UJ1!11£ 1\:1111 ar1\AUTOMATIC MUSIC~E~~SBULLETIN of theTRUMENT COLLECTORS' ASSOCIATION

,eVOLUME 14

MARCH 1977

NUMBER 2

UJ1!11£ 1\:1111 ar1\AUTOMATIC MUSIC~E~~SBULLETIN of theTRUMENT COLLECTORS' ASSOCIATION

,eVOLUME 14

MARCH 1977

NUMBER 2

OFFICERS

INTERNATIONAL OFFICERS CHAPTER OFFICERS

AMICA MEMBERSHIP RATES:

Continuing Members: $15 DuesNew Members, add $5 processing feeLapsed Members, add $3 processing fee

THE AMICA NEWS BULLETIN

Published by the Automatic Musical Instrument Collectors'Association, a non-profit club devoted to the restoration, distribu­tion and enjoyment of musical instruments using perforated papermusic rolls.

Contributions: All subjects of interest to readers of the bulletinare encouraged and invited by the publisher. All articles must bereceived by the 10th of the precedin9 month. Every attempt will bemade to publish all articles of general interest to AMICA membersat the earliest possible time and at the discretion of the publisher.

ADVERTISINGLine ad rate: 8<1 per word, $1.20 minimum.

Page rate: $12.50 per quarter page or multiple thereof.Ad copy will be typeset (at additional cost) only if requested.

Each photograph or half-tone, $5.00

Camera-ready copy that is oversized or undersi zed will bechanged to correct Size at your cost.Camera-ready copy must reach the publisher by the 10th ofthe preceedin9 month.

Cash must accompany order. Typesetting or size alterationcharges will be billed separately. Make checks payable toAMICA INTERNATIONAL.

All ads will appear on the last pages of the BULLETIN, at thediscretion of the publisher.

Publication of business advertising in no way implies AMICA'sendorsement of any commercial operation. However, AMICA re­serves the right to refuse any ad that is not in keeping with AMICA'sgeneral standards or if complaints are receive'd indicating that saidbusiness does not serve the best interests of the members ofAMICA, accordin9 to its goals and by-laws.

PRESIDENTBob Rosencrans36 Hampden Rd.Upper Darby, PA 19082

VICE PRESIDENTRichard Drewniak191 Capen Blvd.Amherst, NY 14226

SECRETARYIsadora Koff2141 Deodara Dr.Los Altos, CA 94022

BULLETINTom Beckett6817 CliffbrookDallas, TX 75240

MEMBERSHIP SECRETARY(New memberships andmailing problems)

Anita Nickels JohnsonP. 0, Box 666Grand June tion, CO 81501

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

BOARD REPRESENTATIVESN. Cal: Frank LoobS. Cal: Dick RiggTexas: Steve ChapmanPhil.:Midwest: Jim WeisenborneSOWNY: Dave GaudieriRky. Mt.:Toni HartNew Jer.:

COMMITTEESTechnical

Mel Luchetti3449 Mauricia Ave.Santa Clara, CA 95051

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

NO. CALIFORNIAPres.: Howard KoffVice Pres.: Phil McCoySec.: Dick ReutlingerTreas.: Bill WherryReporter: Stuart Hunter

SO. CALI FORNIAPres.: Prentiss KnowltonVice Pres.: Elliott N. LacySec.: Evelyn MeederTreas.: Lewis TrofferReporter: Bill Toeppe

TEXASPres.: Tony PalmerVice Pres.: James GuinnSec/Treas.: Haden VandiverReporter: Dick Barnes

MIDWESTPres.: Milton CoopermanVice Pres.: Jim PrendergastSec./Treas.: Jim & Sue WorgullReporter: Molly Yeckley

PHILADELPHIA AREAPres: Donald WoodVice Pres.: Larry CornellSec.: Barbara MacartneyTreas.: Doris BerryReporter: Dick Merrill

SOWNY (So. Ontario, West NYI_Pres.: Stan Aldridge •Vice Pres.: Chuck HannenSec.: Janet DrewniakTreas.: Tom ZornReporter; Jim Brewer

!

ROCKY MOUNTAINPres.: Robert MooreSec.: Sharon PaetzoldTreas.: Carl PaetzoldReporter: James Bratton

NEW JERSEYPres.: Peter BrownVice Pres.:Sec.: Joan ChaseTreas.:Reporter:

AMICA ITEMSFOR SALE

AMICA BULLETINS, BOUND ISSUES: 1969,$9; 1971, $15; 1972, $15; 1973, $15; 1974unbound sets, $15; 1974 bound sets, $18;1975 bound, $18; 1976 bound, $18, PRICESINCLUDE POSTAGE AND HANDLING. Spiralbound to lie flat. Send to Mary Lilien, 4260Olympiad 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 \I (1972­1974). $7 ..50 postpaid; or order both sets for$12.50 postpaid. Reprints of interesting techni­calities articles which have appeared in theAMICA Bulletin, arranged and indexed intoappropriate categories, spiral bound to lie flat.Send orders to Howard Koff, 2141 DeodaraDrive, Los Altos, CA 94022.

AMICA Sterling Silver Pins, $4.25, includingmailing charges. Lapel pin or tie tack withAMICA design. Order from Robert Lemon,4560 Green Tree Drive, Sacramento, CA 94823.

AMICA Stationery, $3.20 (letter size), $1.75(note size), including mailing charges. Finequality stationery with ornate AMICA borders.Each packet contains 25 letters and matchingenvelopes. Send orders to Robert Lemon, 4560Green Tree Drive, Sacramento, CA 94823.

"They All Laughed When I Sat Down At ThePiano, But When IT Began To Play ..."

This sound and color super-8 movie, producedby AMICA members, is again available for loanto AMICA members and chapters. For moreinformation write to Howard Koff, 2141Deodara Drive, Los Altos, CA 94022.

OFFICERS

INTERNATIONAL OFFICERS CHAPTER OFFICERS

AMICA MEMBERSHIP RATES:

Continuing Members: $15 DuesNew Members, add $5 processing feeLapsed Members, add $3 processing fee

THE AMICA NEWS BULLETIN

Published by the Automatic Musical Instrument Collectors'Association, a non-profit club devoted to the restoration, distribu­tion and enjoyment of musical instruments using perforated papermusic rolls.

Contributions: All subjects of interest to readers of the bulletinare encouraged and invited by the publisher. All articles must bereceived by the 10th of the precedin9 month. Every attempt will bemade to publish all articles of general interest to AMICA membersat the earliest possible time and at the discretion of the publisher.

ADVERTISINGLine ad rate: 8<1 per word, $1.20 minimum.

Page rate: $12.50 per quarter page or multiple thereof.Ad copy will be typeset (at additional cost) only if requested.

Each photograph or half-tone, $5.00

Camera-ready copy that is oversized or undersi zed will bechanged to correct Size at your cost.Camera-ready copy must reach the publisher by the 10th ofthe preceedin9 month.

Cash must accompany order. Typesetting or size alterationcharges will be billed separately. Make checks payable toAMICA INTERNATIONAL.

All ads will appear on the last pages of the BULLETIN, at thediscretion of the publisher.

Publication of business advertising in no way implies AMICA'sendorsement of any commercial operation. However, AMICA re­serves the right to refuse any ad that is not in keeping with AMICA'sgeneral standards or if complaints are receive'd indicating that saidbusiness does not serve the best interests of the members ofAMICA, accordin9 to its goals and by-laws.

PRESIDENTBob Rosencrans36 Hampden Rd.Upper Darby, PA 19082

VICE PRESIDENTRichard Drewniak191 Capen Blvd.Amherst, NY 14226

SECRETARYIsadora Koff2141 Deodara Dr.Los Altos, CA 94022

BULLETINTom Beckett6817 CliffbrookDallas, TX 75240

MEMBERSHIP SECRETARY(New memberships andmailing problems)

Anita Nickels JohnsonP. 0, Box 666Grand June tion, CO 81501

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

BOARD REPRESENTATIVESN. Cal: Frank LoobS. Cal: Dick RiggTexas: Steve ChapmanPhil.:Midwest: Jim WeisenborneSOWNY: Dave GaudieriRky. Mt.:Toni HartNew Jer.:

COMMITTEESTechnical

Mel Luchetti3449 Mauricia Ave.Santa Clara, CA 95051

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

NO. CALIFORNIAPres.: Howard KoffVice Pres.: Phil McCoySec.: Dick ReutlingerTreas.: Bill WherryReporter: Stuart Hunter

SO. CALI FORNIAPres.: Prentiss KnowltonVice Pres.: Elliott N. LacySec.: Evelyn MeederTreas.: Lewis TrofferReporter: Bill Toeppe

TEXASPres.: Tony PalmerVice Pres.: James GuinnSec/Treas.: Haden VandiverReporter: Dick Barnes

MIDWESTPres.: Milton CoopermanVice Pres.: Jim PrendergastSec./Treas.: Jim & Sue WorgullReporter: Molly Yeckley

PHILADELPHIA AREAPres: Donald WoodVice Pres.: Larry CornellSec.: Barbara MacartneyTreas.: Doris BerryReporter: Dick Merrill

SOWNY (So. Ontario, West NYI_Pres.: Stan Aldridge •Vice Pres.: Chuck HannenSec.: Janet DrewniakTreas.: Tom ZornReporter; Jim Brewer

!

ROCKY MOUNTAINPres.: Robert MooreSec.: Sharon PaetzoldTreas.: Carl PaetzoldReporter: James Bratton

NEW JERSEYPres.: Peter BrownVice Pres.:Sec.: Joan ChaseTreas.:Reporter:

AMICA ITEMSFOR SALE

AMICA BULLETINS, BOUND ISSUES: 1969,$9; 1971, $15; 1972, $15; 1973, $15; 1974unbound sets, $15; 1974 bound sets, $18;1975 bound, $18; 1976 bound, $18, PRICESINCLUDE POSTAGE AND HANDLING. Spiralbound to lie flat. Send to Mary Lilien, 4260Olympiad 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 \I (1972­1974). $7 ..50 postpaid; or order both sets for$12.50 postpaid. Reprints of interesting techni­calities articles which have appeared in theAMICA Bulletin, arranged and indexed intoappropriate categories, spiral bound to lie flat.Send orders to Howard Koff, 2141 DeodaraDrive, Los Altos, CA 94022.

AMICA Sterling Silver Pins, $4.25, includingmailing charges. Lapel pin or tie tack withAMICA design. Order from Robert Lemon,4560 Green Tree Drive, Sacramento, CA 94823.

AMICA Stationery, $3.20 (letter size), $1.75(note size), including mailing charges. Finequality stationery with ornate AMICA borders.Each packet contains 25 letters and matchingenvelopes. Send orders to Robert Lemon, 4560Green Tree Drive, Sacramento, CA 94823.

"They All Laughed When I Sat Down At ThePiano, But When IT Began To Play ..."

This sound and color super-8 movie, producedby AMICA members, is again available for loanto AMICA members and chapters. For moreinformation write to Howard Koff, 2141Deodara Drive, Los Altos, CA 94022.

Jnfernafional Jlcf!tJf8Jl f' .· r---

Roll cabinet in the Main House.

Reproducing piano in the Main House.

•

~ .......

The reproducing pianos are both Wurlitzer baby grandswith Apollo mechanisims. The pianos are not used sothey have been allowed to deterioriate and are nowunable to play any rolls. Only the housekeepers areallowed off the plastic runners so our inspectionwas done at a distance and through correspondencewith people who could get close. The piano in the

WRH stayed here several months of the year and whilehe ran his 90 some companies, Harion Davies and heentertained large numbers of guests including kings,statesmen, and movie stars. In 1958 the Hearst Cor­poration gave the castle to the State of Californiafor use as a park and a museum. The castle shows aprofit each year and the State uses the money tokeep everything in excellent repair.

Casa Grande) and 46 rooms in the three Guest Houses.There are two swimming pools - the outdoor NeptunePool (345,000 gallons) and the indoor Roman Pool(200,000 gallons) with two tennis courts on itsroof, riding, boating, an airport, movie theater,billiards, and the largest private zoo in the U.S.Enough facilities to entertain any guest.

While visiting Hearst Castle in San Simeon, Cal­ifornia, we spotted two reproducing grand pianosand a player piano that plays a three octave caril­lon. When we got home we started writing lettersto get more information. We now would like to thankthe California State Park System, the tour guidesat the castle who tailored our last tour by talkingabout the instruments and allowing extra time forus to take photographs, and Mr. McCollough, Mr.Fait, and Mr. Tognazzini for the help they gave us.

BY ED HAYDEN

View of the Bell towers.

HEARST CASTLE AND ITS INSTRUMENTS

After William Randolph Hearst had established hisnewspaper empire, he built a Spanish style castle ontop of a hill five miles from the Pacific Ocean. Itwas the centerpiece of a 240,000 acre ranch thatstretched more than fifty miles along the coast anda show case for some of his collection of Mediter­ranean-Renaissance art. He had been collecting art(in 500 different categories) for more than twentyyears and had several huge warehouses in New Yorkand California stuffed full of antiques. He startedbuilding in 1919 after his mother died and when hedied in 1951 the Enchanted Hill (La Cuesta Encantada)had grown to over 100 rooms in the Main House (La

Jnfernafional Jlcf!tJf8Jl f' .· r---

Roll cabinet in the Main House.

Reproducing piano in the Main House.

•

~ .......

The reproducing pianos are both Wurlitzer baby grandswith Apollo mechanisims. The pianos are not used sothey have been allowed to deterioriate and are nowunable to play any rolls. Only the housekeepers areallowed off the plastic runners so our inspectionwas done at a distance and through correspondencewith people who could get close. The piano in the

WRH stayed here several months of the year and whilehe ran his 90 some companies, Harion Davies and heentertained large numbers of guests including kings,statesmen, and movie stars. In 1958 the Hearst Cor­poration gave the castle to the State of Californiafor use as a park and a museum. The castle shows aprofit each year and the State uses the money tokeep everything in excellent repair.

Casa Grande) and 46 rooms in the three Guest Houses.There are two swimming pools - the outdoor NeptunePool (345,000 gallons) and the indoor Roman Pool(200,000 gallons) with two tennis courts on itsroof, riding, boating, an airport, movie theater,billiards, and the largest private zoo in the U.S.Enough facilities to entertain any guest.

While visiting Hearst Castle in San Simeon, Cal­ifornia, we spotted two reproducing grand pianosand a player piano that plays a three octave caril­lon. When we got home we started writing lettersto get more information. We now would like to thankthe California State Park System, the tour guidesat the castle who tailored our last tour by talkingabout the instruments and allowing extra time forus to take photographs, and Mr. McCollough, Mr.Fait, and Mr. Tognazzini for the help they gave us.

BY ED HAYDEN

View of the Bell towers.

HEARST CASTLE AND ITS INSTRUMENTS

After William Randolph Hearst had established hisnewspaper empire, he built a Spanish style castle ontop of a hill five miles from the Pacific Ocean. Itwas the centerpiece of a 240,000 acre ranch thatstretched more than fifty miles along the coast anda show case for some of his collection of Mediter­ranean-Renaissance art. He had been collecting art(in 500 different categories) for more than twentyyears and had several huge warehouses in New Yorkand California stuffed full of antiques. He startedbuilding in 1919 after his mother died and when hedied in 1951 the Enchanted Hill (La Cuesta Encantada)had grown to over 100 rooms in the Main House (La

Jnfernafional JlJJfJBJl

TB

WRITERS AWARDS RECIPIENTS ANNOUNCED'Following the publication of the last issue of theBulletin in 1976, voting instructions for 1976BULLETIN WRITERS AWARDS were sent to a judge chosenfrom. each of the chapters of AMICA. From the mul­titude of excellent contributions printed duringthe year, the judges were asked to select theirchoice for material written by a member and contrib­uting significantly to the hobby. Judges were al­lowed to consult as many of their fellow members asthey wished to provide a broader base for theirdecisions. The three selections determined fromthis voting were deemed the best of '76 and are ratedequally. The following listing is merely alphabet­ical.

Ursula Dietrich-Hollinshead for the three-part series"Ten Cents A Lesson."

Roger Torkelson for his series "Re-doing The Duo-Art."

Molly Yeckley for her "(Un)Convention(al) Report" ofthe Joplin Mini-convention as well as her excellentMidwest Chapter reports.

Award placques for these writers will be presentedat the San Francisco convention in September.' Those

.... unable to attend will be mailed their awards after

.. the convention.

Considering the number of other writers named in thevoting (judges weren't limited to 3 choices), it'sobvious that the articles in the Bulletin are wellreceived in all catagories. AMICA would like to takethis occasionto extend a special "Thank You" toevery contributer and hereby recognize their effortstowards education and enjoyment in the automaticmusical instrument field for all of us.

COVER STORY: This month's cover was created froma Chickering Piano advertisementfrom the December 1904 Country Lifein America. Contributed by RichardParker.

BULLETIN COVER APPEALOnce again I would like to make an appeal for dona­tions of potential Bulletin cover material. Some ofthe more interesting covers can be created from oldadvertisements with a musical motif such as thismonth's alteration of a 1904 Chickering Piano Companyadvetisement.

As long as the original material is somewhat reason­ably proportioned to our 8~ x 11 inch format, I canwork with undersize or oversized copy.

If any members are particularly good at art work, Iwill also. consider custom design work as a suitabledonation. I suggest you forward rough sketches ofyour ideas for initial study.

All material used from this appeal will be acknowl­edged as to donor in the issue of the Bulletin inwhich it is printed.

~';' ..t..~ ~.~..~. . -, ~ -~.~. ~

y -:!: WILL THIS BE YOUR LAST BULLETIN? :i:.i. OR - RED SLASH LABELS ..%•

:!: If the mailing label on this issue of :1:....r the Bulletin has a red slash at the ..%..~ lower right hand corner, it indicates ..%..> that the Membership Secretary has not ..%.• received your dues payment for 1977. •..- ....

.... Don't delay - send Anita that check %-r% today and enjoy uninterrupted BULLETIN ~:­_~ service in 1977. .:-.:.x.:..:..:..:..:..:..:..:..:..:..:..:+(..:..:..:..:..:••:..:..:-:.J.:+~+~ y

1976 BOUND BULLETINSNOW AVAILABLE

Complete sets of the 1976 AMICA Bulletins are nowavailable for $18.00 postpaid. Please send yourorders to Mary Li1ien, 4260 Olympiad Drive, LosAngeles, CA 90043.

INTERNATIONAL AMICAINSTRUMENTSAMICA FORUMROLLS & MUSICPHILADELPHIAS.O.W.N.Y.NEW JERSEYBIOGRAPHICAL SKETCHESTECHNICALITIES

303536394143444548

- 30 -

BULLETI NINDEXWith this Bulletin you should find an insert of theBulletin index for years 1974-1976 compiled by CaroleBeckett. It is arranged as one master alphabeticalindex in comprehensive and cross-referenced formand includes 13 major alphabetized subdivisions.

I am sure that all Amicans who retain their Bulletinsfrom year to year join me in thanking Carole for thisproduction.

Jnfernafional JlJJfJBJl

TB

WRITERS AWARDS RECIPIENTS ANNOUNCED'Following the publication of the last issue of theBulletin in 1976, voting instructions for 1976BULLETIN WRITERS AWARDS were sent to a judge chosenfrom. each of the chapters of AMICA. From the mul­titude of excellent contributions printed duringthe year, the judges were asked to select theirchoice for material written by a member and contrib­uting significantly to the hobby. Judges were al­lowed to consult as many of their fellow members asthey wished to provide a broader base for theirdecisions. The three selections determined fromthis voting were deemed the best of '76 and are ratedequally. The following listing is merely alphabet­ical.

Ursula Dietrich-Hollinshead for the three-part series"Ten Cents A Lesson."

Roger Torkelson for his series "Re-doing The Duo-Art."

Molly Yeckley for her "(Un)Convention(al) Report" ofthe Joplin Mini-convention as well as her excellentMidwest Chapter reports.

Award placques for these writers will be presentedat the San Francisco convention in September.' Those

.... unable to attend will be mailed their awards after

.. the convention.

Considering the number of other writers named in thevoting (judges weren't limited to 3 choices), it'sobvious that the articles in the Bulletin are wellreceived in all catagories. AMICA would like to takethis occasionto extend a special "Thank You" toevery contributer and hereby recognize their effortstowards education and enjoyment in the automaticmusical instrument field for all of us.

COVER STORY: This month's cover was created froma Chickering Piano advertisementfrom the December 1904 Country Lifein America. Contributed by RichardParker.

BULLETIN COVER APPEALOnce again I would like to make an appeal for dona­tions of potential Bulletin cover material. Some ofthe more interesting covers can be created from oldadvertisements with a musical motif such as thismonth's alteration of a 1904 Chickering Piano Companyadvetisement.

As long as the original material is somewhat reason­ably proportioned to our 8~ x 11 inch format, I canwork with undersize or oversized copy.

If any members are particularly good at art work, Iwill also. consider custom design work as a suitabledonation. I suggest you forward rough sketches ofyour ideas for initial study.

All material used from this appeal will be acknowl­edged as to donor in the issue of the Bulletin inwhich it is printed.

~';' ..t..~ ~.~..~. . -, ~ -~.~. ~

y -:!: WILL THIS BE YOUR LAST BULLETIN? :i:.i. OR - RED SLASH LABELS ..%•

:!: If the mailing label on this issue of :1:....r the Bulletin has a red slash at the ..%..~ lower right hand corner, it indicates ..%..> that the Membership Secretary has not ..%.• received your dues payment for 1977. •..- ....

.... Don't delay - send Anita that check %-r% today and enjoy uninterrupted BULLETIN ~:­_~ service in 1977. .:-.:.x.:..:..:..:..:..:..:..:..:..:..:..:..;..:..:..:..:..:..:..:..:-:.J.:+~+~ y

1976 BOUND BULLETINSNOW AVAILABLE

Complete sets of the 1976 AMICA Bulletins are nowavailable for $18.00 postpaid. Please send yourorders to Mary Li1ien, 4260 Olympiad Drive, LosAngeles, CA 90043.

INTERNATIONAL AMICAINSTRUMENTSAMICA FORUMROLLS & MUSICPHILADELPHIAS.O.W.N.Y.NEW JERSEYBIOGRAPHICAL SKETCHESTECHNICALITIES

303536394143444548

- 30 -

BULLETI NINDEXWith this Bulletin you should find an insert of theBulletin index for years 1974-1976 compiled by CaroleBeckett. It is arranged as one master alphabeticalindex in comprehensive and cross-referenced formand includes 13 major alphabetized subdivisions.

I am sure that all Amicans who retain their Bulletinsfrom year to year join me in thanking Carole for thisproduction.

Jnfernafionaf JlJJrJ(8Jl

Assembly Room of La Casa Grande has a walnut finishplain case with carved legs. It is 69 inches long,58 inches wide and 39Yz inches high. It has serialnumber 40442 which places it around 1920 and has amatching bench. It is kept closed and has a giganticsolid silver Tiffany & Co. la~p on top of the lid.It can be seen on Tour I. The piano in the SittingRoom in the Guest House is also walnut finished withcarved legs and also has a matching bench. It is60 inches long, 59Yz inches wide, and 39 inches high.Its serial number is 40420 which places it around1920. It can be seen on Tour III.

Front Door of the Main Building.

Near each piano are antique cabinets that were usedfor roll storage. We had thought that the pianoswould beSteinway Duo-Arts or Knabe Ampicos and weresurprised to find that they were Wurlitzer Apolloreproducers. They were originally bought to pro­vide entertainment for the guests and even thoughtheir presence is important to AMICA members, theyare completely overshadowed by the sheer volume ofpriceless art. They were considered furniture justlike the ordinary overstuffed chairs with floweredslips covers that are allover the place.

The rolls are cataloged in a 37 page listing. Thefirst 30 pages consist of Wilcox & White Angelus andsymphony player organ rolls. We were unable to locatethis instrument. It could be at the ranch house at

Neptune pool.

the bottom of the hill or could have been at any ofthe residences. They included a castle in Scotland,a beach house for Marion in Los Angeles where theyhad more than 3000 guests show up for some of theirparties, homes in Los Angeles and New York, hismother's estate in Pleasanton, California (hopefullysoon to be restored and made a state park), ranchesin California and Mexico, and "Hintoon" a Bavarianvillage in a large estate along the McCloud River innorthern California. Pages 31 through 36 are Apollorolls and page 37 is mostly 88-note rolls plus oneRecorda roll and 6 Ampico rolls. The rolls are keptin a vault in the basement which covers several acres,so we were not able to see the rolls. We could notfind out where the Recorda and Arnpico rolls carnefrom. Perhaps they were brought as presents byguests or perhaps there was an Ampico somewhere else.

Piano in La Casa Del Monte (B house) - one of theguest houses.

In an alcove between the Billiard Room and the movietheater is an upright Geyzen player piano that canplay the 3 octave carillon. The player mechanismdoesn't work anymore but the carillon can be playedmanually. I doubt any attempts were made to hand

- 33 -

Jnfernafionaf JlJJrJ(8Jl

Assembly Room of La Casa Grande has a walnut finishplain case with carved legs. It is 69 inches long,58 inches wide and 39Yz inches high. It has serialnumber 40442 which places it around 1920 and has amatching bench. It is kept closed and has a giganticsolid silver Tiffany & Co. la~p on top of the lid.It can be seen on Tour I. The piano in the SittingRoom in the Guest House is also walnut finished withcarved legs and also has a matching bench. It is60 inches long, 59Yz inches wide, and 39 inches high.Its serial number is 40420 which places it around1920. It can be seen on Tour III.

Front Door of the Main Building.

Near each piano are antique cabinets that were usedfor roll storage. We had thought that the pianoswould beSteinway Duo-Arts or Knabe Ampicos and weresurprised to find that they were Wurlitzer Apolloreproducers. They were originally bought to pro­vide entertainment for the guests and even thoughtheir presence is important to AMICA members, theyare completely overshadowed by the sheer volume ofpriceless art. They were considered furniture justlike the ordinary overstuffed chairs with floweredslips covers that are allover the place.

The rolls are cataloged in a 37 page listing. Thefirst 30 pages consist of Wilcox & White Angelus andsymphony player organ rolls. We were unable to locatethis instrument. It could be at the ranch house at

Neptune pool.

the bottom of the hill or could have been at any ofthe residences. They included a castle in Scotland,a beach house for Marion in Los Angeles where theyhad more than 3000 guests show up for some of theirparties, homes in Los Angeles and New York, hismother's estate in Pleasanton, California (hopefullysoon to be restored and made a state park), ranchesin California and Mexico, and "Hintoon" a Bavarianvillage in a large estate along the McCloud River innorthern California. Pages 31 through 36 are Apollorolls and page 37 is mostly 88-note rolls plus oneRecorda roll and 6 Ampico rolls. The rolls are keptin a vault in the basement which covers several acres,so we were not able to see the rolls. We could notfind out where the Recorda and Arnpico rolls carnefrom. Perhaps they were brought as presents byguests or perhaps there was an Ampico somewhere else.

Piano in La Casa Del Monte (B house) - one of theguest houses.

In an alcove between the Billiard Room and the movietheater is an upright Geyzen player piano that canplay the 3 octave carillon. The player mechanismdoesn't work anymore but the carillon can be playedmanually. I doubt any attempts were made to hand

- 33 -

Jnfernafional JlJEJf8Jl : .

play the piano as the keys that play the carillonare raised higher than the rest of the keyboard. Iplayed the piano but the bells are several hundredfeet away and in twin towers 137 feet above theground so it's very hard to hear your mistakes (eventhough everyone for miles around can!). I guessthey put on a piano roll and went outside to listen.There was one house rule that the carillon wasn'tto be played before 10 A.M. because there are bed­room suites immediately below the bells in the towers.

Neptune pool.

We were given a technical description of the carillonwritten by Lt. Cdr. William Bristol, USN. I triedto locate him but have had no success. The peopleat the castle are working on the carillon but haveno plans to restore the player piano or the two re­producers in the near future. It would be nice ifthe reproducer in the Assembly Room could be restoredand connected to a remote on-off switch so that thepiano could be played for a short while during thetour. Also the restoration of the player would al­low playing the carillon more often.

Those of you who are travelling between San Francisco

Geyzen player that controls the carillon.

_ ,& -

and Los Angeles might plan to stop and see HearstCastle. It's on the coast about half-way betweenthe two cities. There are good accomodations in thenearby towns. Allow a full day to take all threetours at the castle. Allow 45 minutes to an hourbetween tours for a coffe break or lunch. The tours

Carillon player - note portion of raised keyboardthat operates the carillon for manual play.

La Casa Del Monte - guest house.

Jnfernafional JlJEJf8Jl : .

play the piano as the keys that play the carillonare raised higher than the rest of the keyboard. Iplayed the piano but the bells are several hundredfeet away and in twin towers 137 feet above theground so it's very hard to hear your mistakes (eventhough everyone for miles around can!). I guessthey put on a piano roll and went outside to listen.There was one house rule that the carillon wasn'tto be played before 10 A.M. because there are bed­room suites immediately below the bells in the towers.

Neptune pool.

We were given a technical description of the carillonwritten by Lt. Cdr. William Bristol, USN. I triedto locate him but have had no success. The peopleat the castle are working on the carillon but haveno plans to restore the player piano or the two re­producers in the near future. It would be nice ifthe reproducer in the Assembly Room could be restoredand connected to a remote on-off switch so that thepiano could be played for a short while during thetour. Also the restoration of the player would al­low playing the carillon more often.

Those of you who are travelling between San Francisco

Geyzen player that controls the carillon.

_ ,& -

and Los Angeles might plan to stop and see HearstCastle. It's on the coast about half-way betweenthe two cities. There are good accomodations in thenearby towns. Allow a full day to take all threetours at the castle. Allow 45 minutes to an hourbetween tours for a coffe break or lunch. The tours

Carillon player - note portion of raised keyboardthat operates the carillon for manual play.

La Casa Del Monte - guest house.

Jnfernafional JlJKJBJl

are each about Y, mile in length with several hundredsteps and last about one hour each. Except forThanksgiving and Christmas, when the castle is closed,the tours are completely booked. Reservations arenecessary and can be made the day before you planto tOur at the Ticketron Terminal in the motels inSan .Simeon. Each tour costs approximately $4.50 perperson. For more information write: Hearst Castle,P.O. Box 8, San Simeon, CA 93452~

Picture taking is allowed anywhere in the castle.However, no flash bulbs are allowed. For decentpictures inside the castle get a fast film and usean adjustable camera (or buy postcards). It's muchtoo dark inside for Kodak 110's and Instamatics. Iuse a SLR Minolta SRT-101 with a 58 mm f~.4 lens andhave had no trouble with fast color or black andwhite (400 ASA TriX) film.

NEEDLEPOINT PROJECTThe following photographs of needlework were providedby David H. Wallis They include a bell pull, wallhanging and bench cover for David's 1919, 5.8"Chickering Ampico A.

- 3S -

~ ~

Jnsfrumenfs~

1928 Chickering Ampico A art case in the collection ~

of Donal Breen. Note similarity to the Whitely ,.Chickering ~ November 1976 Bulletin, page 208.

Jnfernafional JlJ!tJBJl

are each about Y, mile in length with several hundredsteps and last about one hour each. Except forThanksgiving and Christmas, when the castle is closed,the tours are completely booked. Reservations arenecessary and can be made the day before you planto tOur at the Ticketron Terminal in the motels inSan .Simeon. Each tour costs approximately $4.50 perperson. For more information write: Hearst Castle,P.O. Box 8, San Simeon, CA 93452~

Picture taking is allowed anywhere in the castle.However, no flash bulbs are allowed. For decentpictures inside the castle get a fast film and usean adjustable camera (or buy postcards). It's muchtoo dark inside for Kodak 110's and Instamatics. Iuse a SLR Minolta SRT-101 with a 58 mm f~.4 lens andhave had no trouble with fast color or black andwhite (400 ASA TriX) film.

NEEDLEPOINT PROJECTThe following photographs of needlework were providedby David H. Wallis They include a bell pull, wallhanging and bench cover for David's 1919, 5.8"Chickering Ampico A.

- 3S -

~ ~

Jnsfrumenfs~

1928 Chickering Ampico A art case in the collection ~

of Donal Breen. Note similarity to the Whitely ,.Chickering ~ November 1976 Bulletin, page 208.

Jlmica Jorum to. .'~

Topside view of the Breen Chickering.

MISCELLANY

BY JOHN R. GRANT

Merrily We Roll Along;

Question: What's more exasperating than hand-mea­suring the length of a ,music roll? Answer: Hand­measuring the length of a long music roll. Here aretwo gadgets which I find handy for the task.

Shown on the left is a device chiefly used for mea­suring milage on maps (proper name - Opisometer).The small wheel (arrow) should be held perpendicularto the paper rather than the angled position whchwas for the purposes of the photographs only. Thisinstrument is very accurate and resolves down to 1/8inch. However, it only accumulates up to 15 feetbefore "starting over" again so you must rememberhow many times you pass "go."

a "ro] ling yardstick" device. A rubber tire (arrow)2" in diameter is held against the paper (only theedge of the tire is visible since it is perpendicularto the plane of the picture). This device will ac­cumulate up to 99999 feet - which should take careof all Ampici B Jumbo rolls - but is somewhat lessaccurate than the opisometer. The readout is to thenea~est foot so that when the measurement is finished,you must put the wheel on a ruler and "run-out" tothe next whole foot, subtracting the amount thus tra­veled to get the real readin~.

In addition, a correction factor may be necessary(+5% for mine) because of a basic inaccuracy in thedevice.

You may measure in either play or rewind so long asyou hold the device so that the turning wheel regis­ters an "up-scale" reading. In the photo, the left­hand device will read correctly during rewind, theright-hand during play.

On the right is a footage counter sometimes used in

Urooks(ol1C Company124 VOSE FARM ROADPETERBOROUGH, NEW HAMPSHIRE 0~458TELEPHONE (603) 924-7181

Simple Map Meter Quickly.Tells Any Road Distance

.... No matter how curvy the.. route, this Invaluable trav·

'oJ eler's aid (oplsometer) ae·.: J curalaly tells the distance.'t 4." No complicated arl U''''"":9 tiC.

l~ Simple two-.slep operation:1. Trace the route with

the distance wheel. Coun·ter shows map distance.

2. Convert map distanceto actual distance. usingmap scale on back of

. .~. . ~ . meter.r::~ •.:" .:'" Precision made of nice_,.~ .. ~ .• chrome-plated brass. Easy'c. _' 10 hold and use, Aesols\., • > .J ", Quickly to zero. Plainly,"'1 ••;:' 'markod 1'r\' dla, diaL

" Pockol·portabllt--Qnly 4V.'long, only 1'1t OlS. Mea·

.. i .t... . ._,. _ -..... sures blueprints. too.K.21l62,9 Map moter (opisomelor), , • , •. , , , ,56.25

HERBACH &RADEMAN, INC.401 EAST ERiE AVE, PHllA. PA, 19134

PHONE: 215-426,1700

'1~~ Cfi.\~" iI ~ :,"',', , ,-~"-II ~.~f~,

I Imported. For estimating floor areas. II

W1J'c: lensthS, et<:. Has a 2" rubber-edgedwheel fitted to a S-dlglt reset counter (to- ItaUz.es 99,999'). Measures a linear (oot I

I 'til hen wheel 15 rolled over nat surfac.e.SprlnC-steelleaI, 2-1/2"loog with two;8

Iholes ;at end can be used for attac.hing a Ipush handle. MeW counter, blue hnish; IwhJt.e (lg\Ires on black backgroWld are read

Ithrough Wlndow

i1/4 high x 1-1/16" long.

COWlter Size: 2. Lx l1x I!." H, excludinGwheel and leal. SMpping Weight, I lb. I

ICAT. NO, TMI9K734__$2.S06 For #lZ.50 10 For 'ZO,OO

C.Aul" oA): "" itJ I thV""

e>/t De. Ill: ~ 7. SO.

Either or both of these devices should be availablein any number of the gift catalogs which accumulatein your mail box by the metric ton. My sources areindicated in the cuts shown. Ooth places are rec­ommended for the "hard-to-find-tool" nut. (Yes, thespool-box shown is not on a Duo-Art piano.)

Duo-Art Expression Box Tip~

What to do when the threads are stripped on the shaftof the Duo-Art knife valves? This was a problem onthe last two Duo-Arts in my shop, one grand and on~

upright. My solution was to use a small, thin hack­saw blade to cut a slot across the end of the shaft(see photo) which can then be turned with a screw­driver. The lockscrew is loosened and tightened inthe usual manner. On the upright, clearance for ad­justment is a little tight on the accompaniment sideand required displacing the soft pedal rod. On thegrand, only the theme shaft was damaged. Fortunatelythere was a factory drilled hole through the bracingtimber at the exact point needed to allow passage of

- 36 -

Jlmica Jorum to. .'~

Topside view of the Breen Chickering.

MISCELLANY

BY JOHN R. GRANT

Merrily We Roll Along;

Question: What's more exasperating than hand-mea­suring the length of a ,music roll? Answer: Hand­measuring the length of a long music roll. Here aretwo gadgets which I find handy for the task.

Shown on the left is a device chiefly used for mea­suring milage on maps (proper name - Opisometer).The small wheel (arrow) should be held perpendicularto the paper rather than the angled position whchwas for the purposes of the photographs only. Thisinstrument is very accurate and resolves down to 1/8inch. However, it only accumulates up to 15 feetbefore "starting over" again so you must rememberhow many times you pass "go."

a "rol ling yardstick" device. A rubber tire (arrow)2" in diameter is held against the paper (only theedge of the tire is visible since it is perpendicularto the plane of the picture). This device will ac­cumulate up to 99999 feet - which should take careof all Ampici B Jumbo rolls - but is somewhat lessaccurate than the opisometer. The readout is to thenea~est foot so that when the measurement is finished,you must put the wheel on a ruler and "run-out" tothe next whole foot, subtracting the amount thus tra­veled to get the real readin~.

In addition, a correction factor may be necessary(+5% for mine) because of a basic inaccuracy in thedevice.

You may measure in either play or rewind so long asyou hold the device so that the turning wheel regis­ters an "up-scale" reading. In the photo, the left­hand device will read correctly during rewind, theright-hand during play.

On the right is a footage counter sometimes used in

Urooks(ol1C Company124 VOSE FARM ROADPETERBOROUGH, NEW HAMPSHIRE 0~458TELEPHONE (603) 924-7181

Simple Map Meter Quickly.Tells Any Road Distance

.... No matter how curvy the.. route, this Invaluable trav·

'oJ eler's aid (oplsometer) ae·.: J curalaly tells the distance.'t 4." No complicated arl U''''"":9 tiC.

l~ Simple two-.slep operation:1. Trace the route with

the distance wheel. Coun·ter shows map distance.

2. Convert map distanceto actual distance. usingmap scale on back of

. .~. . ~ . meter.r::~ •.:" .:'" Precision made of nice_,.~ .. ~ .• chrome-plated brass. Easy'c. _' 10 hold and use, Aesols\., • > .J ", Quickly to zero. Plainly,"'1 ••;:' 'markod 1'r\' dla, diaL

" Pockol·portabllt--Qnly 4V.'long, only 1'1t OlS. Mea·

.. i .t... . ._,. _ -..... sures blueprints. too.K.21l62,9 Map moter (opisomelor), , • , •. , , , ,56.25

HERBACH &RADEMAN, INC.401 EAST ERiE AVE, PHllA. PA, 19134

PHONE: 215-426,1700

'1~~ Cfi.\~" iI ~ :,"',', , ,-~"-II ~.~f~,

I Imported. For estimating floor areas. II

W1J'c: lensthS, et<:. Has a 2" rubber-edgedwheel fitted to a S-dlglt reset counter (to- ItaUz.es 99,999'). Measures a linear (oot I

I 'til hen wheel 15 rolled over nat surfac.e.SprlnC-steelleaI, 2-1/2"loog with two;8

Iholes ;at end can be used for attac.hing a Ipush handle. MeW counter, blue hnish; IwhJt.e (lg\Ires on black backgroWld are read

Ithrough Wlndow

i1/4 high x 1-1/16" long.

COWlter Size: 2. Lx l1x I!." H, excludinGwheel and leal. SMpping Weight, I lb. I

ICAT. NO, TMI9K734__$2.S06 For #lZ.50 10 For 'ZO,OO

C.Aul" oA): "" itJ I thV""

e>/t De. Ill: ~ 7. SO.

Either or both of these devices should be availablein any number of the gift catalogs which accumulatein your mail box by the metric ton. My sources areindicated in the cuts shown. Ooth places are rec­ommended for the "hard-to-find-tool" nut. (Yes, thespool-box shown is not on a Duo-Art piano.)

Duo-Art Expression Box Tip~

What to do when the threads are stripped on the shaftof the Duo-Art knife valves? This was a problem onthe last two Duo-Arts in my shop, one grand and on~

upright. My solution was to use a small, thin hack­saw blade to cut a slot across the end of the shaft(see photo) which can then be turned with a screw­driver. The lockscrew is loosened and tightened inthe usual manner. On the upright, clearance for ad­justment is a little tight on the accompaniment sideand required displacing the soft pedal rod. On thegrand, only the theme shaft was damaged. Fortunatelythere was a factory drilled hole through the bracingtimber at the exact point needed to allow passage of

- 36 -

Jtmica Jorum

This Is A Problem?

HELP

BY DAV ID BUR KE

'ONAl~'.',~ 0 S~\\\\\\\\\III1IJIIJ/I/~A~ /

"-~~~ ~~~~-O~ ~L-Q:-~ ~7- -- :::::-- ....-Q. --::::::::.= ~ ,-~ ~. ~

~~ ~

~ .~.

af!l/(IIIII\\\~~Premier Aristocrat Small Grand Model5 feet; 3 inches long. Price, $725, £.0. b. New York

THE artistic. ~Ily illustrated P~emier Brochure. wit~ de­tailed partIculars of the Widely known profeSSional

musicians and nationally celebrated institutions ).ISing thisinstrument. should ·be in the possesoion of every teacher.student, studio. college and conservatory.

Send for your copy today and be sure to see and hear _thePremier at your dealer.

If you cannot inspect locally. please inform us and we ..shall tell you the name of our nearest representative. •

PREMIER GRAND QUERY

FEBRUARY 1927

PREMIER GRAND PIANO CORPORATIONAmulca'. Foremtut Mo.It.r. of Baby Cr«nd. ExcludDely

51+-590 WEST 23rd STREET NEW YORKManuaUy PI.yett Small Crand•. Period .Dd Ornament.1 Mode". Pn:miera Reproduc.ins

Crand. .nd Rlllpl'oducin8" Cranda (Wc.ltC-Mia'C10Cl Li~aee)

PSEUDONYMS

In studying the Premier \'rand Piano Corporation'sadvertisement, I am interested in their reference totwo different types of reproducing piano. The firstis described as the Premiera Reproducing Grand, andReproducing Grands (Welte-Mignon Licensee) follows.Perhaps one of our members owns a "Premiera." Ifsuch an animal lurks in one of the collections, Iwould like to hear from the owner. I suspect it isa Recordo, as many piano manufacturers sold Recordoexpression players under their own name. DavidBurke, 2084 South Rio Grande, Orlando, FL 32805.

I have been trying to compile a list of pseudonymsand actual interpreter for piano rolls. I have beenunable to find anything as to who Alan Moran or asto who Erlebach (with Milne) was. These names both 4appear on Duo-Art popular rolls of the 20's and 30's.If anyone can supply this information, please con-tact William Dean, 15 Hahn Street, Washington, NJ07882-."

a goAny

Redcar

a screwdriver blade to the shaft, almost as if theyanticipated such a necessity. Variation of componentplacement in various pianos may preclude this tech­nique.

Any "Gully" bashers over in your country hadwith this???? Has anybody deep froze this??help would be appreciated. Geoff Worrall, 4Road, Sheffield, 510 lEX, England.

Suggestions wanted on how to "split" an early Weltestack from a cabinet keyless "sideboard" reproducer.This is so well built and glued solid, that I can'teven see the joins ••• and it must come apart for res­toration.

Well, yes, actually. My 1912 Gordon & Son uprightwith 88-note Standard Action pumper is so tight andefficient that it only requires between 5" and 7"water column vacuum during most playing. Extremelyquiet passages require only 4"-4~" and sustainedpumping above 8" or 9" is unpleasantly loud. Theproblem is that the sustaining pedal actuator doesnot perform reliably at the lower vacuum levels eventhough it is as large as can be fitted into the space.available and is equipped with a primary and two sec­ondary valves. No amount of "tweeking" with thebleed size or valve throw seems to help. All poucheshave been replaced wi th zero leakage Perflex. Itwould be a very difficult mechanical problem to in­stall an additional high level/low volume exhauster/reservoir combination and link it to the existingpedals and it seems ridiculous to add an electricpump for just this (no room anyway). Has anyone elsehad this problem and how did you solve it? (If youdid!) Please respond to John R. Grant, 12318 Kem­merton Lane, Bowie, MD 20715,(phone) 301-464-2391.

- 37 -

Jtmica Jorum

This Is A Problem?

HELP

BY DAV ID BUR KE

'ONAl~'.',~ 0 S~\\\\\\\\\III1IJIIJ/I/~A~ /

"-~~~ ~~~~-O~ ~L-Q:-~ ~7- -- :::::-- ....-Q. --::::::::.= ~ ,

---::::::::=:: ~. ~

~~ ~

~ .~.

af!l/(IIIII\\\~~Premier Aristocrat Small Grand Model5 feet; 3 inches long. Price, $725, £.0. b. New York

THE artistic. ~Ily illustrated P~emier Brochure. wit~ de­tailed partIculars of the Widely known profeSSional

musicians and nationally celebrated institutions ).ISing thisinstrument. should ·be in the possesoion of every teacher.student, studio. college and conservatory.

Send for your copy today and be sure to see and hear _thePremier at your dealer.

If you cannot inspect locally. please inform us and we ..shall tell you the name of our nearest representative. •

PREMIER GRAND QUERY

FEBRUARY 1927

PREMIER GRAND PIANO CORPORATIONAmulca'. Foremtut Mo.It.r. of Baby Cr«nd. ExcludDely

51+-590 WEST 23rd STREET NEW YORKManuaUy PI.yett Small Crand•. Period .Dd Ornament.1 Mode". Pn:miera Reproduc.ins

Crand. .nd Rlllpl'oducin8" Granda (Wc.ltC-Mia'C10Cl Li~aee)

PSEUDONYMS

In studying the Premier \'rand Piano Corporation'sadvertisement, I am interested in their reference totwo different types of reproducing piano. The firstis described as the Premiera Reproducing Grand, andReproducing Grands (Welte-Mignon Licensee) follows.Perhaps one of our members owns a "Premiera." Ifsuch an animal lurks in one of the collections, Iwould like to hear from the owner. I suspect it isa Recordo, as many piano manufacturers sold Recordoexpression players under their own name. DavidBurke, 2084 South Rio Grande, Orlando, FL 32805.

I have been trying to compile a list of pseudonymsand actual interpreter for piano rolls. I have beenunable to find anything as to who Alan Moran or asto who Erlebach (with Milne) was. These names both 4appear on Duo-Art popular rolls of the 20's and 30's.If anyone can supply this information, please con-tact William Dean, 15 Hahn Street, Washington, NJ07882-."

a goAny

Redcar

a screwdriver blade to the shaft, almost as if theyanticipated such a necessity. Variation of componentplacement in various pianos may preclude this tech­nique.

Any "Gully" bashers over in your country hadwith this???? Has anybody deep froze this??help would be appreciated. Geoff Worrall, 4Road, Sheffield, 510 lEX, England.

Suggestions wanted on how to "split" an early Weltestack from a cabinet keyless "sideboard" reproducer.This is so well built and glued solid, that I can'teven see the joins ••• and it must come apart for res­toration.

Well, yes, actually. My 1912 Gordon & Son uprightwith 88-note Standard Action pumper is so tight andefficient that it only requires between 5" and 7"water column vacuum during most playing. Extremelyquiet passages require only 4"-4~" and sustainedpumping above 8" or 9" is unpleasantly loud. Theproblem is that the sustaining pedal actuator doesnot perform reliably at the lower vacuum levels eventhough it is as large as can be fitted into the space.available and is equipped with a primary and two sec­ondary valves. No amount of "tweeking" with thebleed size or valve throw seems to help. All poucheshave been replaced wi th zero leakage Perflex. Itwould be a very difficult mechanical problem to in­stall an additional high level/low volume exhauster/reservoir combination and link it to the existingpedals and it seems ridiculous to add an electricpump for just this (no room anyway). Has anyone elsehad this problem and how did you solve it? (If youdid!) Please respond to John R. Grant, 12318 Kem­merton Lane, Bowie, MD 20715,(phone) 301-464-2391.

- 37 -

Jlmica Jorum .,~.

HAS ANYONE NOTICED THIS YET?BY GEOFF WORRALL

AMPICO roll No. 56905-GImpromptu in E sharp major Op. 36 by Chopin.Played by Howard Brockway.

should be labelled •.•

Impromptu in ~ sharp major Op. 36, No. 2

As a check, this piece is identical to roll number70063-H Op. 36 No. 2 in F sharp. Played hy MischaLevitzki.

ZO ELLIOTTZo Elliott's song, There's ~ Long, Long Trail A-Wind­ing (Ref. page 28, Bulletin, Jan/Feb '77) has beenrecorded by the composer on the Duo-Art 103415. EMF

PHOTO REPORTBY BENNETT LEEDY

Frank Adams and my sister Brenda in a photo studioin Eureka Sprinks, Arkansas during the 1976 Mini­convention.

This photo was taken about 1913 or 1914 and showsmy grandmother Lillian Jensen playing a MeisterPlayer piano in their Chicago apartment. The

picture was taken by my grandfather, Walter Jensen.The whereabouts of the piano is unknown, but thethree hand-painted French china vases on top thepiano are still in the family.

One of our two family cats, Gatsby, listening to my1925 Weber Duo-Art grand.

Our other cat, Bernadean, finds a hole in the rollcollection.

- 38 -

Jlmica Jorum .,~.

HAS ANYONE NOTICED THIS YET?BY GEOFF WORRALL

AMPICO roll No. 56905-GImpromptu in E sharp major Op. 36 by Chopin.Played by Howard Brockway.

should be labelled •.•

Impromptu in ~ sharp major Op. 36, No. 2

As a check, this piece is identical to roll number70063-H Op. 36 No. 2 in F sharp. Played hy MischaLevitzki.

ZO ELLIOTTZo Elliott's song, There's ~ Long, Long Trail A-Wind­ing (Ref. page 28, Bulletin, Jan/Feb '77) has beenrecorded by the composer on the Duo-Art 103415. EMF

PHOTO REPORTBY BENNETT LEEDY

Frank Adams and my sister Brenda in a photo studioin Eureka Sprinks, Arkansas during the 1976 Mini­convention.

This photo was taken about 1913 or 1914 and showsmy grandmother Lillian Jensen playing a MeisterPlayer piano in their Chicago apartment. The

picture was taken by my grandfather, Walter Jensen.The whereabouts of the piano is unknown, but thethree hand-painted French china vases on top thepiano are still in the family.

One of our two family cats, Gatsby, listening to my1925 Weber Duo-Art grand.

Our other cat, Bernadean, finds a hole in the rollcol Jection.

- 38 -

aolls and cJRusic

BY DON TEACH

MORE ROLL SCALES

Here are more roll scales from my present lists.Some of these may be partially incomplete or maynot be the only way a particular instrument wasconnected. If anyone is interested in Welte scalesor Mortier scales, please write me at lD043 Strat­more Circle, Shreveport, LA 71115 and I will furnishscales to the BULLETIN for publication.

"Merry Widow Rag" - This is QRS roll #CEL-125 withmusic composed, copyrighted and played by EubieBlake. The "Merry Widow Rag" is built off of thewell known "Merry Widow Waltz" but takes on a formof life not often seen in a music roll. What canbe said about Eubie Blake except that he's fantas­tic and has been composing and playing music almostas long as player pianos have been around and at theage of 93 is still going strong. This, roll is anactual recording of Mr. Blake's playing style andthe writer is sure everyone who hears this recordingwill be delighted. The "Merry Widow Rag" was copy­righted in 1972 and recorded for QRS in 1974. Mr.Blake makes many appearances at lectures and ontelevision so be sure and try and catch one of thetwo very soon.

PIANO ROLL REVIEWBY DAN TUTTLE

"Buzzin' The Bee" - A foxtrot written by Wendlingand Wells. The roll is Universal #203185 and isplayed by George Gershwin. ~1r. Gershwin probablywas 18 or 19 years old when he recorded this rollfor the Universal Company and it may be considereda good example of his talent of piano playing. Fin­gers were agile and moved freely through some verydifficult passages of music. The song is a fast rol­ling foxtrot and very original in melody. This Uni­versal roll does not have words, but due to it beinga good song and with Mr. Gershwin playing. it makesthe roll very desirable.

"The Desert Song" - A beautiful waltz written byHarbach, Hammerstein I~ Mandel, and Romberg. Thissong is from the music production "The Desert Song"and copyright by T. B. Harms. Playrite word roll#5387 played by Duval and Lane is the roll to be de­scribed. It is the writer's opinion that just aboutanything on a Playrite Music Roll is going to begood. This song follows that statement very well.The roll begins with soft, gentle, rolling chords Iand then steps into the melody of the verse with aone octave spread trilling action. As a whole, thesong is very fine in arrangement using marimba actionin just the right places.

88-NOTE ROLLS------"Tuck Me To Sleep" (In My Old Kentucky Home) - Agreat old Southern style song with words written bySam M. Lewis and Joe Young. ~1usic by George W. Meyer.The song was copyrighted in 1921 by Irving Berlin,Inc. The roll is QRS #1684 and is played by PeteWendling. The song has a good melody and in betweenthe verse and chorus is a few bars of well plannedand well played blues type jazz which is built offthe song "My Old Kentucky Home." As a final touch,the last verse is played as a one-step and performedwith great vigor and vim. As total quality goes,this is a favorite among many people who own playerpianos. '

78 - A79 - sustain80 - ?81 - wood block82 - swell shutter close83 - violin on84 flute on85 ?86 - bells on87 - bells off88 - general cancel

44 - cymbal45 - coin trip46 - rewind47 - harmonium48 - harmonium49 snare, wood block,

cymbal - soft50 - p J

violin. flute60 - D#

1 - reverse 23 -DJ--2 - forward 24 -~ accom.3 - bass 25 -

4 - snare 26 - P#5 - snare 27 stopped pipes6 - ? 28 - violin &prestant7 - F 29 - super octave8 - G 30

- G]9 - A10 -A# 63 -

pchromatic

11 - B 64 - viola12 - C 65 - cello13 - D 66 - saxaphone14 - E 67 - trumpet15 - bass 68 - swell16 - cancel 69 -

:Je0unter17 - G melody. chro.18 - A 85 -19 - A# 86 - coin trip20 - B 87 - glockenspiel21 - C22 - C#

!}fi- 39 -

34 - cello

Poppers Salon

1 - bass drum soft2 - bass drum loud3 - viola pipes on4 - kettle drum5 - kettle drum6 triangle7 - piano - soft8 - ?9 - mandolin on

10 - mandolin off11 - C12 - C#

40 - snare41 - piano accent on42 - piano accent off43 - xylophone on

aolls and cJRusic

BY DON TEACH

MORE ROLL SCALES

Here are more roll scales from my present lists.Some of these may be partially incomplete or maynot be the only way a particular instrument wasconnected. If anyone is interested in Welte scalesor Mortier scales, please write me at lD043 Strat­more Circle, Shreveport, LA 71115 and I will furnishscales to the BULLETIN for publication.

"Merry Widow Rag" - This is QRS roll #CEL-125 withmusic composed, copyrighted and played by EubieBlake. The "Merry Widow Rag" is built off of thewell known "Merry Widow Waltz" but takes on a formof life not often seen in a music roll. What canbe said about Eubie Blake except that he's fantas­tic and has been composing and playing music almostas long as player pianos have been around and at theage of 93 is still going strong. This, roll is anactual recording of Mr. Blake's playing style andthe writer is sure everyone who hears this recordingwill be delighted. The "Merry Widow Rag" was copy­righted in 1972 and recorded for QRS in 1974. Mr.Blake makes many appearances at lectures and ontelevision so be sure and try and catch one of thetwo very soon.

PIANO ROLL REVIEWBY DAN TUTTLE

"Buzzin' The Bee" - A foxtrot written by Wendlingand Wells. The roll is Universal #203185 and isplayed by George Gershwin. ~1r. Gershwin probablywas 18 or 19 years old when he recorded this rollfor the Universal Company and it may be considereda good example of his talent of piano playing. Fin­gers were agile and moved freely through some verydifficult passages of music. The song is a fast rol­ling foxtrot and very original in melody. This Uni­versal roll does not have words, but due to it beinga good song and with Mr. Gershwin playing. it makesthe roll very desirable.

"The Desert Song" - A beautiful waltz written byHarbach, Hammerstein I~ Mandel, and Romberg. Thissong is from the music production "The Desert Song"and copyright by T. B. Harms. Playrite word roll#5387 played by Duval and Lane is the roll to be de­scribed. It is the writer's opinion that just aboutanything on a Playrite Music Roll is going to begood. This song follows that statement very well.The roll begins with soft, gentle, rolling chords Iand then steps into the melody of the verse with aone octave spread trilling action. As a whole, thesong is very fine in arrangement using marimba actionin just the right places.

88-NOTE ROLLS------"Tuck Me To Sleep" (In My Old Kentucky Home) - Agreat old Southern style song with words written bySam M. Lewis and Joe Young. ~1usic by George W. Meyer.The song was copyrighted in 1921 by Irving Berlin,Inc. The roll is QRS #1684 and is played by PeteWendling. The song has a good melody and in betweenthe verse and chorus is a few bars of well plannedand well played blues type jazz which is built offthe song "My Old Kentucky Home." As a final touch,the last verse is played as a one-step and performedwith great vigor and vim. As total quality goes,this is a favorite among many people who own playerpianos. '

78 - A79 - sustain80 - ?81 - wood block82 - swell shutter close83 - violin on84 flute on85 ?86 - bells on87 - bells off88 - general cancel

44 - cymbal45 - coin trip46 - rewind47 - harmonium48 - harmonium49 snare, wood block,

cymbal - soft50 - p J

violin. flute60 - D#

1 - reverse 23 -DJ--2 - forward 24 -~ accom.3 - bass 25 -

4 - snare 26 - P#5 - snare 27 stopped pipes6 - ? 28 - violin &prestant7 - F 29 - super octave8 - G 30

- G]9 - A10 -A# 63 -

pchromatic

11 - B 64 - viola12 - C 65 - cello13 - D 66 - saxaphone14 - E 67 - trumpet15 - bass 68 - swell16 - cancel 69 -

:Je0unter17 - G melody. chro.18 - A 85 -19 - A# 86 - coin trip20 - B 87 - glockenspiel21 - C22 - C#

!}fi- 39 -

34 - cello

Poppers Salon

1 - bass drum soft2 - bass drum loud3 - viola pipes on4 - kettle drum5 - kettle drum6 triangle7 - piano - soft8 - ?9 - mandolin on

10 - mandolin off11 - C12 - C#

40 - snare41 - piano accent on42 - piano accent off43 - xylophone on

STORY ROLLS

J!olls and JRusic

STORY ROLLS

BY BILL &DEE KAVOURAS

Ampico #68991 - No. 1 Papillons (Butterflies)No. 2 Arabesque-IntermezzoLothplayed by L. Leslie Loth

No. 1 Papillons - In the brilliant glory of highnoon the butterfly comes suddenly into view. Hisgorgeous wings seem motionless as he poses beforethe honeyed flower testing its sweetness and hisvarying flight from blossom to blossom is perfectlysimulated in Mr. Loth's descriptive little piecewhich is played so delightfully.

No. 2 Arabesque - "Arabesque" offers a pleasing pat­tern of musical tints intertwined and interlaced ina lilting, captivating, salon piece of rare charmplayed by the composer himself.

Ampico #68711 - To Spr{ng (An Den Fruhling) Op.43 No.6Griegplayed by Hans Barth

Musi~ in which the ardent south wind touches withwinsome, leaping joyfulness the grim face of winter.With his soft breath he breaks the fetters of themountain streams, wakes the flowers from their longrepose and prepares the earth, a sleeping beauty,for her coming bridal with her fairy prince - theSpring.

Grieg has drawn from nature the prattle of waywardbrooks, the rustle and murmur of her light and goldenlaughter, and has made the sunbeams audible, andthere is the white foam of blossoming lanes and theingifinable unrest, the subtle,blending of joy andsjidness, which wakes and surges in the human heartat the call of spring. These he recreates in an un­forgettable melody and a pulsating accompanimentlikened to shimmering silver.

Ampico #68161 - 1. Brises (Breezes) 0p. 29, No. 3Schmitt2. Etude de Concert (Concert Study)

Op. 64, No.3, A FlatMOllZkowskiplayed by Bevier Williams

1. Brises (Breezes) Op. 29, No. 3 - The winds ofsummer caressing the landscape, the sun warm, andfragrant with pine and goldenrod blown from farhills, "singing celestial symphonies" in the treesunder a sky flecked with argosies of cloud.

2. Etude de Concert, Op. 64, No. 3 - Again musicthat seems inspired by the sounds and colors of na­ture - this time of the sea with its changing hues,green, gray and blue, ever moving, ever murmuring,and laughing in the sunlight.

BY MARK D. ZAHM

Ampico #69083 - A Day in VeniceNo.3 Venetian Love SongNo.4 Good NightNevinplayed by Milton Suskind

No.3 Venetian Love Song - Herein we have two more ofthe eposides of that unforgettable day in Venicewhich has inspired some of Nevin's most beautifulmusic. The "Venetian Love Song" is instinct withthe dulcet loveliness of the songs of the gondoliersheard against a pulsating accompaniment.

No.4 Good Night - "Good Night" is introduced withthe solemn chords of an evening hymn which melt intomusic which glows with twilight colors amid whichone hear~ the distant vesper bell and echoes ofsongs that come across the darkening water as thenight falls and this day of days draws to a close.

Ampico #62261 - Valse-Bluette, Air de BalletDrigo (transcribed by Erno Rapee)played by Edgar Fairchild

Piquant, coquettish, melodious, romantic - each andall of these words must be used in describing thisbewitching waltz. It is a joyus utterance, whollycarefree, and one's only regret is that it ends sosoon. But it may always be repeated, and it is safeto say that it will be repeated many times beforethe hearer is satisfied.

Ampico #62021 - Menuet Op. 14, No. *Paderewskiplayed by Germaine Schnitzer

A stately picture is always presented in the musicof the Minuet, that old French dance that one associ­ates with crinolines, powdered hair and courtly dan­ces. Paderewski's modern work in the antique rhythmsavors less than others of old time costumes and thestately tread of bewigged dancers, but it has comeinto a popularity that places it in the lists of thebest known compositions in the world. Its fascinatingrhythm and engaging melody, harmonic beauty and theeffect climax, unusual in a Minuet, have all con­tributed to the flavor which it enjoys with musiclovers everywhere.

* see also Ampico #68283 by Rachmaninoff as describedpage 117, July 1976 BULLETIN. This "story roll"leader primarily describes the playing artist.

STORY ROLLS

J!olls and JRusic

STORY ROLLS

BY BILL &DEE KAVOURAS

Ampico #68991 - No. 1 Papillons (Butterflies)No. 2 Arabesque-IntermezzoLothplayed by L. Leslie Loth

No. 1 Papillons - In the brilliant glory of highnoon the butterfly comes suddenly into view. Hisgorgeous wings seem motionless as he poses beforethe honeyed flower testing its sweetness and hisvarying flight from blossom to blossom is perfectlysimulated in Mr. Loth's descriptive little piecewhich is played so delightfully.

No. 2 Arabesque - "Arabesque" offers a pleasing pat­tern of musical tints intertwined and interlaced ina lilting, captivating, salon piece of rare charmplayed by the composer himself.

Ampico #68711 - To Spr{ng (An Den Fruhling) Op.43 No.6Griegplayed by Hans Barth

Musi~ in which the ardent south wind touches withwinsome, leaping joyfulness the grim face of winter.With his soft breath he breaks the fetters of themountain streams, wakes the flowers from their longrepose and prepares the earth, a sleeping beauty,for her coming bridal with her fairy prince - theSpring.

Grieg has drawn from nature the prattle of waywardbrooks, the rustle and murmur of her light and goldenlaughter, and has made the sunbeams audible, andthere is the white foam of blossoming lanes and theingifinable unrest, the subtle,blending of joy andsjidness, which wakes and surges in the human heartat the call of spring. These he recreates in an un­forgettable melody and a pulsating accompanimentlikened to shimmering silver.

Ampico #68161 - 1. Brises (Breezes) 0p. 29, No. 3Schmitt2. Etude de Concert (Concert Study)

Op. 64, No.3, A FlatMOllZkowskiplayed by Bevier Williams

1. Brises (Breezes) Op. 29, No. 3 - The winds ofsummer caressing the landscape, the sun warm, andfragrant with pine and goldenrod blown from farhills, "singing celestial symphonies" in the treesunder a sky flecked with argosies of cloud.

2. Etude de Concert, Op. 64, No. 3 - Again musicthat seems inspired by the sounds and colors of na­ture - this time of the sea with its changing hues,green, gray and blue, ever moving, ever murmuring,and laughing in the sunlight.

BY MARK D. ZAHM

Ampico #69083 - A Day in VeniceNo.3 Venetian Love SongNo.4 Good NightNevinplayed by Milton Suskind

No.3 Venetian Love Song - Herein we have two more ofthe eposides of that unforgettable day in Venicewhich has inspired some of Nevin's most beautifulmusic. The "Venetian Love Song" is instinct withthe dulcet loveliness of the songs of the gondoliersheard against a pulsating accompaniment.

No.4 Good Night - "Good Night" is introduced withthe solemn chords of an evening hymn which melt intomusic which glows with twilight colors amid whichone hear~ the distant vesper bell and echoes ofsongs that come across the darkening water as thenight falls and this day of days draws to a close.

Ampico #62261 - Valse-Bluette, Air de BalletDrigo (transcribed by Erno Rapee)played by Edgar Fairchild

Piquant, coquettish, melodious, romantic - each andall of these words must be used in describing thisbewitching waltz. It is a joyus utterance, whollycarefree, and one's only regret is that it ends sosoon. But it may always be repeated, and it is safeto say that it will be repeated many times beforethe hearer is satisfied.

Ampico #62021 - Menuet Op. 14, No. *Paderewskiplayed by Germaine Schnitzer

A stately picture is always presented in the musicof the Minuet, that old French dance that one associ­ates with crinolines, powdered hair and courtly dan­ces. Paderewski's modern work in the antique rhythmsavors less than others of old time costumes and thestately tread of bewigged dancers, but it has comeinto a popularity that places it in the lists of thebest known compositions in the world. Its fascinatingrhythm and engaging melody, harmonic beauty and theeffect climax, unusual in a Minuet, have all con­tributed to the flavor which it enjoys with musiclovers everywhere.

* see also Ampico #68283 by Rachmaninoff as describedpage 117, July 1976 BULLETIN. This "story roll"leader primarily describes the playing artist.

CHRISTMAS PARTY

dRiladelpRia

organ music. Right Jess?

BY BILL PILGERMAYER

The Macartneys did it again! Hospital ity, good food,music galore, beautiful decorations. Wow! What aparty.

The three manual console in the Macartney living roomwill be the manual control for the E. M. Skinner organbeing installed in two pits in the basement.

The Lamberts inspect their gift, a miniature playerpiano made by Clark Cressman.

Jess is well underway with the installation of his3 manual, 34 rank E. M. Skinner pipe organ. Theorgan will be playable from the beautiful consoleIn the living room and also from a multitude ofroll players. Next Christmas we will be treated to

Our Pollyanna is developing into an arts and craftsfestival. While trying to guess which package heldthe original Clark Cressman creation, two new artistswere discovered - Clair Lambert and Maryann Cornell.

Hostess Barbara Macartney takes time out to pick agift from under the tree.

Clark Cressman made miniature player pianos, ClairLambert made beautiful Christ~as wreaths, and Maryann ~Cornell made the Santa Faces from piano rolls. Next ,.year members will be trying to guess which packageholds one of these treasures.

The covered dish supper is also becoming an art form.The Macartney dining room table looked 1ike a feastfit for a king. Member Craig Hudson spent theafternoon giving out the receipe for his gourmet de­light.

This Maryann Cornell Christmas creation is madefrom her least favorite 88-note roll. I hopei

In all the festivities we still managed to welcomeour new officers for 1977:

CHRISTMAS PARTY

dRiladelpRia

organ music. Right Jess?

BY BILL PILGERMAYER

The Macartneys did it again! Hospital ity, good food,music galore, beautiful decorations. Wow! What aparty.

The three manual console in the Macartney living roomwill be the manual control for the E. M. Skinner organbeing installed in two pits in the basement.

The Lamberts inspect their gift, a miniature playerpiano made by Clark Cressman.

Jess is well underway with the installation of his3 manual, 34 rank E. M. Skinner pipe organ. Theorgan will be playable from the beautiful consoleIn the living room and also from a multitude ofroll players. Next Christmas we will be treated to

Our Pollyanna is developing into an arts and craftsfestival. While trying to guess which package heldthe original Clark Cressman creation, two new artistswere discovered - Clair Lambert and Maryann Cornell.

Hostess Barbara Macartney takes time out to pick agift from under the tree.

Clark Cressman made miniature player pianos, ClairLambert made beautiful Christ~as wreaths, and Maryann ~Cornell made the Santa Faces from piano rolls. Next ,.year members will be trying to guess which packageholds one of these treasures.

The covered dish supper is also becoming an art form.The Macartney dining room table looked 1ike a feastfit for a king. Member Craig Hudson spent theafternoon giving out the receipe for his gourmet de­light.

This Maryann Cornell Christmas creation is madefrom her least favorite 88-note roll. I hopei

In all the festivities we still managed to welcomeour new officers for 1977:

4RiladelpRia

BY DICK MERRILL

Listening to the 27" Regina.

music rolls, playing 5 tunes each way without re­rolling. Other nickelodeons included an early Peer­less Coin-operated piano, an Englehart, and a beau­tifully constructed Weber Grandezza. Mike's exper­tise at rebuilding was demonstrated by a WellsmoreRecordo (Simplex) grand with McNair Ilgenfritz (Ilgen­who?) playing the "Military Polonaise." While Iwouldn't trade my Ampico for it, this piano certainlydemonstrated that the Recordo was a big improvementover an ordinary player. Recordos will probably

"The music goes round and round and it comes outhere." - Ham Hamilton demonstrates a mechanicalpiano.

Vice PresidentSecretaryTreasurer & Membership

PresidentReporter

Don WoodDick Merrill

Larry CornellBarbara MacartneyDoris Berry

Returning:

Many thanks again to Barb and Jess. I'm sure every­one is looking forward to next year.

Outgoing president, Larry Cornell, extends officialwelcome handshake to new chapter president, Don Wood.

After a few week's postponement because of snow,thirty-five Philadelphia Amicans converged on thebusy metropol is of Gap, Pennsylvania, where the Jan­uary 23rd meeting convened at the "Music Box An­tiques." Shop owner "Ham" Ham,ilton and Amicans Mikeand Beverly Naddeo were the hosts. Mike does theplayer rebuilding for "Music Box," and he showed usan array of music machines both large and small.

A rousing round of applause was given for LarryCornell's excellent year as president. We are veryfortunate to have Larry remain as V.P.

PHILADELPHIA GOES TO GAP

Mike's musical tour included demonstrations of:Several organettes, Stella and Mira disc boxes, arare 27 inch casket model Regina, a hand crankedmechanical piano (John Turner, London~ circa 1850),and an orchestra music box that emitted indescribablesounds. Also seen and heard were various phonographsincluding Edison cyl inder machines and several woodenhorn Victrolas. Mike rendered a virtuoso performanceon a Tanzbar player accordion. Mike owns one ofthese contraptions and his long hours of practice

~ were apparant to all.

Larger machines included an Empress Electric Nickel­odeon by Lyon & Healy. This machine plays reversible

- 42 -

4RiladelpRia

BY DICK MERRILL

Listening to the 27" Regina.

music rolls, playing 5 tunes each way without re­rolling. Other nickelodeons included an early Peer­less Coin-operated piano, an Englehart, and a beau­tifully constructed Weber Grandezza. Mike's exper­tise at rebuilding was demonstrated by a WellsmoreRecordo (Simplex) grand with McNair Ilgenfritz (Ilgen­who?) playing the "Military Polonaise." While Iwouldn't trade my Ampico for it, this piano certainlydemonstrated that the Recordo was a big improvementover an ordinary player. Recordos will probably

"The music goes round and round and it comes outhere." - Ham Hamilton demonstrates a mechanicalpiano.

Vice PresidentSecretaryTreasurer & Membership

PresidentReporter

Don WoodDick Merrill

Larry CornellBarbara MacartneyDoris Berry

Returning:

Many thanks again to Barb and Jess. I'm sure every­one is looking forward to next year.

Outgoing president, Larry Cornell, extends officialwelcome handshake to new chapter president, Don Wood.

After a few week's postponement because of snow,thirty-five Philadelphia Amicans converged on thebusy metropol is of Gap, Pennsylvania, where the Jan­uary 23rd meeting convened at the "Music Box An­tiques." Shop owner "Ham" Ham,ilton and Amicans Mikeand Beverly Naddeo were the hosts. Mike does theplayer rebuilding for "Music Box," and he showed usan array of music machines both large and small.

A rousing round of applause was given for LarryCornell's excellent year as president. We are veryfortunate to have Larry remain as V.P.

PHILADELPHIA GOES TO GAP

Mike's musical tour included demonstrations of:Several organettes, Stella and Mira disc boxes, arare 27 inch casket model Regina, a hand crankedmechanical piano (John Turner, London~ circa 1850),and an orchestra music box that emitted indescribablesounds. Also seen and heard were various phonographsincluding Edison cyl inder machines and several woodenhorn Victrolas. Mike rendered a virtuoso performanceon a Tanzbar player accordion. Mike owns one ofthese contraptions and his long hours of practice

~ were apparant to all.

Larger machines included an Empress Electric Nickel­odeon by Lyon & Healy. This machine plays reversible

- 42 -

command more respect among collectors when the sup­ply'of Ampicos and Duo-Arts starts to run out.

Members sample refreshments while listening to theWellsmore Recordo.

We watched several films on a Scopitone, a sort ofjukebox-with-movie machine from the 1950's. Some ofthe Scopitone films we~e probably X rated back inthis prudish era, ~ut they would hardly rate a PGtoday. "Ham" also showed us a warehouse full ofother goodies including a 6' Weber Duo-Art, a largeBursens dance organ, and a wall 1ined with old cranktype telephones.

Listening to the Reginaphone combination music boxand phonograph.

Many thanks to our hosts for an interesting and en­joyable meeting. For out-of-town Amicans, thisshop and the surrounding area are worth visiting ifyou have an opportunity. Gap is located in the heartof the Pennsylvania Dutch country, where black horsedrawn buggies are still common transportation. Thereare colorful hex signs on every barn, the towns havequaint names like Intercourse, Paradise, and Blue­ball, and all the restaurants feature Shoofly pie.

~ ~

'T.

CHRISTMAS PARTYBY JIM BREWER

December 18 turned out to be one of those eveningsso dear to the hearts of Western New Yorkers, aclear, crisp night with a fluffy snow covering every­thing in sight. Rick and Janet Drewniak's horne waslike a period setting out of the 1920's from the out­side facade. Inside, however, was a tasteful blendof the old and new. Commanding the 1iving room wasthe beautifully restored George Steck Duo-Art.Throughout the house was an amazing variety of othermusical machines and antiques, from organettes tophonographs, to an ancient pinball machine in thedownstairs bar.

1. to r.: Felix Klempka, Ramsi Tick, Chuck Hannen,Jeff Depp and steve La Manna.

1. to r.: Dave Gaudieri, Felix Klempka, Carl Guhlo""and Stan Aldridge. Ramsi Tick and Jeff Depp at thepiano.

There was no formal business meeting held. The onlyreal 'Ibusiness" conducted was the posting of the re­cent election results. They were:

- 43 -

command more respect among collectors when the sup­ply'of Ampicos and Duo-Arts starts to run out.

Members sample refreshments while listening to theWellsmore Recordo.

We watched several films on a Scopitone, a sort ofjukebox-with-movie machine from the 1950's. Some ofthe Scopitone films we~e probably X rated back inthis prudish era, ~ut they would hardly rate a PGtoday. "Ham" also showed us a warehouse full ofother goodies including a 6' Weber Duo-Art, a largeBursens dance organ, and a wall 1ined with old cranktype telephones.

Listening to the Reginaphone combination music boxand phonograph.

Many thanks to our hosts for an interesting and en­joyable meeting. For out-of-town Amicans, thisshop and the surrounding area are worth visiting ifyou have an opportunity. Gap is located in the heartof the Pennsylvania Dutch country, where black horsedrawn buggies are still common transportation. Thereare colorful hex signs on every barn, the towns havequaint names like Intercourse, Paradise, and Blue­ball, and all the restaurants feature Shoofly pie.

~ ~

'T.

CHRISTMAS PARTYBY JIM BREWER

December 18 turned out to be one of those eveningsso dear to the hearts of Western New Yorkers, aclear, crisp night with a fluffy snow covering every­thing in sight. Rick and Janet Drewniak's horne waslike a period setting out of the 1920's from the out­side facade. Inside, however, was a tasteful blendof the old and new. Commanding the 1iving room wasthe beautifully restored George Steck Duo-Art.Throughout the house was an amazing variety of othermusical machines and antiques, from organettes tophonographs, to an ancient pinball machine in thedownstairs bar.

1. to r.: Felix Klempka, Ramsi Tick, Chuck Hannen,Jeff Depp and steve La Manna.

1. to r.: Dave Gaudieri, Felix Klempka, Carl Guhlo""and Stan Aldridge. Ramsi Tick and Jeff Depp at thepiano.

There was no formal business meeting held. The onlyreal 'Ibusiness" conducted was the posting of the re­cent election results. They were:

- 43 -

Board Representative - Dave GaudieriPresident - Stan AldridgeVice President - Chuck HannenSecretary Janet DrewniakTreasurer - Tom ZornReporter - Jim Brewer

After a social mixer, a buffet dinner was set up.The food was excellent, all the \~ay from Julia Child's"Beef Bourguigoin" to the "Deli-Cut Cheesecake.'-' Thenafter dinner we had a visit from SANTA CLAUS!! Hehad travelled down from the "Land of the ChristmasStar" to enhance our "Christmas Eve Fantasy." He

Santa Hannen and Helper Mary Lou distributing giftsto all of the good little Amicans. 1. to r.: EdeAldridge, Jerry Schmidt, Stan Aldridge, Janet Drew­niak and Carol Hannen.

brought along many useful and practical gifts to passout for the gift exchange. The gifts ranging from abox of russett potatoes, to "Hints on How to Succeedin Business" were greatly appreciated. After Santa'srather quick exit, our chapter president, StanAldridge recited the real story behind the "NightBefore Chris tmas." Now we all know why Santa I s faceis always red!!!

1. to r.: Felix Flempka, Tom Zorn & Kathy, JimBrewer and Ramsi Tick at the pilano.

- 44 -

At any given time the average attendance was aroundthirty or so. Our next meeting location is stillbeing decided upon by the Board, but wherever it isyou wil,l read about it first hand in the BULLETIN.

SOWNY Chapter member learning to tune own piano ORdiscovering the source of those roaches. Klempkaphoto.

NEW JERSEY NEWSBY BETTY SCHACHER

The New Jersey chapter held its November meeting atthe home of Dr. Joan Chase in White House Station,New Jersey.

New Jersey Amicans gather around Joan's Marshall &

Wendell.

Board Representative - Dave GaudieriPresident - Stan AldridgeVice President - Chuck HannenSecretary Janet DrewniakTreasurer - Tom ZornReporter - Jim Brewer

After a social mixer, a buffet dinner was set up.The food was excellent, all the \~ay from Julia Child's"Beef Bourguigoin" to the "Deli-Cut Cheesecake.'-' Thenafter dinner we had a visit from SANTA CLAUS!! Hehad travelled down from the "Land of the ChristmasStar" to enhance our "Christmas Eve Fantasy." He

Santa Hannen and Helper Mary Lou distributing giftsto all of the good little Amicans. 1. to r.: EdeAldridge, Jerry Schmidt, Stan Aldridge, Janet Drew­niak and Carol Hannen.

brought along many useful and practical gifts to passout for the gift exchange. The gifts ranging from abox of russett potatoes, to "Hints on How to Succeedin Business" were greatly appreciated. After Santa'srather quick exit, our chapter president, StanAldridge recited the real story behind the "NightBefore Chris tmas." Now we all know why Santa I s faceis always red!!!

1. to r.: Felix Flempka, Tom Zorn & Kathy, JimBrewer and Ramsi Tick at the pilano.

- 44 -

At any given time the average attendance was aroundthirty or so. Our next meeting location is stillbeing decided upon by the Board, but wherever it isyou wil,l read about it first hand in the BULLETIN.

SOWNY Chapter member learning to tune own piano ORdiscovering the source of those roaches. Klempkaphoto.

NEW JERSEY NEWSBY BETTY SCHACHER

The New Jersey chapter held its November meeting atthe home of Dr. Joan Chase in White House Station,New Jersey.

New Jersey Amicans gather around Joan's Marshall &

Wendell.

The next meeting will be held on Sunday, March 6th.Chapter members will receive the address and time ofthe meeting in the mail. All others interested inattending the March meeting please call BettySchacher at 201-797-6283 after 6 P.M. or Joan Chaseat 201-439-2762.

Cleveland. Chapter members willreceive notification of specifics,others please contact JimPrendergast.

MIDWEST SCHEDULE

March 5 &6

music of Ed's 1920 Seeburg "G," 1913 Regina ~Iandolin

Orchestra, 1915 Seeburg "E," 1926 Ii 1927 Link 2 E's,several Seeburg K orchestrions, a 1926 Haines up­right Ampico, a 1920 Weber upright Duo-Art, and thisreporter's favorite, a 1926 Mills Double ViolanoVirtuoso. Ed and Joan were great hosts and thechapter enjoyed the day.

Among topics discussed were programs for futuremeetings, getting in touch with local roll recordingartists, and setting chapter dues.

Ed Freyer's Mills Double Violano Virtuoso.

Peter Brown our president, called the meeting toorder in Joan's cozy living room by a nice warm firein the fireplace. A welcome guest was InternationalPresident Bob Rosencrans who reported that our bylawswere in the mail for the Board vote on accepting ourchapter.

BY EMMETT M. FORD

In 1907, due to anti-Semetic disturbances in Russia,

AMICA HONORARY MEMBERLEO ORNSTEIN

Bennett Leedy, Middelton,Michigan.

Don and Leilani Leik, Milliken,Michigan.

Jim Weisenborne, Rochester,Michigan.

JJiosrapRicaf&6efcRes

October 22 &23

December 2 &3

June 25 and/or 26

Leo Ornstein was born in Kramentchug, Russia, Decem­ber 11, 1895. A son of a synagogal cantor, he stud­ied music at home and later studied piano withVladimir Puchlaski at Kiev. At the age of elevenhe was enrolled in the St. Petersburg Conservatoryand studied with Glazounoff.

After an interesting afternoon at Joan's, the chaptervisited member Ed Freyer in nearby Flemington wherewe munched cheese and drank wine while listening toEd's collection of nickelodeons, orchestrions, playerpianos, and a Violano Virtuoso. Toes tapped andhands clapped while we sang along and danced to the

While munching refreshments we listened to Joan'sMarshall &Wendell Ampico A grand. Joan, an associateprofessor of Educational psychology at Rutgers Uni­versity Medical School, bought her piano a few yearsago from an old friend, She heard about AMICAthrough Duffy Player Piano Company and attended theBuffalo Convention.

Jeff Morgan and Ed Freyer stand by Ed's roll per­forator (65-note rolls for nickelodeons).

- 45 -

The next meeting will be held on Sunday, March 6th.Chapter members will receive the address and time ofthe meeting in the mail. All others interested inattending the March meeting please call BettySchacher at 201-797-6283 after 6 P.M. or Joan Chaseat 201-439-2762.

Cleveland. Chapter members willreceive notification of specifics,others please contact JimPrendergast.

MIDWEST SCHEDULE

March 5 &6

music of Ed's 1920 Seeburg "G," 1913 Regina ~Iandolin

Orchestra, 1915 Seeburg "E," 1926 Ii 1927 Link 2 E's,several Seeburg K orchestrions, a 1926 Haines up­right Ampico, a 1920 Weber upright Duo-Art, and thisreporter's favorite, a 1926 Mills Double ViolanoVirtuoso. Ed and Joan were great hosts and thechapter enjoyed the day.

Among topics discussed were programs for futuremeetings, getting in touch with local roll recordingartists, and setting chapter dues.

Ed Freyer's Mills Double Violano Virtuoso.

Peter Brown our president, called the meeting toorder in Joan's cozy living room by a nice warm firein the fireplace. A welcome guest was InternationalPresident Bob Rosencrans who reported that our bylawswere in the mail for the Board vote on accepting ourchapter.

BY EMMETT M. FORD

In 1907, due to anti-Semetic disturbances in Russia,

AMICA HONORARY MEMBERLEO ORNSTEIN

Bennett Leedy, Middelton,Michigan.

Don and Leilani Leik, Milliken,Michigan.

Jim Weisenborne, Rochester,Michigan.

JJiosrapRicaf&6efcRes

October 22 &23

December 2 &3

June 25 and/or 26

Leo Ornstein was born in Kramentchug, Russia, Decem­ber 11, 1895. A son of a synagogal cantor, he stud­ied music at home and later studied piano withVladimir Puchlaski at Kiev. At the age of elevenhe was enrolled in the St. Petersburg Conservatoryand studied with Glazounoff.

After an interesting afternoon at Joan's, the chaptervisited member Ed Freyer in nearby Flemington wherewe munched cheese and drank wine while listening toEd's collection of nickelodeons, orchestrions, playerpianos, and a Violano Virtuoso. Toes tapped andhands clapped while we sang along and danced to the

While munching refreshments we listened to Joan'sMarshall &Wendell Ampico A grand. Joan, an associateprofessor of Educational psychology at Rutgers Uni­versity Medical School, bought her piano a few yearsago from an old friend, She heard about AMICAthrough Duffy Player Piano Company and attended theBuffalo Convention.

Jeff Morgan and Ed Freyer stand by Ed's roll per­forator (65-note rolls for nickelodeons).

- 45 -

~\

Rical &llefcRes t' .o r"""'"

SEASON 19%1-1922

DA.TES NOW BOOKING

Announces the .Exclusive Management of

THE NOTED PIANIST

LEO

CONCERT MANAGEMENT ARTHUR JUDSON

'0 RN S TEl N

Apply to

;-:'!'. CONCERT MANAGEMENT ARTHUR JUDSON

pw. bv AP.... Penmylvania Bailding PlilladeIpbiaFord Collection) Knabe Piano Excluoively(Emmett M.

T. ..- ._--.--_._- •

;' ,<)~' \

;.f~~,!·~i·.: ":'" . "." . ~ . .'

t5.i!

i,!I.!;,;;:::...=_:::....=..:::...:::...;;;;....;;;;..;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...:;;...:;;...:;;;...:;;;...:;;...:;;...:::...:;;;...:::...:::...:::...:::...:::...:::...:::...:::...:::...=...=...=...=...=...:::...:::...:::...=...=...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...=...=...=...=...=...=...=...:::...=...:::...:::...=.....:..

Genesis records 1641, "Sonata No. IV," "A Morning

The following additional titles were forwarded toAMICA via Anita N. Johnson by Mrs. Ornstein.

Flering Tapper Scholarship Fund which was supportingsix scholarships. He was Bertha Tapper's most suc­cesful student.

Mr. Ornstein settled in Philadelphia to teach at thePhiladelphia Musical Academy and the Temple Univer­sity. He later founded the Ornstein School of Music.

***

His compositions include "Three Moods: Anger, Peaceand Joy" for orchestra; a piano concerto, performedin February 12, 1925 with the Philadelphia Orchestrawith the composer as soloist; "Usotrata Siote," asymphony performed in 1934; "Nocturne and Dance ofFates;" "Three Russian Chorus" (a capella); a pianoquintet; a string quartet; a violin sonata; cellosonata; "Nocturne" for clarinet and piano; four pianosonatas and piano pieces.

It is interesting to find renewed interest in Mr.Ornstein's compositions, resulting in some recentLP recordings. The "Sonata for Cello and Piano" hasbeen recorded on Orion ORS 76211. The performingmusicians are Bonnie Hampton and Nathan Schwarts.Another Stereo disc, Orion ORS 75194, is of his earlypiano music ("Wild Man's Dance); "Three Moods" and"A La Chionoise," performed by the pianist, t4ichaelSellers. A third LP release, CRI SD339 is Mr. Orn­stein's "Piano Quintet."

The shock and surprise of his music dwindled and thecompositions were performed very little. In 1917 hegave a recital in the Princess Theatre for the Bertha

When in London, a recital of FUTURISTIC MUSIC wasannounced featuring the sonata and other compositions.In London at this time, Gustav Mahler was to conductand Ornstein was to play his "Wild Man's Dance."Mahler had difficulty in quelling a riot.

Returning to the U.S. in about 1915, he gave a seriesof recitals at the Bandbox Theatre in New York. ·Hisperformance included works of Ravel, Schoenberg,Scribian and other modern composers. Mr. Ornsteinreceived considerable noteriety and was consideredan Enfant Terrible in the music world. He was for­ever fueding with his managers about his programs.The managers insisted he play the works of Chopin,Liszt and others for a better box office but Mr.Ornstein refused and played what he wanted. JamesHuneker, music critic, termed him "a true-blue, gen­uine Futuristic composer."

Mr. Ornstein's debut was in New York, March 5, 1911.Concerts in Boston, Philadelphia and other largecities followed. Compositions, experimenting in per­cussive sonorities and dissonant harmonies, were donein 1913. A European tour, followed by a tour of theU.S. had him introducing the little-known works ofBartok, Ravel, Milhaud and Albeniz.

~ his family moved to the U.S.A. Here study was withBertha Tapper and the New England Conservatory inBoston with Percy Goetschuis. Later study was inthe Institute of Musical Art in New York.

~\

Rical &llefcRes t' .o r"""'"

SEASON 19%1-1922

DA.TES NOW BOOKING

Announces the .Exclusive Management of

THE NOTED PIANIST

LEO

CONCERT MANAGEMENT ARTHUR JUDSON

'0 RN S TEl N

Apply to

;-:'!'. CONCERT MANAGEMENT ARTHUR JUDSON

pw. bv AP.... Penmylvania Bailding PlilladeIpbiaFord Collection) Knabe Piano Excluoively(Emmett M.

T. ..- ._--.--_._- •

;' ,<)~' \

;.f~~/i·.: ":'" . "." . ~ . .'

t5.i!

i,!I.!;,;;:::...=_:::....=..:::...:::...;;;;....;;;;..;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...;;;;...:;;...:;;...:;;;...:;;;...:;;...:;;...:::...:;;;...:::...:::...:::...:::...:::...:::...:::...:::...:::...=...=...=...=...=...:::...:::...:::...=...=...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...:::...=...=...=...=...=...=...=...:::...=...:::...:::...=.....:..

Genesis records 1641, "Sonata No. IV," "A Morning

The following additional titles were forwarded toAMICA via Anita N. Johnson by Mrs. Ornstein.

Flering Tapper Scholarship Fund which was supportingsix scholarships. He was Bertha Tapper's most suc­cesful student.

Mr. Ornstein settled in Philadelphia to teach at thePhiladelphia Musical Academy and the Temple Univer­sity. He later founded the Ornstein School of Music.

***

His compositions include "Three Moods: Anger, Peaceand Joy" for orchestra; a piano concerto, performedin February 12, 1925 with the Philadelphia Orchestrawith the composer as soloist; "Usotrata Siote," asymphony performed in 1934; "Nocturne and Dance ofFates;" "Three Russian Chorus" (a capella); a pianoquintet; a string quartet; a violin sonata; cellosonata; "Nocturne" for clarinet and piano; four pianosonatas and piano pieces.

It is interesting to find renewed interest in Mr.Ornstein's compositions, resulting in some recentLP recordings. The "Sonata for Cello and Piano" hasbeen recorded on Orion ORS 76211. The performingmusicians are Bonnie Hampton and Nathan Schwarts.Another Stereo disc, Orion ORS 75194, is of his earlypiano music ("Wild Man's Dance); "Three Moods" and"A La Chionoise," performed by the pianist, t4ichaelSellers. A third LP release, CRI SD339 is Mr. Orn­stein's "Piano Quintet."

The shock and surprise of his music dwindled and thecompositions were performed very little. In 1917 hegave a recital in the Princess Theatre for the Bertha

When in London, a recital of FUTURISTIC MUSIC wasannounced featuring the sonata and other compositions.In London at this time, Gustav Mahler was to conductand Ornstein was to play his "Wild Man's Dance."Mahler had difficulty in quelling a riot.

Returning to the U.S. in about 1915, he gave a seriesof recitals at the Bandbox Theatre in New York. ·Hisperformance included works of Ravel, Schoenberg,Scribian and other modern composers. Mr. Ornsteinreceived considerable noteriety and was consideredan Enfant Terrible in the music world. He was for­ever fueding with his managers about his programs.The managers insisted he play the works of Chopin,Liszt and others for a better box office but Mr.Ornstein refused and played what he wanted. JamesHuneker, music critic, termed him "a true-blue, gen­uine Futuristic composer."

Mr. Ornstein's debut was in New York, March 5, 1911.Concerts in Boston, Philadelphia and other largecities followed. Compositions, experimenting in per­cussive sonorities and dissonant harmonies, were donein 1913. A European tour, followed by a tour of theU.S. had him introducing the little-known works ofBartok, Ravel, Milhaud and Albeniz.

~ his family moved to the U.S.A. Here study was withBertha Tapper and the New England Conservatory inBoston with Percy Goetschuis. Later study was inthe Institute of Musical Art in New York.

~io9rapRical ~6efcRe8

in the Woods," "Impressions of Chinatown," "Ara­besques," performed by Martha Verbi t. Loui svi 11 eKentucky Orchestra - "Nocturne and Dance of theFates" for full orchestra.

AMICA HONORARY MEMBERDR. LYLE W, DOWNEY

BY ISADORA KOFF

In late 1974 the AMICA Board of Directors approvedthe application of Dr. Lyle W. Downey for honorarymembership in our society. He has an interestingbackground as the following biographical sketch il­lustrates.

In the very beginning, Lyle Downey was apprenticedto a cabinetmaker while in school between the agesof 9-17. As a result of this work he became familiarwith furniture styles, construction, quality of work­manship, woods and finishes.

Lyle worked with musical instruments all his life,beginning as a violinist, then cellist. The cellohe practiced and played seriously, playing in theaterorchestras as young as 12 because cellists were fewin number in Decatur, Illinois where Lyle lived.Somehow the family never worried about tools in theshop, particularly power tools and the fingers of amusician. He seemed always to pair mechanical workwith artistic endeavors.

Next came a period in Chicago following graduationfrom the American Conservatory. Jobs in music weredifficult to obtain, so he worked as a layout engi­neer for the Sievert Construction Co., building acommunity mausoleum in Glen Oak Cemetery, Chicago.Later, the engineering experience was to come inhandy when, as head of the Music Department at SanJose State University, he could work with the Cali­fornia State Architects on the real needs inherentin the new music building; such as having a door wideenough for a concert grand piano to be moved ontothe music stage!

In Lyle's lifelong hobbies of collecting variousantiques and art, he has had some exciting experi­ences. In 1919-1920 in Urbana, Illinois, he dis­covered his first Orchestrion in a student-favoredrestaurant down town. It was such an unusual mus­ical experience that his enthusiasism brought himback many times even when money for a full dinnerwas lacking. In 1924 the Mills Violano became partof his interests.

Being in the business of music-making himself, play­ing cello in theater orchestras, and as a soloist onoccasions, his orchestra (Civic Symphony) experiencein the Chicago area took him to Voit and Geiger, aleading violin shop in the area, for better instru­ments. Right across the street was an old fiddlemaker who had gone into the business of orderingviolins for the automatic musical instruments, theViolano and the Orchestrion. This became a majorbusiness for the little shop. He ordered the violins

in an unfinished state, "carcass form," and Lyle wasjust the young man to help by working part time,filling and varnishing the wood, applying finger­boards strings, and pegs. Then he got to help withplacing the instruments inside the frame, as in theViolano. They had to make adjustments in the re­volving discs of the bows, and there were no standardbows' to re-hair after the mechanical and automaticset-up came in. This was fascinating business toLyle.

His third episode with automatic music instrumentscame about ten years later in New York. While work­ing in the field of academic music at Eastman School,University of Rochester in 1934-35 and while on sab­batical leave from Kansas State University, he becameacquainted with the staff at American Piano Companyin East Rochester, New York. He got to see the var­ious divisions, the selection process in the choiceof woods, and the main sections for individual pianomanufacture such as Mason &Hamlin, Knabe, etc.There he discovered the automatic pianos with Ampicoactions and was allowed to work on the installationof the mechanism.

One of the significant things in Lyle's later yearsas Music Department Head at San Jose State was thedevelopment of one of the earliest Humanities typecourses in academia. Lyle, working with the headsof Art and Drama Divisions began "Correlation of theArts" which eventually became a req;;irement in allthree departments for upper di¥ison work. The fieldsof visual arts, painting, drawing and dramatic arts,theater and music were drawn together in a verylive course which grew up over a period of 20 years.

Amica is pleased to welcome Dr. LyleW. Downey asan Honorary member.

~io9rapRical ~6efcRe8

in the Woods," "Impressions of Chinatown," "Ara­besques," performed by Martha Verbi t. Loui svi 11 eKentucky Orchestra - "Nocturne and Dance of theFates" for full orchestra.

AMICA HONORARY MEMBERDR. LYLE W, DOWNEY

BY ISADORA KOFF

In late 1974 the AMICA Board of Directors approvedthe application of Dr. Lyle W. Downey for honorarymembership in our society. He has an interestingbackground as the following biographical sketch il­lustrates.

In the very beginning, Lyle Downey was apprenticedto a cabinetmaker while in school between the agesof 9-17. As a result of this work he became familiarwith furniture styles, construction, quality of work­manship, woods and finishes.

Lyle worked with musical instruments all his life,beginning as a violinist, then cellist. The cellohe practiced and played seriously, playing in theaterorchestras as young as 12 because cellists were fewin number in Decatur, Illinois where Lyle lived.Somehow the family never worried about tools in theshop, particularly power tools and the fingers of amusician. He seemed always to pair mechanical workwith artistic endeavors.

Next came a period in Chicago following graduationfrom the American Conservatory. Jobs in music weredifficult to obtain, so he worked as a layout engi­neer for the Sievert Construction Co., building acommunity mausoleum in Glen Oak Cemetery, Chicago.Later, the engineering experience was to come inhandy when, as head of the Music Department at SanJose State University, he could work with the Cali­fornia State Architects on the real needs inherentin the new music building; such as having a door wideenough for a concert grand piano to be moved ontothe music stage!

In Lyle's lifelong hobbies of collecting variousantiques and art, he has had some exciting experi­ences. In 1919-1920 in Urbana, Illinois, he dis­covered his first Orchestrion in a student-favoredrestaurant down town. It was such an unusual mus­ical experience that his enthusiasism brought himback many times even when money for a full dinnerwas lacking. In 1924 the Mills Violano became partof his interests.

Being in the business of music-making himself, play­ing cello in theater orchestras, and as a soloist onoccasions, his orchestra (Civic Symphony) experiencein the Chicago area took him to Voit and Geiger, aleading violin shop in the area, for better instru­ments. Right across the street was an old fiddlemaker who had gone into the business of orderingviolins for the automatic musical instruments, theViolano and the Orchestrion. This became a majorbusiness for the little shop. He ordered the violins

in an unfinished state, "carcass form," and Lyle wasjust the young man to help by working part time,filling and varnishing the wood, applying finger­boards strings, and pegs. Then he got to help withplacing the instruments inside the frame, as in theViolano. They had to make adjustments in the re­volving discs of the bows, and there were no standardbows' to re-hair after the mechanical and automaticset-up came in. This was fascinating business toLyle.

His third episode with automatic music instrumentscame about ten years later in New York. While work­ing in the field of academic music at Eastman School,University of Rochester in 1934-35 and while on sab­batical leave from Kansas State University, he becameacquainted with the staff at American Piano Companyin East Rochester, New York. He got to see the var­ious divisions, the selection process in the choiceof woods, and the main sections for individual pianomanufacture such as Mason &Hamlin, Knabe, etc.There he discovered the automatic pianos with Ampicoactions and was allowed to work on the installationof the mechanism.

One of the significant things in Lyle's later yearsas Music Department Head at San Jose State was thedevelopment of one of the earliest Humanities typecourses in academia. Lyle, working with the headsof Art and Drama Divisions began "Correlation of theArts" which eventually became a req;;irement in allthree departments for upper di¥ison work. The fieldsof visual arts, painting, drawing and dramatic arts,theater and music were drawn together in a verylive course which grew up over a period of 20 years.

Amica is pleased to welcome Dr. LyleW. Downey asan Honorary member.

~ecRnicalifie8

VIOLANO SERVICE NOTESPART I

BY CHARLES INNES

In contrast with pneumatic type instrumemts, work onthe Violano generally involves regulation and ser­vice rather than rebuilding. A reasonable degree ofmechanical and electrical aptitude is required, butmore important is a disposition to carefully studythe machine and related service literature beforemaking any changes or adjustments.

A remarkable feature of the Violano is the multitudeof provisions for adjustment. However, most of thesewere intended only for initial assembly at the fac­tory, and many have chain or cumulative effects.Just making random adjustments may only worsen theproblem you are attempting to correct, or even damagethe machine. Hence the caution: Do not let the cas­ual electrician at your machine. Do not attempt anyadjustment or regulation until you have read the en­tire service literature and have a good understandingof the function of each component.

Obviously no work should be attempted on such a val­uable machine without the proper tools. Most arereadily available or can be improvised. Of nO lessimportance is good lighting - a shaded swivel typeextension light is a "must." One additional pre­liminary suggestion: If your machine is not alreadyequipped with an on-off switch, a wall switch shouldbe added to the exterior of the cabinet so that youcan quickly cut off all power to the machine in caseof trouble or malfunction.

The following discussions assume that the reader isalready familiar with, the terminology and the infor­mation covered in the Service Book (~i. Fort reprintavailablefl'om Vestal Press, P.O. Box.97, vestal,NY 13850 - their item #B-17) and the Hattrup wiringdiagram (Vestal item #B-68). Also helpful are theService Manual and other literature from Vestal.

The Service Book and wiring diagram indicated aboveare indispensible. However these do not cover allthe modifications and design changes made throughoutthe period of manufacture of the Violano. According­ly, some intel'Pretation and judgement may be neces­sary in applying the information to any particularinstrument.

The material presented here is based on the writer'sobservations and information from other Violano fan­ciers. It is valid only to the best of the writer'sknowledge - any comment or criticism~elcome.

i1. VIOLANO BOWS (Ref. Service Book page 10)The most important single factot affecting Violanotone quality is the conditioniof the bows. This isa logical assumption and whe~ the violin plays poor­ly owner service usually - and rightly - consists offollowing throug~ the procedure outlined in the Ser­vice Book for the conditioning of the bows. Unfor­tunately, with the old 07iginal bows this procedure

- 48 -

seldom produces any appreciable improvement. Gener­ally the bows will be quite round and true-running,but the tone is squeaky or harsh and metallic sound­ing. It is then natural to suspect something else ­like the strings, or the rosin, or the bow pressure,or even the violin itself? No so; the problem us­ually lies in the bows.

Violano bows consist of a lamination of very thin,flexible celluloid disks mounted on a hollow brassmandrel or sleeve, which has an integral flange atone end and a collar press-fitted on the oppositeend to retain the assembly. The celluloid disks areconical (dish) shaped and are slightly separatedfrom each other by small spacers. This permits themto deflect as they contact the string so that bowingis not exactly on the outer edges of the discs, butsomewhat towards the side faces.

\"A~

([@1 ~.,I

, I

...."'CI. ...6---"V/OLANO

..t!IOW' ASS£H8,L Y

After many years of service, a mixture of debris androsin dust becomes packed between the celluloid disks.Interaction with the atmosphere gradually causes thedisks to become stuck together so that the bows actas a solid unit rather than a series of soft flex­ible disks. Bowing occurs on the extreme outer edgesof the disks, and the tone becomes squeaky or harshand rasping.

1.1 NEW BOWSWhen the bows cannot be restored to satisfactoryplaying condition by following the procedures out~

lined in the Service Book, the most feasable answeris new bows. It may be possible to obtain new bowsby contacting Mr. Mel Locher, Auburn California,Phone (916) 885-2342. These are supplied only in acomplete set and you must forward the original bowswith the original brass mandrels for the rebuild.The Locher bows are excellent - probably as good orbetter than Mills supplied new.

1.2 REWORKING OLD BOWSIn some cases it is possible to obtain fairly goodresults reworking the old bows. This requires con­siderable delicacy and some toolmaking. Briefly,the procedure involves first making up a collar clampfixture to hold the bow in a vise, and then a punchmust be ground to the exact shape of the mandrel soit can be driven out of the collar without damage (adamaged mandrel will not slip-fit on the Violano bowshaft, and if it is forced the worm gears at the op­posite end of the shaft may be ruined).

~ecRnicalifie8

VIOLANO SERVICE NOTESPART I

BY CHARLES INNES

In contrast with pneumatic type instrumemts, work onthe Violano generally involves regulation and ser­vice rather than rebuilding. A reasonable degree ofmechanical and electrical aptitude is required, butmore important is a disposition to carefully studythe machine and related service literature beforemaking any changes or adjustments.

A remarkable feature of the Violano is the multitudeof provisions for adjustment. However, most of thesewere intended only for initial assembly at the fac­tory, and many have chain or cumulative effects.Just making random adjustments may only worsen theproblem you are attempting to correct, or even damagethe machine. Hence the caution: Do not let the cas­ual electrician at your machine. Do not attempt anyadjustment or regulation until you have read the en­tire service literature and have a good understandingof the function of each component.

Obviously no work should be attempted on such a val­uable machine without the proper tools. Most arereadily available or can be improvised. Of nO lessimportance is good lighting - a shaded swivel typeextension light is a "must." One additional pre­liminary suggestion: If your machine is not alreadyequipped with an on-off switch, a wall switch shouldbe added to the exterior of the cabinet so that youcan quickly cut off all power to the machine in caseof trouble or malfunction.

The following discussions assume that the reader isalready familiar with, the terminology and the infor­mation covered in the Service Book (~i. Fort reprintavailablefl'om Vestal Press, P.O. Box.97, vestal,NY 13850 - their item #B-17) and the Hattrup wiringdiagram (Vestal item #B-68). Also helpful are theService Manual and other literature from Vestal.

The Service Book and wiring diagram indicated aboveare indispensible. However these do not cover allthe modifications and design changes made throughoutthe period of manufacture of the Violano. According­ly, some intel'Pretation and judgement may be neces­sary in applying the information to any particularinstrument.

The material presented here is based on the writer'sobservations and information from other Violano fan­ciers. It is valid only to the best of the writer'sknowledge - any comment or criticism~elcome.

i1. VIOLANO BOWS (Ref. Service Book page 10)The most important single factot affecting Violanotone quality is the conditioniof the bows. This isa logical assumption and whe~ the violin plays poor­ly owner service usually - and rightly - consists offollowing throug~ the procedure outlined in the Ser­vice Book for the conditioning of the bows. Unfor­tunately, with the old 07iginal bows this procedure

- 48 -

seldom produces any appreciable improvement. Gener­ally the bows will be quite round and true-running,but the tone is squeaky or harsh and metallic sound­ing. It is then natural to suspect something else ­like the strings, or the rosin, or the bow pressure,or even the violin itself? No so; the problem us­ually lies in the bows.

Violano bows consist of a lamination of very thin,flexible celluloid disks mounted on a hollow brassmandrel or sleeve, which has an integral flange atone end and a collar press-fitted on the oppositeend to retain the assembly. The celluloid disks areconical (dish) shaped and are slightly separatedfrom each other by small spacers. This permits themto deflect as they contact the string so that bowingis not exactly on the outer edges of the discs, butsomewhat towards the side faces.

\"A~

([@1 ~.,I

, I

...."'CI. ...6---"V/OLANO

..t!IOW' ASS£H8,L Y

After many years of service, a mixture of debris androsin dust becomes packed between the celluloid disks.Interaction with the atmosphere gradually causes thedisks to become stuck together so that the bows actas a solid unit rather than a series of soft flex­ible disks. Bowing occurs on the extreme outer edgesof the disks, and the tone becomes squeaky or harshand rasping.

1.1 NEW BOWSWhen the bows cannot be restored to satisfactoryplaying condition by following the procedures out~

lined in the Service Book, the most feasable answeris new bows. It may be possible to obtain new bowsby contacting Mr. Mel Locher, Auburn California,Phone (916) 885-2342. These are supplied only in acomplete set and you must forward the original bowswith the original brass mandrels for the rebuild.The Locher bows are excellent - probably as good orbetter than Mills supplied new.

1.2 REWORKING OLD BOWSIn some cases it is possible to obtain fairly goodresults reworking the old bows. This requires con­siderable delicacy and some toolmaking. Briefly,the procedure involves first making up a collar clampfixture to hold the bow in a vise, and then a punchmust be ground to the exact shape of the mandrel soit can be driven out of the collar without damage (adamaged mandrel will not slip-fit on the Violano bowshaft, and if it is forced the worm gears at the op­posite end of the shaft may be ruined).

~ecRnicalifies r

After removing the collar, it is necessary to care­fully work each disk off the mandrel. The end disksare often brittle and have to be discarded, but thosein the center may be quite well preserved. Usuallythe spacers have disintegrated completely. Anydisks which are stuck together must be separatedand then the debris and excess rosin can be removedby thumbing, ie., rubbing off each disk between thumband forefinger. This should be done dry - use noliquid or solvent (it is not desirable that each diskbe completely free of rosin).

/

fttAN.D,,?EL puiVc H ­"eN£) v/..cw

\

R.EMOVING COLLAR FROM BOW

STAIV..D - OF; .B4oCK.j(6.t.C/E~ TO,./A w)

..!'L.OTTO CLEAR..sHAFr

JF.BOW A//L L NOr J'L IP Orr J'HAFT

b) The replacement bows should slip easily on theshafts. If not, don't force them or hammer them;you could damage the worm gearing. File, lap, orburnish the bore of the bow mandrel to obtain a slipfit. Usually a light dressing out at the end of themandrel bore with a toolmaker's file is sufficient.Never file the threaded bow shaft - make the bow fitthe shaft, not vice versa.c) Finally, do not tighten the brass nuts hard ­the bow shafts are flatted and therefore only par-otially threaded; they could strip.

I

the top of the vi\lin (so the

This is the first of several brief discussions onViolano regulation and service, intended to supple­ment the existing literature. It is hoped that thisand future articles will help other Violano fanciersavoid some of the trial and error usually encounteredin getting this remarkable machine to perform as itshould.

1.4 SANDING THE BOWS (Ref. Service Book page 10)It is suggested that the violin be lowered far enoughso that only the high spots contact the sandpaperwhen the revolving bows are depressed. Hard sandingwill not true up the bows; the celluloid will merelydeflect and you may roughen the virgin material alongthe sides of the disks, resulting in harsh tone.Actually it is not necessary that the bows be per­fectly true-running and entirely free from wobble ifthey are flexible and in good condition otherwise.

* *

they will then not holdBows must be kept clean

1.5 CAUTIONNever get oil on the bows;rosin and will be ruined.and dry.

Replacementa) Thoroughly clean the threaded bow shaft area.

1.3 REMOVING & REPLACING BOWS ON THE VIOLANOWhether changing old bows or replacing new ones, ob­serve the following:Removala) Cover the holes innuts cannot fall in).b) Clean the exposed thread~ with a dry toothbrush.c) If the nuts do not remo*e easily, grip the bow

Ishaft with pliers to prevert removal torque from dam-aging the worm gearing - ~ut don't bend the shaft.d) The bows should then slip freely off the shafts.If not, don't force them: use a small "gear puller"or improvise one - slip joint pliers, slot ground inone jaw to clear the s~aft (see sketch).

Finally new spacers may be made up as required andthe bow reassembled. Generally it is not advisableto rework old bows if it is possible to obtain goodrebuilt ones.

- 49 -

~ecRnicalifies r

After removing the collar, it is necessary to care­fully work each disk off the mandrel. The end disksare often brittle and have to be discarded, but thosein the center may be quite well preserved. Usuallythe spacers have disintegrated completely. Anydisks which are stuck together must be separatedand then the debris and excess rosin can be removedby thumbing, ie., rubbing off each disk between thumband forefinger. This should be done dry - use noliquid or solvent (it is not desirable that each diskbe completely free of rosin).

/

fttAN.D,,?EL puiVc H ­"eN£) v/..cw

\

R.EMOVING COLLAR FROM BOW

STAIV..D - OF; .B4oCK.j(6.t.C/E~ TO,./A w)

..!'L.OTTO CLEAR..sHAFr

JF.BOW A//L L NOr J'L IP Orr J'HAFT

b) The replacement bows should slip easily on theshafts. If not, don't force them or hammer them;you could damage the worm gearing. File, lap, orburnish the bore of the bow mandrel to obtain a slipfit. Usually a light dressing out at the end of themandrel bore with a toolmaker's file is sufficient.Never file the threaded bow shaft - make the bow fitthe shaft, not vice versa.c) Finally, do not tighten the brass nuts hard ­the bow shafts are flatted and therefore only par-otially threaded; they could strip.

I

the top of the vi\lin (so the

This is the first of several brief discussions onViolano regulation and service, intended to supple­ment the existing literature. It is hoped that thisand future articles will help other Violano fanciersavoid some of the trial and error usually encounteredin getting this remarkable machine to perform as itshould.

1.4 SANDING THE BOWS (Ref. Service Book page 10)It is suggested that the violin be lowered far enoughso that only the high spots contact the sandpaperwhen the revolving bows are depressed. Hard sandingwill not true up the bows; the celluloid will merelydeflect and you may roughen the virgin material alongthe sides of the disks, resulting in harsh tone.Actually it is not necessary that the bows be per­fectly true-running and entirely free from wobble ifthey are flexible and in good condition otherwise.

* *

they will then not holdBows must be kept clean

1.5 CAUTIONNever get oil on the bows;rosin and will be ruined.and dry.

Replacementa) Thoroughly clean the threaded bow shaft area.

1.3 REMOVING & REPLACING BOWS ON THE VIOLANOWhether changing old bows or replacing new ones, ob­serve the following:Removala) Cover the holes innuts cannot fall in).b) Clean the exposed thread~ with a dry toothbrush.c) If the nuts do not remo*e easily, grip the bow

Ishaft with pliers to prevert removal torque from dam-aging the worm gearing - ~ut don't bend the shaft.d) The bows should then slip freely off the shafts.If not, don't force them: use a small "gear puller"or improvise one - slip joint pliers, slot ground inone jaw to clear the s~aft (see sketch).

Finally new spacers may be made up as required andthe bow reassembled. Generally it is not advisableto rework old bows if it is possible to obtain goodrebuilt ones.

- 49 -

~ecRnicalifie8

TH E HA LE SIGHT-0-TUNER VS.THE CONN STROBOTUNER

BY ALLEN E, FORD

On reading Robert Barns' article "A Comparison ofthe Hale Sight-a-Tuner and the Conn Strobotuner" inthe December 1976 issue of The Arnica, I felt that Imight agree with him if I did not have the distinctadvantage of also having a manual to go along wi thmy Hale sight-Q-Tuner. I, too, have used an oldertype Conn in the past and had benefited from the en­lightenment contained in the Conn manual; however,the Hale manual is more enlightening.

This summer I decided to get a Hale since the Connwas not my property and the advertisements on theHale were convincing. The first time I used the HaleI just touched up a few notes to get the feel of itand had not fully consulted the manual. At that timeI was not convinced of any superiority over the Conn.When the weekend arrived, I sat down to fully con­sult the manual and was determined to tune one of mypianos to decide on keeping vs. returning the Hale,After tuning my Welte-Mignon Original (Americanmade) following the concert tuning technique in theHale manual, I put a Welte recording on the piano.When the Welte began to play, a new piano materializedin my living room which had a finer, more resonanttone. Yes, the Hale did a fabulous job. The Halecan not only properly stretch each note relative toits corresponding note in the temperament octave,it also properly stretched the temperament octave.

There are basically two tuning techniques for a pianodescribed in the Hale manual. One is chart tuningwhich I have not used and the other is concert tuning.There is a section on organ tuning including mixturestops and a section on other instruments. The HaleI purchased is an improved version compared to themodel tested by Mr. Barns, just as the Conn has beenimproved upon since the model I used was built. Theconcert tuning technique is not much more time-con­suming than chart tuning and provides results thatare optimum for any given piano, large or small, andwhich should satisfy the most discerning ear.

The concert tuning technique starts by determiningthe stretch between the second and ,fourth harmonicsof string F4 (F4 fundamental, F5 second harmonic,F6 fourth harmonic) and this stretc~ (7 cents for a5' 5" Welte actually 5 '2", 6 cents fo\ a 5 '3" Knabe,5 cents for a 5'4" Chickering, 4 cents for a 5'8"Knabe) is used in stretching the temperament octaveonly. All other octaves are stretched by extrap­olation relative to the temperament octave. I willleave the description of how this is accomplished tothe Hale manual which does a very good job. Admitted,the manual could be more technical, but it might onlytend to confuse rather than clarify the issue if itwere more technical. Also, the technical backgroundis covered sufficiently by other books which treatthe physics of vibrating strings. When using theconcert tuning technique, one will never have the

- 50 -

octave dial on the number one (1) octave position.I have found that when tuning the higher notes, es­pecially the last dozen or so, a pick used to pluckthe strings gives a cleaner display of, say, thesecond harmonic of string C7 and the fundamental ofstring C8 and this greatly aids tuning when extrap­olating the fundamental frequency of string C8 fromthe second harmonic of string B7. I find the Haleis exceptionally better in the high treble and lowbass than the Conn I have used.

Being quickly critical, one might feel the Hale,being simpler than a $100 television, should there­fore be less expensive. One mpst realize, however,that the Hale will not sell one-half of one percentof the units that a $100 television will sell. l~en

the development costs, production tooling costs andassembly line set-up and training costs, if indeedan assembly line can be justified, are apportionedover the number of units sold, the Hale could notpossibly compete with a $100 television cost-wise.With this in mind, it is unlikely that a financialkilling is being made on the sale of the Hale. Inaddition, the Conn was developed at an earlier timeand if it had been developed recently its presentprice would be higher due to today's inflation.

In my judgement, a person of average mechanicalaptitude with a Hale Sight-a-Tuner and manual canlearn to tune a piano as well as the upper percentileof ear tuners if he uses the concert tuning technique.In summary, if I had to do it over, I would still buythe Hale Sight-a-Tuner since I think it does an ex­ceptional job and I think Mr. Barns might agree ifhe tests the Hale using the manual and concert tuningtechnique.

ELECTRONIC TUNING DEVICESANOTHER VIEWPOINT

BY RICHARD F. MERRILL

An article in the December BULLETIN expressed theopinion that the Hale Sight-O-Tuner is only margin­ally better than an old Conn Strobotuner. Thispaper presents a different opinion, based on sixmonths use of a Sight-O-Tuner, It years use of aPeterson PT400 Strobetuner, and trial use of a ConnST8 Strobe and a Yamaha PT3 Tuning Scope. While allof these tuners are usable and accurately calibrated,only the Sight-a-Tuner has developed a system thatmakes it relatively easy to do a tuning job whichcan compare with that of a master concert tuner.would suggest that the Sight-a-Tuner is the bestchoice for critical owners of reproducing pianos.

Observations from using the various tuners:

All of the tuners have 12 position note selectorswitches, octave indication or selector switch, andpitch offset dials or switch.

~ecRnicalifie8

TH E HA LE SIGHT-0-TUNER VS.THE CONN STROBOTUNER

BY ALLEN E, FORD

On reading Robert Barns' article "A Comparison ofthe Hale Sight-a-Tuner and the Conn Strobotuner" inthe December 1976 issue of The Arnica, I felt that Imight agree with him if I did not have the distinctadvantage of also having a manual to go along wi thmy Hale sight-Q-Tuner. I, too, have used an oldertype Conn in the past and had benefited from the en­lightenment contained in the Conn manual; however,the Hale manual is more enlightening.

This summer I decided to get a Hale since the Connwas not my property and the advertisements on theHale were convincing. The first time I used the HaleI just touched up a few notes to get the feel of itand had not fully consulted the manual. At that timeI was not convinced of any superiority over the Conn.When the weekend arrived, I sat down to fully con­sult the manual and was determined to tune one of mypianos to decide on keeping vs. returning the Hale,After tuning my Welte-Mignon Original (Americanmade) following the concert tuning technique in theHale manual, I put a Welte recording on the piano.When the Welte began to play, a new piano materializedin my living room which had a finer, more resonanttone. Yes, the Hale did a fabulous job. The Halecan not only properly stretch each note relative toits corresponding note in the temperament octave,it also properly stretched the temperament octave.

There are basically two tuning techniques for a pianodescribed in the Hale manual. One is chart tuningwhich I have not used and the other is concert tuning.There is a section on organ tuning including mixturestops and a section on other instruments. The HaleI purchased is an improved version compared to themodel tested by Mr. Barns, just as the Conn has beenimproved upon since the model I used was built. Theconcert tuning technique is not much more time-con­suming than chart tuning and provides results thatare optimum for any given piano, large or small, andwhich should satisfy the most discerning ear.

The concert tuning technique starts by determiningthe stretch between the second and ,fourth harmonicsof string F4 (F4 fundamental, F5 second harmonic,F6 fourth harmonic) and this stretc~ (7 cents for a5' 5" Welte actually 5 '2", 6 cents fo\ a 5 '3" Knabe,5 cents for a 5'4" Chickering, 4 cents for a 5'8"Knabe) is used in stretching the temperament octaveonly. All other octaves are stretched by extrap­olation relative to the temperament octave. I willleave the description of how this is accomplished tothe Hale manual which does a very good job. Admitted,the manual could be more technical, but it might onlytend to confuse rather than clarify the issue if itwere more technical. Also, the technical backgroundis covered sufficiently by other books which treatthe physics of vibrating strings. When using theconcert tuning technique, one will never have the

- 50 -

octave dial on the number one (1) octave position.I have found that when tuning the higher notes, es­pecially the last dozen or so, a pick used to pluckthe strings gives a cleaner display of, say, thesecond harmonic of string C7 and the fundamental ofstring C8 and this greatly aids tuning when extrap­olating the fundamental frequency of string C8 fromthe second harmonic of string B7. I find the Haleis exceptionally better in the high treble and lowbass than the Conn I have used.

Being quickly critical, one might feel the Hale,being simpler than a $100 television, should there­fore be less expensive. One mpst realize, however,that the Hale will not sell one-half of one percentof the units that a $100 television will sell. l~en

the development costs, production tooling costs andassembly line set-up and training costs, if indeedan assembly line can be justified, are apportionedover the number of units sold, the Hale could notpossibly compete with a $100 television cost-wise.With this in mind, it is unlikely that a financialkilling is being made on the sale of the Hale. Inaddition, the Conn was developed at an earlier timeand if it had been developed recently its presentprice would be higher due to today's inflation.

In my judgement, a person of average mechanicalaptitude with a Hale Sight-a-Tuner and manual canlearn to tune a piano as well as the upper percentileof ear tuners if he uses the concert tuning technique.In summary, if I had to do it over, I would still buythe Hale Sight-a-Tuner since I think it does an ex­ceptional job and I think Mr. Barns might agree ifhe tests the Hale using the manual and concert tuningtechnique.

ELECTRONIC TUNING DEVICESANOTHER VIEWPOINT

BY RICHARD F. MERRILL

An article in the December BULLETIN expressed theopinion that the Hale Sight-O-Tuner is only margin­ally better than an old Conn Strobotuner. Thispaper presents a different opinion, based on sixmonths use of a Sight-O-Tuner, It years use of aPeterson PT400 Strobetuner, and trial use of a ConnST8 Strobe and a Yamaha PT3 Tuning Scope. While allof these tuners are usable and accurately calibrated,only the Sight-a-Tuner has developed a system thatmakes it relatively easy to do a tuning job whichcan compare with that of a master concert tuner.would suggest that the Sight-a-Tuner is the bestchoice for critical owners of reproducing pianos.

Observations from using the various tuners:

All of the tuners have 12 position note selectorswitches, octave indication or selector switch, andpitch offset dials or switch.

Et· crecRnicafifiea .t)

~

MODEL Conn ST11 Peterson PT400 Yamaha PT4* Tunemaster 111* Hale Sight-O-Strobotuner Strobe tuner Tuning Scope with stretch Tuner

Price $230 $225 $495'" $515* $388

Weight 8.5 Ib 9.3 Ib 4.4 Ib 4.5 Ib 2.5 Ib

Size (i n.)HxWxD 12x6.6x5.5 5.4x11x9 3x9x6 5x12.5x6 3.5x7x6

Power AC AC AC AC 9V, batteries(2 NEDA 1604)

Accuracy(re Iat i ve) + 1 cent + 1 cent + 1 cent + 1 cent .!. t cent

Microphone externa I external external externa I or into internal

Display ~E~~>n/sPokes on same as Conn H·" cathode ray meter reads to ring of 8 lightsrevolving disc. (TV) tube pat- 30 cents sharp revo Ives CW or

tern moves left or flat. CCW. Centeror right. light indicates

sha rp.

Special switch moves top fi Iter swi tch optional low battery in-Features octave display clarifies dis- stretch feature dicator.

in 2 rows for play for notes spaces notes atbetter visibil- below A440. 100.25 cents (3ity. cents per octave)

~Summary of tune notes to none tune per stretch use swi tch for 3 measures stretchinstructions 2nd ha roon ic chart suppl ied. cents per octave of note F4.for piano of octave below. stretch. Stretches temp.tuning. octave per meas-

ured stretch.Tune rest ofpi'ano by matchingvarious harmonics

* Old data. 1974 prices and/or models may be obsolete.

CONN (old ST8) Strobotuner;Limited (20 cent) range of flat and sharp adjustment.Small display, Neon bulbs not bright· enough or havedeteriorated (judging from several strobes). Heavy(13 lb.). OK for mid range of piano, poor for bot­tom 2 octaves, very poor for top octave.

CONN (new ST11) \No-exp~ience. Data sheet shows a larger\displaythan the older models. Has t 50 cent offs~t adjust­ment. If the extended range feature works as ad­vertised, it should help a lot in tuning the topoctave.

PETERSON PT400 STROBE TUNERStrobe disc is large and bright. Display is goodfor mid range of piano. Bottom two octaves poor ­blurred display shows the general trend of harmonicstoward sharp or flat. Top octave very poor - closelyspaced lines on the disc are hard to see, easy totune to the wrong harmonic unless you tune aurallyto the octave below. Image clarifier switch workswell for notes below A440. The cover has sharpprojecting latches that gouge the piano finish un-

- 51 -

less the cover is removed. The microphone and linecord get tangled since both cords protrude from thefront of the tuner. The line cord is too short.Poor storage provisions for cord and mike.

YAMAHA PT-3 TUNING SCOPE (Note current model PT4 issma.ller and lighter.Usable over the enti re range of the piano. It isdifficult to see the direction of pattern movementwhen tuning the top octave, unless the notes are nearthe correct pitch. Octave selector starts at the3rd octave, uses harmonics for lower octaves. Heavy(8.5 lb.). Cathode ray tube display seems to be anexpensive feature, based on the high cost of thistuner.

TUNEMASTE R I I INo experience. Data sheet shows the range of thistuner covers C3 (130.8 Hz.) to B6 (1975.5 Hz.). Thedisplay Is a zero center meter that reads to 30 centssharp or flat. A dial provides ± 60 cents pitch off­set. Detection range Is 2 semi tones either side ofsetting. Has "valid reading" light. Uses harmonicsto tune the lower octaves. Does not explain how to

Et· crecRnicafifiea .t)

~

MODEL Conn ST11 Peterson PT400 Yamaha PT4* Tunemaster 111* Hale Sight-O-Strobotuner Strobe tuner Tuning Scope with stretch Tuner

Price $230 $225 $495'" $515* $388

Weight 8.5 Ib 9.3 Ib 4.4 Ib 4.5 Ib 2.5 Ib

Size (i n.)HxWxD 12x6.6x5.5 5.4x11x9 3x9x6 5x12.5x6 3.5x7x6

Power AC AC AC AC 9V, batteries(2 NEDA 1604)

Accuracy(re Iat i ve) + 1 cent + 1 cent + 1 cent + 1 cent .!. t cent

Microphone externa I external external externa I or into internal

Display ~E~~>n/sPokes on same as Conn H·" cathode ray meter reads to ring of 8 lightsrevolving disc. (TV) tube pat- 30 cents sharp revo Ives CW or

tern moves left or flat. CCW. Centeror right. light indicates

sha rp.

Special switch moves top fi Iter swi tch optional low battery in-Features octave display clarifies dis- stretch feature dicator.

in 2 rows for play for notes spaces notes atbetter visibil- below A440. 100.25 cents (3ity. cents per octave)

~Summary of tune notes to none tune per stretch use swi tch for 3 measures stretchinstructions 2nd ha roon ic chart suppl ied. cents per octave of note F4.for piano of octave below. stretch. Stretches temp.tuning. octave per meas-

ured stretch.Tune rest ofpi'ano by matchingvarious harmonics

* Old data. 1974 prices and/or models may be obsolete.

CONN (old ST8) Strobotuner;Limited (20 cent) range of flat and sharp adjustment.Small display, Neon bulbs not bright· enough or havedeteriorated (judging from several strobes). Heavy(13 lb.). OK for mid range of piano, poor for bot­tom 2 octaves, very poor for top octave.

CONN (new ST11) \No-exp~ience. Data sheet shows a larger\displaythan the older models. Has t 50 cent offs~t adjust­ment. If the extended range feature works as ad­vertised, it should help a lot in tuning the topoctave.

PETERSON PT400 STROBE TUNERStrobe disc is large and bright. Display is goodfor mid range of piano. Bottom two octaves poor ­blurred display shows the general trend of harmonicstoward sharp or flat. Top octave very poor - closelyspaced lines on the disc are hard to see, easy totune to the wrong harmonic unless you tune aurallyto the octave below. Image clarifier switch workswell for notes below A440. The cover has sharpprojecting latches that gouge the piano finish un-

- 51 -

less the cover is removed. The microphone and linecord get tangled since both cords protrude from thefront of the tuner. The line cord is too short.Poor storage provisions for cord and mike.

YAMAHA PT-3 TUNING SCOPE (Note current model PT4 issma.ller and lighter.Usable over the enti re range of the piano. It isdifficult to see the direction of pattern movementwhen tuning the top octave, unless the notes are nearthe correct pitch. Octave selector starts at the3rd octave, uses harmonics for lower octaves. Heavy(8.5 lb.). Cathode ray tube display seems to be anexpensive feature, based on the high cost of thistuner.

TUNEMASTE R I I INo experience. Data sheet shows the range of thistuner covers C3 (130.8 Hz.) to B6 (1975.5 Hz.). Thedisplay Is a zero center meter that reads to 30 centssharp or flat. A dial provides ± 60 cents pitch off­set. Detection range Is 2 semi tones either side ofsetting. Has "valid reading" light. Uses harmonicsto tune the lower octaves. Does not explain how to

~ecRnicalifie8

tune the top octave, which appears to be beyond therange of this device. A stretch option provides afixed 3 cent per octave stretch. Most expensive ofthe five tuners.

HALE SIGHT-a-TUNERThe first time I tried this device, using their "con­cert tuning" procedure, both my Baldwin and Knabepianos sounded like different and far better instru­ments. I don't want this article to sound 1 ike acommercial, but this system is the only one I havetried that provides an amateur with an easy to useprocedure that produces outstanding results. Thistuner also comes with stretch charts and a slide rulethat are recommended for\ "commercial tuning of pianosof less than concert quality." Pairs of lights ina ring appear to revolve clockwise for sharp, counter­clockwise for flat, at a rate of 1 revolution for 2Hz. error. It takes a little while to get used tothis type of display if you are accustomed to usinga strobe. This tuner works very well from the lowestnote on the piano to the top octave, if set for theproper harmonic. Notes in the top octave must betuned by positioning the tuner fairly close andplucking the strings, but it works very well even inthis octave, where a small tuning error makes thelights revolve too fast to see the direction. Thistuner, being small and light, is easy to balance onthe plate of a gran~ with the lid up. All the other

~ tuners are somewhat awkward to locate and have cords., that are always getting in the way. The Hale has

apparently been redesigned to eliminate most of thedeficiencies mentioned in the Barns article. Fixedresistors are used in the note selector circuit,there is a regulated power supply, and the circuitsare temperature compensated by individual selectionof several components. There is a separate on-offswitch. Printed circuit quality appears to be veryhigh and switch action is good. The note selectorstill rotates CCW for increasing pitch, reversedfrom all the other tuners.

During my very first attempts at tuning, I used ahomemade device that generated the 12 equally tem­pered tones, as an aid to tuning the temperamentoctave. Peterson and probably others also ma.kesimilar devices, and a circuit for this type oftuning aid was publshed in Wireless World, July 1974.For the'occasional user, this kind of device isprobably better than nothing, but I did not find itvery satisfactory. The strobes ar~ the least expen­sive tuners that I would recommend, and they areprobably adequate for most upright pianos, 88-noteplayers, and pianos used by students. The Sight-a­Tuner is much more convenient to use, especially fortuning the high and low ends, and can produce a dis­tinctly better tuning job. The other two tunersare considerably more expensive and do not ~ppear tooffer any additional benefits.

While these tuning devices make it possible to ac­curately establish the desired pitch, it still takesquite a bit of practice to learn how to manipulatethe tuning hammer and set the pins properly so thatthe piano wi'! I stay tuned for a reasonable period

- S2 -

of time. Read chapter 7 of Let1s Tune ~ by JohnTravis and pages 45 through 55 of Piano Servicing,Tfning £ Rebuilding by A. Reblitz for discussionso this subject.

Tuesday, January 18,19n

The elaborately decorat.ed piano made for the ChineseEmbassy in Paris, France, now is owned in Dallas. .

Grandest piano boastsromantic, storied past

By JEANNE BARNESHOlllt £4Jtorot Th' Ntw,

The grandest piano of them all. worth $250,000, has arrived inDallas.

The piano originally was commissioned in the early 1900s by thelast dowager empress of China, Hsi Tse, for the Chinese embassy inParis, France.

The fine hardwood case was hand-crafted by French cabinetmakers and Shipped to China, where the elaborate overlay decora·lions of semi·precious. stones were applied. along with the glossyblack lacquer.

The elaborate ormolu. gift over brass, on the legs and around theframe, is a French technique added when the Chinese work was done.

Then the case was shipped to Hamburg. Germany, where the Stein·way company installed its finest piano works.

By then, it was 1910 and the dowager empress had been deposed inthe Boxer Rebellion. and the piano more or less disappeared from therecords.

IT SURFACED AGAIN around the 1920s in the swinging Hollywoodera, probably bought by some star or mogu, and it apparently stayedthere for about 50 years.

It was acquired in california by Waitman Marlin recently and hehas it in his Oak Lawn Plaia showroom where visitors can finger thekeys and imagine they are playing for royalty or movie stars.

A local piano tuner found the works in admirable shape, even afterall the ml>ving.

Bilt nO'one yet has fo.und a fortune cookie !lidden in the strings topredict the future of the Instrilment.

~ecRnicalifie8

tune the top octave, which appears to be beyond therange of this device. A stretch option provides afixed 3 cent per octave stretch. Most expensive ofthe five tuners.

HALE SIGHT-a-TUNERThe first time I tried this device, using their "con­cert tuning" procedure, both my Baldwin and Knabepianos sounded like different and far better instru­ments. I don't want this article to sound 1 ike acommercial, but this system is the only one I havetried that provides an amateur with an easy to useprocedure that produces outstanding results. Thistuner also comes with stretch charts and a slide rulethat are recommended for\ "commercial tuning of pianosof less than concert quality." Pairs of lights ina ring appear to revolve clockwise for sharp, counter­clockwise for flat, at a rate of 1 revolution for 2Hz. error. It takes a little while to get used tothis type of display if you are accustomed to usinga strobe. This tuner works very well from the lowestnote on the piano to the top octave, if set for theproper harmonic. Notes in the top octave must betuned by positioning the tuner fairly close andplucking the strings, but it works very well even inthis octave, where a small tuning error makes thelights revolve too fast to see the direction. Thistuner, being small and light, is easy to balance onthe plate of a gran~ with the lid up. All the other

~ tuners are somewhat awkward to locate and have cords., that are always getting in the way. The Hale has

apparently been redesigned to eliminate most of thedeficiencies mentioned in the Barns article. Fixedresistors are used in the note selector circuit,there is a regulated power supply, and the circuitsare temperature compensated by individual selectionof several components. There is a separate on-offswitch. Printed circuit quality appears to be veryhigh and switch action is good. The note selectorstill rotates CCW for increasing pitch, reversedfrom all the other tuners.

During my very first attempts at tuning, I used ahomemade device that generated the 12 equally tem­pered tones, as an aid to tuning the temperamentoctave. Peterson and probably others also ma.kesimilar devices, and a circuit for this type oftuning aid was publshed in Wireless World, July 1974.For the'occasional user, this kind of device isprobably better than nothing, but I did not find itvery satisfactory. The strobes ar~ the least expen­sive tuners that I would recommend, and they areprobably adequate for most upright pianos, 88-noteplayers, and pianos used by students. The Sight-a­Tuner is much more convenient to use, especially fortuning the high and low ends, and can produce a dis­tinctly better tuning job. The other two tunersare considerably more expensive and do not ~ppear tooffer any additional benefits.

While these tuning devices make it possible to ac­curately establish the desired pitch, it still takesquite a bit of practice to learn how to manipulatethe tuning hammer and set the pins properly so thatthe piano wi'! I stay tuned for a reasonable period

- S2 -

of time. Read chapter 7 of Let1s Tune ~ by JohnTravis and pages 45 through 55 of Piano Servicing,Tfning £ Rebuilding by A. Reblitz for discussionso this subject.

Tuesday, January 18,19n

The elaborately decorat.ed piano made for the ChineseEmbassy in Paris, France, now is owned in Dallas. .

Grandest piano boastsromantic, storied past

By JEANNE BARNESHOlllt £4Jtorot Th' Ntw,

The grandest piano of them all. worth $250,000, has arrived inDallas.

The piano originally was commissioned in the early 1900s by thelast dowager empress of China, Hsi Tse, for the Chinese embassy inParis, France.

The fine hardwood case was hand-crafted by French cabinetmakers and Shipped to China, where the elaborate overlay decora·lions of semi·precious. stones were applied. along with the glossyblack lacquer.

The elaborate ormolu. gift over brass, on the legs and around theframe, is a French technique added when the Chinese work was done.

Then the case was shipped to Hamburg. Germany, where the Stein·way company installed its finest piano works.

By then, it was 1910 and the dowager empress had been deposed inthe Boxer Rebellion. and the piano more or less disappeared from therecords.

IT SURFACED AGAIN around the 1920s in the swinging Hollywoodera, probably bought by some star or mogu, and it apparently stayedthere for about 50 years.

It was acquired in california by Waitman Marlin recently and hehas it in his Oak Lawn Plaia showroom where visitors can finger thekeys and imagine they are playing for royalty or movie stars.

A local piano tuner found the works in admirable shape, even afterall the ml>ving.

Bilt nO'one yet has fo.und a fortune cookie !lidden in the strings topredict the future of the instrilment.

Clement &Christina Edgar428 School House LaneDevon, PA 19333215 687 1496

1928 Steck 6' Duo-Art.

1912 Wurlitzer nick; 1924Mills Violano Virt.; 1920Link nick; 1920 Kurtzmannupr plyr Metalona.

1926 Wheelock upr Duo-Art;1929 Fayette Cable upr plyrStd; 1921 Lyric 4'8" re­cordo H.C. Bay.

193? Weber 5'8" Duo-Art.

.,. ..--,~ ...,,:..Cubano del Libro, Instituto ~C/O Service Commercial de ,.Cuba, 29 Rue Saint Didier,75116 Paris, France

English player uprightStandard.

1901 Wilcox-White Angelusorchestral c-3 58 note.

...,.~. _....,.,~~ ............,,,~---_.._-. .......,1915 Henry Herbert upr~;'\Wurlitzer 5' grand reproducer.

....._-~.. '

.d" -......

_ .....1"9"24 Laffargtte uprIght" plyrAmphion; 1920 Gordon &Sonupright Standard.

1925 Bechstein Welte-Hignonupr green; 1922 Feurich uprWelte-Mignon red original;1924 Vorsetzer Welte-Mignonred orig; 1919 Feurich uprHupfeld Dea; 1911 Feurich

1909 Vorsetzer ~upfeld Phonola 73.

Carl &Patricia Moss1617 ~ilitary St.Port Huron, MI 48060313 982 4771

,Gerald &Carole Plessner59 W. La Sierra Dr.Arcadia, CA 91006213 445 0802

Mark K. Dresden143 Ogden Ave.Swarthmore, PA 19081215 513 5236

Barry G. LeedyP.'o. Box 515Coloma, MI 49038616 468 5986

Reid Welch1034 Almeria Ave.Coral Gables, FL 33134305 443 8015

David M BarnettP.0. Box K-95Richmond, VA 23288804 282 766i (bus)

upr Phillips Duca;

Hans W. SchmitzSchloss Solitude 3,D 7000 Stuttgart 1West Germany0711-692563

Richard &Karen Raisley 1929 Stroud upr Duo-Art. 417768 Fairhaven Ct. ~

Mentor, OH 44060216 255 7038

.Ben Lodwick 1908 No. Tonowanda military17887 Nassau Dr. organ; 1927 Barton 3/11Brookfield, WI 53005 theatre organ; 1928 Barton414 786 3748 2/7 t.o.; 1928 Wurlitzer

. style Wplyr &organ; 1927Wurtitzer 3/19 t.o.; 1928 Aeolian 2/14 residence plyr;1927 Barton 2/7 t.o.; 1928 Wurlitzer 2/9 t.o.; Cable5' Welte.

Walter &Barbara Pyt1ewski 1929 Knabe Ampico B Louis5807 Topanga Cyn Blvd., E-202 XV; 1928 Knabe 5'8"Woodland Hills, CA 91367 Ampico B; 1919 Weber213 348 4372 5' 10" Duo-Art Louis XV;

1918 Me1dorf upr Duo-Art;1923 Amrstrong upr p1yr std; 1921 Autopiano upr plyr.

Elmer &Lou Anna Klein2865 Ponderosa WaySanta Clara, CA 95051~2S94

//

i Harold A. Hodgkins.. RR#3, Wellandport\ Ontario, Canada LOR1JO\ 416 386 6123'~ .. _ .

-'''IanMavor-'-~-""18 Pine StreetIngleside, OntarioCanada KOC+MO613 537 2367

1918 Beckwith uprightplayer Standard.

Mills Double ViolanoVirtuoso.

1925 Haines Bros. 5' AmpicoA.

1922 Stroud Duo-Art upright.

1925 Fisher 5'2" Ampico A.

1924 Howard upr simplex;1918 Frederick upr Doll.

1930 5'8" Mason &HamlinAmpico B Louis XV; 1924Chickering .5'4" Ampico A;1925 5'4" Chickering A.

1916 Walters player up­right electrified.

1921 Ebersole uprightstandard.

Lawson upright pumper play-er.

1913 Steinway upright Duo­Art.

1918 Marshall &Wendell upr.Ampico; 1897 Story &Clarkpump organ.Recommended by David Askey.

1922 Chickering 5'2" AmpicoA; 1920 Stieff upr Welte;Unified Reproduco; He10diaorganette; ~olmonica.

Recommended by RichardReutlingar.

1920+ Kline upright playersimplex.

Thomas MouradickP.O. Box 394Thermal, CA 92274714 399 5151

Michael &Holly Walter28 Burnett PI.Tonowanda, NY 13150716 875 2880

Peter J. Funk316 Herrick Ave.Teaneck, NJ 07666201 836 0257

NEW MEMBERS

Norman &Jane Weiss555 E. School St.Kent, OH 44240

Dick &Lou GeistP.O. Box 1029 Main St.Chiefland, FL 32626904 493 2236

Chester &Mrs. VandergriffRt 4, Box 42Sunrise Valley,Blountville, TN 37617615 323 4589

Robert &Gloria Taylor412 No. EvergreenArlington Hts., IL 004

Steve Smith4721 Page DriveMetaire, LA 70003504 455 5040

Keith Gaskill &PhilipStrauss, 813 Grove St.San Francisco, CA 94117415 626 0698

Joseph &Else Pekarek215 S. Owen St.Mt. Prospect, IL 60056312 259 5158

Robert &Sylvia Steeves8 Ministrial CircleBedford, NH 03102603 472 3712

Jean Touzlet27 Rue des Meuniers75012 Paris, France345-51-21

Donald M. Brown27 Curve St..Bedford, MA 01730617 275 0076

Clement &Christina Edgar428 School House LaneDevon, PA 19333215 687 1496

1928 Steck 6' Duo-Art.

1912 Wurlitzer nick; 1924Mills Violano Virt.; 1920Link nick; 1920 Kurtzmannupr plyr Metalona.

1926 Wheelock upr Duo-Art;1929 Fayette Cable upr plyrStd; 1921 Lyric 4'8" re­cordo H.C. Bay.

193? Weber 5'8" Duo-Art.

.,. ..--,~ ...,,:..Cubano del Libro, Instituto ~C/O Service Commercial de ,.Cuba, 29 Rue Saint Didier,75116 Paris, France

English player uprightStandard.

1901 Wilcox-White Angelusorchestral c-3 58 note.

...,.~. _....,.,~~ ............,,,~---_.._-. .......,1915 Henry Herbert upr~;'\Wurlitzer 5' grand reproducer.

....._-~.. '

.d" -......

_ .....1"9"24 Laffargtte uprIght" plyrAmphion; 1920 Gordon &Sonupright Standard.

1925 Bechstein Welte-Hignonupr green; 1922 Feurich uprWelte-Mignon red original;1924 Vorsetzer Welte-Mignonred orig; 1919 Feurich uprHupfeld Dea; 1911 Feurich

1909 Vorsetzer ~upfeld Phonola 73.

Carl &Patricia Moss1617 ~ilitary St.Port Huron, MI 48060313 982 4771

,Gerald &Carole Plessner59 W. La Sierra Dr.Arcadia, CA 91006213 445 0802

Mark K. Dresden143 Ogden Ave.Swarthmore, PA 19081215 513 5236

Barry G. LeedyP.'o. Box 515Coloma, MI 49038616 468 5986

Reid Welch1034 Almeria Ave.Coral Gables, FL 33134305 443 8015

David M BarnettP.0. Box K-95Richmond, VA 23288804 282 766i (bus)

upr Phillips Duca;

Hans W. SchmitzSchloss Solitude 3,D 7000 Stuttgart 1West Germany0711-692563

Richard &Karen Raisley 1929 Stroud upr Duo-Art. 417768 Fairhaven Ct. ~

Mentor, OH 44060216 255 7038

.Ben Lodwick 1908 No. Tonowanda military17887 Nassau Dr. organ; 1927 Barton 3/11Brookfield, WI 53005 theatre organ; 1928 Barton414 786 3748 2/7 t.o.; 1928 Wurlitzer

. style Wplyr &organ; 1927Wurtitzer 3/19 t.o.; 1928 Aeolian 2/14 residence plyr;1927 Barton 2/7 t.o.; 1928 Wurlitzer 2/9 t.o.; Cable5' Welte.

Walter &Barbara Pyt1ewski 1929 Knabe Ampico B Louis5807 Topanga Cyn Blvd., E-202 XV; 1928 Knabe 5'8"Woodland Hills, CA 91367 Ampico B; 1919 Weber213 348 4372 5' 10" Duo-Art Louis XV;

1918 Me1dorf upr Duo-Art;1923 Amrstrong upr p1yr std; 1921 Autopiano upr plyr.

Elmer &Lou Anna Klein2865 Ponderosa WaySanta Clara, CA 95051~2S94

//

i Harold A. Hodgkins.. RR#3, Wellandport\ Ontario, Canada LOR1JO\ 416 386 6123'~ .. _ .

-'''IanMavor-'-~-""18 Pine StreetIngleside, OntarioCanada KOC+MO613 537 2367

1918 Beckwith uprightplayer Standard.

Mills Double ViolanoVirtuoso.

1925 Haines Bros. 5' AmpicoA.

1922 Stroud Duo-Art upright.

1925 Fisher 5'2" Ampico A.

1924 Howard upr simplex;1918 Frederick upr Doll.

1930 5'8" Mason &HamlinAmpico B Louis XV; 1924Chickering .5'4" Ampico A;1925 5'4" Chickering A.

1916 Walters player up­right electrified.

1921 Ebersole uprightstandard.

Lawson upright pumper play-er.

1913 Steinway upright Duo­Art.

1918 Marshall &Wendell upr.Ampico; 1897 Story &Clarkpump organ.Recommended by David Askey.

1922 Chickering 5'2" AmpicoA; 1920 Stieff upr Welte;Unified Reproduco; He10diaorganette; ~olmonica.

Recommended by RichardReutlingar.

1920+ Kline upright playersimplex.

Thomas MouradickP.O. Box 394Thermal, CA 92274714 399 5151

Michael &Holly Walter28 Burnett PI.Tonowanda, NY 13150716 875 2880

Peter J. Funk316 Herrick Ave.Teaneck, NJ 07666201 836 0257

NEW MEMBERS

Norman &Jane Weiss555 E. School St.Kent, OH 44240

Dick &Lou GeistP.O. Box 1029 Main St.Chiefland, FL 32626904 493 2236

Chester &Mrs. VandergriffRt 4, Box 42Sunrise Valley,Blountville, TN 37617615 323 4589

Robert &Gloria Taylor412 No. EvergreenArlington Hts., IL 004

Steve Smith4721 Page DriveMetaire, LA 70003504 455 5040

Keith Gaskill &PhilipStrauss, 813 Grove St.San Francisco, CA 94117415 626 0698

Joseph &Else Pekarek215 S. Owen St.Mt. Prospect, IL 60056312 259 5158

Robert &Sylvia Steeves8 Ministrial CircleBedford, NH 03102603 472 3712

Jean Touzlet27 Rue des Meuniers75012 Paris, France345-51-21

Donald M. Brown27 Curve St..Bedford, MA 01730617 275 0076

HELP WANTED: Anyone having any spare parts for aSteinway Duo-Art XR built in 1921. Please contactHenry Perna, 425 Patton Ave., Farrell, PA 16121.Phone (412) 346-4843.

STEINWAY DUO-ART XA (6'2") #154721. Player ex­cellently restored. Includes 50 rolls. $8500.R. Bellin, 7407 Buffalo Ave., Takoma Park, MD 20012.Phone (301) 585-9195.

1926 6 ft. Steinway XR, Duo-Art player, near perfectoriginal walnut case, restrung., regulated, keys re­covered, player completely rebuilt and regulated.Joseph P. Richardson, 521 No. Irena Ave., RedondoBeach, CA 90277. Phone 1-213-376-4936.

FOR SALE: STROUD DUO-ART UPRIGHT, rebuilt and re­stored. Pneumatics recovered, tubing replaced,pouches resealed, valves regapped. Piano actionrepinned, restrung,. new dampers, new sharps. Caseneeds refinishing. 25 rolls included. $2200. DanSchacher, 20-08 Greenwood Drive, Fair Lawn, NJ07410. Phone (201) 797-6283.

_ ~ "" ":::-4 ~"'...., """' __"_ """-:""',

\\

Bill &Sarah Stewart1228 EasterKemah, TX 77565

CHANGE OF ADDRESS

Richard E. Barnes1711 S. Clinton Ave.Dallas, TX 75224

Larry Aguilar90 W. Colorado Blvd.Pasadena, CA 91105

1919 Mills Violano; 1903Encore Banjo; 1912 WelteOrch.; 1920 Dawyn dance or­gan; 1926 Wurlitzer 146Aband organ; 1921 PoppersOrch. Iduna; Seeburg E;Seeburg KT; Seeburg L;National selector; Coinola.

X; Wurlitzer 0 photop1ayer; Knabe art Ampico; Mar­shall &Wendell Ampico, No. Tonowanda 184 band org;Frati style 33 monkey organ; Frati Orch; Losch Orch;Welte style 30rch; Wurlitzer perforators; misc.music boxes and organettes. . <f"~~~"'-''''' ..,,~.-A

' •.."' ...._.~~.----,,"" .,--.-------

/-~---~-.-

! Doyle &Priscilla LaneI 3399 Dunbar St.

Vancouver, BC Canada604 224 4111

~ Recommended by TerrySmythe

•• I

FOR SALE: 75 excellent Ampico rolls, $325; Ampicotracker bar pump in original box, $15; excellent1925 Ampico roll catalog, '$45. Seeking "hot" andragtime 88-note rolls, plus original ads and lit­erature on Ampico and Mason &Hamlin. Trades con­sidered. David Schultz, 763 Fairacres Avenue,Westfield, New J~Y~90; 201-654-5611.

"/,• WANTED TO. BUY: Model "B" AmP~() Drawer - Upright• Steinway foot pump player. Jeff, Box 222,

Sumneytown, PA 18084.

FOR SALE: Mills Violano Virtuoso - year unknown ­follows late model plans - Oak case - slightly al­ligatored finish. Plays well - has not been re­stored. Comes with one roll, $6500.00 John Dunlap,635 North Oregon, Jacksonville, Oregon 97530.Phone (503) 899-7120.

ROLLS FOR SALE: 143 DuoArts: 131 classics, 3 pops,9 pop medleys. $550.0012 Ampico: 4 classics, 8 pops,1 long play. $50.001927 DuoArt catalog - Excellentcondi tion. $45.00_

List 50¢. Art Faner,\555 Winter St. N.E., SalemOregon 97301.

FOR SALE: REPRODUCING PIANO, WEBER 5'S" GRANDwith DUO-ART SYSTEM. Player completely rebuilt - hasnew set of hammers. original case and finish good condition.$4,000 or best offer. Contact John G. Ravert, Sr., Box 85,Vicksburg, Pa. Tel. (717) 966-1367 after 7 P.M. exceptWednesdays.

FREE LISTS: All Types Rolls, Cylinder Records & Machines,Discs, Cobs, Sheet Music, Catalogs & Literature. Mechanical Music& Much More. Our 20th Year .

Vi & Si's Antiques 8970 Main St., Clarence, N.Y. 14031

WANTED: Ampico roll #1301F "The World is Waitingfor the Sunrise" pb. Fairchild. C. Beckett, 6817Cliffbrook, Dallas, TX 75240. (214) 239-5019.

AEOLIAN-STECK Duo-Art, 5'1" grand reproducing piano.Late model 1930's. Piano action and Duo-Art mech­anism restored to perfection. New hammers, stringsand pins. Case refinished, $3495. R. Jensen, 811Warwick Ave., Warwick, RI 02888. (401) 781-2037.

PIANO ROLL AUCTIONS: 88 &65-note - monthly. Re­producing - 3-4 times yearly. Your rolls sold onconsignment. 5 stamps get you on mailing list. MikeSchwimmer, 241 harbor, Glencoe, IL 60022.

FOR SALE: Tangley Circus Calliope - beautiful tone$9500.00 J. Dupen, P.O. BOX 755, ROSS, CA 94957.

FOR SALE: 5' Knabe Grand Ampico player piano. "A"drawer, recently reconditioned, in very good con­dition. 30 classical re-cut rolls. Private party,

k $6000.00. Phone (502) 667-2523 or write RR#1, Box, 285-A, Providence, Kentucky 42450.

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

"1 didn't know the Morgans 1fad a piano."

Contributed by Bill &Dee Kavouras.

HELP WANTED: Anyone having any spare parts for aSteinway Duo-Art XR built in 1921. Please contactHenry Perna, 425 Patton Ave., Farrell, PA 16121.Phone (412) 346-4843.

STEINWAY DUO-ART XA (6'2") #154721. Player ex­cellently restored. Includes 50 rolls. $8500.R. Bellin, 7407 Buffalo Ave., Takoma Park, MD 20012.Phone (301) 585-9195.

1926 6 ft. Steinway XR, Duo-Art player, near perfectoriginal walnut case, restrung., regulated, keys re­covered, player completely rebuilt and regulated.Joseph P. Richardson, 521 No. Irena Ave., RedondoBeach, CA 90277. Phone 1-213-376-4936.

FOR SALE: STROUD DUO-ART UPRIGHT, rebuilt and re­stored. Pneumatics recovered, tubing replaced,pouches resealed, valves regapped. Piano actionrepinned, restrung,. new dampers, new sharps. Caseneeds refinishing. 25 rolls included. $2200. DanSchacher, 20-08 Greenwood Drive, Fair Lawn, NJ07410. Phone (201) 797-6283.

_ ~ "" ":::-4 ~"'''''' """' __"_ """-:""',

\\

Bill &Sarah Stewart1228 EasterKemah, TX 77565

CHANGE OF ADDRESS

Richard E. Barnes1711 S. Clinton Ave.Dallas, TX 75224

Larry Aguilar90 W. Colorado Blvd.Pasadena, CA 91105

1919 Mills Violano; 1903Encore Banjo; 1912 WelteOrch.; 1920 Dawyn dance or­gan; 1926 Wurlitzer 146Aband organ; 1921 PoppersOrch. Iduna; Seeburg E;Seeburg KT; Seeburg L;National selector; Coinola.

X; Wurlitzer 0 photop1ayer; Knabe art Ampico; Mar­shall &Wendell Ampico, No. Tonowanda 184 band org;Frati style 33 monkey organ; Frati Orch; Losch Orch;Welte style 30rch; Wurlitzer perforators; misc.music boxes and organettes. . <f"~~~"'-''''' ..,,~.-A

' •.."' ...._.~~.----,,"" .,--.-------

/-~---~-.-

! Doyle &Priscilla LaneI 3399 Dunbar St.

Vancouver, BC Canada604 224 4111

~ Recommended by TerrySmythe

•• I

FOR SALE: 75 excellent Ampico rolls, $325; Ampicotracker bar pump in original box, $15; excellent1925 Ampico roll catalog, '$45. Seeking "hot" andragtime 88-note rolls, plus original ads and lit­erature on Ampico and Mason &Hamlin. Trades con­sidered. David Schultz, 763 Fairacres Avenue,Westfield, New J~Y~90; 201-654-5611.

"/,• WANTED TO. BUY: Model "B" AmP~() Drawer - Upright• Steinway foot pump player. Jeff, Box 222,

Sumneytown, PA 18084.

FOR SALE: Mills Violano Virtuoso - year unknown ­follows late model plans - Oak case - slightly al­ligatored finish. Plays well - has not been re­stored. Comes with one roll, $6500.00 John Dunlap,635 North Oregon, Jacksonville, Oregon 97530.Phone (503) 899-7120.

ROLLS FOR SALE: 143 DuoArts: 131 classics, 3 pops,9 pop medleys. $550.0012 Ampico: 4 classics, 8 pops,1 long play. $50.001927 DuoArt catalog - Excellentcondi tion. $45.00_

List 50¢. Art Faner,\555 Winter St. N.E., SalemOregon 97301.

FOR SALE: REPRODUCING PIANO, WEBER 5'S" GRANDwith DUO-ART SYSTEM. Player completely rebuilt - hasnew set of hammers. original case and finish good condition.$4,000 or best offer. Contact John G. Ravert, Sr., Box 85,Vicksburg, Pa. Tel. (717) 966-1367 after 7 P.M. exceptWednesdays.

FREE LISTS: All Types Rolls, Cylinder Records & Machines,Discs, Cobs, Sheet Music, Catalogs & Literature. Mechanical Music& Much More. Our 20th Year .

Vi & Si's Antiques 8970 Main St., Clarence, N.Y. 14031

WANTED: Ampico roll #1301F "The World is Waitingfor the Sunrise" pb. Fairchild. C. Beckett, 6817Cliffbrook, Dallas, TX 75240. (214) 239-5019.

AEOLIAN-STECK Duo-Art, 5'1" grand reproducing piano.Late model 1930's. Piano action and Duo-Art mech­anism restored to perfection. New hammers, stringsand pins. Case refinished, $3495. R. Jensen, 811Warwick Ave., Warwick, RI 02888. (401) 781-2037.

PIANO ROLL AUCTIONS: 88 &65-note - monthly. Re­producing - 3-4 times yearly. Your rolls sold onconsignment. 5 stamps get you on mailing list. MikeSchwimmer, 241 harbor, Glencoe, IL 60022.

FOR SALE: Tangley Circus Calliope - beautiful tone$9500.00 J. Dupen, P.O. BOX 755, ROSS, CA 94957.

FOR SALE: 5' Knabe Grand Ampico player piano. "A"drawer, recently reconditioned, in very good con­dition. 30 classical re-cut rolls. Private party,

k $6000.00. Phone (502) 667-2523 or write RR#1, Box, 285-A, Providence, Kentucky 42450.

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

"1 didn't know the Morgans 1fad a piano."

Contributed by Bill &Dee Kavouras.

DEALERS 1ATTENTION:

Are you an active dealer in the sale or rebuilding of reproducing pianos? If so, then get on our bandwagon! You undoubtedlyhave heard about the CC-3 Cassette Converter Unit - the sensation of the automatic musical instrument collector field.By means of this beautifully designed unit which attaches to a restored Ampico piano (model A or B, upright or grand), theAmpico owner can now have a full hour of music encoded on an inexpensive $9.95 tape cassette - a cassette encoded fromoriginal Ampico rolls and preserving every characteristic of the original performance. The unit attaches to the Ampicowithout disturbing in any way its originality. At the same time the unit is attached, the piano can be played in the regularway with rolls if desired. Likewise, the unit can be detached from the Ampico if desired.

Owners of the CC-3 Cassette Converter Unit have been very enthusiastic. Visitors to the fabulous San Sylmar Collection inCalifornia, the largest and most magnificent assemblage of reproducing pianos ever put together, are treated to a concerton a CC-3 Cassette Converter Unit attached to a custom-made art case Mason & Hamlin Ampico B Grand - an instrumentworth a small fortune. Nearby, the collections of Jerry Cohen, Don Barr, Terry Hathaway, and others also feature the CC-3Cassette Converter Unit - and the number steadily grows.

As a dealer you will find that the CC-3 Cassette Converter Unit will sell itself. Attach one to your own Ampico or one inyour showroom and anyone who hears it will want to buy it! From a financial viewpoint the purchaser of $500 worth ofcassette tapes is getting the same amount of music that would cost $2,500 to $5,000 to buy on paper rolls, not to mentionall of the extra expenses for storage and handling. So, the active user of an Ampico will find that the CC-3 CassetteConverter Unit more than pays for itself!

Right now dealerships are open in many areas. Contact us today to find out how you can participate in this rewardingprogram. Or, if you are a collector and are not a dealer, send us your name and address and we'll send you an attractivebrochure describing the CC-3 Cassette Converter Unit and giving the name of one or more dealers in your area.

INTERNATIONAL MUSICAL INDUSTRIES17l7A-A Stanford Street • Santa Monica, CA 90404

DEALERS 1ATTENTION:

Are you an active dealer in the sale or rebuilding of reproducing pianos? If so, then get on our bandwagon! You undoubtedlyhave heard about the CC-3 Cassette Converter Unit - the sensation of the automatic musical instrument collector field.By means of this beautifully designed unit which attaches to a restored Ampico piano (model A or B, upright or grand), theAmpico owner can now have a full hour of music encoded on an inexpensive $9.95 tape cassette - a cassette encoded fromoriginal Ampico rolls and preserving every characteristic of the original performance. The unit attaches to the Ampicowithout disturbing in any way its originality. At the same time the unit is attached, the piano can be played in the regularway with rolls if desired. Likewise, the unit can be detached from the Ampico if desired.

Owners of the CC-3 Cassette Converter Unit have been very enthusiastic. Visitors to the fabulous San Sylmar Collection inCalifornia, the largest and most magnificent assemblage of reproducing pianos ever put together, are treated to a concerton a CC-3 Cassette Converter Unit attached to a custom-made art case Mason & Hamlin Ampico B Grand - an instrumentworth a small fortune. Nearby, the collections of Jerry Cohen, Don Barr, Terry Hathaway, and others also feature the CC-3Cassette Converter Unit - and the number steadily grows.

As a dealer you will find that the CC-3 Cassette Converter Unit will sell itself. Attach one to your own Ampico or one inyour showroom and anyone who hears it will want to buy it! From a financial viewpoint the purchaser of $500 worth ofcassette tapes is getting the same amount of music that would cost $2,500 to $5,000 to buy on paper rolls, not to mentionall of the extra expenses for storage and handling. So, the active user of an Ampico will find that the CC-3 CassetteConverter Unit more than pays for itself!

Right now dealerships are open in many areas. Contact us today to find out how you can participate in this rewardingprogram. Or, if you are a collector and are not a dealer, send us your name and address and we'll send you an attractivebrochure describing the CC-3 Cassette Converter Unit and giving the name of one or more dealers in your area.

INTERNATIONAL MUSICAL INDUSTRIES17l7A-A Stanford Street • Santa Monica, CA 90404

Returnwithus now to those thrillingdays oftheViolano.:virtuoso.

Take a step back in time as you look Violano-Virtuoso! This book was orig· ferent Violano models, and dozens ofthrough this wonderful picturebook of inally produced by the Mills Novelty letters from happy Violano customers.yesteryear. See old-time ice cream Co. for its salesmen, and records with Discover items of the period such asparlors, candy shops, billiard halls, great detail the style and ambiance of advertising signs, coin-operated ma-pharmacies, restaurants, and more. these fascinating establishments of chines, store fixtures, etc. It is idealImagine yourself there at the counter the teens and twenties. It contains over as a decorating aid and a valuablelistening to the most fantastic coin· 150 pages (8112 by 11), featuring more reference. You don't have to own aoperated machine ever built: The than 100 photos, 4 color pages of dif· Violano to enjoy this book.

Order now this limited re-edition. Only $9.95K & FPublishing, P.O. Box 240, GPO, Brooklyn, N. Y. 11202

925 SOUTHOVER(419) 478-471 I

Phone 1-)----

CRAIG'S PIANO SHOPPETOLEDO, OHIO 43612

Name _

Complete Address _

PLAYER PIANO OWNERS -

RE-CUT YOUR STANDARD POPULAR ROLLS

$20.00 PER TITLE

ADDITIONAL COPIES $4.00 EACH

NO MINIMUM ORDER OR QUANTITY

That's right! Now you may order just~ re-cut ofyour favorite popular standard roll (20-30 feet). Don'tpay for unwanted copies. Frayed edges are no problemfor us. We use a full quality, lint free, 3 pt. dry waxedpaper for our re-cuts. All old rolls are returned alongyour new re-cuts - packaged in new boxes for your pro­tection and storage'. Be certain to include any specialinstructions for multiple copies. Allow 6-8 weeks fordelivery. No reproducing rolls at this time, please.

YOU MUST BE SATISFIED!!Clip and return with order

WANTED - - Reproducing Piano Mechanisms,Duo-Art and Welte, for Grands. One theDuo-Arts -- 2 needed, 1 for a Steinwayand 1 for a Weber. Prefer early model,will take others. Prefer completemechanisms, will consider partial units.On the Welte -- need tracker bar, track­er pneumatic (with linkage) pump andmotor, and expression on-off switch.Please state condition and price. JamesA. Williamson, Jr., 794 Dunwoodie Drive,Cincinnati, OH 45230. (513) 231-2469.

FOR SALE: Steck Duo-Art 5'6" grand, built1921. Mechanism fully restored, goodoriginal walnut finish, $4500. Similar1921 Steck Duo-Art grand, excellent un­restored condition, $2500. Completelyrebuilt Gulbransen upright player, $1400.San Francisco area. Call or write: JimCallahan, 776 Kingston Ave., Piedmont,CA 94611. (415) 654-3903.

SEND YOUR ROLLS INSURED AND SPECIAL4TH CLASS SOUND RECORDING RATE.

$-----

Total # Rolls to be Re-Cut_x $20.00 = $ _

$----­

$_~$~3~.O~O=_____

Total Additional Copies_x $ 4.00=

Postage & Hand ling

TOTAL (Check or Money Order MUSTaccompany your order)

APOLLO GRAND and 60 rolls, reproducer re­built, piano flawlessly refinished, re­strung and repinned, action overhauledand regulated. John Hawley, P.O. Box 488Greenville, IL 62246. 1-618-664-2288.

Returnwithus now to those thrillingdays oftheViolano.:virtuoso.

Take a step back in time as you look Violano-Virtuoso! This book was orig· ferent Violano models, and dozens ofthrough this wonderful picturebook of inally produced by the Mills Novelty letters from happy Violano customers.yesteryear. See old-time ice cream Co. for its salesmen, and records with Discover items of the period such asparlors, candy shops, billiard halls, great detail the style and ambiance of advertising signs, coin-operated ma-pharmacies, restaurants, and more. these fascinating establishments of chines, store fixtures, etc. It is idealImagine yourself there at the counter the teens and twenties. It contains over as a decorating aid and a valuablelistening to the most fantastic coin· 150 pages (8112 by 11), featuring more reference. You don't have to own aoperated machine ever built: The than 100 photos, 4 color pages of dif· Violano to enjoy this book.

Order now this limited re-edition. Only $9.95K & FPublishing, P.O. Box 240, GPO, Brooklyn, N. Y. 11202

925 SOUTHOVER(419) 478-471 I

Phone 1-)----

CRAIG'S PIANO SHOPPETOLEDO, OHIO 43612

Name _

Complete Address _

PLAYER PIANO OWNERS -

RE-CUT YOUR STANDARD POPULAR ROLLS

$20.00 PER TITLE

ADDITIONAL COPIES $4.00 EACH

NO MINIMUM ORDER OR QUANTITY

That's right! Now you may order just~ re-cut ofyour favorite popular standard roll (20-30 feet). Don'tpay for unwanted copies. Frayed edges are no problemfor us. We use a full quality, lint free, 3 pt. dry waxedpaper for our re-cuts. All old rolls are returned alongyour new re-cuts - packaged in new boxes for your pro­tection and storage'. Be certain to include any specialinstructions for multiple copies. Allow 6-8 weeks fordelivery. No reproducing rolls at this time, please.

YOU MUST BE SATISFIED!!Clip and return with order

WANTED - - Reproducing Piano Mechanisms,Duo-Art and Welte, for Grands. One theDuo-Arts -- 2 needed, 1 for a Steinwayand 1 for a Weber. Prefer early model,will take others. Prefer completemechanisms, will consider partial units.On the Welte -- need tracker bar, track­er pneumatic (with linkage) pump andmotor, and expression on-off switch.Please state condition and price. JamesA. Williamson, Jr., 794 Dunwoodie Drive,Cincinnati, OH 45230. (513) 231-2469.

FOR SALE: Steck Duo-Art 5'6" grand, built1921. Mechanism fully restored, goodoriginal walnut finish, $4500. Similar1921 Steck Duo-Art grand, excellent un­restored condition, $2500. Completelyrebuilt Gulbransen upright player, $1400.San Francisco area. Call or write: JimCallahan, 776 Kingston Ave., Piedmont,CA 94611. (415) 654-3903.

SEND YOUR ROLLS INSURED AND SPECIAL4TH CLASS SOUND RECORDING RATE.

$-----

Total # Rolls to be Re-Cut_x $20.00 = $ _

$----­

$_~$~3~.O~O=_____

Total Additional Copies_x $ 4.00=

Postage & Hand ling

TOTAL (Check or Money Order MUSTaccompany your order)

APOLLO GRAND and 60 rolls, reproducer re­built, piano flawlessly refinished, re­strung and repinned, action overhauledand regulated. John Hawley, P.O. Box 488Greenville, IL 62246. 1-618-664-2288.

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Sales have been ff~!tas~CU!~~~~~eri~~~~~=~ti~~S~~~e~~~~SLen~h our stock and ~)( to meet our customers' needs we want to spend $1,000,000.00 on music boxes, nickelodeons, band )(

~)( organs, and other automatic musical instruments -- single pieces, groups and entire collections. )(

Thinking of selling? Write or call today with a brief description of your holdings. We'll make an ~immediate decision on all items offered. We'll make complete confidential cash payment in full forall items purchased. In past years we have purchased more instruments than any other dealer in the

~world. You'll be assured of a pleasant transaction. And, we'll take care of complete packing and ~

shipping arrangements.

Here is a partial list of what we want to buy:

CYLINDER MUSIC BOXES - Fine-quality Swiss cylinder music boxes/especially those with)( multiple cylinders, matching tables, fine instruments, drums and bells, or other interesting )()( characteristics. )(

l DISC MUSIC BOXES - Fine quality Regina, Polyphon, Symphonion, Kalliope, Komet, Mira, ~Stella, Criterion, Olympia, and other disc music boxes. Automatic changers. Musical clocks. We canuse just about anything and everything!

NICKELODEONS AND ORCHESTRIONS - All models, unrestored, restored, or in any con-

~dition, made by Seeburg, Wurlitzer, Hupfeld, Popper, Weber, Welte, Link, Western Electric, Coinola, ~..Berry-Wood, National, Nelson-Wiggen, and others. Also want Hupfeld Phonoliszt-Violina, Mills •Violano-Virtuoso, Encore Banjo, Wurlitzer Harp, etc. In the past month we've purchased THREElarge collections of nickelodeons and orchestrions - and we want more! The more, the better! One

linstrument or a dozen or a hundred! ~

BAND ORGANS - All types of band organs, fairground organs, etc. by Wurlitzer, Bruder,Gavioli, Limonaire, Mortier, Decap, etc. Large ones, small ones, etc.

REPRODUCING PIANOS - Mason & Hamlin Model B Ampico desperately wanted / in fact, we

~would like to buy a half dozen! Also other fine-quality reproducing grands. ~

OTHER ITEMS - Automata, organettes, calliopes, and other self-playing automatic musicalinstruments from the 1850-1930 era. .

lINSTRUMENTS FOR SALE: Interested in BUYING instruments? Send $3 for our ~large illustrated Catalogue No.8, just released, offering hundreds of items - or send$15 subscri ption for the next six issues.

~ THINKING OF SELLING??? Write or call today. We have the cash. You have the instruments. ~

~Let's get together! ~

AMERICAN INTERNATIONAL GALLERIES, INC.1802 Kettering Street • Irvine, California 92714 • Tel. (714) 754-1777

·l Directors: Bonnie Tekstra/Q. David Bowers/C1aes O. Friberg. Offices in Europe and America. Visit our huge ~ 426,000 square-foot warehouse/showroom. Over 500 instruments for sale: Open Wednesday through Saturday 9 a.m.to 4 p.m. Come early - it's a wonderland of fascinating instruments, clocks, etc. and can't be covered in a short time!

)(~ f)~)()(~",,--~ f)~)()(~",,--~ f)~)()(~",,--~~~f)~)(

XW:W;;;:~L~~~)()(~@"'-----~--"~)()(~@"""--~-""'~j t

Sales have been ff~!tas~CU!~~~~~eri~~~~~=~ti~~S~~~e~~~~SLen~h our stock and ~)( to meet our customers' needs we want to spend $1,000,000.00 on music boxes, nickelodeons, band )(

~)( organs, and other automatic musical instruments -- single pieces, groups and entire collections. )(

Thinking of selling? Write or call today with a brief description of your holdings. We'll make an ~immediate decision on all items offered. We'll make complete confidential cash payment in full forall items purchased. In past years we have purchased more instruments than any other dealer in the

~world. You'll be assured of a pleasant transaction. And, we'll take care of complete packing and ~

shipping arrangements.

Here is a partial list of what we want to buy:

CYLINDER MUSIC BOXES - Fine-quality Swiss cylinder music boxes/especially those with)( multiple cylinders, matching tables, fine instruments, drums and bells, or other interesting )()( characteristics. )(

l DISC MUSIC BOXES - Fine quality Regina, Polyphon, Symphonion, Kalliope, Komet, Mira, ~Stella, Criterion, Olympia, and other disc music boxes. Automatic changers. Musical clocks. We canuse just about anything and everything!

NICKELODEONS AND ORCHESTRIONS - All models, unrestored, restored, or in any con-

~dition, made by Seeburg, Wurlitzer, Hupfeld, Popper, Weber, Welte, Link, Western Electric, Coinola, ~..Berry-Wood, National, Nelson-Wiggen, and others. Also want Hupfeld Phonoliszt-Violina, Mills •Violano-Virtuoso, Encore Banjo, Wurlitzer Harp, etc. In the past month we've purchased THREElarge collections of nickelodeons and orchestrions - and we want more! The more, the better! One

linstrument or a dozen or a hundred! ~

BAND ORGANS - All types of band organs, fairground organs, etc. by Wurlitzer, Bruder,Gavioli, Limonaire, Mortier, Decap, etc. Large ones, small ones, etc.

REPRODUCING PIANOS - Mason & Hamlin Model B Ampico desperately wanted / in fact, we

~would like to buy a half dozen! Also other fine-quality reproducing grands. ~

OTHER ITEMS - Automata, organettes, calliopes, and other self-playing automatic musicalinstruments from the 1850-1930 era. .

lINSTRUMENTS FOR SALE: Interested in BUYING instruments? Send $3 for our ~large illustrated Catalogue No.8, just released, offering hundreds of items - or send$15 subscri ption for the next six issues.

~ THINKING OF SELLING??? Write or call today. We have the cash. You have the instruments. ~

~Let's get together! ~

AMERICAN INTERNATIONAL GALLERIES, INC.1802 Kettering Street • Irvine, California 92714 • Tel. (714) 754-1777

·l Directors: Bonnie Tekstra/Q. David Bowers/C1aes O. Friberg. Offices in Europe and America. Visit our huge ~ 426,000 square-foot warehouse/showroom. Over 500 instruments for sale: Open Wednesday through Saturday 9 a.m.to 4 p.m. Come early - it's a wonderland of fascinating instruments, clocks, etc. and can't be covered in a short time!

)(~ f)~)()(~",,--~ f)~)()(~",,--~ f)~)()(~",,--~~~f)~)(

Vacuum Cut Out Blocks

Snare and Bass Drums and actions, Tambourines, Triangles,Wood Blocks. Cymbals

COIN OPERATED PIANO BUILDERS

we offer

AMERICAN INTERNATIONALGALLERIES

1802-A Ketlering StreetIrvine, CA. 92714 U.S.A.

Tel. (714) 754-1777

MUSIC boxes! Reproducmg pianos by Ampico, DUO-Art, andWelte l Nickelodeons! Orchestrions! Hundreds of automatlcmusical Instruments for sale at wholesale prices! Send $3 forour fascinating" AIG ReView." You've never seen anothercatalog like It. Satisfaction guaranteed. Or, ~nd $10 for asubscription to the next six Issues.

Nearly 1,000 Instruments are now In stock-the world'slargest Inventory. Complete faCIlities for low cost shippingto you. Our network of buyers in Amenca and In EuropeICtaes Friberg In Copenhagen IS our European director) gives'IOU the best selection at lowest pflces~there are no middle­men or agents to pay.

Our California showroom IS open Wednesday through Satur­day 9 A.M. to noon and 1 to 4 P.M. We are a QUick 15minute drive south of Disneyland, Just a few minutes fromthe nearest freeway. Visit us the next time you are In theLos Al\geles area. A wonderland of automatic musical instru­ments awaits you! In addition you can see fabulous arches­tflons, organs, and pianos in our educational exhibit.

Orcltmstrion Componentsand Supplies

We can supply the seven-pound, 1,008 page, illustrated"EncyclopedIa of Automatic MUSIcal Instruments" for $30postpaId-the standard reference book m the field. Over7.000 copies sold. Satisfaction guaranteed.

Are you an actIve collector, dealer, or museum? Then beingon the AIG mailing list IS a MUST! Directors of AmencanInternational Gallenes are: Bonnie Tekstra, Terry Hathaway,Dave Bowers: Claes O. Friberg. ......NATj

~~ ,,,__ 0,,.....~ '~"'''~ <1"~.~~,,,,;~,/ 0

~fiY--:~'2-'V..?:- -!"'....?Z. "~~;; .~

. -.:::..:-: .;

World's Largest Selection ofAUTOMATIC MUSICAL INSTRUMENTS!

MECHANICAL SYSTEMS INC.LUBBOCK, TEXAS

~~~~"'''I1_1181

TEL. 318_2t4-s.4IG

InstrumentsXylophOnes

GlockenspielsAccordions

Tracker Bar TubingStraight Nipples

Brass ElbowsCoin Boxes

·OA·I027Played by Ralph Addison

SUPPLIES

WlCHITA.,KSSnol

R...eissues

PERCUSSIONS

SEND FOR COMPLETE FREE CATALOG!

".O.1II0X3OOII

SpOOl Framesa,A,a,MVVur. 125.150, 165

AMPICO DUO-ARTHAPPY DAYS ARE HERE AGAIN

*AMP·I027Played by Victor Arden (Ass't.)

HUNGARIAN DANCE No.5 (Brahms)tAMP-I028 tOA·I028Played by Marguerite Volavy Played by Harold Bauer

Wurlitzer Valve Blockslock and Cancel UnitsSolid State AccumulatorsMicro Switch Units

All our spool frames and instruments are newly designed with primeconsideration given to compact size, reliable performance, andreasonable price. Write for our free catalog.

•

POMP AND CIRCUMSTANCE

* SOUNDS OF THE THIRTIES MUSICALS *

THESE FOOLISH THINGS REMIND ME OF YOU*AMP·I030 *DA·I030Played by Robert FarQuhar Played by Robert FarQuhar

P.O_ Box 1094lUbbock. texas 79408

ttOA-I031Played by Edna ~entz

WHO'S AFRAID OF THE BIG BAD WOLFFrom "The Three Little Pigs" (1933)

BROTHER CAN YOU SPARE A DIMEFrom "Americana" (1932)

YOU TURNED THE TABLES ON MEFrom "Sing BabY, Sing" (1936)

IT LOOKS LIKE RAIN IN CHERRYBLOSSOM LANE

Introduced by Guy Lombardo (1937)

Q-216

Q-215

Q·217

Q·218

ttAMP-I031Played by Kmita & Lambert

LlEBESTRAUM. NOCTURNE No, 3 (Chopin)ttAMP-I029 ttDA·I029Played by Leo Ornstein Played by Rudolph Ganz

Q·R·S MUSIC ROllS, Inc.Tel 716 8854600

1026 NIAGARA ST 'BUFFALO, NY 14213

Vacuum Cut Out Blocks

Snare and Bass Drums and actions, Tambourines, Triangles,Wood Blocks. Cymbals

COIN OPERATED PIANO BUILDERS

we offer

AMERICAN INTERNATIONALGALLERIES

1802-A Ketlering StreetIrvine, CA. 92714 U.S.A.

Tel. (714) 754-1777

MUSIC boxes! Reproducmg pianos by Ampico, DUO-Art, andWelte l Nickelodeons! Orchestrions! Hundreds of automatlcmusical Instruments for sale at wholesale prices! Send $3 forour fascinating" AIG ReView." You've never seen anothercatalog like It. Satisfaction guaranteed. Or, ~nd $10 for asubscription to the next six Issues.

Nearly 1,000 Instruments are now In stock-the world'slargest Inventory. Complete faCIlities for low cost shippingto you. Our network of buyers in Amenca and In EuropeICtaes Friberg In Copenhagen IS our European director) gives'IOU the best selection at lowest pflces~there are no middle­men or agents to pay.

Our California showroom IS open Wednesday through Satur­day 9 A.M. to noon and 1 to 4 P.M. We are a QUick 15minute drive south of Disneyland, Just a few minutes fromthe nearest freeway. Visit us the next time you are In theLos Al\geles area. A wonderland of automatic musical instru­ments awaits you! In addition you can see fabulous arches­tflons, organs, and pianos in our educational exhibit.

Orcltmstrion Componentsand Supplies

We can supply the seven-pound, 1,008 page, illustrated"EncyclopedIa of Automatic MUSIcal Instruments" for $30postpaId-the standard reference book m the field. Over7.000 copies sold. Satisfaction guaranteed.

Are you an actIve collector, dealer, or museum? Then beingon the AIG mailing list IS a MUST! Directors of AmencanInternational Gallenes are: Bonnie Tekstra, Terry Hathaway,Dave Bowers: Claes O. Friberg. ......NATj

~~ ,,,__ 0,,.....~ '~"'''~ <1"~.~~,,,,;~,/ 0

~fiY--:~'2-'V..?:- -!"'....?Z. "~~;; .~

. -.:::..:-: .;

World's Largest Selection ofAUTOMATIC MUSICAL INSTRUMENTS!

MECHANICAL SYSTEMS INC.LUBBOCK, TEXAS

~~~~"'''I1_1181

TEL. 318_2t4-s.q,a

InstrumentsXylophOnes

GlockenspielsAccordions

Tracker Bar TubingStraight Nipples

Brass ElbowsCoin Boxes

·OA·I027Played by Ralph Addison

SUPPLIES

WlCHITA.,KSSnol

R...eissues

PERCUSSIONS

SEND FOR COMPLETE FREE CATALOG!

".O.1II0X3OOII

SpOOl Framesa,A,a,MVVur. 125.150, 165

AMPICO DUO-ARTHAPPY DAYS ARE HERE AGAIN

*AMP·I027Played by Victor Arden (Ass't.)

HUNGARIAN DANCE No.5 (Brahms)tAMP-I028 tOA·I028Played by Marguerite Volavy Played by Harold Bauer

Wurlitzer Valve Blockslock and Cancel UnitsSolid State AccumulatorsMicro Switch Units

All our spool frames and instruments are newly designed with primeconsideration given to compact size, reliable performance, andreasonable price. Write for our free catalog.

•

POMP AND CIRCUMSTANCE

* SOUNDS OF THE THIRTIES MUSICALS *

THESE FOOLISH THINGS REMIND ME OF YOU*AMP·I030 *DA·I030Played by Robert FarQuhar Played by Robert FarQuhar

P.O_ Box 1094lUbbock. texas 79408

ttOA-I031Played by Edna ~entz

WHO'S AFRAID OF THE BIG BAD WOLFFrom "The Three Little Pigs" (1933)

BROTHER CAN YOU SPARE A DIMEFrom "Americana" (1932)

YOU TURNED THE TABLES ON MEFrom "Sing BabY, Sing" (1936)

IT LOOKS LIKE RAIN IN CHERRYBLOSSOM LANE

Introduced by Guy Lombardo (1937)

Q-216

Q-215

Q·217

Q·218

ttAMP-I031Played by Kmita & Lambert

LlEBESTRAUM. NOCTURNE No, 3 (Chopin)ttAMP-I029 ttDA·I029Played by Leo Ornstein Played by Rudolph Ganz

Q·R·S MUSIC ROllS, Inc.Tel 716 8854600

1026 NIAGARA ST 'BUFFALO, NY 14213

RAGOLA PIANO & ORGAN CO.

.~

i~

~~ ~ ~

• WOOD ;LUTE PIPES

Manufadurer of Aulomaled Musical Ins!rumenls

2235 'H' Steeel Bok"'f"ld Coif 93301 805.322.5058

Now Larger & Beller Than Lver

• WOOD VIOLIN PIPES

• ROSEWOOD XYLOPHONES

• MOST ORCHESTRIAN PRODUCTS

Super Quald y Producls Wdh Prom pi Delivery

Wrde ForOur All New Calalogue~~~~. m ~ ~ ~ m % m m w ~~~~

AMICA BU'LETIN

Tom BeckettPublisher

AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

6817 Cliffbrook Dailas, Texas 75240

Nonprofi t Org.U.S. POSTAGE

PAlO

Addison, Tx.Permit No. 19

DATED MATERIAL

RETURN POSTAGE GUARANTEED

ADDRESS CORRECTION REQUESTED

RAGOLA PIANO & ORGAN CO.

.~

i~

~~ ~ ~

• WOOD ;LUTE PIPES

Manufadurer of Aulomaled Musical Ins!rumenls

2235 'H' Steeel Bok"'f"ld Coif 93301 805.322.5058

Now Larger & Beller Than Lver

• WOOD VIOLIN PIPES

• ROSEWOOD XYLOPHONES

• MOST ORCHESTRIAN PRODUCTS

Super Quald y Producls Wdh Prom pi Delivery

Wrde ForOur All New Calalogue~~~~. m ~ ~ ~ m % m m w ~~~~

AMICA BU'LETIN

Tom BeckettPublisher

AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

6817 Cliffbrook Dailas, Texas 75240

Nonprofi t Org.U.S. POSTAGE

PAlO

Addison, Tx.Permit No. 19

DATED MATERIAL

RETURN POSTAGE GUARANTEED

ADDRESS CORRECTION REQUESTED