APRIL 1979

News Bulletin ofthe Automatic Musical Instrument Collectors' Assoc.

THE AMICA

NUMBER 3VOLUME 16

ADVERTISING

AMICA MEMBERSHIP RATES:

THE AMICA NEWS BULLETIN

CHAPTER OFFICERS

NO. CALIFORNIAPres.: Phil McCoyVice Pres.: Isadora KoffSec.: David FrymanTreas.: Bob WilcoxReporter: Sharon Bartlett

SO. CALIFORNIAPres.: Francis CherneyVice Pres.: Mary LilienSec.: Greg BehnkeTreas.: Roy ShelsoReporter: Bill Toeppe

TEXASPres.: Carole BeckettVice Pres.: Sal MeleSeclTreas.: Doyle CasselReporter: Kay & Merrill Baltzley

MIDWESTPres.: Bennet LeedyVice Pres.: Jim PrendergastSec.: Jim WeisenborneTreas.: Alvin WulfekuhlReporter: Molly Yeckley

PHILADELPHIA AREAPres.: Mike NaddeoVice Pres.: John BerrySec.: Dick PriceTreas.: Claire LambertReporter: Allen Ford

SOWNY (So, Onlllrlo, West NY)Pres.: Jeff DeppVice Pres: Bruce BartholomewSec.: Mike WalterTreas.: Stella GilbertReporter: Jim Brewer

ROCKY MOUNTAINPres.: Robert MooreSec.: Sharon PaetzoldTreas.: Carl PaetzoldReporter: Jere DeBacker

NEW JERSEYPres.: Dan SchacherVice Pres.: Richard DearbornSec: Richard Groman IIITreas.: Willian DeanReporter:

IOWAPres.: Dale SnyderVice Pres.: Stan PetersSec/Treas.: Alvin JohnsonReporter: Richard Parker

NEW ENGLANDPres.: Alan PierVice Pres.: William KoenigsbergSec.: AI GrecoTreas.: Philip KonopReporter: Ray Magee

COMMITTEESTechnical

Mel Luchetti3449 Mauricia Ave.Santa Clara, CA 95051

BOARD REPRESENTATIVESN. Cal.: Howie KoffS. Cal.: Dick RiggTexas: Wade NewtonPhil.: Bob TaylorMidwest: Bill EicherSOWNY: Chuck HannenRky. Mt.: Dick KroeckelNew Jer.: Jeffrey MorganIowa: Alvin JohnsonNew Eng.: Sanford Libman

TREASURERJack & Mary Riffle5050 Eastside Calpella Rd.Ukiah, CA 95482

AFFILIATED SOCIETIESThe Player Piano Group.The North West Player PianoAssociation.

Honorary MembersAlf E. Werolin2230 Oakdale Rd.Hillsborough, CA 94010

PUBLISHERTom Beckett681 7 CI iffbrookDallas, TX 75240

INTERNATlONAL OFFICERS_

MEMBERSHIP SECRETARY(New memberships andmailing problems)Charlie W. JohnsonP. O. Box 38623Dallas, TX 75238

SECRETARYJim Weisenborne73 Nevada St.Rochester, MI 48063

PRESIDENTBob Rosencrans36 Hampden Rd.Upper Darby, PA 19082

VICE PRESIDENTBill Eicher465 Winding WayDayton, OH 45429

$50.0025.0025.0012.50

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,,"

Continuing Members: $15 DuesNew Members, add $5 processing fee

• All ads will appear on the last pages of the Bulletin at the discretion of ttlepublisher.

Publication of business advertising in no way implies AMICA's endorsement ofany commercial operation. However, AMICA reserves the right to refuse any adthat is not in keeping with AMICA's general standards or if complaints arereceived indicating that said business does not serve the best interests of themembers of AMICA according to its goals and bylaws.

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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.

Contribution.: All subjects of interest to readers of the Bulletin areencouraged and invited by the publisher. All articles must be received by the10lh 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.

AMICA ITEMSFOR SALE

AMICA BULLETINS, BOUND ISSUES:1971,1972,1973 - bound sets at $15.00 eachset. 1974, 1975, 1976, 1977, 1978 at $18.00each set. PRICES INCLUDE POSTAGE ANDHANDLING. Spiral bound to lay flat. Sendorders to Mary Lilien, 4260 Olympiad Drive,Los Angeles, CA 90043.

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.

PLEASE MAKE ALL CHECKS PAYABLE TOAMICA INTERNA TIONAL

AMICA STATIONERY: $3.20 (letter size),$1.75 (note size), including mailing charges.Fine quality stationery with ornate AMICAborders. Each packet contains 25 letters andmatching envelopes. Send orders to: RobertLemon, 4560 Green Tree Drive, Sacramento,CA 94823.

"The, All U1ughec1 When I 58t Down AtThe PI.no, But When IT llegen To Pie,."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 JlcJT(JBJl

1978 WRITERS AWARDS ANNOUNCEDBY TOM BECKETT

COMPUTERIZED MEMBERSHIP LISTBY DAVE GAUDIERI

CHAPTER NAME "CHANGE"

NEW AMICA CHAPTER APPROVEDNORTHERN LIGHTS

At the San Antonio AMICA Board meeting the representativefrom New England, Sandy Libman, informed us that thechapter's true name is "Boston Area." Noted, corrected andmade effective this Bulletin, so everybody else take note thatit's "Boston Area."

Approved by the Board of AMICA in San Antonio, theNorthern Lights Chapter of AMICA (page 22, March 1979Bulletin) becomes the 11th chapter of AMICA International.Northern Lights will basically include Minnesota, North andSouth Dakota, Wisconsin and Manitoba (Canada) in itsboundaries. We welcome this newest addition to our growinglist of AMICA chapters.

I wish to thank all who took the time to send me theircomments and ideas concerning the automated AMICAmembership roster. They were all very good and certainlyworth examining for possible use. Unfortunately the systemfor which I volunteered my time will have to be put on theback burner for some time now because of a new position Ihave taken at Eastman Kodak. This position involves a greatdeal of traveling all over the United States and my free timewill be virtually completely used up during the life of thisproject. It doesn't mean that the idea is dead at all since thereare other members who are interested in putting togethersome kind of system as well, and one way or another I'm suresome type of automation will take place. I will hold on to allof the suggestions sent to me for anyone who may want them.

I will be carrying.my AMICA membership list with me as I gofrom city to city across the United States and I hope possiblyto chat with some of you and possible visit for a short time.

Editor's Note: Dave's efforts on this project are sincerelyappreciated. The project was quite an undertaking as itproposed not only to provide a computerized membership listof names and addresses, but also instrument collections inspecific categories, as well as lending itself to the monthlyprinting of address labels for the Bulletin and the once-every­two-years issuance of a club directory. Part of the majorstumbling block discovered was the coordination of workwith the AMICA Membership Secretary's and Publisher'sduties and requirements to avoid time delays and unnecessaryduplication of effort (when these officers are not centrallylocated) and the unpredictability of the key man's (computerprogrammer/operator) long term access to the necessaryequipment. This latter item remains the biggest hurdle-tostart such an expensive program it is only reasonable to wantthe key man to be able to promise a significant period of yearsaccess to the computers we need. All of this was discussed atthe recent San Antonio Board Meeting and in light of Dave'snew schedule the project has been shelved until a more stablesituation can be achieved.

The Contemporary Idiom(January); Liszt and Chopin (May)Duo-Art on the High Seas (April)Discovering Dayton (Aug./Sept.)Residence Pipe Organs (December)The Automatic Ampico StencilMachine (Aug./Sept.)

Continuing with the program started in 1976, votinginstructions were sent to selected judges in several chapters ofAMICA to choose the best articles that appeared in the 1978Bulletins. I am sure we all join in expressing our appreciationto those who contributed to our knowledge and readingpleasure through the Bulletin last year and to the followingwriters a plaque will be presented in Philadelphia at theconvention as a special "thank you" for their contributions:

Ruth Bingaman Smith

Nick JarrettCarole BeckettEmmett M, FordPeter Brown

6061

4647

5056585859

./

Cover - design created from a 1907 Calendar.Contributed by Frank Adams.

INDEX

INTERNA TIONAL AMICAAMICA FORUMINSTRUMENTS

Pianocorder System - evaluationROLLS & MUSICNORTHERN CALIFORNIATEXASS.O.W.N.Y.BIOGRAPHICAL SKETCHES

Wilhelm BackhausTECHNICALITIES

INCREASE IN ARTICLES REQUESTBRINGS FAST RESPONSE

BY TOM BECKETT

Last month's request for much-needed Bulletin material hasresulted in increased output from several technicians forwhich I am most grateful. At present I even have a littlesurplus (unaccustomed as I am to having enough technicalmaterial on hand for more than one issue in advance) but I amstill in need of more! Other departments are still verydepleted and the technical material I will release in limitedamounts until I know I've got a good, safe supply that willallow for more than one or two ''Technicalities'' per month.Keep the articles coming and thank you!

61to

148 Blank (not used)149 Cremona-toned pipes on150 8 Mills violins on151 Fire extinguisher on152 Violin, Clarinet, piccolo, Hecklephone, saxaphone,

baxaphone, pifaro, antonrophone, jazz flute,sousaphone, sarrusaphone, vibratone celeste, cello,trombone trumpet all on

153 General cancel for jazz flute, cello, trumpet154 Couples crescendo valve to left hand wood block beater155 Disconnect playing notes from tracker bar, coupler for

percussion156 Bass drum, triangle, crash cymbal, tap cymbal, clave

roll, sustaining pedal

Devised by Terry Hathaway, Dave & Christie Bowers, Art &Jeannie Reblitz. .

"Devised" Art? There's a perfectly good working example ingolden quartered oak right nearby in Ft. Valuable and it'stubed up just like you said!

11 Temple bell12 Swell shutters open; with hole 11, swell shutters half

open; with hole 10 swell shutters half closed, unless lightcircuits 1 & 2 are also on

13 Drum shutters14 Multiplex control for swell shutters15 Flute 1 on16 Flute 2 on17 Flute 3 on18 Flute 4 on19 Double bell post hom on20to54 44 playing notes55 Vox humana on56 Vox mystica on67 Countermelody note selector switch valve to just right of

center position58 Countermelody note selector switch valve off59 Override for temple bell60 Gong coupler (also, if flute ranks 1,3 and 4 are on, adds

accordions)

AMEEKA LAMPOON ISSUEWELL RECEIVED

Never has this Publisher received so much pleasant responseto an AMICA publication! I can only assume that the time fora little humor in this area was somewhat overdue and I amsure those who put special effort into the articles are aspleased as I. Orders for "Classified" items for sale have evenarrived in one or two instances although I had to disappoint acertain "Dill Pickles" who wanted to order an "Artsy" benchfor his "Chuckling Ampeeco" on approval. One other letter ofinterest arrived recently which I will share:

"Dear Tom:

I think AMEEKA is a notorious bunch of rascals andscoundrels, as I sent my money in for the technicalities bookadvertised in the last issue and not only did they refuse myletter (Ed. note - addressed to Rider S. Kremp, postal stamped'Return to sender, insufficient address'); they also kept myhard earned money.

I am enclosing as evidence the cancelled envelope in whichmy money was enclosed as proof they stole it.

You had better make this good or AMEEKA can expect amajor lawsuit on its hands by those of us who order thingsthrough the mail in good faith.

Furthermore, who ever heard of putting a loudspeaker in afine concert grand piano? Uses like this subject loudspeakersto undue stress and strain (such as when my cat crawls in thepiano for a nap and pokes holes in the speaker). Also, thesawdust created by cutting the hole in the soundboard mightget into the speaker coil, ruining the tone of the speaker. Andwhen my housekeeper flushes out the piano with a bucket ofwater, which she does once a month as she is very meticulous,some of the water will run through the speaker hole onto myfine cement living room floor.

And who ever heard of someone fainting from methane gasescaping from an Ampeeco? You must be in some backwardspart of the country because in our modem city the OSHAinspectors regularly inspect the couplers and fittings, assuringthat nothing will ever go wrong.

I am enclosing a tracker scale which will appear in theforthcoming tracker scale book as I thought you might be ableto make some of your instruments sound a little better bystudying it.

Right now in our professional shop we are converting a 9'inlaid walnut-rosewood-teak-ebony & ivory Mason & HamlinAmpico B to play 44-note Electrova rolls. Do you know of agood customer who would be interested in the extra left-overparts? Don't bother me with those guys who have no capitalbut will ask a lot of questions, just send guys with good, hard,green cash.

Jlmica dorum~

WURLITZER STYLE 190(also known as the "Behemoth" model)

1 Snare drum2 Snare drum muffler3 Snare drum on rim4 Snare drum, repeating5 Bass drum crescendo6 Chinese gong7 Gong tone accelerator8 Light circuit 19 Light circuit 2

10 Light circuit 3

- 47 -

KNOCKING THE PUMP IIBY ROBERT W. TAYLOR

Before anyone hits their Ampico pump shaft with a hammer(March 79 BULLETIN, page 4!'i), they should fully weigh theconsequences that this "cure all" action might precipitate. Wemust presume several things: first, the pump is about 50 yearsold; second, the pump has not been rebuilt (or if it was, it wasnot done properly); third, most Ampico owners don't havespare pump parts readily available.

/

As metal grows older, it usually becomes more brittle. Partssuch as the pump shaft are no exception. How brittle is thepump shaft? I don't know and don't care to find out. If thepump is knocking, the bearings (felt) should be rebushed.This should be done when the pump is recovered. If thepump has not yet been recovered, it will eventually need it­after all it is 50 years old! To recover an Ampico pump, thelarge pump drive pulley must be screwed off the shaft. If theend of the shaft has been flattened with skillful hammerstrokes, the pulley will not come off. This will greatlycomplicate the recover job. A large hole will have to be boredin the pulley to allow access to the screws underneath. (Lookat a Duo-Art pump for details-it's made that way.)

The wooden connecting rods have self-adjusting felt bearings(on some pumps). The felt wears out with use. The adjustingmechanism has its limits. If the bearings lasted 50 years, that'sdam good! Don't knock it (pun intended). If you love yourpiano have the bearings replaced. It's not hard. Whenreplacing the felt follow these rules: use medium bushing felt,such as understring felt. The new bushing felt should overlapitself in the hole about 3/16". Glue the felt only at the end sideof the bearing hole. The overlap portion should be on thecenter side of the bearing hole. This overlap portion allowsthe self-adjusters to work. New lube for the bushings can bemade by mixing graphite with heavy grease. Don't replace theself-adjusters in the wooden rods until the rods are in place inthe pump. After replacing the self-adjusters, the center wedgeshould protrude well above the outside wedges. As thebearings wear, this center wedge will move towards thespring which in tum moves the outside wedges, tightening thefelt bushings. This is the way worn out or loose bearings areidentified-the center wedge is well below the outsidewedges.

Knocking Ampico pumps are common. The bearings are wornout. It's just like car brakes. The brakes are self-adjusting andone doesn't realize that wear is taking place unless they areinspected or until they start to grind metal against metal.

I feel very strongly about the use of a hammer on anythingexcept nails. I don't adjust my car brakes with a hammer. Idon't think any part of the Ampico mechanism benefits bybeing hammer struck. The first rule in all repair andrestoration is "do no damage."

BOSENDORFER AMPICOAMPICO UPDATE

THE AMICA has received, via Frank Holland, someadditional information from England in regards to the articleby Emmet Ford in the January/February 1979 Bulletin (page9).

The information was supplied by Ian Marshall of Englandwho "still runs Ampico Ltd., but not necessarily for pianos"according to Mr. Holland.

Mr. Marshall remarks that he feels the Marshall PianoCompany records had not been abandoned and their removalby Mr. John Farmer was possibly premature. He also states,'The Marshall Piano Company was not in existance in 1925.All the activity in those days and up until 1931 was either SirHerbert Marshall & Sons Limited or Ampico Limited. All theinstallation work done on Ampico actions was carried out inthe Marshall & Rose factory at Chalk Farm. That factory hadalso been installing player mechanisms (Angelus) into allmakes of piano since 1902 (as far as I can remember) though

- 48 -

my father was importing players since 1896 in Leicester andCoventry where his father had his music business. They wereoriginally the 'push-ups' and I believe he was a pioneer infitting players into pianos at the end of the last century."

SKINNER MULTIPLE-PLAYER UNITBY ED GAIDA

Displayed is a photo of a multiple player unit made by the E.M. Skinner Organ Company. Maybe someone out there canidentify what it is all about.

The buttons directly underneath the numerals to the right ofthe roll are labeled "Re-roll". The little plate to the far right ofeach spoolbox has two buttons and a nameplate. The leftbutton reads, "Start", the plate reads, "For Changing Rolls,"and the right-hand button reads, "Stop." The white area to theleft of the #8 spoolbox appears to be instructions, as itsheadline reads, "Skinner Organ Company Shop Letter" andtwo words that can be barely made out in the text are "Reroll"and "play."

APOLLO ANSWERSBY ROBERT H. BISSELL

In regards to Carl Kempf's inquiry in the AMICA Bulletin(Jan/Feb page 7) about the Apollo upright: A few years agowhen I lived in California, I helped a lady rebuild the playeraction of such a piano. However, hers was not a phonoequipped model, but did have both foot bellows and electricpump, both segments being equipped with a ratchet-like slipclutch to keep the spring of the roll-drive motor wound up. Itwas a strange one to me, and of course many of the tubes hadbecome brittle and broken so the first thing was to carefully

diagram the remammg ones and hope for the best. I wassuccessful in obtaining a tracker bar chart only. This was agreat deal of help, as was some data provided by Art Reblitzin a bulletin several years ago. So restoration was started onthe pneumatics and other parts while waiting for informationto be found on the rest.

Ivory or Ivorinekey covering

Opening of pneumatic just a littlemore than key dip of piano.

Front rail m)/'BI

Felt

Ir----.,

Balance railSpring Barrel,

Pins. These are linkedto foot pedals

you push the handle on over to rewind the roll. Pictured is adrawing of the tracker bar chart, but it will not give all theanswers since there obviously were other models than the one1 worked on, including grands.

It is believed that the German Welte was the first successfulreproducer. As to the rolls, it used the Apollo "X" rolls. Thesehave a red "X" on the box label and all of these rolls that Ihave encountered were cut on a rather gray-colored paper.Someone told me that there was also a Wurlitzer roll that thissystem would read. Try also Seeburg "X-P."

I believe the Vestal Press charts Carl refers to are the oneslisted on page 13 of their 1978 catalog. B-83 and B-80 onAmphion Dynachord would also both be of help.

Support bearing inside trebleend of piano case

Apollo tracker bar

- This pin linked to crank shaftof electric pump attachment

Electric switch OFFRewindLoud expression device (3 pos. from Soft)Soft expression device (3 pos. from Loud)Sustain pedalSemi-crash

RepeatBig crashTreble railBass rail

-rx:rx:

rr"'" .. 6'"If") .. of~ ... .. .".~~ .. 3"''41 ...z... " 4-/

Slip Clutches

NOTE: the shaft does not fit directly into the spring barrel but theratchet assembly is geared to it. Sketch slightly distorted for the sake ofsimplicity.

Ratchet device to wind springV

•

rNow, as to the questions: I would say that it is an expressionpiano rather than a full-fledged reproducer since there are nodevices in it to give a smooth crescendo such as the Ampicodoes. There is a double pneumatic with a valve box betweenthem similar to the Auto-piano tracker pneumatics. Theseserve to operate a ratchet wheel above this valve box which intum works a slider in another pneumatic, which is really sortof an air governor and thus regulates the amount of suction tothe stack. This governor is connected to the treble end of thefoot bellows by a 1" i.d. hose and another 1" hose leads fromthis to the treble end of the stack. Thus it never gets full pumppressure unless the perfs in the roll have built up to it. 1 am notsure now, but it seems that there is another pneumatic on thisdevice which puts more tension on the governor spring toraise the pressure a little more, just as the amplifier pneumaticdoes on an Ampico model A pump. The #3 port in the bassend of the tracker bar operates the soft actuating pneumatic.It takes three perfs in the roll over this to get it back down tothe lowest intensity, this being just the opposite procedurefrom going to the highest intensity. The sound level cannotdrop instantly from the highest to lowest due to the nature ofthis ratchet device. The #4 bass port in the tracker bar acutatesthe upward levels.

The electric pump is connected to the foot bellows by another1" hose, and of course, there is a check valve between thevacuum systems. There is a tracker bar port to give a bigcrash. This is accomplished by the collapse of a pneumaticmounted on the left (or bass) end of the foot bellows. Thisopens up a valve to admit full pump pressure to the bass endof the stack via another one inch hose. It is not a dividedstack. Since the striker pneumatics are mounted with themovable board up, when you begin to recover them you willfind a piano jack spring inside each one to hold them in theiropen position. There is a split hammer rail, each half with itsown pneumatic. The two slots mentioned in the Kempf querycontrol these while the single slot (#2 bass port) operates thesustaining pedal. There is a pneumatic to shut off the electricpump motor as well as one normally used as a rewind repeatin other pianos. Since this is a spring roll-drive motor, thatpneumatic does nothing except stop the spring motor and then

Drive Gear

B & W PHOTO PROCESSING TIPBY HARVEY ROEHL

In a recent AMICA Bulletin you made mention of the../ difficulty of getting good black and white photo work done at

reasonable prices and times.

In the area where we live the population is about 200,000 andyet there isn't a single place that does this work with anydecent quality whatever! For this reason, all our black-and­white photography gets sent to Heads Camera Shop, 300 EastState Street, Ithica, NY 14850.

The owner, George Potter, carries on a long-time tradition ofdoing quality black-and-white work at reasonable prices, andhe caters to mail order. All our work is done there, and all thepictures in Art Reblitz' PUlno Servicing Tuning and Rebuildingwere made at Heads. I think that much of the work in theMBS Bulletin is done there, and last I knew, Dave Bowers wasstill using them.

I don't know Mr. Potter personally, and have no stakewhatever in this firm except my hope that they'll continue onindefinitely as they have for so many years!

ORNSTEIN ROLL INFORMATION NEEDED

We are trying to locate the following rolls executed by LeoOrnstein in 1925 and done for Ampico:

61233H Arabesque #1 Debussy56166H Arabesque Schumann63153H Ballade in F Minor Chopin50643F Berceuse Ornstein58003H Danse Negre Scott57243H En Bateau Zeckwer63711H Etude Scriabine62811H Fantasiestuke Schumann52425H Humoresque Dvorak63333H Liebestraum #1 Liszt50425H Liebestraum #3 Liszt50665H Melody in F Rubinstein50654H Nocturne Chopin50715H Reflections in the Water Debussy51607H Rhapsodie Hongroise Liszt56175H Duet (Song Without Words) Mendelssohn55145H Waltz Brilliant Chopin55184H Waltz in C# Minor Chopin

Serenus Corporation, sister company of General Music, wouldconsider issuing a disc of works on these rolls.

Perhaps you can put us in touch with some collector whomight have some or all of these rolls. Any suggestions wouldbe greatly appreciated.

If you can help, please contact: Robert E. Allen, GeneralMusic Publishing Co., Inc., P.O. Box 267, Hastings-on­Hudson, NY 10706.

Jnsfrumenfs

THE PIANOCORDER REPRODUCINGSYSTEM - AN EVALUATION

BY ROBERT L. BAKER

Before the advent of electronics, the automatic programmingof musical instruments was accomplished by means of pinnedor stapled barrels, metal discs with projections, cardboarddiscs, perforated paper music rolls, and folded cardboadbooks. All of these methods had enough information carryingcapacity to operate the multiple keys of these musical devices,the smallest being the music boxes and the largest being theautomatic pipe organs. The necessity of playing more than afew keys simultaneously was the major stumbling block tousing electronic circuits for these music programs. So markedwas this collective inability to achieve multi-channelinformation recording that, even as late as only 15 years ago,one manufacturer was using paper music rolls to operatetransistorized electronic organsl

As in so many other areas of application, the development ofintegrated solid state electronic devices paved the way for thedevelopment of magnetically encoded automatic musicalinstruments. Engineers were finally given highly miniaturized,

;'

- 50-

PUlnocorder Reproducing System P-l00 kit installed in aYamaha M-20242" console. The only visible component of thesystem is the swivel mounted tapedeck beneath the rightkeybed.

reliable circuits with ultra high speed function necessary forhandling the relatively large amounts of data involved inrecording and playing back the keys of an automatic musicalinstrument. "

Perhaps the earliest commercial magnetic-tape-operatedautomation system was Gulbransen's Musi Computer®.Perfected by Richard H. Peterson and introduced in 1973, theMusi Computer used standard tape cassettes to record andplay back performances on certain Gulbransen solid stateorgans. Unlike the cassette tape decks offered on so manyelectronic organs which merely recorded the musical signal ofthe organ's pre-amplifier, the Gulbransen system recordedsynchronized keyswitch data, in effect memorizing, in highspeed "scans" of all of the playing keys in sequence, whichkeys were depressed ana which were not. Each high speedscan was synchronized by an internal electronic clock so that,at any given instant, the Musi Computer knew which specifickey was being examined for being played or not. The highscan rate enabled the play-back system to accomodate eventhe most rapid musical passages without losing anyinformation. Capacitors smoothed out the playback responseso that activated keys would not "chatter" at the system's scanrate. The result was coherent electronic organ music,automatically keyed by the Music Computer on cassette tape.

A few years later, Ray Vincent worked with a division ofTeledyne to introduce a magnetic tape system for automatingthe piano. For a variety of reasons, incuding the lack of a largeenough marketing system, this device never achieved anysignificant sales. The lack of readily available repair parts andthe absence of a dealer organization proved to be fataldefects.

In 1977, Superscope President and Chairman of the Board,Joseph S. Tushinsky, purchased the patents and rights to theTeledyne-innovated player piano. Superscope, Inc. alsopurchased Teledyne's manufacturing facility in Lewisburg,Tennessee and a piano manufacturing firm in North Carolina.A period of major product improvemsnt eventually led, inJuly 1977, to the introduction of the Superscope Pianocorder®Reproducing System at the Atlanta NAMM (NationalAssociation of Music Merchants) Show. One year later, havingfinally obtained the necessary Underwriter's Laboratorycertification, Superscope, Inc. began its dealer recruitmentprogram at the 1978 Chicago NAMM Show.

Since the purchase of the Teledyne system and facilities,Superscope's Tony Blazina and his staff have expanded thePianocorder System's recording capabilities, increased thesystem reliability, expanded the pre-programmed tape libraryto well over 300 lO-tape albums of all kinds of piano music,and made dozens of other less well known productimprovements to give the system its current format. Evenmore remarkable, Superscope, Inc. opened three trainingschools (in Los Angeles, Chicago, and New York) to trainpiano technicians in the art of Pianocorder System installation.

Pianocorder Reproducing. Systems are available in threedifferent formats: the Marantz ® Reproducing Piano, the P-l00Pianocorder kit, and the P-200 Marantz Vorsetzer. TheMarantz Reproducing Piano is a complete piano with thePianocorder System built in. The P-l00 kit is the record andplayback automation system suitable for use in most consoleand almost all grand pianos. The Marantz Vorsetzer is a push­up external player format suitable for use with all standardkeyboard pianos.

All three systems feature the highly multiplexed tape cassetteplayback mechanism that plays 80 keys (plus the soft andsustain pedals) with varying degrees of expression.

Pianocorder Reproducing System Vorsetzer model set up toplaya new Kimball grand.

Additionally the Marantz Piano and the P-100 kit permit oneto record live piano playing and play it back over the samepiano. This record feature is an option with the Vorsetzer unit.The company has just introduced two new recordless modelsin the kit (P-101) and Marantz piano formats. All these modelsand kits come with one album of 10 tape cassettes. Eachcassette plays for 2~ minutes per side and has anywhere fromfive to eight selections per side.

The operation of the Pianocorder Reproducing System issimplicity itself, regardless of the format. In the case of theMarantz piano and the installed P-l00 or P-101 kits, onepushes a rocker switch to tum the power on, inserts a tapecassette into the tape deck and then pushes the deck's "play"button to hear instantaneous "live" piano music withexpression. The vorsetzer requires its being pushed up to anavailable piano first and being aligned over the keyboardbefore initiating the steps above. /'

In those models with the record feature, one ~e;ely inserts ablank OO-minute tape cassette, depresses the tape deck's"record" button, and then plays the piano in the usual fashion.One cannot detect the presence of the recording keyswitcheson the system. At the finale of the performance, one stops thetape motion, rewinds the tape to the beginning, presses the"play" button and hears the performance played automaticallywith expression and pedaling.

All of the models have variable speed tape decks whichpermit one to vary the musical tempo by plus or minus 1~.

Since the tape carries only keying and volume information,varying the tape speed does NOT change the key of themusical performance. Also, all models have tapedeck controlsfor varying the dynamic range and relative loudness of theperformance, including sustained soft pedal function, if so

solenoid at rest

capstan screw

Solenoid plunger aligned beneath capstan screw.

/'/

c]l~_--=~n=- _&m- •

f

Similarly, the height of the solenoid rail relative to the bottomsof the piano key backs affects playback performance of thereproducing system. If the rail is set too high, then the

The front-to-back and vertical positioning of the solenoid railassembly is one of the major determinants of PianocorderSystem operational excellence in any piano, console, uprightor grand. When all of the solenoid plunger tips lie directlybeneath the key capstan screws, one gets the bestperformance. In some pianos various obstructions make thisoptimal solenoid rail placement very difficult. Protrudingkeybed supports or tall harp struts may get in the way of therail. For example, in many current production Kimballconsoles, the bass-tenor diagonal harp strut protrudes wellabove the plane of the soundboard and normally preventsideal location of the solenoid rail. Correcting this protrusionrequires removing fa" of thick cast iron strut height. This is avery time consuming operation, but a necessary one, foraligning the solenoids directly beneath the capstan screw line.A motorized heavy duty die grinder would be a very usefultool for such operations, but one which the vast majority ofpiano technicians will not have. Without such a die grinder,one is reduced to very tedious drilling, filing, hacksawing andgenerally worrying the obtrusive harp strut down to size.

If one is unable to locate the solenoid plungers directlybeneath the capstan screw line then they must be located infront of such an ideal line. However, this forward locationintroduces leverage effects into the operation of each pianokey and associated action. Such leverage compromises thepianissimo level of the Pianocorder System and causes it toplay more loudly than it otherwise should.

complete assortment of piano technician's tools and assortedsupplies, such as balance rail shims, front rail shims, keyleveling devices, damper regulators, capstan screw wrenchesand so forth.

Solenoid plunger in front of capstan screw causes leverageeffect, amplifying the throw of the piano key whenever thesolenoid is actuated.

J[ piano key front

~ L:::=====j;::::=====1back rail cloth plunger tip balance rail

1

desired. All models have a "fine tune" adjustment to vary andalign the playback/record head precisely to the tape tracks. Ared "fine tune" lamp monitors this function continuously.When the tiny lamp is off, one may assume that the programmaterial is being "read" correctly.

Detail of the P-lOO tape deck, shown in the "Play" mode.

Since the Pianocorder P-lOO kit is the most versatile format fordevotees of automatic musical instruments, this discussion willnow concentrate on an overview of the installation andoperation of this kit. The P-loo (and the P-lOl recordless)System may be installed in any console, upright or grandpiano that meets certain spatial requirements. Theserequirements relate to the accomodation of the 50" longsolenoid rail assembly, the pedal solenoid units, and thevarious electronic components. The grand piano installation ofa P-lOO kit is a far more challanging one than is that for aconsole or upright piano.

Installation times for one experienced technician working on aconsole range from one to four days, depending on thetechnicians's skill, the necessity of relocating trapwork,modifying the piano harp struts, and so on. Grand pianoinstallations may require one to two weeks of full-time effort,again depending upon the skill and expertise of the installer.Bill Long, one of Superscope's Pianocorder instructors at theItasca, Illinois training facility, claims to be able to perform aconsole P-loo installation in four hours! Bill has performedwell over twenty installations in a relatively short time and hasperfected his skills well beyond those of most techniciansengaged in this kind of work. \

Initially, the technician performing a console installation of aP-lOO (or P-IOl) kit will rely on the 150 page UL-approvedmanual that Pianocorder Division supplies to franchiseddealers (and to individual technicians for $25.00 after certifiedschool attendance.) The various sections explain in step-by­step detail how one prepares the piano for componentinstallation, keybed slot cutting (where necessary, as in directblow action consoles), backrail modification (where calledfor), keyswitch location and installation, wiring, aligning andtesting, and troubleshooting the system.

The tools necessary for console and upright installations are./ not very involved, the most expensive being a piano-tilter. Of

course, the more complete one's tools are, the better the finalresult. In working on new pianos, many brands of which arehorribly regulated (or not regulated at all), oneshouldhave a

- 52-

Solenoid rail TOO LOW causes excessive throw.

Solenoid rail TOO HIGH causes insufficient throw.

were designed for tee-nut sizes far smaller than the onessupplied in the kit. If one did not notice this subtle variation,one might spend a lot of effort trying to drive a grosslyoversized tee-nut into too small a hole and eventually damageboth the keybed structure and the piano.

I j

The installation instructions frequently suffer from a lack of "­overview. That is, one is given step-by-step details with noreal understanding of what one is really engaged inaccomplishing. For example, in constructing the solenoidoperated dowels that operate the soft and sustain pedalfunctions automatically, complex instructions are given forcalculating how much dowel to remve. Once one learns thatthe final solenoid-dowel assembly must equal the length of theoriginal pedal dowel then this task becomes much simpler.Here, the complex instructions get in the way ofcomprehending the nature of the job to be done. This is afrequently encountered problem with these instructions.

Determining the correct settings of the various internalvolume controls on the Pianocorder P-lOO kit involves using asmall meter that comes with the Dealer Parts kit. The resultsobtained with the use of this meter are often inferior to whatone can achieve simply by using one's own ears. However,this expertise occurs only after several installations andalignments. This meter is also essential in setting the uniformheights of the 80 keyswitches that operate the recordingfunction of the system as well as in troubleshooting variousdifficulties that may be encountered over time. The same canbe said of the solenoid support jacks that are available onlywith the purchase of this extremely expensive parts kit.

Once all of the required adjustments and alignments havebeen made, one can then sit back and critically evaluate theoverall excellence of the Pianocorder System. As is true forpneumatically operated pianos, the condition of the pianoproper is a prime determinant of the system's performance.An out-of-tune instrument, one in poor regulation, or one withcomprised tonality, is going to seriously degrade the overallperformance.

Another important factor concerns the program material itself.While the classical and light-popular cassettes are oftensuperb, they are still electronic copies of reproducing pianorolls. Thus, all of the timing errors inherent in these rolls arereproduced by the tape cassette versions. The tapes made ofrelatively recent pop tunes are horrendous (and worse!). Themusical interpretations are stiff and many of the tunes chosenfor inclusion on these tapes are better forgotten.

On the positive side, the simple majority of the tapes(classical, music from the 1890s to the 1930s, rags, jazz, 1920sand 1930s popular) are excellent. While they are obvious rolltranscriptions, they show off the Pianocorder ReproducingSystem quite well. Some very particular reproducing pianoaficionados indicate that the dynamic expression range is notequal to that of the best pneumatic reproducing pianos.Nevertheless, the results are quite enjoyable and far, farsuperior to any player piano.

In comparison to the overwhelming majority of paper musicroll cassette copies, Pianocorder Division has released a verysmall number of tapes of live keyboard performances. Theseare mostly dinner music of very low degree and do more toshow the relative lack of ability of the pianist involved thanthey do to show the capabilities of the system. The systemremains remarkable nevertheless. If one installs a Pianocorderon a good, resonant piano and selects one's favorite musicplayed by capable artists, the results are superb. The fact thatit can record live performances with~ fidelity of expressionis a tremendous achievement for an in-home device and one

rest punching

~

rest punching,

)

solenoid acutated

~

solenoid actuated

piano key.........."""r----~

too (much throw 1

solenoid at rest

solenoid at rest

solenoid plungers are compensated by setting them lowerwith more of the plunger core protruding from the bottom ofthe solenoid coil proper (see diagram). When any suchsolenoid is activated it attempts to raise the total plunger untilthe core is centered equally above and below the coil proper.The result is excessive "throw" upward against the key bottomwith subsequent "blocking" of the involved piano hammeragainst the strings or else excessive hum from the solenoid. Onthe other hand, if the solenoid rail is set too low relative to thekey bottoms, then there is insufficient plunger core to fullyplay that key action, with erratic and weak playback theresult.

Some of the earlier P-100 Pianocorder kits had plunger tipscapped with felt dots of varying thickness. The plungers withthicker felt tips caused hammer blocking relative to theirneighbor plungers. A certain amount of investigation wasnecessary to discover that varying felt thickness wasresponsible for this phenomenon. Trimming the excess feltwith a small pair of scissors corrected the troublepermanently.

The first edition of the Pianocorder Installation Manual hascertain discrepancies with regard to the actual hardwareprovided in the P-lOO kit. For example, the directionsconcerned with drilling keybed holes to accept four tee-nuts

too little throw {

- 53-

Prototype system inside view. While this same basic layout of/ components is used in the production models, the individual

components's appearance are quite different today. This is aninterior view of a Yamaha piano. Photo courtesy ofPianocorder Division of Superscope, Inc.

I

!

that no previous instrument was capable of achieving.

The playback system (as opposed to the recording system)seems quite reliable. Almost three months of intermittentoperation of two console installations have revealed no seriousproblems. The only problem encountered in the recordsystem has been that of dirt accumulation on the keyswitchcontact surfaces. Silicone based contact cleaner cured theproblem immediately. Whether this problem will recur whenthe contact cleaner vehicle evaporates remains to be seen.

The recording system uses a single, fixed transducer (amicrophone) to detect expression level changes, and this isprone to all of the vagaries of microphone use. In very loudpianos or ones with uneven voicing, the expression-recordsystem may overload and be incapable of recording thesoftest passage. On playback, the expression will be found tobe exaggerated, with some passages too loud and others fartoo soft. The internal controls for adjusting the electronics tothese variations may not be adequate for the extremes ofpiano loudness.

Even with these few detractions, the PianocorderReproducing Syustem offers some very substantial benefitscompared to pneumatic reproducing pianos. The followingopinions are, in part, derived from more than a few years'experience with pneumatically automated musicalinstruments. These are opinions, nevertheless. First, the long­term performance of the Pianocorder system will probablyenjoy all of the advantages of electronic (versus pneumatic)systems. That is, they are immune to vacuum leaks, leatheroxidation and failure, gasket failures and the like that makelife unhappy for pneumatic hobbyists. Of course, solenoidsand driver boards fail, but not from those causes.

Relative to current prices for unrestored reproducing pianos,the Pianocorder System (installed in a console or upright) isquite modestly priced at $1,895.00. In addition, regardless ofhow much one is able to spend, there is NO pneumaticreproducing piano which is capable of recording liveperformances as all P-l00 installations are capable of doing.

The by-now familiar tape versus paper roll controversy hassome definite points for the Pianocorder System. First, onecan preserve a LOT more music on ten cassettes than one canon ten rolls (Ampico Jumbos or not). Secondly, obtaining

duplicate tapes involves no haggling or availability problems.They are all readily obtainable from dealers or direct fromSuperscope, Inc.

On an hour-by-hour basis, reproducing cassettes are FARcheaper than original Ampico, Duo-Art or Welte rolls.Similarly, the tapes occupy far less physical space than thesame number of selections on paper rolls. While subject tooccasional tape transport disasters, the tapes are relativelyimmune to roll tearing, mis-tracking, flange destruction,embrittlement, and the like. One can also fast-forward to afavorite selection, forget about rerolling and avoid repetitousspoolframe loadings with tape cassettes. Another significantadvantage is that one can readily obtain a PianocorderReproducing System on almost any exceptional instrument ofone's choice without having to conduct a worldwide searchfor the sole remaining example of that type of reproducingpiano.

Pianist Art Peck poses for the advertising studio photographer.In the lower left comer one can see the front of thfJA5ass guitaramplifier which supplies accompaniment bass generated by apedal synthesizer. Bass guitar tones are played both manuallyand automatically from the lowest 25 keyboard notes.

While it's still too early to tell, it seems as though Superscope,Inc. is building a product line that will appeal to increasinglygreater numbers of piano owners. For obvious reasons, thefirst available models appealed more to those with higherdisposable incomes and with extended educations. However,Pianocorder is now offering a somewhat less expensive model,the P-lOl, which lacks the record feature and is more easilyinstalled. This represents a move in the right direction forgreater sales.

The association of a well-known popular pianist with the line

FOOT-OPERATED DUO-ART PIANOS

Contributed by Doyle Cassel.

NEW YORK RETAIL PRICES

The above prices do not include cost of freightand handling when instruments are sold outside ofNew York City.

Feb. I, 192~

6oo-P ~'-6~" Mahogany 695142·P 4'-6!" Mahogany 795

THE AEOLIAN COMPANY

GRAND DUO-ART PIANOS

RR 5'-2!" Mahogany 1850HR 5'-6' Mahogany 2085\\'R 5'-8" Mahogany.__.2500FR 5'-11~' Mahogany._ 3000XR 6'-I!' Mahogany 3875OR 6'-5" l\'1ahogany 4275AR 6'-lIl* Mahogany 4675

ELECTRIC DUO-ART PIANOS

593-P 4'-61" Mahogany 995141 4'-6!" Mahogany 1150322 4'-5' Mahogany 13S0

59 4'-5" Mahogany 1600

New York

AeolianSteckWeberWeberSteinwaySteinwaySteinway

XET CASH

AUTOMATIC INSTRUMENTS

Name Style Size Wood PriceAeolian Pianola 559-T 4'-61* l\1ah. Satin

Finish $595

Aeolian Pianola 543·T 4'-6~' Mahogany._ 595

Aeolian Pianola(l\Ietro-Them.) 55I-P 4'-6}' l\Iahogany...... 650

StroudWheelockSteckWeber

StroudWheelock

would attract even more public interest. The company's prioradvertisements have been very figurative. An associated,popular pianist would help convey the idea of what thesystem is all about. Part of this is due to the fact that theplayer piano of much earlier times has fallen from theconsciousness of the public at large. Consequently, theenjoyment to be gained from the modem equivalent is hardfor people to imagine.

The keyboard musical instrument industry has beencollectively amazed by Joseph Tushinsky's sally into the fieldof automatic musical instruments. Historically, all priorattempts to market piano attachments have ended in failure.Further, as Richard H. Peterson (of Peterson Electro-MusicalProducts) points out, devices that require sophisticatedinstallations in the field have usually had a similar fate. One ofkeyboard-conglomerate Norlin's planners accurately notesthat the Pianocorder System has no interactive component(such as semi-automated solid state organs have) by which theowner can imagine himself a virtuoso at the keyboard.

An even more remarkable aspect about the PianocorderSystem is the fact that it occupies a totally new positionbetween musical instruments and computers. Yet, it is neither.The newness of its position has, of course, alienated manyconservative piano dealers who have neither the courage northe personell to tackle such an avant garde product line. Also,there is no great abundance of qualified piano technicians andtheir scarceness would also give a potential dealer reason to behesitant about stocking a product that requires a relativelysophisticated installation procedure, and one with no knownlong-term track record.

About five months have elapsed since the first PianocorderReproducing Systems were shipped to dealers. Many changeshave been made in the Superscope Pianocorder Division'spersonell and organization. The company has shown itself tobe somewhat responsive t6 the realities of the marketplace,and that is very much to its credit. What's more, their initiationof a large-scale, million dollar advertising campaign and over$30 million investment in the Pianocorder System put JosephTushinsky's brave venture in top place for foremostmanufacturer and marketer of automatic musical instruments,bar none.

George LeClair, 83, Pianist,Played Night Clubs with StarsFrom the Easton, Pennsylvania Express,

January 22, 1979. Contributed by WilliamDean.Bill asks if this could possibly be Herbert Clair.Can anyone add further details?

GUIOMAR NOVAES DIESFrank Adams reports that a local newspaper inhis area carried a short item reporting the deathof Guiomar Novaes in Sao Paulo, Brazil at theage of 83. Frank did not have the exact date forthe 83 year-old Honoray AMICAn and Duo-Artroll artist's death but it apparently ocurred inthe first week of March, 1979.

George T. LeOair, 83, of 717 sarah St.,Stroudsburg, died Friday in the home ofhis daughter, Mrs. Margaret Mae St.Germaine. with whom he lived since lastJune.

He was the pianist at the Skytop Lodgefrom 1952 until October.

He started playing piano at age fourand had a professional career which last­ed over 70 years. He played in nightclubs in New York City in the 19205through the 194Os, performing with Fan­ny Brice, Rudolph Valentino and SophieTucker. He also performed with theAmerican Roll Co., manufacturers ofplayer piano rolls and for several studiosin early recording days.

Born in North Adams, Mass., he was ason of the late Simeon and Mary LanueLeClair. He lived in Stroudsburg for thelast 27 years.

He was a member of St. Luke's cath0­lic Church, Stroudsburg; and the BoySCout Troop No. I, New Jersey, the firstBoy !)rout troop in the U.S.

His wife, the former MargaretMcAree, died before him.

Surviving in addition to his da\JJdlterare two sons. Robert S. of Hi2h1andPark, Ill., and Russell G. of Mun<lelein,Ill.; three brothers, William of Qaam­plain, N.Y., Richard of Denville, N.J., "­and Ernest of Escondido, calif.; •grandchildren and two great-grand­children.

~olls and J}(usic

PIANO ROLL REVIEWBY DAN TUTTLE

88-NOTE ROLLS

"Margie" - A nice easy-going foxtrot with words by BennyDavis and music by J. Russel Robinson and Con Conrad. Thecopyright is by Watersou, Berlin and Snyder, Co. in 1920. Theroll is QRS word roll #1281 and is played by Robinson andConrad. The hand played arrangement is very smooth due tothe talents of the two pianists. A certain amount of two-octavetrilling is added here and there for the effect of fullness in thearrangement.

"The Hand of You" - This is a ballad with a bit of a morbidtitle. The song was written by Carrie Jacobs-Bond andrecorded by Rose Thompson on Staffnote #1021. Believe it ornot the roll is not too bad as ballads usually go. Included aresome very sensible lyrics such as, "Sometimes when shadowscross my path, as shadows sometimes do." This writer assuresthe reader that he is not an expert on peotry, however it oftenseems some serious lyrics leave themselves open for a laugh.Basically the roll is full of smooth runs, good melody and evena few trills. Let's give this lady a hand.

"Kiss of Spring" - After this last winter this roll looks andsounds good to just about anyone. The song was written byWalter Roife and is recorded by Walter Davison on Vocalsytle #1239. In this writer's opinion, the song is just so-so. Thelyrics describe a lonely person waiting for his or her lover toreturn in the spring. The playing is not too complex but iscapable of holding one's attention through at least half thesong. More or less another ballad.

The Lady is a Tramp" - A song from the show "Babes InArms" written by Rodgers and Hart and copyrighted byChappell in 1937. The roll is QRS #10-079 and is played byDick Watson. A very nice arrangement by Dick Watson andthe QRS company. This writer really doesn't think thearrangement could be any better than it is on this roll unless itwas a reproducing roll. A nice touch of modern jazz pianowith simulated string bass instrument slides into the secondchorus after going through a descriptive verse. When playedon a good operating, well tuned piano, this can't be beat.

JUMBO ROLL PROBLEMI have a 1920 Ampico grand. Within the drawer, thetransmission rod crosses the spool box just below the trackerbar. Playing Jumbo rolls longer than about 135 feet poses aproblem because the paper on the take-up spool startsrubbing against the transmission rod after 135 feet have beenplayed. This minor dissatisfaction with my piano is somethingI have not read about or have heard collectors discuss. Shortof getting a new drawer, I've wondered about shaving downan old take up spool to a thinner diameter. While perhapsaltering the playing tempo, this would at least allow theplaying of the longest jumbo rolls. I would appreciate hearingfrom any AMICAn who might have any ideas related to thisproblem. Tony Palmer, 800 Chf(stnut Dr. Arlington, Texas76012.

- 56-

ANGELUS TRIUMPHS IN CLEVELAND WITHTHE CLEVELAND SYMPHONY ORCHESTRAReproducing Piano Appears With Orchestra and Noted Pianist, Beryl

Rubinstein-Local Newspaper, Critics and Music-Loving Public Unite in

Praise of Instruments-Menth Also Appears.

CLEVELAND, OHIO, April 4. - The Mulchauser Bros. Piano Co" local

representatives for the Angelus Reproducing Piano, is still experiencing

excellent results achieved through the celebration of Angelus Week locallylast month; and thousands of music lovers throughout the territory continue to

retain the impressions of that week, particularly of the Angelus comparison

concert on March 6, which opened the week's program, and which attracted

an audience that packed the auditorium and made necessary the hanging out

of the "S.R.O." sign before the conductor had raised his baton.

The orchestra at the concert was the Cleveland Symphony Orchestra, Nikolai

Sokoloff conducting, and the guest artist was Beryl Rubinstein, who deeply

impressed the audience with his playing and mystified them when his fingers

stopped and the Angelus reproducing piano played in his stead from his own

recordings,

The concert was, in the sense, of general interest to the trade, for it served to

establish the reproducing piano on a new plane, and gave to the many critics

present a new conception of the powers and possibilities of that instrument.

The Meuhlhauser Bros. Piano Co. left no stone unturned to insure the success

of both the concert and of the week of reCitals which followed with Herma

Menth as the artist. and in thiS work they were given able assistance by the

Hallet & Davis Piano Co., Boston, manufactures of the Angelus.

The critics were particularly cordial, and Arnie Bell, of the Cleveland News, a

critiC of wide reputation, wrote: ". .the audience both heard and saw

remarkable things ... In the Liszt fantasie for piano and orchestra there was

one of those most uncanny demonstrations that have been witnessed

before-but perhaps not quite so successful ... it was quite impossible with

closed eyes to tell when it was Rubinstein, and when it was his record."

The Cleveland Plain Dealer referred to the Angelus as Rubinstein's

"phantom."

The big comparison concert on March 6 was only the beginning of a week full

of Angelus activities, during which Herma Menth, brilliant Viennese pianist,

appeared in seventeen clubs, churches, colleges and hotel reCitals with the

Angelus reproducing piano. Herma Menth's magnetic personality and

pianistic fame were not long in making themselves felt. Miss Menth in her

brilliant interpretations won the highest praise of the city's critics and they

waxed enthusiastic in their approval of the wonderful reproducing instrument

which rendered her interpretations so perfectly that even the trained ear could

not distinguish which was playing.

Among the many intimate recitals arranged for Miss Menth and the Angelus

by the Meuhlhauser Bros. in Cleveland were the following appearances: The

Business Woman's Club, Shrine Club, Lakewood Library, High-Noon Club,

Plymouth Church, Madison High School, Laurel School, Notre Dame

Academy, College Club, Wade Park Manor. Big Ten University Club, Alcazar,

Hotel Winton, Hotel Statler, and Mid-Day Club.

Those who had the good fortune to be present at the Lions Club recital were

not the only ones puzzled by the "phantom" Angelus. This recital was

broadcast over the radiO and the response by listeners-in was amazing. It was

the first time such a performance was put over in Cleveland. The cutting in of

the artist on the reproducing piano was done with such marvelous precision

that the radio announcer became greatly interested and made a game of it for

the radio audience. This brought forth many telephone calls from fans who

wanted to know when the artist was playing and when it was the Angelus.

The job was well done and Cleveland is all agog today over Angelus, as

evidenced by the several immediate Angelus sales made even before the

week had come to a dramatic close with the Saturday evening Alcazar recital.

From The MUSIC Trade Review, April II, 1925. Contributed by Mike

Montgomery.

AMICA CONVENTION '79@r:J

~!:5iF: :~ 2:QUESTIONS? ?? ANSWERS"• • • • •

,•

Your stay in Philadelphia during our 9th annual Convention will be one of your more enjoyableescapades to a strange city (if you have never beer, here before).Everyone in the Philadelphia Area Chapter is looking forward to welcoming you to our"City of Brotherly Love:' As we accept registrations, a few questions have arisen:

? Will we receive or will the AMICA Bulletin supply a registration form for me to fill out?No. Simply send your check, along with name(s) to be printed on name badges, to AMICA '79,See past issues of the Bulletin for additional details.

? What is the cut- off date for registrations?! June 1.

? What are your seminar topics this year?New and traditional.New-- "What, Another Piano?" in which the psychological and possibly marital problemsstemming from an avid collector's hObby will be dIscussed by a member physician."Insurance of Antiques" presented by an authority on this specialized topic.Traditional·· Various technical subjects that will answer all your questions.

? When will the Fairmount Park Mansion Tour be held?On Monday afternoon, July 2. The $8 per person should accompany your registration check.

? How do we handle hotel registrations?A reservation card will be sent to you immediately upon receipt of your registration check.You must make your own hotel arrangements. Parking fees additional.

? What happens to last minute, walk-in registrants?! They take "pot luck'.' We expect our full quota of 250 long before the last minute.

Late-comers might miss a few activities, but should not teel slighted 11 many eventsare not available to them. A pro-rated fee will apply.

? l cannot attend the entire convention. Is there any function open to other than full registrants?! Just one. The Banquet on July 2. A $25 ticket (per person) will entitle anyone

(non-members included) to attend the Mart and exhibits in the afternoon. our hospitality room,have a cocktail before dInner (cash bar), a delicious meal in the ballroom, and t:njoythe banquet program and guest concert. Our hospitality room will be open afterwardsfor the additional enjoyment of everyone. Deadline for ticket reservations -. June 1.

? I have some items to sell. What is the cost of a non-commercial Mart table?A full table is $15,-- one·halftable $10. Include this additional fee with your registration check.Inquire about commercial exhibit space.

? I do not belong to AMICA. May I attend your entire convention?Certainly. Just add $20 to your registration fee, which happens to be the annual costof family AMICA membership. You will then share in all the benefits of our organization.

? What happens if I have to cancel my reservation after you have my check?! If the cancellation notice is received by June 1st -. full refund.

After, we will attempt to sell your reservation to others, but no guarantees.

Don't forget .. we are equipped for only 250 registrants, so send your $125 per person fee now to:

AMICA '79~ 3708 Woodland Avenue ~~~ • Drexel Hill, PA. 19026 ~!{& P.S. See past issues of the AMICA Bulletin for additional convention details. Larry Cornell, Chairman ~"~\;l~ '-v~

THEATRE ORGAN FEATUREDAT TEXAS MEETINGBY MERRILL BALTZLEY

This was the charming illusion at the scene of the FoundingChapter's annual Christmas party on the evening of December16th. The house, of course, is Dick Reutlinger's and thelocation, of course, has now become a tradition for the party.

Members and their guests were wined, dined and entertainedwith an ambience that would be difficult to duplicateelsewhere. Our thirst was quenched with mulled wine andother spirited liquids and our pallets were tempted with abountiful and assorted buffet.

In the basement, Laurel and Hardy appeared on the silverscreen to a background of sound effects and music from a1920 American Fotoplayer. In the parlor, the singing tones of aKnabe Ampico grand could be heard reproducing familiarChristmas melodies.

A brief business meeting announced the newly elected chapterofficers for the coming year and this was followed by thetraditional gift exchange around the beautiful Victorian-styletree.

Combining all of the above with the conviviality of goodfriends and conversation, can anyone think of a moreenjoyable way to wind up another AMICA year? Thank youagain Dick for your gracious hospitality.

1979 Chapter officers are announced by Howie Koff and MelLuchetti introduces Laurel & Hardy on the silver screen.

Sunday, February 25th was a bright sunny day (between icestorms) for the Texas AMICA meeting at Landmark Pizza andPipes in North Dallas. Lynn Bullock was our host for the

A CHRISTMAS TRADITIONBY STU HUNTER

Gar Britten caUs a number for the gift exchange.

Step through the front door of 824 Grove Street and you turnback the hands of time 65 or 75 years. Can you imagineattending a Christmas party of that era? The setting is perfect,and if you look around, except for the more modern dress anda few 1920s musical instruments, it could easily be a gatheringat the tum of the century or thereabouts.

Jack Riffle and Sam Thompson chat with new chapterpresident Phil McCoy.

)

- 58-

afternoon and the feature attraction was live entertainment onthe large Barton theatre pipe organ.

This organ was originally installed in the Paramount Theatrein Waterloo, Iowa. During the afternoon Organist BobGoodwin and guest organist Jerry Bacon gave outstandingperformances on this nicely restored instrument.

Thanks to Lynn Bullock, who is chief trouble-shooter andtechnical advisor for this large organ, the instrument has manyimprovements and Lynn's fine tuning makes listening andwatching a real pleasure. Lynn also had on hand a consoleupright piano with a Pianocorder Reproducing Systeminstalled for all to see and hear.

SOWNY VISITS ERIE COUNTYHISTORICAL SOCIETY

BY JIM BREWER

Camera very uncooperative this meeting-dark photo of BobGoodwin at the Barton console the only photo survivor.

Early in the afternoon, after several birthday parties had comeand gone (not AMICAns), a large table stocked with cake,punch and hors d'oeuvres was set up for the AMICA group.We all extend our thanks to Lynn for providing those goodtreats.

A short business meeting was held and new AMICA memberRalph Riggs was introduced. Ralph has in his home an Aeolianstyle player reed organ. Charlie Johnson and Tom Beckettgave reports on the social and business happenings at therecent AMICA Board Meeting in San Antonio and Tom notedthat our offer to host the AMICA Annual Meeting in Dallas inmid-October of 1981 had been accepted by the Board. Tomwill be forming a committee to begin preparations soon.

Bill Flynt brought along both a catalog and a sample copy ofnew Play-Rite 88-note piano rolls for inspection.

Doyle Cassell informs us he will soon have in his home a new6' -8" Kawai grand in which he will have a PianocorderReproducing System installed. The piano has just arrived fromthe factory and the reproducing unit is soon to be installed.So, batten down the roof, Doyle, we are all waiting to see andhear this beauty as we know you are!

January 28 was a blustery Sunday that found SOWNYmembers at the Buffalo and Erie County Historical Society.The Society is housed in the only remaining building from thefamed Pan-American Exhibition. It was winter carnival timein the area and the surrounding parks were filled with snowsculptures, snowmobilers, and cross-country skiers.

Bill Hatzenbuhler at the Aeolian console.

\

- 59-

Jeff Depp at the Steinway.

An active business meeting ensued with discussions on theupcoming convention as well as tentative plans for future "­projects and meetings. Our chapter is pleased to report thatthe player project (rebuilding of a player piano for the BuffaloState Hospital) is nearly completed. A full report on the

project will be in the next chapter report.

Following the business meeting, Bill Hatzenbuhler gave ademonstration of the Aeolian player pipe organ housed in theSociety's Auditorium. It is an 18 rank instrument and Bill gavequite a demonstration of how to read the roll codings, the

.../ difference between red and blue stops, and the like.

When Bill was finished with his talk on the workings of theorgan, the moving cover was removed from the beautiful artcase Steinway. This piano was made for the Pan-AmericanExhibition and is really something to behold. Painted on thelid is the state seal of New York and the fancy work ishighlighted in gold leaf. The original finish is in excellentcondition. Jeff Depp performed a quick concert of FritzKreisler selections.

More Steinway detail.

With the meeting adjourned, members explored the rest of themuseum at leisure. There are tremendous displays of Buffaloas a busy canal town and Great Lakes port throughout the1800s to a comprehensive memorabilia display from the turnof the century to the present day.

JJioorapRic'al~llefcRes

WILHELM BACKHAUSBY EMMETT M. FORD

Wilhelm Backhaus, pianist, phonograph and piano roll artistwas born in Leipzeg, Germany, March 26, 1884. His piano

/ playing began at the age of eight and from 1891 to 1899 hewas the student of Alois Beckendorf and later was at theLeipzeg Conservatory for five years. He was eleven years oldwhen Brahms appeared in 1895 to conduct his two piano

concertos. Wilhelm met Brahms who gave him a candy barwhich he saved for many years. He often referred to thismeeting long after he became an eminent artist.

The soloist for the two Brahms concertos was the popularpianist, Eugene d'Albert. Wilhelm went to Frankfort to studywith d'Albert, but did not care for his method and returned toLeipzeg. Two lessons were with Alexander Siloti. From thenon, Backhaus was self-taught and the influence of the greatCentral European musical tradition helped him master anunderstanding of music and develop a technic.

His debut in 1900 was in London where he performed thedifficult Brahms-Paganini Variations. This successful debutwas followed by tours in Europe and England. In 1902 Silotiwas to be the soloist in a Halle concert in Manchester butbecame ill and Wilhelm took his place on a two day notice.

In England he won the 5,000 franc Rubinstein Prize in 1905and became a teacher of piano at the Royal College of Musicin Manchester. Master classes were taught at the SonderhausenConservatory.

In 1911 Wilhelm went to Grindelwald, Switzerland to theChalet Burgner where Teresa Carreno was living to practicewith Carreno for a tour of Great Britian. The two-pianoensemble never materialized, not because the artists did notlike each other as individuals, but because there was notenough time or blending of personality along with thedifference in age for the project-the "tournament," asCarreno termed it-to continue

He began a lengthy recording session for Victor in 1908continuing through the years and remaining a popular artist inthe Victor listings. His recording of the Schumann "Fantasy inC" made in the 1930s on 78 rpm discs is a collector's item as ishis recording of the major works and two concertos ofBrahms. He also recorded the Chopin etudes, a repertory notusually associated with him. I

His American debut was on July 5, 1912 as soloist with theNew York Symphony conducted by Walter Damarosch. TheBeethoven "Concerto No. 5 (Emperor)"o was performed.

United States tours continued until 1914.

Returning to Germany during World War I, he served garrisonduty in the German army and was given periodic leaves togive concerts. After the Armstice he gave concerts in Europeand the United States, receiving acclaim as an interpreter ofBeethoven and Brahms. In 1921 a successful tour was made inSouth America followed by a return to the United States forconcerts in 1922 and 1923. His appearance as a pianist in jointrecitals with Jan Kublik and Kathleen Parlow brought muchinterest in his piano playing. To celebrate the 57th Anniversaryof Beethoven's death, he mastered and memorized over 300compositions, including the concertos.

Mr. Backhaus stressed the study of Czerny, Clementi, Tausig,Pischna, Scarlatti and Bach for the student, but for histechnical exercises before a concert, he preferred the scalesand arpeggios and works of Bach. Of the greatestcompositions, he listed the Chopin-Godowsky Etudes(especially the "A Flat Op. 25, No. 11"), the "Don JuanFantasie" of Liszt, the "Brahms-Paganini Variations" (on Duo­Art 6813-4) and the Beethoven "Sonata Op. 106."

At the age of 80 (in 19(4) he began re-recording the entirecycle of the 32 Beethoven sonatas in stereo for London andhad completed all but the mighty "Hammerklavier, Op. 106"when he passed away. His early London monaural collectionwas a classic. The Brahms concertos, those of Beethoven andworks of Chopin and Mozart were also recorded. It was fromhis early recordings that he became known in the UnitedStates. His stereo recording made him more famous.

Mr. Backhaus' personality, recital manner, and his appearancereflected the style of his pianism. He was dignified, erect,solidly built and his face was craggy. He never indulged inmannerisms or show at the keyboard and his gestures wererestrained with an attitude of intense concentration. He was awarm and witty man. Once at a reception, he was presentedto a lady who was anxious to talk on his level and who said, "Isuppose, Mr. Backhaus, you have a marvelous vision behindevery note that you play." Mr. Backhaus replied, "Certainly,Madam, particularly when I am playing a trill."

He never took pupils, stating that he taught only one person ­himself. He became ill at a concert in Villach in southernAustria and died shortly after on July 5, 1969.

His ability as a pianist is reflected in the Duo-Art rolls. Histhree-roll set (6967-4, 69680, 6981-4) of the Mendelessohn"Concerto in G Minor, Op. 25," arranged by Mr. Backhaus, isevidence he thoroughly understood the concerto, playing withmasterly phrasing and expression. His transcription of Strauss'"Standchen, Op. 17, No.2" is superbly played and he adheresto the spirit of the original love song. The "Variations on aTheme of Paganini, Op. 35," one of the most difficult workscomposed for the piano and which he played for his 1900London debut is an excellent example of his pianistic ability.

Although the Aeolian Duo-Art catalog states Mr. Backhausrecorded only for Duo-Art, he joined the list of pianists forAmpico to record the works of Chopin, Rubinstein and thelovely Schubert-Liszt, "Du Bist die Ruh."

°Victor album M-2l; London CS 6156 & LL 879.

- 61 -

~ecRnicalifie8

HOT GLUE TIPSBY DICK PRICE

Ever look with longing on one of those thermostaticallycontrolled hot glue pots, but balked at the price? Tired of thesplatter and smell of your home-made water jacket glue potmessing up the family stove (not to mention theinconvenience) ?

Weep no more-you have in your possession the practicalsolution to all your woes and you don't need a lot of money,nor do you need an extra stove in your workshop. \Vhat youneed-and probably have-is that old iron you used to softenthe glue on that recalcitrant pneumatic. Tum it upside down, Iattached mine to a wooden board with a small hose clamp(wrapped around the iron's handle and screwed to the board),for example. Put your glue container (my glue pot used tohold 8 ounces of peanuts) on the sole and turn on the iron. Amedium setting will keep the glue hot enough to use but nothot enough to boil-which weakens its adhesive properties.

ANTIFUNGAL FOR HOT GLUE: A tip from art restorerfriend Jim Swope (who restores oil paintings)-organic glues,pastes, gelatins, etc., are subject to fungi and mold. Toprevent their untimely appearance use one drop oil of clovesor thymol crystals per pint of glue. Thymol, by the way, issimilar in structure to naptha which is what moth balls aremade of.

NOTES FROM THE NORTHBY JOHN W. KELLY

Here is a project for those who have a problem with rollstorage. This is the most aesthetic, economical and efficientmethod of roll storage that I can conceive - up to onethousand rolls can be stored in approximately eight feet ofwall space. I have made two so far and carry the rest on topof the piano and in another cabinet of slightly over onehundred "rare" rolls.

I believe the plans and instructions are accurate and completeso that anyone with a radial arm saw and some experienceshould have no difficulty in making a pleasingly handsomecabinet for their music room. If you are contemplating'making more than one cabinet, it is advisable to make onecabinet first to get the hang of it and then "go into massproduction."

There are over ten cubes per cabinet - each storage cube willhold 25 regular QRS rolls or 16 large rolls allowing storage for160 to 250 rolls per unit. Units may be placed on the top of anupright piano lengthwise or, by making a small piano dolly asdescribed further on, may be placed beside the piano andmay be easily moved to any location in the room while fullyloaded.

Note: do not attach cabinet to dolly. This cabinet when madeas described is extremely strong and can easily carry a full

load without buckling or deforming.

250 Piano Roll Modular Storage - 10 Cubes - 25 Rolls Each

1 sheet )~" African mahogany or other plywood1 piece pine 6" wide x 8' long x ~" thick

-....j 2 pieces ~" masonite 24" x 30"All cuts except first cut 'and frame done on a radial arm sawwith Craftsman Veneer Cutting blade. Make all' cutsaccurately and use a stop-block to assure uniformity

1st cut across sheet with jigsaw 63" from end. Thisallows easier handling and trimming of parts.2nd cut rip llfa" from each piece.3rd cut repeat 2nd cut.4th cut rip 12~" from each piece.5th cuf repeat 4th cut. Trim off damaged and crookededges.6th cut one piece llfa" x 6lJf" into two pieces 24W' long.Discard scrap.

Trim all pieces to exact size-use a stop block to assureaccuracy.Mark lightly with a pencil one piece 12W' x 61)f" top, anotherpiece 12W' x 61W' bottom, two pieces 1214" x 24)f" left side andright side. Check all pieces for flaws in wood and mark on theinside toward the back.Mark one piece llfa" x 61W' "shelf."Mark four pieces 24)f" x llfa" "spacers."Dado left and right sides exactly in the center with a dado 14"wide x )," deep. Use discarded stock to adjust saw cut depth.Use stop-block for accuracy. Put aside these parts.Dado as above the insides of top and bottom parts )~" at edgesand W' between dados - this comes to 6 dados x )~ and fivespaces of I' each.Caution: dadoed parts are fragile. Handle with care. Put topand bottom aside.

/ Cut 4 spacers exactly in center ~ way across )~" wide (seediagram Ill), put aside.Cut shelf marking off to match top and bottom same asspacers. Note that edges are not cut and only four cuts aremade. Put aside.Make a frame from pine ~.." x lW' to fit inside cabinet at rear.Trim to fit any inaccuracies. Use )f lap joints at corners andmiddle (see Diagram #2) and glue, square and clamp.

ASSEMBLY- Use an old door on a table or a 4 x 8 sheet of~" plywood to assemble cabinet.Lay frame on table. Use Franklin Bond Tite glue orCarpenter's Alphetic glue.Get 4 corner clamps, one hammer and I" finishing nails.Call wife, daughter, son or your mother-in-law to help you atthis point.Top and bottom are fragile and must be handled with care.Make a box with the top, bottom, and two sides. Check thatdados align and measure length and width while clampedwith 4 corner clamps on top. This is the time to trim off excesswood if necessary. If all was accurately made there should beno problem. Apply glue to comer dados and to edge of frame.Reclamp and nail frame to bottom. Let dry. Install and gluemasonite back in two parts to prevent warping. Place shelf indados and install spacers. Do not force, cut if necessary. Whengrid fits, remove, glue all dados and cuts in grid and re­assemble. If plywood buckles, use corner clamps to align gridor pipe clamps to pull in top or bottom or sides. Let dry. Sandlightly with fine sandpaper and apply 4 or 5 light coats of

.../ urethane gloss finish, or stain and finish it your way.

Dolly or Base (see diagram 113).Cut ~" plywood 24~" x 1214".Place casters rated 50 pounds per caster on comers of

- 62 -

plywood so as not to hit baseboard when swiveled. Note - iffloor is uneven, use two in front and one in center rear.Miter and install baseboard on three sides to give ~" clearancefrom floor. Put baseboard 14" above top of plywood to give lipfor cabinet. Sand edges and finish same as cabinet.

I would be delighted to see a photo of any cabinet made andany variations on this design that you have used in makingyours. My special thanks to my wife, Diana, for her assistancein preparing this article.

250 roU modular storage shown with a variety of rolls loadedfor this photo to give an indication of what it looks like withone's faVOrite brand of piano rolls.

250 PIANO ROLL MODULAR STORAGE

~I---~"----tII~

Tllfa"

1DIAGRAM #1 (No scale)

Viewed From Bottom

DIAGRAM #2 (No scale)

molding

7~~W' Plywood

Front View

~~------61" --------tt~

Caster

_----- Baseboard

rt;

Front

DIAGRAM #3 (No scale)

Roll cabinet shown as it normally rests besides the pumper.It's a foot pumper Weber 65-88 note with pedals in the box(unrestored). Note the home-made piano bench with legsfrom Spindleflex.

\\

CUTTING CHART - 1~" Plywood sheet1st cut with jigsaw at 63" approximately

~~lll---- 24Jr' ----,.~I 14~---------- 61Ji" ----------.t~1

Di'cacd the<e Piec"4IXI5th cut --.

4th cut --.

3rd cut --..

2nd cut --..

XEnd Side

XEnd Side

XDivider

XDivider

rTop Piece 121~"

Bottom Piece 121~"

Shelf 11%"

Xcut

4Divider Divider IT"--.

cut

Use Craftsman Veneer Cutting blade."'~f---- 24W' ----J.ojlIll4l---- 241~" ---.-I~

NEW MEMBERSFred De Francesco: 16322 Wall Street, Houston, TX 77040.Welte-Mignon grand.

AI De Lancey: 506 Manor Drive, Salinas, CA 93901. 1925Chickering Ampico A. Referred by Tom Hawthorne.

Robert Fierst: 421 Bailey Ave., Pittsburg, PA 15211. SeeburgKT Special; misc phono. Referred by Bill Edgerton.

Howard A. Lane: Barre Road, Hardwick, MA 01037. 1920sLink; 1920s Steinway Duo-Art.

Fran Mayer: 70 Riverside Drive, I-D, New York, NY 10024.1921 A. B. Chase Art-Echo; 1915 Weber, Pianocorder; 1928Steinway Duo-Art. Referred by Robert Taylor (PA).

John A. Hupcey: 608 Chelsea Cay, Wappingers Falls, NY12590. 1913 Steinway Pianola. Referred by Lawrence M.Kerecman.

Ralph Riggs, Jr.: 1512 Northridge Dr., Carrollton, TX 75006.1880s Aeolian pump reed organ. Referred by Tom Beckett.

Roland & Phyllis Dilley: 4814 W. Market, Leavittsburg, OH44430. 1925 Marshall & Wendell Ampico A; Wilcox & WhiteAngelus upright.

Perry L. Hirsch: 2029 Century Park East, Suite 600, LosAngeles, CA 90067. 1927 Knabe Ampico A.

../ Robert F. Lanning: 340 Quince Street, Vineland, NJ 08360.1925 Cunningham Special; 1920 Cremona Special; 1924Seeburg piano/pipe organ. Referred by John Ruggieri.

Robert L. Meyers: 10 Jackson Street, Cape May, NJ 08204.1925 Conreid, H.C. Bay; 1916 Newton upright. Referred byPaul Dietz.

William Pilgermayer: 2415 Old Forty Foot Road,Harleysville, PA 19438.

Vinton C. Vint: 14028 Rue San Remo, Del Mar, CA 92014.

Martin Goland: 306 Country Lane, San Antonio, TX 78209.Referred by Tom Beckett.

Jack Tushinsky: 634 Venice Blvd., Venive, CA 90291.

Terrell Barnes: 2355 South Dellrose, Wichita, KS 67218.

Donald W. Edmonston: 2177 Bishop Estates Road,Jacksonville, FL 32223. Referred by Joseph Bailey.

Marvin & Zelda Horovitz: 3 Taft Circle, Winchester, MA01890. 1923 Chickering Ampico A. Referred by Alan Pier.

Pierce L. Olsen: Via Riviera Rt. 2, St. Cloud MN 56301. 1923Adam Schaaf Welte Licensee. Referred by Eugene Skards, Jr ..

Wallace & Grayce Scott: 19748 Proctor Rd. N.W., Elk River,MN 55330. Sohmer Welte upr. Referred by Ronald Olsen.

D. D. & Florence DeRees: 439 Morton Street, Romeo, MI48065. 1922 Chickering Ampico A. Referred by Robert E,Blaine.

Richard H. Pierce: 1088-B Irongate Lane, Columbus, OH43213. 1912 Milton Invisible plyr.

Roger C. Wiegand: 735 Middlefield Road, Palo Alto, CA94301. 1915 Haines Ampico A.

Richard & Sophia Landry: 1006 13th Ave. SE, Minneapolis,MN 55414. 1912 Original M. Welte & Sons, Red Paper.Referred by Gene Skards.

Charles H. & Pauline Sanders: 100 Sheffield Drive, Windsor,CT 06095. L. Kirchoff upr plyr; Jewell plyr upr; Melodigrandplyr H.C. Bay.

CLASSIFIED

FREE LISTS: All types rolls. cylinder records and machines.Discs. cobs. sheet music. catalogs & literature. Mechanical musicand much more. Our 21st year. . VI & 51'S ANTIQUES, 8970Main St .. Clarence. NY 14031.

WANTED: The folloWing items: (1) Rolls for a Wurliitzer TheatreOrchestra (Style W or organette); (2) Peerless "D" Nickelodeonroll mechanism & bin; (3) Rolls for Hupfeld Animatic piano; (4)Solo-Corola mechanism; and (5) Pedals and pedal base for aMason-Hamlin Melodeon. If you have 1 or more of these, pleasecall collect-Joe Bailey (904) 268-2775 or 268-5561, or write11857 San Jose Blvd. Jacksonville. FL 32223.

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

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.

$1,000,000 SALE: music boxes, nickelodeons, player pianos,calliopes, phonographs. World's largest selection. Also cashregisters, slot and arcade machines, clocks. We ship anywhere!Huge illustrated catalog $5. Guarantee: money back (you keepthe catalog free) if not delighted! $15 subscription to six issues($30 value). American International Galleries. 1802-H KetteringSt., Irvine, CA 92714. Tel. (714) 754-1777. Open Wed. thru Sat.

SEEBURG TRACKER BARS: Fit A & G roll machines. $58.00.H tracker bars $85. THESE ARE EXACT COPIES. Seeburg E­Special wll0 instruments. Cremona G. Link C both wlpipes.Seebirg L. others. Stafford. Box 96. Fishkill NY 12524. (914) 897­5592.

THE PIANOCORDER™ REPRODUCING SYSTEM

At the push of a button, the greatest pianists play your own piano! Anytime you want, thePianocorder Reproducing System presents Vladimir Horowitz playing Etudes by Chopin; ClaudeDebussy playing his own "Children's Corner Suite;" or Igor Stravinsky playing "Firebird" selections.Over 3,600 masterworks of popular, classical, rag and jazz! Never before has so much brilliance been soreadily available-all for your own "live" listening pleasure!

Pre-Programmed- tape cassettes re-create these astounding performances on your own console,studio, upright or grand. Each cassette has 45 minutes of your favorite, expressed piano selections, all atthe touch of a button. No need to unbox a roll, thread a spoolframe, re-roll the selection, re-box it, andrepeat the same procedure endlessly. No more torn-paper-roll blues! No more tracking problems orlow humidity failures! The Pianocorder System employs totally solid-state, Underwriters Laboratory (UL)approved electronics.

The Pianocorder Reproducing System is the very first live music system to perfect capture of eachand every keyboard performance ON YOUR OWN PIANO! At the touch of a button, the PianocorderSystem re-creates any live program, and finally achieves what MichaelWelte, Aeolian, and Ampico tried to do.

For a fraction of the cost of an unrestored reproducing piano, you cancontinuously enjoy trouble-free genuis. The Pianocorder System isavailable installed within your piano, or as a Push-Up VorsetzerReproducer. Live-Recording is available on BOTH systems!

For as little as $1,495.00 (F.O.B. Libertyville, Illinois) installed andguaranteed with ten (10) 45-minute pre-programmed cassetts, the finestpiano performances are yours. Call or write for free brochure and details.

ELECTRIC ORCHESTRAS, INC.1271 North Terre DriveLibertyville, Illinois 60048

Telephone (312) 367-7996Reproducing Vorsetzer

\

CLASSIFIED

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

1927 Violano Virtuoso total immaculate restoration, nothing leftundone, spotless red mahogany case, new wiring, all electricalsrestored, Mills Violin restored, new bows, all metal highlypolished aluminum or replated, restrung, repinned, reguilded harp,new hammers etc., plays beautifully, no other Violano known tome to have such lavish attention. Priced at $12,000.00 U.S.,trades considered. Photos and cassette tape from: Terry Smythe,71 De Bourmont Bay, Winnipeg, Manitoba, Canada R2J 1K2.(204) 256-2134.

NELSON·WIGGINS ORCHESTRION for sale. Seven instruments,in excellent operating condition. Needs new front panel,otherwise original. $9765. Charles Evans, (713) 663-7185.

STROUD DUO·ART upright, 1924; dar!< brown mahogany case.Complete. Nice unrestored condition. Over 40 rolls. $1895.00.Tom Marshall, 1711 S.E. Elliott, Portland, OR 97214. (503) 238­0369.

WANTED: Complete front for Wurlitzer LX (late model) alsowonder light for same. Also need front doors, with glass, forCremona K orchestrion. Jerry Cordy, 3610 Naify Street,Sacramento, CA 95821 or call (916) 489-2074.

lDted movilg & storage inc; •M5 CLEVELAND-COLUMBUS-DAYTONU 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 Eicherclo United Moving & Storage, Inc.1728 Troy StreetDayton, OH 45404

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

Two pianos for sale: AMPICO in J & C Fischer upright. Ampicoand piano completely rebuilt, refinished, new action felts. originalivories scraped and polished. etc. Mint condition $4500.00 or bestoffer. Also: LAUTER HUMANA upright player - completely rebuilt& refinished, restrung. foot pump or electric with automatic re-ro/land shut-off. Mint condition $2400.00 or best offer. Gould &Hundermark, 234 Broad Street, Summit. NJ 07901. (201) 522­0718. PIANOCORDER INQUIRIES WELCOME.

SEEBURG PIANO ORGAN with Diapason, flute. quintadena andviola pipes. Twelve note pedal board. remote pump and blower.Plays Seeburg HO. Seeburg XP and Standard 88-note rolls.French Walnut case. Instrument is in good unrestored condition.Comes with 40 small rolls, 5 multi-tune rolls. $3595.00. TomMarshall. 1711 S.E. Elliott, Portland, OR 97214. (503) 238-0369.

FISCHER AMPICO GRAND 5' 7" late model A. Newlypneumatically rebuilt and restrung. $6500. Craig Roothoff. 3371"A" Street, San Diago, CA 92102. Tel. (714) 235-8706.

Piano Bench - Approximately 16" x 40". This bench was soldwith a Louis XV piano, has a needlepoint cover. Legs are notcurved. $1.00 for photo, refunded if purchased. All offersconsidered. I. L. Cordell, 2240 Lorain Road. San Marino, CA91108.

tlor the ,,(0 ....Tuned and untuned percussions

for use in all automatic instruments

Single and duplex spoolframes

for A,G,and 0 rolls and all

wurlitzer scales

Custom fabrication in wood and

metal of one or a thousand parts

Piano and orqan supplies and

hardware~~-~-

j..-r---"'~"---,-__-=-__ bo x_1 094 - ~.~- -':---1

I lubbock, t.exes~~~~~~__-79408~.

Mechanical Systems, Inc.

Superb unrestored 1923 6'1"Weber Duo-Art reproducingpiano. Weber reproducerslarger than 5" 8" were madeonly on a customer's order andare scarce. Joseph Hoffman'sAmerican debut was on asimilar instrument. This piano isfor the collector who wants aDuo-Art with a big sound andwhich is priced more modestlythan a Steinway. Comes with amatching bench. $4,000.00

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

Telephone (203) 655~951O

Automatic Musical Instrument Collectors' Association

PUBLISHER

Tom BeckettP.O. Box 401807Dallas, TX 75240

address correction requestedreturn postage guaranteed

Nonprofit Org.u.s. POST

Tx.

Permit No. 19