oak case. A very rare specimen. $11,500.

WURLITZER

Model ''1'' nickelodeon. Pneumatically rebuilt,beautifully refinished. $6,500.

ENGLEHARDT

Keyboard nickelodeon with xylophone.Completely restored and refinished. Plays nicely.Quarter-sawn oak case $8,700.

SEEBURG

KT. Magnificently restored and refinished.Features single stroke xylophone and Eagle artglass. Quarter-sawn oak case. $14,000.

MechanicalMusicCentet;Inc.25 Kings Highway North, Box 88, Darien, Connecticut 06820

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address correction requestedreturn postage guaranteed

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