Untitled - Stacks are the Stanford

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 preceding 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: 8q 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, $5.00Camera-readY copy that is oversized or undersized wiffbachanged to correct size at your cost. .Camera-ready copy must reach the pUblisher by the 10th of'the preceeding month.Cash must accompany order. Typesetting or size alterationcharges will be billed separately. Make checks pavable 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 reoserves the right to refuse any ad that is not. in k~ping )/\lith AMICA'sgeneral standards or if complaints are received, indicating ,that saidbusiness does not serve the best interests of the members ofAMICA,according 'to its goats.and by-laws. .

PRESIOENTBob Rosencrans36 Hampden Rd.Upper Derby, PA 19082

VICE PRESIOENTRichard Drewniak191 Capen Blvd.Amherst, NY 14226

SE~RETARYIsadora Koff

.2141 Deodara Dr.Los Altos, CA 94022

'.BULLETINTorn Beckett6817 CliffbrookDallas, TX 75240

MEMBERSKIP SECRE.TARY(New memberships aMmailing problems)

An ita Nickels JohnsonP. O. Box 666 I

Grand June tion, CO ~1501

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

BOAROREPAESENTATIVESN. Cal.: Frank LoobS. Cal.: Dick RiggTexas: Carole BeckettPhil.: Bob TaylorMidwest: Bill EicherSOWNY: Stan AldridgeRky, Mt.: Toni HartNew Jer.: Jeffrey MorganIowa: Alvin Johnson

COMMITTEESTechnical'

M,l Luelletti3449 Maurieia Ave.Santa Clara, CA95051

Honorary MembersAlf. E. Werolin .2230 Oa~dale Rd.Hillsborough, CA 94010

NO. CALIFORNIA IPres.: Howard KoffVice Pres.: Phil McCoy "Sec.: Dick ReutlingerTrees.: Bill WherryReporter: Stuart Hunter

SO. CALIFORNIAPres.: Francis CherneyVice Pres.: Mary LiHenSec.: Greg BehnkeTreas.: Lewis TrofferReporter: Bill Toeppe

TEX,<\SPres.: Heden VandiverVice Pres.: Bill FlyntSec.lTreas.: Charlie JohnsonReporter: Dick Barnes

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

PHILAOELPHIA AREAPres.: Mi1<e NaddeoVice Pres.: John BerrySec.: Dick PriceTrI8s.:Claire LambertReporter: Alten Ford

SOWNV (So. Ontario, West NV)Pres.: Chuck HannenVice Pres.: Jeff DeppSec.: Ml ke WaltarTreas.: Gerry Schmidt IReporter: Jim Brewer '"

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

NEW JERSEYPres.: Peter BrownVice Pres.: Richard DearbornSec.: Jeffrey MorganTreas.: William DeanReporter: Francis J. Mayer

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

AMICA ITEMSFOR SALE

AMICA BUU•.ETINS-, BOUI\IDI8$\JJiS: WH,1972, 1973 - bound sets at $15.00 ,each set.1974. 1975, 1976, 1977 at $18.00 each Sit.PRI(;ES INCLUDE POSTAGE ANDHANDLING. Spiral bound to lay flat. Sendorders to: Mary Lilien, 4260 Olympiad Drive,Los Angeles, CA 90043.

ROLL LEADERS: DUD-ART, Authentic. Fororder sheet. see, the April, 1973 BUlletin. NickJarrett, 3622 - 21st Street, San Francisco, CA94114.

,AMICA TECHNICAl.mES BOOK,S: Volume I0969-1911), $5.50 posti'>eid; VQlumell, {1972·1974l.S1;50 pOstj)ll!d; or order ~tIi,,~ts'f.QfS12.50pOstpaid. Reprints of lntefesilngtechni.cal,ities articles wntchhalte aPPeared in theAMICA Bultetin, aHanged and indexed intoappropri,ate categories, spiral bound to lie flat.Send orders to Howard Koff, 214' DeodaraDrive, Los Altos, CA 94022.

AMICA Stationery, $3.20 (letter size), $1.75(note size), including mailing charges. Fine~JlityrtatiQ1WV v.;th,ornate AMICA borders.Eachpacl<eti::o~t.ins25 letters and matchingenvelopes. Send orders to Robert Lemon, 4560Green Tree Drive, Sacramento, CA 94823.

"They All Laoghed When I Sat Down At ThePiano, Bot When IT Began To Pl-v ..."This sound and cQlor super-S movie, producedby AMICA members, is allliinilvailable fQr loanto AMICA members and chlipters., For moreinformation write to Howard Koff, 2141Deodar. Drive; Los Altos, CA 94022.

Jnfernafional JlJ!{J(8Jl

MAIL BOARD MEETINGDecember 2, 1977

1. Nominating Committee: /The following seven people will serve on theNominating Committee: Bill Eicher, Dick Rigg,Molly Yeckley, Anita Johnson, Evelyn Meeder,Dave Gaudieri, Bill Wherry.

2. Placement of Ads:The following publications were approved forAMICA ads - ATOS, Antique Trader (monthly),Hemings Motor News.

3. Honorary Member:Wilfrid Pelletier has been approved for Hon­orary Membership in AMICA.

NOMINATIONS FOR INTERNATIONALOFFI CERS OF AI~I CA

The nominating committee formed to consider nomina­tions for the full slate (President, Vice President,Secretary, Treasurer, Membership Secretary, andPublisher) of AMICA "International officers formallyrequests all members of AMICA to submit the name(s)of any candidate(s) they would like to see holdingthese posts for the next 2 years (Publisher's termis one year).

The only qualifying clause for elections pertains tothe office of President of AMICA - " any active mem­ber in good standing, serving or having previouslyserved as an officer of a chapter or International,may serve as AMICA President-"

FROM THE PUBLISHERWelcome to the first issue of THE AMICA for 1978. Iam looking forward to another year of thought-pro­voking and educational material to be submitted forpublication. I think last year's donations wereprobably the best for a year ever submitted and Ibelieve I was able to keep production errors to anew low. So, a pat on the back to all concerned!

For those who were with us in 1977 let it be knownthat Alice A., Doris D/A, and Wilhelmina W. willbe temporarily retired from our columns until theyinevitably surface after the upcoming Dayton Conventionthis coming June.

To new chapter officers of the club - congratulationson your election. I trust that all chapter membersremembered to express their appreciation to thosewho served them in 1977.

For our new members to AMICA we trust you will enjoybeing a part of this association for many years tocome. And for your information, we are always seekingnew writers and new material for the Bulletin. Be itan original article or an item donated (or loaned)for reprinting it is welcome. Items requested to bereturned will receive special treatment. If at allpossible, we would prefer to be able to keep them asit helps save on·production time and costs. AMICA isnon-profit and we try to be frugal. None of your of­ficers are paid by the club for their time.

Bulletin Articles: All our major catagories needconstant replenishing. Good Technicalities are mostwanted and we have seen practically nothing in the"Instruments" department of late. This may includea write-up (with photos) of some special instrumentin your own collection or some unusual instrumentyou may have access to.

This month's cover was created from a sheetmusic cover design contributed by George C.Willick.

Please forward your selections to the temporary Nom­inating Committee Chairman, Anita N. Johnson, P.O.Box 666, Grand Junction, CO 81501.

INTERNATIONAL AMICA'78 Convention previewErvin Nyiregyhazi

AMICA FORUMROLLS & MUSICNorthern CaliforniaSouthern CaliforniaTexasPhiladelphiaSOWNYIowaBIOGRAPHICAL SKETCHES

Wilfrid PelletierTECHNICALITIES

13569

101112141517

1920

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Special Committees: In the masthead are listed theTechnical and Honorary Membership Committee chairmen.If you need instant technical help write Mel Luchetti.If you want to ask the membership as a whole you maysubmit your query to the Bull~tin. Mr. Werolin willaccept your reccomendation for possible additions tothe Honorary Membership list. These are generallyearly recording artists (rolls) but may be anyonewho has made significant contribution to the clubfield.

Bulletin article, chapter meeting host, local AMICAproject, or whatever. - find a way to help in '78.You'll enjoy the hobby much more if you're a "DOER."

NEW ~ONORARY MEMBEROF AMICA

AMICA welcomes our newest Honorary Member, WilfridPelletier, to our association. A biographical sketchof Mr. Pelletier appears in another section of thisBulletin.

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Jnfernafional JlcJJ(JeJl

"DISCOVER DAYTON"BY MOLLY YECKLEY

MIDWEST CHAPTER COMMITTEE MEETING - 1978 AMICA CON­VENTION:

Each host chapter hopes it will present the best con­vention we've ever had; not all of us are geograph­ically as blessed as the San Franciscans. (And hereyou thought it was all their hard work that made itso successful!) However, just in case you and yourpipe organ - please substitute whatever it is thatYOU collect, so I won't get accused of showing favor­itism - have been on an island all of your days andhaven't heard of Dayton, Ohio, let me give you awritten tour: A city of gently rolling hills, witha revitalized downtown center, a small, winding rivernamed the Great Miami River (must have been discoveredsome time before the Mississippi!) and the famousWright-Patterson Air Force base that has the AirForce Museum nearby. North of the city is DaytonInternational Airport; south is the famous Bill andJo Eicher home, of which much more later. Farthersouth and to the east is the Waynesville home ofBill and Kay Coverdale, and not far from them is aplace known by the name of "Hasenhimmel." My Germanhas never been better than awful, but I think ittranslates Ii terally as "Rabbit Heaven!"

thing, somebody will be sure to let me know aboutit!

L. to R.: Jim Doheny, Mike Barnhart, and MollyYeckley. "Shall I bring my feather boa?", Mollyjust asked.

We will have guest artists, a roaring twenties night(tentatively!), a roll auction if possible, Stouf­fer's great food - wait 'til you see what they servefor breakfast! - oh, and it's pronounced "Stow-fers"for some reason uknown to me. We will have-a-ban­quet in a barn that has never seen a cow, horse, orload of hay, and you will see a machine shop thatwill drive you up the wall with envy. You will beable to walk among organ pipes, if that's your thing,tha t have a stairway bui! t for that purpose, andbe able to see for miles around at the top of oneof the lovliest high spots in all of Ohio. For any­one who has visited with us in Castalia, I justwant to say that Southern Ohio has beautiful rollinghills and will be very lush and green in June. (Ifthe California drought doesn't decide to move eastfor the summer!)

In response to many requests, we will have a littlefree time, a list of antique shops in the area, and

L. to R.: Jim Prendergast, Bill Eicher, and JimWeisenborne. 4 hours into an 8-hour committee meet­ing.

If all of the above is thrown into'a kettle andcooked up by some AMICA friends, we will have a con­vention the likes of which you have never seen.

Some of the intriguing items on the agenda are: a43 rank Estey player pipe organ, a 9 foot BaldwinSD-lO concert grand, a ~1ason & Hamlin model "B"Ampico, a Welte Licensee (Henry F. Miller) grand,a 9 foot and a 7 foot Steinway for more concerts, adouble M1lls Violano Virtuoso, a Barnhart Orches­trion, an Otero, two Knabe /10del "B" Ampicos, acouple of Steinway Duo-Arts.~. if I've missed any-

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The "Hasenhimmel" barn.

/

Jnternational JlJJrJ(8Jl

the names of each registering guest as they arrivewill be added to a list so that you can check tosee if your friends have arriven.

committee at work again. Location is the bay win­dow of the barn.

Bill Eicher is Convention Chairman and will answerany early requests you may make, but we want all ofyou to get in gear for 22 through 25 June, 1978, andmake plans now to "DO IT IN DAYTON."

And if transportation poses a problem, the brand-new Greyhound Bus Depot is directly across the streetfrom convention headquarters, Stouffer's DaytonPlaza Hotel!

Molly YeckleyPublicity Chairms.

FROM THE MEMBERSHIP SECRETARY

1977 BOUND BULLETINSNOW AVAILABLE

Complete sets of the 1977 AMICA Bulletins are nowavailable for $18.00 postpaid. These sets contairia full year's index at the end of the December issue.Please send your orders to: Mary Lilien, 4260Olympiad Drive, Los Angeles, CA 90043.

1974 - 1976BULLETIN INDEX AVAILABLE

For new members who may be curious as to the contentsof the 1974, 1975, and 1976 Bulletins, a limited num­ber of copies of the comprehensive 1974-76 three-yearindex (6 pages) may be obtained from the publisherfor 50¢ postpaid. Please do not send cash. A checkto AMICA INTERNATIONAL or postage stamps is acceptable.Tom Beckett, 6817 Cliffbrook, Dallas, TX 75240.

WINNIPEG FREE PRESS; FRIBAV, NOVEMBER 18, 1977

'Mo~e compqser Addinsell'dies"LONDON (R~uter} - Brit- 'music for many stage and

Ish composer Richard Ad: television productions.dlnsell, ,best known', for the Some altha other filmsfo"Warsaw. Concerto, ,which, he whl~h he wPOte' mus'lcal

'wrote fOr the film Dangerous scores Include The PrinceMoonH~ht, has dl~~' a.tbls; ,nd,.·. ~hli Showglrl, The,IAndon home, He was 73.. . .1i,omanSjlrlng of Mrs, Stone,. Trained In Berlin and 'l'M:Greengage Summer and"

.Vienna, ,as' well as theltoyal· A T.le of Two p~s, . ' 'Colle~ of Music her,e,'he "wrote songs anll Inclden:tal

Contributed by Terry Smythe.

From the WALL STREET JOURNAL 11-23-77

All of you have received your 1978 renewal forms.The response has been just great and I have receivedhundreds of your checks together with the cards. Forthose of you who have forgotten or mislaid your forms,please find enclosed with this January/February Bul­letin another form card and letter of instructions.There will be no further notice for dues renewal. Itreally is important that you send in the form cardtogether with your check. The card must be filledout with name (s), address, telephone, 'and specificsabout your collection. This information will appearin the 1978 Directory. With over 1000 members toserve, it is impossible for me to look up your col­lection and fill in these cards. These cards wil~ begiven to the printer so make sure they are legible.Also, we hope to use the cards as an informationsource for a computer memory bank in the very nearfuture.

You will receive your 1978 membership cards in theApril BUlletin. Many thanks for your good coopera­tion.

Anita Nickels Johnson

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Superscope Inc.)s 13iJFor Gr~ Piano~':Co.,

Appears'Unsucces~ful-.:---

,B1I is- WAU. S+jtE.tT JOURNAl: S.kJ/J.~.epor~. ..LOS ANGE~RS-Superscope ,Inc,ap\lar­

~jl,tJy falled ~lI:in attempts t'oi,~u:njjanomanufacttiring .!:apabllitJes fo~ Itsne\f'P1an-ocol'der, . ',,' " ,

'. The company:saJd'itend,ed"'acqul;ltlontalks with Grand' Plano Co.• ,Morgii.ritown.N,C, Aspokesman wouldn't comment on thedlscontinued negotiations, ", "

.Superscope earlier termJnated~ talks withAeolian Corp,. a' Memphis piano- Jilaker: ThePianocol'der essentially is an 'eleCtronicpl!1yer piano. $ur>erscope primanly is: amaker and impOrter of stereo high-fidelityequipment.

Contributed byJohn McDonald.

One of· the greats -S.F. EXAMINER * Mon.. Jan. 9.1978

Featuring an Honorary Member of AMICA.Contributed by Bill Knorp.

Pholo by oeOktl GfeenhoY.e

Ervin NylregyhatrWhose artl$try Isolhat-of a 19th Cenlury:masler .

Recluse genius of pianoemerges in San Francisco

Yesterday, !'i'yiregyhazi record·"d Liszt's "Funerailles," "MephistoWaltz NO.2" and "Nuages Gris," Hewill record a sUQstaritial amount oflate Ljszt,~ well as;wk~ks by Grieg,Schumanll, arahms, Chopin, Bizet,Rachm~Qft. Debussy, ScriabinJUldAi-npld Schoenberg.

NYir,egYhazl;~ abiHty might!lave gone: ljnrecog'nlzed, but for a'combination' :'Qr Terry' McNeill'sluck, Benko's persistence I~ finding,the pianist alllt the'philanthropy ofthe;Ford Foundation. As Nyiregy­hazl himself put it

"My love of music IS ulllimited,but. my. interest. now in having aconcert. car~er Js not very great.The ',attendant qifficulties. are tooharsh. If it had been handed to me<>,~ a golde!! lllll;~ter, .1 probablywould have g6fiEt lihead" with it. Iam too·ldeallsti~·to__prevail in thegrubby: .w6i'ld '0{ ~ musical com·merf:,e:':. . .

trance. His unique perSonality ­Benko calls him a "solitiry genius"- forced the. end or;: his pianocareer more than 50 years ago. Hewas unable to cope wit~ what hecalled the "vicissitudes of life."

His Amencan debut, in Carne­gie H,all on Oct. 18, 1920, crllated. a

. sensation, and't~ more· recit;tishad to be added to accommodatethe demand for ticketS. But by 1925he had become reduced to sleeping'on the Times Sqtiare-GraM Central'Station subway shuttle, the victim, .as he' saw it, of managers' ·and ,.circumstances: Nine marria~es fol··l.i>.wedov.erthc:yp:rs, the· first to awoman whQ; promiSed. him food,·clothing. and \ shelt~r" in exchangefor marriage :and 25'l?ercimt of his'earnings, The last;tQ a woman·named Elsie, ended with her deaththree years ago.' He has said heloved Elsie '.'more than I love Liszt."

Liszt,' in .fact, .has been thegreateSlinfluelll:Ei. in. hiS life. At the;iRe of 12,' Nyiregyhazl was intro­duced to Li~zt'sSonata In B Minor,and It cbanged. his life. "It was thedeepest, most profound experienceI ever had," he later recalled. "Ibeea'me III - I got a ·fev·er." Thatfever has never I~t biin.

"He has an ~xtreme emotionalIdentlficatif;>n witli Liszt," said Rich­ard Kapp:"The ~Iscovery of Lisztmeant for' him ..that he was nolalone ·In. the world, that here wasano.t.her human being with thesame enormous elllotional.scope."

"Th~ gra~t d~~n;t change hislife, and it doesn't ,make him rich ..Kapp said. "It alloWS him to live likea h~inan being, and it establishes atrtist fund for hu.n· tbrough therevenues from the records." The

· grant provides living' expenses forNyiregyhazl - he won't accept aperformance fee. The tapes becomethe. property of the IPA, whichmust lurn over to him between 60and ilo per cent of the revenuesfrom the "sale, license 'or .otherdisposition" of the recordings.

pianist Josef Horrriann, was on hisway to an Interview, tape recorderin hand, w~en he chanced upon aNylregyhazi recital at the Old FirstChurch on May 6, 1973. He recordedthe recital on his portable cassettemachine.

Two of the pianist's perform:ances that.. day f.ound their way'onto his only record album, "Nyife­gyhazi Plays Liszt," released lastsummer on' the Desmar label. Alsoon the record are performancesIAiped by Bepko under studio c9ndi·tions in LoS Angeles in Sep{~'niber1974-

. The record ~as created a.furorIn international critical .journalsand newspapers. "After hearingtapes of Nyiregyhazi's perform·ances, Harold C. Schonberg, seniormusic critic of the New York Timesand a leading authority on·Roman­tI.c piano musiC, exclaimed: "I neverdreamed I would hear a true 19thcentury pi~i,st.llving iij tne.2Oth.century." . .

"To say: that his tone is biggerthan .that of any· pianist In m"yexperience cannot convey theemo·tional impact of his .sound alone,"another criticw~, reviewing..therecord. '

. ~Tb1s ,.·is.. the m6$t· in'lporpll}tproject the Internatiol\!ll Piano 'Ar­

. chives has ever ..done," Benko said.:.

. "It may· be one'ofth~ most. iuipor­tant projects in tlie. world of muSicin the last 25 years." Benko, 33, isconsidered one of the foremost'authorities on pianists and plaQlsm;the IPA, h~ said; has 90 percellt ofall the plano reCordings ever made,with ..mQre than 17,OOO.;:tapes,records "and ... piano rolls in iiscollection.

"Ervin Nylregyhazi's. pianoplaying haS the power' to changemen's hearts," Benko said.' "We aremaking niusic.al history here. Wehave the same feeling an archeolt>­gist would have discovering' a livingpharoah."

Secrecy has surrounded .theentire project from its inception~and the reason has to do with theextraordinary nature of the piaiiillthimself..

A genius and musical prOd~;Nyiregyhazi learned to sing before'he could. talk. He was· born ': inBudaPest in 1903; and was pickingout tUnes' on a toy piano two yearslater. At the age of 3 he was foundto have perfect pitch. At 4 he wascomposing and studying the plano.Nyiregyhazi was .the subject of asix-year study, "The Psychology' ofa Musical Prodigy," by Dr. Geza

. Revesz, published in 1924. 'l'hepsychologist noted:

"His personality as a child borea marked resemblance to that ofthe infant MoZart."

But" as so many prodigies do,.NYiregyhazi paid a high price forh.is talent. He, ~~. said to be made:"catatonic" by. the presence' ·ot· .strangers when he Is playing th~piano, and can 'perfortiJ only b1'putting himself. ,into 1I kind 01"

where hie has llved be.:fore, from 'Los Angeles about twoweeks ago. Hellves in'a Tenderloinhotel, whicli. isthe way he is said toprefer It. In agreeing to take part inthe project; he stipulated that hislifestyle not be altered, and hasturned down the use of an apart­ment with a maid and a piano at hisdisposal. He does .not own' a piano,hasn't for many years, and neverpractices.

"You ask about my technicalstudy," heresponded to an inter­viewer in the pageS of MusicalAmerica on Dec. 11. 1920. "I neverdo any and I never did. As forscales, all I ever liad to do was'learnthe. fingering, then the rest waseasy. How do I memorize? I justplay the piece through a couple oftimes, then I know the notes. I donot forget...·

All but forgotten, Nyiregyhaziwas rediscovered by Terry McNeill,the .West Coast representative orthe IPA, in. San Francisco in 1973.McNeill, who is Benko's colleagueIn a projected biography of the

•, 1978.,The san Francisco Examiner

Musical history is belng"pla(jll·in SanFrancis<l.Q., A'~e89Jlct;lry. reclusive· pianist-considered· to be,.&y last )lvlhg e$.Ule~tof· the greaf ftottlantic schqol of pianoplaYI.ng,Is rt¥!ordmg l.n:TheCit~und.e!= t~auspIces ot, the. tl\terl,latloQal Plallj)·.Ar­chives and the Foid'Fotindatidri.

nY.MI£hael Walsh

Ervin' Nylregyhazi, whOWIll'be 75 onJan. f9Hs' Cliilled' "QI1e·6f 'the great~tpianists in' l,iist{)!'Y" '.bY Gregor B~~Qpresident' ·of the InlernatlooaI:Pian,<) ~cchives (lPAl and -Supervisor of tlie r~n:i:.ing sessions.

The prl!jej:t nas been made. possibl~by a $38.000 grant from the Ford Founda­tion, which Is being represented at the.sessions by. Richard P. ~app, a programofficer ·in 'th~ fQundation's 'Office of the:Arts ""viiI> was Instrumental' In' getting th~'grant for Nylregyhazi and the IPA The·grant hils been madtl'to the IPA specifical-

• )y for the 'purpoSes of retording 'Nyiregy-• hazi and providiJ1g tor the pianist's well­

belIlg, and the first' session took place.yesterday afternoon at an undisclosed'locatioIi iii San Ftllnclilco. .

Nyl,regyhat!. JllQv~ to Sllnfranclsco,_

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Jlmica Jorum to. .'~

TB

THE RAMONABY DAVID BURKE

The Ramona piano was designed in 1923 by Albert Imofand was a late addition to their extensive line ofpiartos and orchestrions. This elegant instrumentfeatured piano, mandolin, and a rank of violin pipes.An interesting feature of the Ramona was its 9-per­inch hole spacing on the tracker bar which enablesthe piano to play either specially orchestrated Imofrolls or standard player piano rolls.

since 1975) fall into the description of "automaticmusical instruments", the AMICA Charter shows theclub was formed around the study of~~ oper­ated instruments. As a result, I would be reluctantto make other types of instruments a regular featurebut would accept an occasional we] ]-formulated articleon these other machines if anyone wishes to preparesuch.

SOURCE OF MULTI-TUNE MUSIC ROLL CORESBY ROBERT BAKER

I don't know how many AMICAns are involved in lifeand death struggles with trying to find multi-tunemusic roll cores for their A rolls, G rolls, MSRrolls, etc. However, I've found a local source ofthese spool cores that may be of use. The party is:

\~illiam A. Learc/o Self-Seal Container Co.120 Floral Ave.Murray Hill, NJ 07974

I cannot swear that Mr. Lear has all possible coreI.D.'s in.stock, but he appears to have a good com­mercial selection along with the machines for cut­ting these to the required length.

Bill Lear does NOT actually manufacture the cores.He merely stocks them and cuts them to length for oneof his businesses, which encompasses the spoolingand packaging of large posters for subsequent salethrough discount stores.

I like this serendipity of finding hobby-usable itemsin unlikely places. Maybe somewhere out there some­one is manufacturing Coinola spool frames for auto­matic typewriters ...

At least one model of the Ramona is known to existand it was recently offered by American InternationalGalleries. Should the new owner of the ex-AIG instru­ment read this article, I would be pleased to hearfrom him. Having not seen an actual instrument, itwould be interesting to learn about the technicaldetails of the instrument and possibly do a moredetailed study of this rare machine in the future.

My thanks to the late Albert Imhof for his generosityand enthusiasm in supplying me with data on productsof his firm.

RADIOS &PHONOGRAPHSJohn McDonald writes (as have other AMI CAns in theperiod I have been publisher) that he would I ike tosee attention given to old radios and phonographs infuture Bulletins.

While recognizing that the above mentioned items aswell as music boxes (which have gotten some "press

"BYTE" REPRINT RESPONSEWe read with interest the article reprinted fromByte magazine in your November 1977 issue (Vol. 14,No.9) entitled "Interfacing Pneumatic Player Pianos"by Mr. Helmers.

Since we are obviously the museum referring to inthe lines "after outbidding a mechanical music boxmuseum owner from Maine, I ••• " I must assume hemeans us, since we Here at the same auction.

Shortly after the auction we "discovered" a mint1912 pedal player Steinway 'a' in nearby Bath, Mainewhich is now in the collection and in continuous useduring the summer months. We knew about the pianofor 15 years, but people after hearing our AR alwayssaid "there's a piano like that in Bath." Then, thelady passed away a~ 91 and we purchased the instru­ment.

Of course, there is quite a difference between a

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cIlmica

player-piano and a reproducing piano like the Duo­Art. The article identified the piano in the "Byte"story as being a "Duo-Art." Not so, it's a pedal'0' also.

We invite AMICA members to visit us during our nextSummer Season and hear both instruments, one self­playing and the other operated by yours truly.

Most cordially,L. Douglas HendersonThe Music MuseumWiscasset, Maine

RUDY ERLEBACH INFORMATIONBY DURRELL ARMSTRONG

Concerning the "Address Wanted" request by Al Greco(December '77 issue) I believe this information maybe of interest to Forum readers as I may be amongthe very few "alive" that could now come forth toexplain what did become of Rudy Erlebach.

I received the information, second-hand, that RudyErlebach had died from one of the old-timers thatshould know - Lawrence Cook.

I recall a conversation with Lawrence, when I was alsoemployed at QRS, in 1956. On the subject, he said,"Erlebach was a good arranger; he was a sort of 'sick­ly' person and in poor health most of the time Iknew him, and he finally died in 1939. I continuedusing his name on arrangements."

This information came as a result of my inquiry asto what names used on the QRS label during theThirtie's were pseudonyms. Lawrence told me thatMax Kortlander had actually done a few arrangementsin the early 30's but soon gave up on it and let himdo all the arranging thereafter and just use theKortlander name as another pseudonym. Other realpeople, besides himself, thereafter and to the pres­ent (1956) had been only Rudy Erlebach and FrankMilne, making only occasional contributions on afreelance basis.

Shortly after this statement, another real persondid come along - Harris Adams. Harris left the full­time employ of QRS by his own choice after makingonly six arrangements during the winter of 1957 andwas never heard from again. He would be the sameage as I, 44. Now I have a question for the Forum.Since I hate to think he may have died by such anearly qge - does anyone know whatever happened toHarris Adams?

Since the QRS catalog doesn't show credits, I willlist the four of the six still available that Harris

• Adams made: 9407 "Getti ng to Know You," 9428 "Some-• body Loves Me," 9437 "Harri gan," and 9453 "Love Let­

ters in the Sand."

There never was another arranger, not even a "Guest"

dorum

-------------­arranger, at QRS from 1957 until about 1963 whenDick Watson and Hi Babit replaced Cook as he went towork for Aeolian Music Rolls.

The New York TImes Book Review/October 18, 1877

Last of the GreatMasters

Till: 'WORLD OF E..... IUIlESBy Stanley Dance. 'U~r~ted. 324.pp:New York: ,Charles Scribner's Sons. Cloth, $15.95. Paper, $7.95.

By JAMES BALDWIN

TO,}~I MORRISON" that handSQIJI!,! an~ ,perc,ep, ;

, t,ve 'laQ~\ once req1arlted, that,,' In 'Spite:' ' of 'all tjleott!e'r, 'elemelllt$ which mor~ 1m­medll/otely meet ijle !,!ye, she WllS sti-uok b)" the qUan­tity of "sheer Intelllgence" which went Into the forg­ing of black life in Arne,rlca_lthout which "intem­gence," 'sintply, none of us' would have survived.Slniilarly, while reading Earl "Fatha" Hlries's Vilstand, beautiful doc~ent, I ani ,strock "l)y, th\!, '.heeraener~ty,of the m8lll, arid the people he' lived WltJJ;whOm he 'shares with us. Hines is describing hari~

trials, good times, bad Umes, narrow, ekcapes-buttile book is .never petty or meari and never bit~.

_Such genetosity may also bea'function Of theintelll­gence; It gives life, certainly, heals, and'savell.

In ''The Wor,id,of Eari Hines," Stanley Dance, theBritish jazz critic and author of "The World of DukeEllinBtoo" and' "The World of SWiil1Jg," has compiledEarl Hines's taped reoord of: his: life and music. Itis an oral hlstory-spanning 72 years, from Hines'sbirth in Duquesne, Pa., through his rise to promi­nence as a pianist, singer and bandleader in the1920's, his "rediscovery" in the late 50's, and onto his present acclaim as ",the last of the great mas~tersY Comple~n~lngHines's owrt wor'dsare Dan:Ce'sInterviews with other' Jazz greatswhl) knew andplayed with Hines; Dizzy Gillespie, Teddy Wilson,Budd Johnson and Bllly Eckstine are among thosewho give their impressions of "Fatha,"

. But it is difficult to assess or discuss so loadedand tremendous a record. It is Impossible to do jus­tice to a book in which one meets Kling Oliver, LouisArmstrong, Valaida Snow, puke EIlJington, CountBasie, Benny ,Good,lDan, Dizzy Gillespie,. Nat COle,Sarah Vaughan, Ethel Waters ("she used some lan­guage I won't use here") Ella Fitzgerald' (on openingnights, "a nervous wreck"), Charlie Parker ("It was,too .bad he got mixed up WlLtllthe wrong crowd.He was a ,fine boy and 41here was nothing wrongw1th bini at all when It came to his character. Allthe harm he did he did to himself,") And Jack Teagar­den and Johnny Hodges, and Joe LoUis, and the dap­per Billy Eckstlne tltklng very literally a: Southerncafe owner's warning: "You can't drink It in here,""I'm not going to drink It in here," Mr. E.'replied, andthrew the coffee all over the man.

For there' Is Ute reality of life on the AmeriCanroad, for Earl Hines BInd all ibis' swinging, singtngboys and girls. ("When we traveled by train through

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Jlmica J"rum to. .I r---

Dear Tom:

,"',0-

1

U$l

which appeared in theNews about a GermanChinese paperThat's a round

the..... orIglMlly, buHt ,hr .tt.. lilJ:'fated1'ltanJc-.H was nat dellvtred .-

, .tlrM. It cost .. much, .. six prlv~homes. ' In' addition, he hati·., ,Iant...-matlc lIrtIffcMl ordlbtr. -.ncI •

,CIMma organ by w~ hm thell'lIIt' ~,__cIayS-,-lt prod~ many Mund'..... noise effecb' _Is one of' :theIMItv....aIlI. ext!1b1tS In IM'.-.-J~)' ',' .

LETTERS

November 22, 1977Taipei, Taiwan, ROC

We received a letter from Alf Werolin including anews clipping that we feel is of interest:

Here's an interesting news itempaper over here a few days. ago.musical instrument collector in abeing sent to the United States!about way of getting news to you.

something that we don't. Or perhaps Mr. Hines isjust mistaken. We'd love to know for sure.

We are enjoying our stay and work in Taiwan and havemet some interesting people. Visited with SheldonTilney, an AMICA member, last week. He is a bankexecutive here. So far he hasn't found anyducing piano or rolls here!

'*'.tllH~~Miti.~.~llll~Ki'lI.iR-=.ii_. ,%jK.!lt$~M••'ltJ?-.VOL.'24 NO. 9449'THUR~AY, 'NOVEMBER 17, 19n)lT$4 PER Copy

c . . 1 .

Col~ction pf'·rare·1ftltSical inStruments. Bilden.Ba",", Is wwId f .

fash~b"'" It II the '......of one of ~I countrY. IMIt orIglMImuwvms. Run by Jan Dr..,." 1t COlt­

t~llII, n:teehanlullnltrvlnentS 'from"*'Y. CItltIIrieI, Includlnt the tintpolyphone over built, • .n'tWICaf. boX·belotig'lllI to Queen Victoria .medutnlul pl_ which toKQftrH Adon_. 'ar- _'

. And, It seems to.me, It is becallSe thesemell were·A9j.tll ~Ptebhlng. and knew what they· Were'doing.lbilfthey could~UupO.n 8Uc.1l vast. reserves. ofge","eroslty, besoftee;ofbitterness and evlnce.so little'need to- prove tllel!' manhood, It wotil~ :DOt .aXlpearthat 'they were tOrmented by the q~estlRn of theirmanhq<id. ·They weuld appear to"have)tnown thatthey were men, to haVe be~n raised to know it and tohave i"ejoiced in their ddentity, In, any. case--anotherof tile melancholy ~cts the Republic"overlooks-am,a,n's identtty csm' n~er ~be .thr~t~ed ::by~:~bj\d.and a.JJ'raclsts arec:hildreri: A ~~. IIfe',can: bethreatened' and taken:' aut part of the 'piiceilf beinga man is knowing that•. '

These black and-rln~Pite of the fam~ of some-+solargely unknown ba·rds of, ycsferday and,tO;day ("\hIsmarvel of sodal organization.'"as Ralph ·EJ\fson. putsit) have given' more .to the world tl-uiir'anyone;Cansay; are responsible• .literally, for :generations: They.gave 'our sorrow:and danger back to uS;·tr8.nsfortned.and they helped os . to embrace azid tmllnph. overtt,~.!heY_.&aY,eJlS_~_our_.joyY.-and, -e6wtd~~·

it -too our children. ()u~:ofthe depths of the 'midiiight ,hOUr;·we could.lau.gh. "O"i!n~\ler Ilhows," .saYs the,bemused Fats Waller, "do one?"

Yes. I, too, have said. that I would exchange allthe b.lues to save ·one starving child. .I wa,s wrong,not only because the exchange is not. In my· power.but. beCause this singing: of ..lile Lord's, sorig in sostrange.a 'land has' saved more children than anyohe.will; ever know.anq .the beeinnlng Is: not yet lp.sight.. ' . .

the South, they would send a' po~ back to l>urcar to let lis know when the ddning room was cleared,and then w'e would all go in together. We couldn't'eat when we wanted to. We' had to eat when theywere ready for us.") It certainly demands" somethingextraordinary' in the way of genero91ty to' describelile endless humiliation and the omnipresent dangeras vividly as Hines does, and yet so laconiCally andso without bitterness. The men and women in. thisbook were creating .the only musical \'~~ulary thiscountry has. They'-were creating America'n classicalmusic. There dsn'<t any other; '8IIld the American at·tempts to deny this ha.ve led, among other disasters,to the melancholy rise and fall of the late ElvisPresley, who was so highly paid for. having a black"sound in a white bOdY. UtteT madness; of course.but it does a lot: to :l1Iumlnate the economic situation'Qf black. musicians, who have, .alas, black sounds. ti1 black ,bodies.

Mr. Hines most recently recorded 4 new tunes for QRSin October of 1975. Previously he had recorded forQRS RECORDS in the 20's and h~ vaguely recalls re­cording some rolls at that time too, although we canfind no evidence of it. Maybe someone else knows

Felix Klempka of QRS writes:

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~ofla and cJ!{ua;c

I grew up in an orderly world, or so it seemed to me;a world of gentility, where a proper respect, evenreverence for beauty existed; where nature was re­flected i~ art forms of harmony, porportion, simpli­city that reached into the hearts of all without ef­fort. Here an immediate understanding pervaded thestructure whether in painting, drama, literature ormusic. Today, such a change has come, that we maywell ask "Is this revolution or is it evolution?"or possibly, "will evolution come out of. revolution?"Everywhere, in every department of our llves, wefind rebellion against old forms - A demand for re­lease from all disciplines of the past. I believeevery composer is a messenger from that vast, in­visible storehouse of life and light, who inevitablycomes to take his place in the evolution of art, a~ong

with social and political changes. He reflects hlStimes. Therefore it may well be that in this "ageof Anxiety" (as Bernstein named a composition) thatthey have turned to a kind of anarchy.

Ln-mUS1C, the tones and intervals have, until recent­~ly (since 1900) been ordered sounds, because a human

mind chose to place them in deliberate order, based~ on the well-tempered scale. Random sound or noise., are not in this acoustical agreement, so are not

music. But this second distinction is no longer true.Composers today make deliberate use of rand~m soundand noise. As music centered around the VOlce fromthe 13th century to the 16th, and around stringedinstruments since then, it may be in this electronicage music will center around the computer. We areleaving the "era of harmonics" for the "era of sound."

But revolutionaries are not new. Richard Wagner hadto fashion a new harmonic language for his musicdrama. He suspended ninth chords, used six-fourchords in protracted cadences, and chromatic harmo­nies, which introduced a new type of dissonancethrough continual modulation, until all sense of c~n­

sistant tonality was lost. Such a giant wrote mUS1Cthat singers and musicians all declared they couldnot achieve. But what matter. Wagner knew, in time,there would be those who could acquire the necessarytechnique. He was called a monster, the anti-Christ,corrupter of art. "Tristan and Isolde" was declaredby one critic "Advanced Cat Music." But his spellwas inescapable. Bruckner, Mahler, Richard Strauss,all followed him in his new emancipation.

THE CONTEMPORARY IDIOM IN MODERN MUSIC

BY RUTH BINGAMAN SMITH

Then came a revol t against Wagner's emotionalism inmusic, especially in France. In the discover~es,ofEric Satie and Debussy. Debussy turned to ASlatlcmodes, to the old Greek scales and the whole tonescale to create impressions - which now demanded oflistening ears a patient appraisal, and, like Wagner,caused an uproar.

But in America, another revolutionary was ~t work,purposely unknown - Charles Ives wa: b?rn ln Danbury,Connecticut in 1874, the same year lncldentally, as

Arnold Schoenberg in Vienna. Ives used polyrhythmsand polytonality before Stravinsky and Milhaud, aton­ality before Schoenberg, quarter tones before AloisHaba, and tone clusters before Leo Ornstein and HenryCowell. And long before Aaron Copeland and Roy Har­ris, he established an authentically American iden­tity in music. He had early lessons with his father,a bandmaster who himself had experimented with acous­tics and later Ives took his degree at Yale studyingunder the distinguished Horatio Parker. He establishedhimself in a highly successful insurance business inNew York City where he was also the organist in aPresbyterian church. He experimented for himselfalone and was not discovered until after Schoenberg,Satie and Stravinsky had launched their dissonanceupon a startled world. Charles Ives' father once hadhis son sing "Swanee River" in one key while he ac­companied him on the piano in another key. "Son" hesaid, "you see, you've got to stretch your ears."And we must take this advice to ourselves. AnnieBesant once said in a lecture in London that a prophetwho told the world what it already knew, in morebeautiful language than it was accustomed to, wascrowned with laurels while the prophet who told theworld what it did not know was stoned. Keeping ouralarm clock of poetical judgement set for A.D. 1869gives us doubtful qualification to appraise music orpoetry of 1969. Ives explained " ••• found I could notgo on using familiar chords, so I found somethingelse." His music contains microtones, incompatiblerhythms and noise. He one wrote to his publisher,"Please don't try to make things nice. All the wrongnotes are right."

Arnold Schoenberg, after lingering in the Wagner campin early youth, broke with tradition to found a newmethod of freeing music from the disciplines of thediatonic scale and counterpoint with his tone row orseries, composed of one scale - that of the twelvechromatic tones in one octave, called the Duodecible.Out of these twelve tones, a composer may select histone row and develop it constantly forward, backwardor in retrograde, both horizontally (that is inchords) or vertically (as melody). His early thirdstring quintette using the tone row was cold, ugly,and mathematical and was received with boos and bit­ter criticism. He kept on in determination knowinghe was a pioneer and two of his most famous pupils,Alban Berg and Anton Von Webern eagerly embraced hissystem as well as many contemporaries - Stravinsky,Ernst Krenek, Bartok and many others. Schoenbergblazed a trail that still flames with disorderlyforms and sounds. His "Transfigured Night" or histone poem, "Pelleas and Melisande" today cause nosurprise or offense. Our ears are stretching!

John Cage, a disciple of Schoenberg, is concernedwith sounds and silences in composition. His credo(and I quote) "I believe that the use of noise tomake music will continue and increase until we reacha music produced through the aid of electrical in­struments. If this word 'Music' is sacred and reservedfor 18th and 19th century in~truments, we can sub­stitute a more meaningful term - organization ofsound. Whereas in the past Ithe point of disagreementhas been between dissonance :and consonance, it will

- g - I

aolls and JEusic

be, in the immediate future, between noise and so­called musical sounds. The present methods which em­ploy harmony, will be inadequate for the composer,faced with the entire field of sound. We want tocapture and control sound not as sound effects, butas musical instruments."

The fact remains, the noise of the world has invadedour concert halls. Even the composer as a humanbeing is eliminated. In 1956 two experimenting com­posers at the University of Illinois fed various typesof data on rhythm melody, harmony and orchestrationinto a computer and out carne a suite they call "IliacSuite" for string quartette. Hindemith once said"Composing for the sake of composing is out. Everycomposition ought to have a definite reason beforebeing brought to birth." How different from Tschai­kowski who said, "I must compose every day whetheranything comes of it or not. I must keep my muse onmy shoulder." Poor inspiration - how lost you seemtoday!

Just as Walt Whitman insisted that everything in theworld is pure, holy, and beautiful, regardless ofappearances, so John Cage declares music must nolonger be a department of life set aside, but embraceall noise, all dissonances, all rhythms and modes ofmusic in the world, including the Asiatic; until wesee it too as a part of ourselves - a universal con­cept grand and beautiful.

For myself, I believe, in spite of its exasperatingdissonance, this is "reaching for the moon" music.We are going out into space and that evokes awe, won­der and expansive thought - a new cosmic conscious­ness, our diatonic scale is too limited for this.We must have tremendous forms, forceful sounds andtherefore wider horizons. Gustav Holst uses the newmodes in his orchestral suite "The Planets," whichproduces the exact weird awsome feeling of the un­known. And the harsh, shocking sounds of the "Sprechs­tirnme" (wailing, speaking voice) and the fierce or­chestration in Alban Berg's tragic opera "Wozzeck"seem so exactly right that is has become a popularwork.

#1151 is played by J. Russel Robinson, and I meanplayed. This writer has mentioned before that Mr.Robinson's playing style is very elaborate and wellpolished. This roll is another fine example of hisgreat talent. Careful examination of his rolls willshow one that Mr. Robinson is playing almost all thenotes and keys you seeand hear. Be assured, he useshis hands to the fullest.

"Mr. Radio Man" - This foxtrot is written by Schus­ter and White and copyrighted by Leo Feist Co. Theroll is U.S. #41847 and is played by Horace Prell.This roll holds a special place for those who likethe nostalgic mix of radio meets the player piano.Although this is true, the song itself must berecognized as a "tear jerker" type with words 1 ike:"Mr. Radio man, tell my mammy to come back home"that are sung by a 1ittle boy whose mother has pas­sed away. The playing style is very good with ma­rimba arrangement here and there. A very nice roll.

"I'll Say She Does" - A very interesting foxtrotwith words and music by DeSylva; Kahn, & Jolson.The roll is Imperial #9764 and is played by CharleyStraight and Burt Frankl in. This roll is the bestarrangement of the song on a roll that the writerhas ever heard. Very good syncopation by both pian­ists. The song is from the show "Sinbad" whichfeatured Al Jolson.

"The Sorcerer's Apprentice" - This roll is QRS #XP163, a story roll played by Rudy Martin. The musicis by Dukas and translation of the story by JosephAuslander. It is with a strong bel ief that thewriter says that this roll could not have been madebetter at any time during roll making history thanthan the way it was made by Mr. Martin. The roll isarranged like an orchestra and is very exciting towatch and 1isten to. For those who 1ike the "Wi 11 iamTell Overture," this roll will be found in a classby itself. This is the one piano roll made withinthe last ten years that the writer knows was maderight. My thanks to Mr. Martin for a great contri­bution to the piano roll world.

This era may be the birth pangs of a new experiencein the evolution of music. Nothing stands still.It is either progress or retrogression. If it isnot progress, but man-made egotism, defying beauty,we can rest in the assurance that the inevitable pen­dulum of music history will swing back to the art ofsimplicity in which human emotion finds rest and sol­ace in the lines of a beautiful melody.

PIANO ROLL REVIEW

=

ex. f8alilornia= '=

AN EVENING AT PORTCULLIS HOUSEBY STU HUNTER

BY DAN TUTTLE

88-Note Ro 11 s

"Chili Bean" - A fast rolling one-step with musicby Albert von Tilzer and words by Lew Brown. Copy­right by Broadway Music Corp. in 1920, this QRS roll

On the Saturday ev~ning of November 5th, Jarod Clarkhosted the Founding Chapter's monthly meeting in hisspectacular S~n Francisco horne, Portcullis House.Located in thr warehouse district, it is, in fact, arenovated warehouse. The exterior gives little clueto what's inside.

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eali[ornia eali[ornia

Jarod Clark at the Knabe.

BY BILL TOEPPE

,,.

ealilorniarS.

SO. CAL. CHRISTMAS PARTY

The AMICA Southern California Chapter held its annualChristmas party at th~ home of Dick and Millie Riggin La Habra on the evening of Saturday, 3 December1977 .

A highlight of the eveni'ng was live entertainment bythe Coade quartet consisting of Caro1yne (11), andNancy (B),vio1ins; Sarah (11), cello; and Susie, piano.Selections included classical and Christmas music.

In addition to the live entertainment, members alsoenjoyed music from a Marshall &Wendell Ampico A, aMills Vio1ano, and several music boxes.

The combination of interesting entertainment andwarm hospitality helped to make this meeting an es­pecially enjoyable one.

Sam Thompson who showed some interesting movies fromhis large collection. Young Edward Goldfarb, age11, also played for us on the Knabe and host JarodClark and guest Jerry Miller played some pian%rganduets.

Host Jarod Clark greets guests.

Guest Jerry Miller at the organ.

Amidst this splendor we were entertained by Amican

On the lower floor there is a gymnasium complete withred carpeting, mirrored walls and chrome plated equip­ment. A smaller room off the gymnasium houses aFranklin/Ampico upright with plenty of floor spacefor dancing. Space does not permit a more detailedroom by room description of Jarod's home, but it is,to say the least, spectacular.

From the main entry hall and adjoining reception roomone enters the large ballroom. On a raised platfromwith a background of mirrors is Jarod's seven foot

~ Knabe/ Ampico grand and off to one side is a theatre• organ console.

8. J'ezas

Another highlight of the evening was the annual giftexchange. Dick Rigg acted as Santa Claus.

4

The organ in the Den is about complete now and wasplaying via its Duo-Art Concertola. The instrumentconsists of 18 ranks of pipes plus harp, chimes,xylophone, and piano and is set up to conform closelyto the original Aeolian installations and performsmagnificently. The IO-roll Concertola, which isgreat fun to watch, operates very smoothly and quiet­ly and doesn't do those things that these mechanisms

Everything was superbly organized and the layout ofthe house contributed to an easy flow of guests fromone area to another with no bottlenecking in evidence.Many wonderful hot and cold hors d'ouevres were of­fered to our delight as well as copious quantitiesof red and white wine chilled to the exact proper tem­perature. Wondering how enough wine for the assem­bled 6S ~~rCAns and guests could be kept at theright temperature all at once, I asked our host Tomand he pointed out the window at the swimming poolwhich just happened that day to be the right cold­ness and there stood the wine bottles side by sidein the water like soldiers!

Carole specially hand decorated this dress for theoccasion.

TEXAS AMICA CHRISTMAS PARTYBY DICK BARNES

Over the river and through the woods to the Beckett'shouse we went. At least I went over one river andthrough a copule of wooded areas due to having takena short cut and gett'ing lost. After backtracking abit r arrived at the Beckett home to find it beau­tifully decorated, softly lit, and glowing withTexas hospitality.

PresidentVice-PresidentTreasurerSecretaryReporterBoard Representative

Outgoing president Prentiss Knowlton hands charterover to incoming president Francis Cherney. Otherofficers for 1978 are (1 to r) Bill Toeppe (Reporter),Mary Li1ien (Vice-President), Greg Behnke (Secretary).Lew Troffer (Treasurer) was not present.

Officers for the new year are:Franci s CherneyMary Li 1i enLewis TrofferGreg BehnkeBi 11 ToeppeDick Rigg

Coade quartette entertains at Christmas party. L.to R.: Nancy (violin), Sarah (cello), Caro1yne(violin), and Susie (at piano hidden behind Carolyne).

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Round #1 in the buffet line - Hors D'Ouvres.

usually do like mistrack and rip rolls. Like repro­ducing piano rolls, the organ rolls also reproduceand automatically change stops, shift from one manualto another and open and close swell shutters. Alsolike piano rolls, some rolls are better than othersand the better ones are breath taking in their sub­tlety and musical expression.

Noble and Rose Stidham watch Dick Barnes at theorgan. Noble (" Buc") provided many of these photos.

The music boxes in the Beckett collection range fromtall floor standing disc boxes to tiny contemporarycylinder machines that play softly but exquisitely.I must throw a bit of spotlight on their IS~' Regina.It is what appears to be an ordinary double combtable model and in fact is just that. But as soonas the disc starts to turn you realize that this box

~ is a cut above most others of this type and size., The volume of sound it produces is incredible and

the glittering treble and full bass that you canfeel in the floor through your feet would make youthink you were listening to a console Mira or Empress.

It rna I or may not be that Regina was Queen of musicboxesias the old ads used to say, but there is nodoubt that this particular one may well be.

The Ampico in the living room, a 6'6" Chickering ina very beautiful walnut Italian Renaissance casewas continually surrounded by admiring listenersand lookers. And it is a sight to behold. The ex­quisitely done carving features figures playingvarious musical instruments and faces of personagesprominent in the arts as well as all manner of inter­twining leaves and classical ornamental motifs.

Outgoing president Tony and Myriam Plamer at theChickering.

A short business meeting was held which includedelection of officers for 1978 and outgoing presidentTony Palmer passed authority on to Haden Vandiver, .the new president. Other officers elected were BillFlynt - Vice President, Charlie Johnson - Secretary/Treasurer, Dick Barnes - Bulletin Reporter, and CaroleBeckett - chapter Board Representative. Out-of-townmembers and guests were introduced,including Mrs.Scionti who was married to the late Silvio Sciontiof Ampico fame.

Dinner followed, or perhaps I should say the banquetfor it surely was that. Highlighted with Crab Quicheand Turkey Crepes and wonderful desserts includinghomemade pumpkin pie, it could have been catered bythe Fairmont but was prepared and served entirely byTom and Carole, co-hosts Wade and Beckey Newton andJanet and Richard Tonnesen. At the request of hostTom, this reporter presided at the organ consoleand provided traditional holiday music during dinner.I got lost a few times here also including one mem­orable moment when I put the chimes on accidentallyand played full chords during an interlude that wasintended to be soft ~nd etherial. (This is whatautomatic organ players usually do - not human ones!)

AMICA Christmas parties are somewhat like our con-

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cre.ras

ventions in that one cannot be compared with another.Each has its outstanding qualities. But I think allwho were there will agree that this particular partywas. in every way perfect and memorable and our hostsand co-hosts deserve resounding applause for givingus a beautiful evening!

Virginia and Elizabeth Klein.

New AMICA-Texas officers for 1978. L. to r.: CharlieJohnson, Haden Vandiver, Bill Flynt and Dick Barnes.not pictured is Board Rep. Carole Beckett.

&'RiladejpRia

PHILADELPHIA CHAPTER MEETSIN NARBERTH

BY DICK PRICE

The Christmas party of the Philadelphia Chapter washeld this year in the fascinating home of Jesse andBarbara Macartney. I must admit that I felt likeHansel &Gretel upon entering the witch's house - somany and varied were the goodies. I didn't know whichto sample next. The best thing about it was therewere no witches - only lots of goodies to sample.And believe me, the four dozen or so members didtheir share.

No.1. Some of the organ pipes.

Beginning with Jesse's Skinner Aeolian Duo-Art Con­cert Organ - as of this writing, 10 of the 36 rankshave been restored to playing order. And play theydid, appropriately enough, beginning with the Nut­cracker Suite - what else at Christmas time? Youcan see in picture 1 (Jesse on the right) some ofthe pipes which were set in concrete below the cellarfloor's original level.

The console sits in the living room, as yet unat­tached, but looking as though it will soon playasit did when new. By the way, Skinner built thisabout the same year - 1929 - as the four manual in­strument in Brown Memorial Presbyterian Church inBaltimore, MD. Knowing about both should shed lighton each - one of the joys of belonging to ~1ICA!

Upstairs, for those-who could tear themselves awayfrom watching the organ mechanism perform, the chap-ter members were feasting on all sorts of goodies ~

plus a Macartney punch which would have caused a ,.moonshiner to blush (second picture).

Meanwhile, the traditional Christmas packages were

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OBiladelpBia

being opened in the living room. You can see JeffKaiser opening his which was (surprise!') a QRS roll(third picture).

No.2. Members enjoy the repast.

No.3. Gift exchange time.

And on the sunporch with the Knabe Ampico B, SteinwayDuo-Art upright, and nickelodeon we find Paul Welshseated at the Knabe, new member Howard Wood on theleft, ex-president Donald Wood cutting up (sly fox),and other ex-president Larry Cornell at far richt inpicture four.

As you can see from the grins of serendipitous blissbrought on by the punch and good music and fellow­ship, we all had a good time.

~ As for our next meetings, on Sunday 15 January therewill be an organizational meeting for the summerA~ICA 1979 Convention to be held in the Philadelphia

area. Then we meet at the home of Dr. Lenwood Wertthe afternoon of Sunday 19 February at 221 N. Lans­downe Ave., Lansdowne, Pennsylvania 19050. Our Sun­day 16 April meeting ~i11 be in my apartment at 106 W.University Parkway, Baltimore, Maryland 21210. Myprogram is tentatively to be "What made 81l-note rollspopular?" In other words, what effects, musical orotherwise, were used to liven up non-reproducingrolls? Our June meeting will be early in order tomake time for the Dayton, Ohio convention. On thatmore details will appear later.

No.4. Members gather around the Knabe.

SCHMIDTS HOST SOWNYBY JIM BREWER

Saturday October 22 found SOWNY Chapter membp.rs atGerry and Anne Schmidt's nome in Cheektowaga. Themain business of the day was the nomination of newofficers for the upcoming election. Getting thebusiness part of the meeting over with, Gerry gave'an in-depth demonstration of his fine phonographcollection. There is so much more to this side ofcollecting than just knowing the difference betweena "flat disc" and around cylinder record.

The first machine to be demonstrated was a Columbia"Q" Graphophone.. This was a rather inexpensive ma­chine for its day and the $7.50 price tag was still

- 15 -

Host Gerry Schmidt.

affixed to the bottom rif the caseworks. "It playedwith a great vOlume and tone quality for a machine ofits size. The more "common" 78 RPM type disc wasplayed on a Columbia "Climax" internal horn machine.An Edison Diamond Disc machine showed members howfar ahead Edison was in his day, using a jeweled sty-\lus to correspond to the "hill & dale" groove on thevery thick Edison disc records. Even today these \records are remarkable for their lack of surfacenoise and distortion.

Carol Hannen gets an earful from the early Edison"Suitcase" Home Phonograph - 1898.

Off in the corner an Edison Fireside Phonograph bel­ted out the hits of the Teen's and Twenty's recordedon the famous Blue Amberol cylinders. Buried underall these phonographs, horns, and records was a F.C.Mayer upright player. We did rush the Christmas sea­son a bit by running through all Gerry's Christmas

rolls! While Gerry was glvlng his talk, Anne set upthe refres hment table jus t packed wi th "munchi es, "beer, and Carol Hannen's famous punch. Turning onthe Wurlitzer juke box with all the top hits of the50's and 60's, we got the pool table uncovered andthe fun really started. Mary Lou Mattioli showedus how to playa wicked game of pool!

Mike Walter, Gerry Schmidt (in background) and RamsiTick at the Wurlitzer juke box.

SOWNY NOVEMBER MEETINGBY JIM BREWER

Mrs. Victoria DiBello was our hostess for the Novem­ber meeting of S.O.W.N.Y. Her lovely home in Eggerts­ville is truly a del ight. Mr~ DiBello and her latehusband did quite a bit of designing of this home,and it has to be one of the most functional ~ayouts

Mrs. DiBello and Carl Guhlow.

- 16 -

Jo~a -

I've ever seen. You could fit my whole apartmentin her kitchen alone!!! CHRISTMAS IN IOWA

The 5'2" George Steck Duo-Art was performing beau­tifully. It has the most unusual greenish tintfinish which blended perfectly with the orientaldecor. We were told this was the original finishthat was on the piano when it was purchased by theDiBellos in 1936.

Dave Gaudieri then got out the projector and throughthe magic of celluloid we were transported back tothe San Francisco convention. It was good to seeold friends "and acquaintances. We all agreed, whenyou can't call in person, Dave's movies are the nextbest thing to being there!

BY DICK PARKER

It was Friday, December 9th in Iowa. The outsidetemperature varied from zero to 20 below and thewinds whipped 12 inches of snow at speeds up to 40mph into roadblocking drifts of 4 and 5 feet deep.Wind chill factors were in the minus 50's. There wasjust NO way there was going to be a Sunday meetingof the Iowa Chapter of AMICA as scheduled. SecretaryAlvin Johnson, marooned in his farm home, received aphone call from AMICA International President BobRosencrans who was planning to fly in for that meet­ing and their logical decision was to postpone Bob'svisit until a later date. It was that, or hold themeeting at the airport - without AI.

But, Midwesterners are the stuff from which thepioneers were cast. On Sunday afternoon, with thesun out and the temperatures back into the teen~, 19members and members-to-be showed up in Oskaloosa forour fourth and final meeting for 1977, ready to cele­brate, what was, very obviously, the Christmas season.A majority of the members came distances of from 30"to 200 miles and Ron Olsen came all the way fromMinneapolis, over 300 miles.

\Chuck HannenJeffery DeppMike Wa 1te rsGerry Schmidt

election of a new slate ofbusiness was theElected were:

PresidentVice Pr.esidentSecretaryTreasurer

A sit-down dinner was prepared and the Duo-Art wasloaded up with "dinner music." The food, company,and atmosphere would get a four-star rating in mybook any day. After dinner, Jeff Depp performedChopin's "Nocture in G." If I hadn't seen it withmy own eyes I would have sworn it was one of OssipGabrilowitsch's rolls.

The mainofficers.

Al I too soon the evening passed, and it was time toleave.

"-land of the freezing, and afternoon home of thebrave."

John and Sandra Parker were hosts for this event intheir large two story, antique packed home. Thereare so many authentic antiques in that house that iftheir respective ages were laid end to end they wouldprobably reach back to the Cro-magnon area at least.All were well inspected on Sunday.

Meanwhile, the musical end of the entertainment wasbeing suppl ied by the res tored 5' 6" Ell ington (Bald­win) Welte and two Cable Euphonas; one a regularpumper and the other a partially restored Recordoreproducer. Along the remaining wall of the musicroom stands an old parlor grand. The combined weightof all these pianos makes ,the "No Dancing" rule a

- 17 -

:

must.

Trying to get a business meeting underway is alwaysa chore but when your chapter secretary discoversanother machine that takes nickels, but doesn'tnecessarily play music, it's almost impossible.This machine, unmentionable in Iowa, un rare occa­sions gives back a few of your nickels and is arm,rather than foot powered. Being so rare in Iowa, itdoes tend to become the highlight of any collection.

A business meeting was finally held, however, cul­minating in the election of Dale Snyder as new Pres­ident, Stan Peters as new Vice-President, Alvin John­son again as Secretary/Treasurer and your's trulycontinuing as reporter. Dues for 1978 were collectedand t\~O guests given application blanks for AMICA.It was decided that at our first meetjng of 1978 allpossible club projects are to be presented and oneor more decided upon, whether a rebu~lding projector a search into the history of any iocal piano art­ists, factories, etc.

From here on the talk degenerated into a discussionof the favorite uncouth methods of player rebuildingsuch as the anonymous non-member who removed thepneumatic cloth from his strikers by soaking them inthe bathtub. Somewhere along the line the problem ofremoving the pin block from an upright piano was men­tioned and the suggestion was made to soak IT in thebathtub.

L. to R.: Lee Zimmerline, Ron Olsen, Dan Crawfordand John Parker watch Stan Peters revive the Phoenix.

lieve from something only slightly larger than abreadbox. Our next meeting is to be held in Santa'sworkshop. BE THERE!

Once again piano music began to filter in from themusic room. First a little Welte, then a littleRecordo and finally little Alvin seated at the pumperquite engrossed in the word roll he was playing. Itwas a pretty tune - and quite long; and Al didn'tnotice that the rest of the guests were in the hall­way getting their coats on as he finished up thevery last foot of "Tales of Peter Rabbit." Hope hegets a copy for Xmas.

" - and Peter Rabbit lived happily ever after."

Some of those members who had not been at my houseduring the original meeting last April stopped by ontheir way home to playa few Duo-Art rolls on theAeolian and we ended up talking until late in theevening despite most of them having long drives aheadof them.

Apologies to Ron Olsen who we lost somewhere in traf­fic on the trip across town, but he was lucky enoughto ask the right people where I live and showed uponly 20 minutes later.

One haunting vision still remains. It is one of awife, standing in the cold outside of a closed DesMoines shopping mall while her husband, sixty milesaway with only IS minutes left until he is to meether, has to play "just one more Duo-Art roll"! NowTHERE is an AMICAN!

t

Tentative 1978 meeting schedule:Further degeneration was prevented by the aroma ofhot coffee and tea and a dozen kinds of Christmasbreads and cookies being served - and by the arrivalof Santa Claus in the disguise of Stan Peters. Stanhad found a collection of old advertising cards forthe M. Schultz Co. and presented one to each of themembers present. Of course, at each meeting Stanbrings his big bag of toys along and this time itcontained a 24 note Phoenix Organette that uses 18inch zinc annular discs, with tone you wouldn't be-

Feb. 12Apr. 2~lay 28Aug. 13

- 18 -

Stan Peters - Monticello, IA.To be announced.Alvin Johnson - Farmersburg,Martin Hubbard &Bob Shimp -

IA.Elkader, IA.

dJioorapRicaf ~llefcRes

Introducing the newest Honorary Member of AMICA;

WILFRID PELLETIERBY EMMETT M. FORD

Wilfrid Pelletier, pianist, conductor of opera andsymphony, piano roll and phonograph recording artist,was born in Montreal, Canada, June 20, 1896. At anearly age he showed an aptitude for music and studiedpiano with his father. The timpani fascinated theboy and his parents, realizing he was destined fora musi~al career, launched him in studies of compo­sition and harmony. His capacity for work equalledhis musical gifts and at the age of seventeen he wasengaged as assistant conductor of the Montreal OperaCompany.

In 1914 he won the Province of Quebec Prix d'EuropeScholarship enabl ing him to go to Paris where pianostudy was with the famous pianist and teacher, IsidorPhillip; composition with the famous organist, Widor;harmony with Marcel Rosseau, and opera tradition andrepertoire with Camille Bellaigue.

Returning to the U.S. in 1917, he became a coach atthe Metropol itan Opera. His first rehearsal wasSaint-Saens' opera "Samson et Delilah." The cast in­cluded Caruso, Matzenauer and Whitehil I. He continuedat the Met proving a conscientious worker in prepar­ing the operas for the principal conductors. LaterMr. Pelletier became assistant conductor of the Metro­politan Opera for the French and Ital ian repertoireand in 1931 was appointed the principal conductor.During the years with the Met he conducted German,Russian, French and Ital ian repertoire, both classicand modern and also prepared and conducted a numberof American works. During his long stay with theMet he coached famous singers, such as Caruso, Bori,

Gigli, Farrar, Lily Pons, Grace Moore and Rose Bamp­ton in many of their famous roles.

Later he toured the country as conductor for theScotti Opera Company and conducted the Ravina Operafor nine years. Mr. Pelletier conducted the ChicagoOrchestra for the premiere of Deems Taylor's opera,"Peter Ibbetson."

InCh icago in 1925 he marr ied the singer Quenna tla riobut the marriage ended in a divorce in 1936. A yearlater he married the soprano, Rose Bampton.

In 1935 he made his debut in radio in the SimmonsHour, the Firestone Program and conducted an orches­tra in a weekly NBC radio program in the Packard con­certs which starred the famous American baritone,Lawrence Mr. Pelletier coached Mr. Tibbetfor his role in the opera, "Faust." He served asMusical Director and Conductor of the Met Auditionsof the Air from 1933 to 1936. In 1933 he conductedthe NBC Orchestra for the National Opera Concertsstarring famous singers of the operatic stage and healso conducted tabloid versions of famous opera broad­casts from the NBC studios.

Beginning in 1935 his activities were between NewYork City and Montreal where in the latter he found­ed and conducted the Orchestra Symphonique. In 1938he conducted the opera sequences featuring KirstenFlagstad in the motion picture, "Big Broadcast of1938."

In 1942 he became director of the Quebec Conservatoryof Music and Dramatic Arts. The Canadian governmenthonored him with the order of St. Mich?el and St.George.* He also founded the Bach Festivals of Mon­treal, making a tour of South Africa.

His conductorship of the San Francisco Opera Companybegan in 1947 and one performance was the opera"Emperor Jones" with Lawrence Tibbett singing thetitle role. This was the west coast premiere of theopera. His term as conductor with the San FranciscoOpera was for ten years and he was also conductorwith the Los Angeles Symphony Orchestra.

From 1954 to 1957 the Children's Concerts were given bythe New York Philharmonic Orchestra conducted by Mr.Pelletier. The organization of the Children's Con­certs in Montreal gave him the title of Musical God­father of the Children of Canada. Of all the Metro­pol itan Opera conductors, Mr. Pelletier has the long­est session from 1917 to 1950.

Mr. Pelletier's piano rolls are potpourris of operasand ballets in partnership with pianist Arthur Loes­ser. The solo piano rolls are his playing of hisarrangements of operas.

Some outstanding phonograph recordings are his accom­paniment to soprano Maria Jeritza and his wife, RoseBampton - the latter recorded on a 78 rpm Victor(10-118) of Carpenter's "The Sleep That Fl its onBaby's Eyes," and Hageman's "Do Not Go, My Love."

"'Eng Iand.

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JJioorapRical dltefcRes

He also recorded an abridged version of Verdi 's"0tello" 'wi th members of the MetropOJleiptasonno.pera,~which were Tibbett, Martinelli, and

Mr. Pelletier has been awarded many honors which are,OM at the University of Montreal, University Laval, t \University of Alberta, New York College of Music, and ,the University of Ottawa; a Doctor of Letters'at Hobartand Will iam Smith Col leges, the Legion of Honor of

France, Companion Christian Dentlendes (Denmark), andCompanion of the Order of Canada.

(My thanks to Mr. Pelletier for reading and approvingthis sketch; Mr. Arthur Kaplan, Pub! ic RelationsDepartment - San Francisco Opera; Mrs. John DeWittPeltz, archivist of the Metropol itan Opera, and theNational Broadcasting Company for their cooperationin sending me important information. E.M.F.)

4'ecRnicalifies

SCIENTIFIC PITCH RAISINGBy

DR. ALBERT E. SANDERSONSecretary, Boston Chapter, PTG

Reprinted from the June 1977 Piano TechniciansJournal by permission. Contributed by Bill Flynt.

I

notes come out to within five centsof the correct pitch-close enough sothat the final tuning will come outright on the button.

With this method, the notes aretuned in order from the bottom to thetop, and all strings of each note. Thisis not only the fastest sequence, butturns out to be the one for which thebounce back can be predicted mostaccurately. This can be seen if weconsider that situation as we pitchraise middle C, for instance. All thenotes below it have already beentuned, and none of those above. Itappears that half the interaction ef­fects have already taken place--thatwe only have to predict half the totalpitch drop, This would be good, butthe true situation is even better sincethe notes below a given note accountfor sixty percent or more of the totaldrop. The tuner only has to predictthe remaining forty percent or less.This can obviously be done with lesserror than predicting one hundred per­cent of the drop, which is necessarywhen the tuner starts in the middleof the piano and works outward.

Now, the method. All the tuner hasto remember to raise pitch by thismethod are three "overshoot factors,"namely 1/5, 1/3 and 1/4. These arethe amounts that he must raise pitch

the pi tch of that note of course rises,The additional tension increases thecompressional forces on the piano, andso it compresses slightly, which lowersthe tension of the other strings. Sothe side effect of increasing the pitchof one note is to lower the pitch ofthe other notes. Although it can beshown by measurement that all notesare affected by changing the pitch ofany single note, as a practical matteronly those notes within about one oc­tave of the one being changed are seri­ously affected. But this is more thanenough to make pitch raising a frus­trating guessing game for the tuner.He tries to outguess the piano as tohow much it intends to bounce backfrom the necessary amount of pitchraising, so that he can do it all in onetuning. Usually the piano wins theguessing game, and three or four tun­ings are required to get the piano upto pitch and fine tuned.

Pitch raising can be put on ascientific basis if the tuner is able tomeasure the pitch of a note just beforetuning it, using an electronic tuninginstrument such as the Hale Sight-O­Tuner or one of the other electronicaids which read out the pitch incents. Knowing how flat a given noteis, he can accurately predict just howsharp to tune it in order to have itfall back to the desired pitch after allthe remaining notes have been tuned.Not every note has to be measured;the correction varies slowly and twomeasurements per octave are sufficient.The method is so accurate that most

Pitch raISIng is a fact of life thatmost piano tuners would rather forget,What is it about raising the pitch of

. a piano that makes tuners dislike thejob? We all know the answer: pianoshave a nasty habit of "bouncing back,"or partially recovering, from pitchchanges of any kind, However, mosttuners do not realize how severe theseeffects can be, From measurementson many pianos I have found thatoften the pitch of some of the notesmust be raised two semitones to windup with a net pitch change of onesemi tone after all the other notes havebeen brought up to pitch. Further­more, the old trick of tuning each noteto the one above (starting in the bass)does not raise pitch one semitone,Onmost pianos the net change is onlyabout sixty cents, The purpose of thisarticle is to explain these strange facts,and to give the tuner a scientificmethod of pitch raising that gets thepiano up where it belongs quickly andin a "single bound", Then a fine tun­ing can follow immediately,

First, the explanation, The plate,pinblock, and other tension-support­ing parts of a piano are not perfectlyrigid-nothing is. They are technical­ly called elastic bodies working withinthe elastic limit. As such they obeyHooke's law, which states that theamount of compression is proportionalto the amount of compressional force.This means that a piano expands andcontracts in response to changes in thetension of the strings. When the ten­sion of a particular string is increased,

- 20 -

c!'ecRnicalifies

sharp. At this point another measure­ment is due, and the overshoot factorchanges again and will be 1/4 for therest of the piano. Suppose he finds thenext note to be 140 cents flat. Divid­ing this by four gives him 35 cents,so he tunes the next six notes 35 centssharp. He proceeds to tune the restof the piano following the 1/4 over­shoot rule, and measuring every sixnotes or so (this is not critical). Be­cause the flatness often changes sig­nificantly crossing a break, it is advis­able to start over with a new measure­ment with the first note of each sec­tion.

One precaution is necessary. Inorder to avoid overstretching anystrings, and to minimize the dangerof string breakage, no note should betuned more than fifty cents sharp nomatter what the correction turns outto be. This limits the pitch raising \pa maximum of 160 cents over most ofthe keyboard. Repeat the same pro­cess on those notes that require morethan a 50-cent correction initially.

Pitch lowering, although rarely nec­essary, is done by exactly the samemethod but in reverse. Just exchangethe words flat and sharp in the abovedescription. That is, measure thesharpness of a note before tuning it,multiply by the appropriate overshootfactor given above, and then tune flatby this amount. The common impres-

i sion among tuners that pitch loweringis much more difficult than pitch rais­ing is not borne out by scientific in­vestigation. Probably it just seemsthat way because it has to be done sorarely.

above normal, expressed as a fractionof the amount he found it flat justbefore it was to be tuned. The threefractions apply to three different re­gions of the piano: the bass, the lowestsix notes of the treble, and the rest ofthe piano. They differ because therelative strength of the piano varies,and no single figure will work over thewhole keyboard.' The time taken inmaking the measurements and calcu­lating the corrections is amply repaidin the long run by not having to raisepitch two or three times.

To get specific, suppose the tunerstarts to raise pitch, and finds thatAO (A-l) is 80 cents flat. The over­shoot factor for the bass is 1/5, anddividing 80 by 5 gives him the firstovershoot figure, 16 cents. So he tunesthe first six notes 16 cents sharp. (Thetuner can use any convenient partialin tuning because the normal octavestretch will be put in during the finetuning.) Next, the tuner measuresD#l (D#-7) and finds it to be 100cents flat. Dividing this by five giveshim the next overshoot figure, 20cents, and he tunes \he next six notesthis amount sharp. ',He continues totune the whole bass 'section this way,dividing flatness by five to get thecorrect amount of overshoot.

In the treble, the overshoot factorsare higher. The first six notes of thetreble are tuned sharp by 1/3 of themeasured flatness, and the rest by1/4. To continue the numerical ex­ample, suppose the tuner has reachedthe first note of the breble and itmeasures 120 cents flat. One third ofthis is 40 cents, and he must tune thefirst six notes of the treble 40 cents

THE USE OF ANIMAL GLUEIN PIANO REBUILDING

BY CARL W, KEMPF

There are a large number of different kinds of gluesavailable and each possesses its own advantages and dis­advantages, uses, characteristics, and properties.Among these is animal glue which is the oldest ad­hesive known to mankind. The Egyptians used glue asfar back as 3,000 years ago, while cabinets made bythe ancient Greeks and Romans are still preserved inmuseums today.

Some uses of animal glue in piano rebuilding are asfollows: covering large and small pneumatics, woodto wood joints (new joints, split repairs, etc.) andveneer patching and/or replacement. Last and notleast is the application of small pneumatics to thestack. This also has the advantage of giving thenext rebuilder a break years hence.

The following tools are required: glue pot, scale,

To save time, only one string of aunison is tuned to the instrument. Theothers are tuned to the first by ear.Since tuning the second and thirdstrings makes the first go flat, it isbest to tune them slightly on thesharp side of a perfect unison.

Muting can be done by any con­venient method. One fast way is tostrip mute the entire piano. After theopen string has been tuned using thetuning instrument, the strip mute ispulled out one space and the unionsthat open up are tuned by ear. Thispattern also works well with two rub­ber mutes. Sometimes it can be fasterto work without mutes, chipping thefirst string and tuning it to the instru­ment. The second and third strings canbe tuned (with practice) by strikingthe note and listening for the correctbeat as each of them is in turn pulledup to pitch. With the Sight-O-Tuner,mutes are usually not necessary be­cause this instrument responds to thesound of a single string close to thecorrect pitch, and ignores the stringsthat are way out.

Using an electric tuning instrumentto raise pitch takes most of the frus­tration out of the job. The tunerknows in advance when one tuningwill be sufficient to raise pitch, andthis will be most of the time. He ...knows that it will not take an inordi­nate amount of time. Working steadi-ly but not rushing, a tuner can pitchraise practically any piano in thirty

",minutes. And if he is in a hurry and. happens to be working on a spinet

with its fewer strings than normal, itis possible to get the job done intwenty minutes. With this speed, thetuner might even be on time for hisnext appointment! 00-

glue brushes and a small paddle or stick. Ideally awater-jacketed electric glue pot is highly desirablesince dry heat or other methods will usually overheatthe glue. An inexpensive double boiler can be madefrom any enamel double boiler from the hardware store,or any type pan placed in a larger pan of water willdo. The inner pot should be covered at all timessince this prevents evaporation and skinning over.

Hide glues are graded and furnished in either flakeor powder form. The best grades only should be usedand preferably the grouhd type for convenience.Since reheating weakens glue, it -is advisable to mixenough for only day by day usage. Also, glue willthicken with reheating and will not penetrate thepores of the wood properly.

Five ounces of dry glue mixed with 2y, parts of coldwater by weight makes a pint of glue which is suf­ficient to cover 8 to 10 square feet of surface.For an ideal mix the glue and water should be weighed.In the absence of a scale, a good rule of thumb is

- 21 -

creclinicalifies

to just barely cover the flakes or ground glue withwater. This will provide a glue of free running con­sistency. It must be noted that flakes need to besoaked overnight, while one hour is usually suffi­cient for ground glue.

Temperature should not go above 150 degrees F. orstrength will be lost. A minumum of 120 degrees isrequired or the glue will not penetrate wood poresproperly. If possible, it is a good idea to heatthe wood before glue joining with the ideal roomtemperature between 75 and 90 degrees F. If thetemperature is below 75, the glue will chill andjell and will not spread.

In applying glue be sure the solution is not toothick. Glue should run freely off the brush in athin stream and spread easily.

The small wooden paddle previously described can beused to apply glue to any holes or tight places dif-

The following technical articles from the TUNERS'JOURNAL of Februar~ and March 1922 were contri­buted by Dick Merdhant.

ficult to reach by brush. It is also a good ideato use the paddle to stir the glue occasionally whilein use. Apply sufficient coating of glue.to bothsurfaces (if wood to wood) or to the wood surface incase of cloth to wood. A little practice will soonindicate the amount of glue necessary for each typeof application.

If desired and whenever practical, a light clampingpressure can be applied to joints while the glue isstill hot. The clamps can be moved and used else­where (as in the case of pneumatics to decks) in 20or 30 minutes.

Having a hot glue pot handy also helps with certainapplications of felt, bushings, and other uses inpiano rebuilding. Animal glue is also superior forthe application of veneer placement and patching.However, the handling, treatment, kinds, and uses ofveneers will be treated separately at a later date.

I could find no easy way of eliminating the under­linings made to the articles by a previous ownerof the Journals, short of complete retyping, sohave left them as per original. TB

By P. W. HlIrndall, Member of N. A. of P. T., Sall Francisco, California.

The 'P'afer 'PianoINSTAL ENT II.

WHEN regulating strikers or lifters t ,wipps it should be seen to that theyregister correctly.

Piano actions are not always accuratelyspaced bet ween flanges, and frequently acapstan screw or lifter will be so much offcenter that the cushion is worn off at oneside and will allow the lifter to slip betweentwo wipps. J;,ven if it does not shp off, the~ the blow js lost. Cushions orpunchings worn off. at one side should bereplaced with new ones.

In some of the older players the pneu­matics make a clapping noise as ..~.cOllapse.. usuall)' caused by theIr bemg fullYextended while at rest· the sudden exhaustcaus walls to collapse With a s~

he only remedy for this IS to support t emso that they do not fall completely open.Sometimes it is possible to insert a support­ing rail; in other cases a bridle of softmaterial such as bushing cloth may be at­tached, always provided the necessary mo­tion to make complete checking is not cur­tailed.

Responsibility for a noisy action, how­ever, does not always rest on the player.Where the piano has had so much use thatthe centers are loose it is obviously a caseof repairing the piano action. But as Mr.Perlmutter would say, "That is somethingelse again y'understand."

It is not unusual in the case of players

that have had considerable use to find themotor working irregularly, slowing up atthe end of a roll, or doing something else itought not to do.

!.Q~tfklar motion may be~ to gJJJi[!~p r e block and brake h~ Cleanthem off with alcohol or gasoline. If thatdoes not cure, look to the face of the motorand slides.

One of the most troublesome things torectify is a motor that has oil or grease onthe face. This may have come from greaseor oil applied to the crank sha ft, whichspattered on to the motor face. If jt is o~slight, a good washing off ,vith alcohol.(with slides removed) of both face andslides and relubricating with dry graphite,may make it go all right, but if it is badlyraked with oil it will be necess~ne

.I"f the face of the motor and s I~.

I have seen motors into which the oil hadpenetrated so far that even this would notcure them. Sandpapering is of no avail ina case of this kind; it simply grinds the oilydust into the wood ahead of itsel f. Shellachas been recommended, but the oil willeventually work through the shellac.

The real cure in extreme cases is to re­face the motor with a one-eighth inch orthicker veneer of good, hard dry mahog­any.

Take a pattern on stiff paper of the motorface, locating' exactly all screw and exhaust

- 22 -

P. W. HURNDALL.

holes. With a sharp plane, finely set, dressoff the face as deep as you dare go, to getrid of all oily wood possible, making it per­fectly true and level. Sand it down with.sandpaper folded round a flat block. Glue.on the veneer with either hot or cold glue.Hand screws and a flat block of wood fora caul are, of course, necessary to secure aperfectly tight joint.

With the new face trued up, smoothedwith the sandpaper block, given a coupleof coats of shellac, rubbed down with No.00 s a er an n ra hited, you willhave a job t at will not go bac a .. In graphiting, if the surface is 3msli"htl ~ en~~ alcohol a mor~·

IS secur~

Presumably, I t e sa'face the slides are damaged enough to re-

quire replacing with new ones. I have seenslides so soaked with oil that the rubbercloth peeled off. An expert with tools canmake new ,slides by hand, but it is cheaperto send to the factory for new ones,

Occasionally a motor will be found whichdr,ags at the end of an extra heavy roll,giving the impression that it is overloaded.Look first at all moving parts of the trans­mission, see that everything is free andmoving easily, no binding or undue frictionanywhere. If the crank shaft and connect­ing rods to pneumatics of the motor needlubrication, I have found that dry graphiteis safest and most durable in the bushedjoints. Perhaps it is another case of oil onthe motor face; if not, regraphite motor andslides anyway. Examine the rubber clothof th~ pneumatics. There may be holes inthe corners of the folds. Even thoughsmall, they wilVgreatly reduce the power ofthe motor. A small punching of pouch lea­ther glued over the holes and pressed snuglyinto good contact with the rubber cloth willeffect a remedy. Cold glue-using as littleas possible, so as to leave a flexible patch­will work satisfactorily.

INSTALMENT III.

$ 0 obtain the most power possiblefrom the motor it is necessary thatthe slide valves be timed accurately.

That is, they should r lieve the pneumaticsof their exhaust at th instant that they(the pneumatics) are co letely collapsed;otherwise there will be a ight drag. Inmotors that have a slide for ch pneumaticthe slide should open the low port imme­diately its pneumatic is complet y collapsed.There are motors in which ther is no pro­vision made for adjustment, but\ in all thebest makes some arrangement is provided.

Those motors that have pneumatics con­structed on the principle of what organbuilders call a cuckoo-feeder, that is, oscillat­ing on a center, one-half being closed whenthe other is open, should have slides thate:raeth' cover both upper and lower ports,withoitt an:)' overreaching,. thus making itimpossible for both ports to be closed at thesame time. It quite frequently happens thatthey are a little long, occasionally even asmuch as one-eighth of an inch. It is notnecessary to reduce the length of the wholeslide; a slight chamfer (bevel) of the cor­ners of the ends on the face side,.will answerjust as well.

Uneven running of the motor is some­times caused by a bent crank shaft; usuallyat the end carrying the sprocket wheel. Ifthis be the trouble, it can be determined bytaking off the chain and rotating the motorslowly, when it will be seen that the sprocket

4'ecRnicalifies

wheel wobbles a little and rises and fallsduring rotation.

To test a motor for leaks, set the leverfor re-roll and hold the crank shaft withthe hand; by listening carefully any leak­ing slide or corners of pneumatics can beheard. Leaking slides can be levelled with00 sandpaper laid on a dead level place,moving the slides up and down on it in thesame direction that they travel when in use.

Once in a great while uneven motion maybe' found to be caused by the connectingarms being a trifle too short to allow thecrank to pass freely when fully extended atthe collapse of the pneumatic. This can beremedied by tilting the supports of thecrank shaft a trifle towards the pneumatics.

To time the motor, mark off your testroll in feet from one to ten. With thetempo indicator set at 70, the test roll shouldpass seven feet over the tracker bar in oneminute. If too slow, strengthen the gover­nor spring a very little; if too fast, weakenthe spring a little. If this is overdone,however, it will cause a speeding up underpressure and slowing under light pedalling,or the reverse. This point will receivefurther attention when we come to considerthe bottom action.

It may be thought that too much stresshas been laid on timing the slide valves ofthe motor. A personal experience mayserve to illustrate the importance of thispoint.

A complaint had been received that aplayer was very unsatisfactory on accountof irregularity of tempo. The roll movedin jerks and sometimes stopped altogether.Several attempts had been made to rectifythe trouble, but the improvement was onlytemporary, and unless it could be madegood the piano would be returned. Uponexamination the complaint was found tebe justified."

When told the name of the last tunerwho had tried to fix it I decided that I wasstrictly up against it, for I knew him to bean expert player man. He even had takenthe motor to the shop, and when he returnedit had remarked, "If it does not run nowyou will have to exchange the piano." Icame near relinquishing the job then andthere.

However, I sat down and took a goodlong look at it, and wished that someoneelse had tlie job.

Everything seemed to work perfectly; ithad been graphited until it shone like a mir­ror ; no binding in transmission or bearings;take-up spool in perfect line and runningsmoothly and easily; exhaust from pedal

action fine-nevertheless, the motor wouldnot run smoothly and once in a while wouldstop altogether.

Now, I thought, this thing undoubtedlywent all right when it was made, or themanufacturer never would have turned itout. As I sat there revolving the motorslowly I noticed that at one point in therotation there was, for a fraction of a sec­ond, only one pneumatic pulling. It was afour-point motor, an unusual arrangement.On testing it, I found that that was theplace at which the jerk occurred and whereit eventually stopped altogether.

Very carefully I adjusted the timing ofthe slides and found that I could get themso that two were always on the job. Thedifference in that motor was wonderful.Now that it had plenty of power, it ran per­fectly and handled the heaviest roll com­pletely to the end with no trouble. I kepttrack of it for a year, and it never failed.I have not the least doubt that it is goingyet.

Ever since I have attached considerableimportance to timing the slide valves.

The article on timing the motor, in the"Standard Player Monthly" of September,1920, is no doubt familiar to many, but willvery well bear reproduction for the benefitof those who have not read it, and may re­fresh the memories of those who have. Itis as follows:

"Before starting to time the motor exam­ine all parts of the transmission to see thatthey work freely, and are well lubricated.Make sure that there are' no binding spots.Also examine the motor and shaft to seethat there are no binding spots there.

"Next examine the knife valve to makesure that it is not leaking. Test the knifevalve for leaks in this manner: Removethe slirinf from the governor by unscrew'Ing t e c eck screw' then throw the tem 0

over 0 an um on t e trea es 0

course tea er 0 the test ro s ou'cover the ar w let IS tes IS e­m made. If the knife va ve does not leak,t e motor will not move wile t IS test Ibem~ made. If the motor does move, thereIs aeak m the kmfe valve, probabl due~ItS not seatm ro er . course, Is ould be reme Ie . '

"After this test, screw in the check screwand pump on the treadles until the '.motorstarts to run. Then replace the spnng onthe governor and place the tempo pointerover to '0' and see if the motor stops whilepumping."

FOR SALE: 1922 Ste~k upright Duo-Art. Piano andDuo-Art restored. Case refinished in walnut anddetailed complete. Wood parts on top action refin­ished to match case. $4795.00 Raye McCall, 1078 E.Third Street, Pomona, CA 91766. Phone (714) 622-8826.

~17-)7f1-cfrMFOR SALE: Howard (Baldwin) WELTE reproducing grand.Old restoration. Still playing. 120 rolls. May con­sider trade toward Callipoe. Prefer cash sale. H.A. Lederer, 2845 S. Harlem Avenue, Berwyn, IL 60402.

If you have in good shape and old QRS piano rollnamed "SONG OF THE WANDERER" - I would love to buy.Marcellus W. Fisher, 3109 Independence St., Baltimore,MD 21218.

WANTED: TRACKERgood condition.Cincinnati, Ohio

BAR for Welte-Mignon (Licensee) inTom Cruse, 2331 Victor Street,45219.

- 23 -

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

ORIGINAL LITERATURE WANTED: Will purchase or tradefor original Ampico, Duo-Art, or Welte-Mignon Litera­ture. Also want catalogs, service manuals, etc., forall types of mechanical musical instruments. DickHowe, 351 North Post Oak Lane 605, Houston, TX 77024.

MUSIC BOX CATALOG I Hundreds of music boxes, nickel­odeons, band organs, phonographs, player poanos. 112pages. $3 ppd. Satisfaction Guaranteed. AmericanInternational Galleries: l802-A Kettering, Irvine,CA 92714.

WANTED: Aeolian Duo-Art pipe organ rolls - l5~" wide,reproducing variety. Tom Beckett, 6817 Cliffbrook,Dallas, TX 75240. Phone (214) 239-5019.

REPRODUCING and 88-note rolls at 25 to 33% off list.Send 25¢ for latest roll list or SASE for orderinginstructions. Baley's, 310 Grandview, Kalamazoo,MI 49001

WANTED: Artecho (AKA Celco, Apollo) rolls, litera­ture, parts. Chase or large Apollo Artecho grand.Tom Grattelo, 2818 Central, Alameda, California.

•FOR SALE: 1924 Hardman Welte-Mignon (Licensee) 5' 10"Reproducing Grand. Jacobean Art Case of dark mahog­any with inlaid burled walnut. Cross-braced legs.Pneumatic system rebuilt in 1974. Fine action, sound­board, hammers a d strings. Original finish. Photo­graphs available. $9500.0~ Michael White, 9831North P Avenue, La orte, Texas 77571.

Reproducing piano rOl'~ approximately 200 AMPICO, 50DUO-ART, some Welte, a 1 originals, many unavailabletoday as recuts. Class cs, show tunes, popular.Once in a lifetime opportunity, to be sold indivi­dually, this is a sale not an auction. Send $1.00for list and prices to: Diana Kelly, 337 AmsterdamRoad, Dollard des Ormeaux, Quebec, Canada H9G lP3.

1926 WEBER Aeolian DuoArt 5'10" grand #76943. Com­pletely rebuilt by professional. Pinblock, bridge,and soundboard perfect. Action fUlly regulated.Rich tone in lower register, brilliant upper. Won­derful expression. Perfect condition. Brown mahoganywith 12 coats hand-rubbed lacquer. Sale includes 87long play and 95 standard rolls. All DuoArt, manycollector items. Send $1.00 for color photos.$5,200. plus shipping. George Allen, 50 N. Main,Medford, NJ. Phone (609) 654-0548.

THROUGH YOU I LIVE FOREVER - A nostalgic look atreproducing player piano advertising from 1905 to1929. 108 pages - 8~" x 11" - 8 color plates - softcover. Near full-size reproductions of originaladvertisements in period magazines from the collec­tion of Mark D. Zahm - edited by Tom Beckett. Majoremphasis on Ampico, Duo-Art and Welte systems. In­cludes coverage of rolls, recording artists, andpianos on location. $4.95 postpaid from: BeckettProductions, 6817 Cliffbrook, Dallas, TX 75240.Texas residents add 25¢ state tax.

1927 STEINWAY XR DUO-ART - 6'2" Louis XV Art Case.#253,565. Excellent Original Playing Condition. 60 Rolls andMatching Bench. $9.500. (415) 332-0563,863-6244.

88-note player piano rolls (102 rolls) QRS, US, Med­lodee, Pianostyle, Rythmodik, Virtuoso, Jewell, etc.Artists include Art Tatum, Jelly Roll Morton, FatsWaller, Lawrence Cook, Confrey. All good condition.$60.00 plus United Parcel. George Allen, 50 N. Main,Medford, NJ. Phone (609) 654-0548. 41WANTED: Does anyone know of a commercial wallpaperwith a musical theme? Have done it with old rollsbut would welcome other ideas or sources. Anita N.Johnson, P.O. Box 666, Grand Junction, CO 81501.

Stroud Duo-Art, new hand-rubbed varnish finish. Newkeyboard. Rebuilt 1 year ago. Plays excellently.$30000 Also, old style STEINWAY STACK for an OR.$500. Jeff, Box 222, Sumneytown, PA 18084.

WANTED: early electrical and acoustical records ofpop piano artists of the 1920 to 1930 era. Desirediscs by Arden and Ohman, Lee Sims, Roy Bargy, FrankBanta, etc. Send SASE for my want list. Dave Burke,2084 S. Rio Grande, Orlando, FL 32805. (305) 422-0869.

FOR SALE: SOLO APOLLO expression piano with 106Solo Apollo rolls. Piano and player need total res­toration. $900 W.G. Oldham, 762 Colusa Ave., ElCerrito, CA 94530. Phone (415) 527-5704.

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

FOR SALE: 1928 5'6" Weber Duo-Art - piano rebuilt ­Mahogany case, needs refinishing - Player mechanismneeds rebuilding - 120 rolls - $3000.00. Also, aHaines Apmico upright, partially rebuilt. Carl Kempf,2023 Gober Ave., Smyrna, Georgia, 30080. 1-404-435- ~8861 Or 1-404-634-4595. Martin W. Hurphy, 2718 ,.Gallahad Drive, N.E., Atlanta, GA 30345.

DON'T THROW AWAY THOSE OLDPLAYER PIANO ROLLS

Many old rol Is have chain perforationsand as the rolls age and repeated play­ing weakens the paper between the perfsthe chain wears out. Frequently theroll twists and a portion of the paperwill raise up while the roll playstcausing false notes. Most of us havebeen using scotch tape and a springloaded punch to correct the problem - along tedious process that only leads tofrustration. NOW CORRECTIONS ARE EASYAND FAST. Use my pre-perforated scotchtape with holes and spacing preciselymatching the AMPICO but equally appli­cable to all makes of rolls. Send $1.00and SASE for trial strips.

H S HAYES1300 East Palmetto

Lompoc t CA 93436

FOR SALE

7 FOOT MASON & .HAMLIN

MODEL ItB" AMPICO,

unrestored - $22,000.

Robert Streicher

R.R. #J, Box 140

Shohola, Pennsylvania 18458

Telephone (717) 569·7403

\

\PLAY R PIANO OWNERS -

RE·CUT YOUR S HOARD POPULAR ROLLS

$20.00 PER TITLEADDITIONAL COPIES $4.00 EACH

NO MINIMUU 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

CRAIG'S PIANO SHOPPE 925 SOUTHOVERTOLEOO, OHIO 43612 (419) 478-4711

Name Phone (_) _

Complete Address _

Total # Rolls to be Re-Cut_ x $20.00 = $ _

Total AdditionaICopies__ x $ 4.00= $ _

Postage & Handl ing $ $3.00

TOTAL (Check or Money Order MUSTaccompany your order) $ _

SEND YOUR ROLLS INSURED AND SPECIAL4TH CL.ASS SOUND RECORDING RA TE.

PRE- PUBl'CA T,ON

~NNOUNCEMENT

The Complete Ampico Catalog

Compiled by Elaine Obenchain with help

from :many AMICANS is due from the printer

Febrtjlary 2, 1978. The catalog contains

Artist, Composer, and Title listings, with

artist biographies, roll dates. and much more.

A m~t have book for the serious Ampico fan.

Limi~ed edition of only 400 copies, so act

toda~. Hardbound. $15.00 per copy. post­

paid.; Send your order to William Edgerton,

Box 88, Darien, Connecticut 06820.

fl" thepfo ..Tuined and untuned percussions

for ~se in all automatic -instruments

Sir!lgle and duplex spoolframes

for A,G,and 0 "rolls and all

wurlitzer scales

Custom fabrication in wood and

metal of one or a thousand parts

PiQno and orqan supplies and

~hardware

--.Qox-1094 -~7-,'. :---,

i,' m.' iI IUbbo~xas,~~~~~.,.....L-79408~--='--~-

i Mechanical Systems, Inc.

"t--.(90)

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" " 4"(Wf~··.

I" ...

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P. O.

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ALL AMR BOOKS &. REPRINTS StILL ON HAND ARE. REDUCED TO 50% OF THE 'RlGULAR PRICE!

. ..... '" I .. .- , ", '. i~

. ANIle). MEMBERS ONLy.- You may take a credit Q! "50fentS!(Jn each roll you buy toward the purcha+ .

ofany AMR book or. reprint. 1

;, , l:

. Send for the list a/your choice - AMPICQ;·DUO-ART,~ ;; "', ' ; . '. '., '. '- -,.' iWELTE-MIGNON, 88-NOTEIRECORDO. 1

:.:. . ·tf,.~ .

:MU51~C ·.:,ROL..L~:1'>" < " '1" ~ ..::~ t·"

.: ·,'e,o ' S~L~!!. .... . AMR OFFERS THE HIGHEST QUALfTYROLUs •.

J-~ .~ NOW AT TH~(~OWESTPR.*ESEV~R!! .. .«.. MANY ROLL$~tICED AT $r.50:aftd$2.:~OtAGH!!

...~

~ ,:

:J«

RETVRNPOS'tAGE GUARANTEED

.ADJ)"S:SCORRECTION REQUiSTED