Editor/Publisher
Russell Kasselman (253) 228-1634 editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 editor@mbsi.org
MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 68, No. 2 March/April 2022
MBSI NEWS
5 PresidentÕs Message
7 EditorÕs Notes 18 MBSI Awards 53 In Memoriam
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 2022. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive
Features
8 AutomataCon is coming
10 Nickel Notes by Matt Jaro
22 Repairing broken discs
24 Chordephon catalog project
25 The Chordephon Automatic Zither
34 Hope and Despair: The organ grinder and the concentration camp
40 Tune card restorations
42 Model B Steinway Duo-Art with a royal connection
On the Cover
Robert Thomas captured this view of the inner workings of a Wurlitzer Style 29-C Mandolin PianOrchestra Philipps Pianella Model 29 (Mandolino) while touring Mark and Christel YaffeÕs collection during the most recent annual meeting.
Committee.
Chapter Reports
MEMBERS: SEND ADDRESS CORRECTIONS TO: MBSI, PO Box 10196, 49 National Capital Springfield, MO 65808-0196 Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI has replanted
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M
echanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and
musician all at the same time. Play an automatic
musical instrument in a room full of people and all else
will stop as the machine enraptures the audience with the
sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.
matically-played machine that produces melodic sound
including discs and cylinder music boxes that pluck a steel
comb; orchestrions and organs that engage many instru.
ments at once using vacuum and air pressure; player and
reproducing pianos that use variable vacuum to strike piano
wires; phonographs; and self-playing stringed, wind, and
percussion instruments of any kind.
The Musical Box Society International, chartered by the
New York State Board of Regents, is a nonprofit society
dedicated to the enjoyment, study, and preservation of
automatic musical instruments. Founded in 1949, it now
has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More Information online at www.MBSI.org, or
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4 MECHANICAL MUSIC March/April 2022
By David Corkrum
MBSI President
Composing a message from the President to the society would seem to be to most of us an easy task. Well, it certainly is not, especially if all is going well within the society. In writ.ing this message, I decided to review messages written by other presidents to see what they had come up with.
One subject that has not been addressed in some time is the common interest of our society and that of the Automatic Musical Instrument Collec.torsÕ Association (AMICA), both of which are focused on mechanical music if only in slightly different ways.
Most MBSI members mainly focus on musical boxes whether they be cylinder or disc boxes, whereas AMICA members commonly focus on pneumatic instruments. If you look at the average member of either society, however, you will find that our interests often cross over. For myself, my main interest is chiefly disc boxes although if you look at my collection you might think that my interest is mainly in cylinder machines. Cylinder boxes do take up less space than disc machines, but I like them both equally. I, however, also have an interest in pneumatic instruments. IÕve owned a reproducing piano and now have three small street organs.
You can see why I would, therefore, want to be a member of both societies. I receive magazines from both and attend local chapter meetings so that I can socialize with people who share similar interests.
Our immediate past president, Tom Kuehn, who mainly focuses his interest on pneumatic instruments, is also a member of both organizations for many of the same reasons I am.
Members of these two societies have such a common set of interests in automatic musical instruments that I would not doubt someday we may see these two organizations choose to merge into one. I believe we are approaching that conclusion when I think about how our two groups are combining their annual meetings into one joint meeting this year and have done this same thing several times before now. It all seems to make sense to me considering that both of our organizations continue to experience declining membership numbers. We shall see what happens as time goes on.
On an administrative note, the next mid-year trusteesÕ meeting is sched.uled to be held Mar. 18 via Zoom. With the advances in computer technology, the use of Zoom and other programs seems to be the way to go for these types of meetings. It sure cuts down on the travel expense although we do miss seeing collections. MBSI officers, trustees and committee chairs have been notified well in advance.
To everyone, I wish you a healthy and prosperous New Year.
Mail any MBSI Editorial / Advertising materials to 130 Coral Court, Pismo Beach, CA 93449 Emails with attachments can be sent to editor@mbsi.org Deadline for the May/June 2022 issue is April 1, 2022
MBSI MEMBERSHIP DRIVE EACH ONE/REACH ONE NEW MEMBER
MBSI is always interested in increasing its membership and is pleased to offer new members a $15 discount off their Ørst yearÕs membership. You are considered a new member if you have not been a member in the past three years. This discount is also available on our website, www.mbsi.org.
Current MBSI members who sponsor a new member will receive a $5 discount off their next yearÕs MBSI membership renewal for each sponsorship. Attach a copy of the discount voucher below to a copy of the membership application form on Page 4 of this issue of Mechanical Music. Place your name as ÒsponsorÓ on the application form.
Please make copies of these forms as needed and send the completed forms with checks to the MBSI administrator at the address listed below.
been members of MBSI or those who have not been members for three years prior to submission of this certiØcate. SPECIAL OFFER: Purchase one or more Ørst-year MBSI gift memberships at $45 each U.S., $55 Canadian, or $60 other International and you will receive $5 off your next year’s MBSI membership renewal for each ÒNew MemberÓ gift.
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EditorÕs Notes
By Russell Kasselman
MBSI Editor/Publisher
The arrival of Spring is one of my favorite times of year. The weather can still be a bit unpredictable, but
each day brings us closer to warmer weather and the promise of long, sunny summer days. ItÕs a time to open up windows, clean out cluttered spaces and plan trips to see places youÕve never visited.
My hope is that this year will be vastly different than the previous few and we all can begin to venture out into the world again to gather and enjoy communing with each other. I look forward to hearing about more chapter meetings and local commu.nity events featuring mechanical music groups sharing their love of the hobby. Once all our chapters are in full swing again, I urge you to take the opportunity to invite a friend or a neighbor to come with you to a gath.ering. Enjoy some food, music and friends. You never know who might decide to keep coming back and even join the society.
This year offers an additional oppor.tunity to make new friends who share our mechanical music interests. As mentioned by MBSI President Dave Corkrum in his column on Page 5 of this issue, the annual society conven.tion in the Fall will be held jointly with the Automatic Musical Instrument CollectorsÕ Association (AMICA). Bringing together these two groups of people who love mechanical things, music, and fun means there will be plenty of chances to exchange contact information, share tips on restoration techniques and perhaps even negoti.ate deals as collectors so often like to do. Make your plans now to attend.
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Lastly, I would like to thank our contributors to this issue. Charles Wilson shares a unique tip to help you repair broken discs, Matt Jaro shares the story of a pair of long-time members with an amazing collection, and Dr. Robert Penna is back with another tale, this time a sad one, surrounding the history of organ grinders. Bob Caletti offers up advice on making renewed tune cards, and Mark Singleton reveals a possible royal connection to his Model B Stein.way Duo-Art piano.
Feel free to share your story with us by emailing it to editor@mbsi.org.
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Articles and photos for the May/June 2022 issue of
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should be submitted by Mar. 25, 2022.
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Articles and photos for the July/August 2022 issue of
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Welcome new members!
December 2021 Sterling & Vivian Biggar Roderic OÕConnor Junction City, OR Lebanon, NJ Sponsor: Robin Biggins Brad Reinhardt Robert & Sandra Brisbee Fresno, CA Burlingame, CA Richard & Erik Rhyne Sponsor: Bob Caletti Greensboro, NC Julie & Nick Hawley Mike Stevens Albany, OR Novato, CA Richard & Dick Lutin Sponsor: Nancy Stevens Indianapolis, IN Ren Wikler Vaughn Miller San Luis Obispo, CA Boxford, MA January 2022 Keith & Patricia Amundson St Paul, MN James Buckley Cold Spring Harbor, NY Gregory Chiaramonte Jeannette, PA Sponsor: Kelly Newsome Doug Morgan Wallingford, CT Sponsor: Brooks Low Marian Van Dijk & Friedell Derksen Utrecht, Netherlands
AutomataCon 2022 is coming in May
By Steve Ryder
AutomataCon is a convention of artists, collectors and enthusiasts of both historical automata and present-day kinetic art. A three-day event, it is being held May 20-22, 2022, at the Morris Museum in Morris.town, NJ, home of the world-famous Murtogh D. Guinness Collection of Mechanical Musical Instruments and Automata.
Organizers say their goal is to gather people to share ideas, build relation.ships, and grow interest in automata both old and new. The convention will feature a variety of public and private events, including museum tours, panel discussions, live demonstra.tions, workshops, presentations, and an active vendorsÕ mart.
Brett King, event founder and chair, said, ÒAutomataCon is like a family, with a strong sense of camaraderie even among those who meet face-to.face for the first time. To those who have waited since our second such event in 2018, I say, ÔWelcome home!Õ and to each newcomer, ÔWe want to get to know you!ÕÓ
The gathering will kick off with a social reception on Friday night, to be followed by two full days of programs, including a mini film festival and a makers mash-up, the latter consisting of Òshop talkÓ on tools and techniques. Traditionally, the talks and presen.tations relate automata with art movements, magic, and public enter.tainment. There is a Kinetic Artists Panel, and the convention culminates with automaton builder Bradley Litwin with the latest on, ÒWhat Could Possi.bly Go Wrong?Ó The program schedule will be posted on www.AutomataCon. org as the date draws near.
During the convention, the Morris Museum will hold a juried exhibition titled ÒTimeless Movements.Ó The exhibition will include contempo.rary interpretations of 19th century mechanical music, automata and timekeeping. Shown will be 35 kinetic works by 26 artists. Some of the artists
8 MECHANICAL MUSIC March/April 2022
A hand-driven musical automaton called ÒMigration,Ó by artist Randall Cleaver.
will be present to demonstrate their works, led by the exhibitionÕs curator, Anne Ricculli.
Attendees of AutomataCon 2022 can choose during their pre-registration whether to come to the Friday evening reception, SaturdayÕs presentations, SundayÕs programs, or the entire convention. All activities take place at the museum. To keep costs down, there will be no home visits, bus tours, nor organized meals. Within two miles of the museum, however, are no less than 50 restaurants to fit every taste and pocketbook.
Please note that AutomataCon monitors local policies as regards the pandemic, and attendees will be expected to follow the health protocols that will be posted on their website and that for the museum. King says, ÒSee you in May!Ó
Nickel Notes
By Matthew Jaro
Bob and Diane LloydÕs collecting adventure
Fasten your seatbelts for a visit to the home of Bob and Diane Lloyd of Cowan Heights, CA. The Lloyds have a wonderful and varied collection of clocks, music boxes, orchestrions, steam engines, Vogue Picture Records, radios and machine tools.
Bob and Diane have been married 67 years. They have four great-grandchildren. Their son, Rick, and daughter-in-law, Liz, are also interested in mechanical music. Their daughter, Sheryl, visits frequently. Bob and Diane met when Bob was in the Navy, serving during the Korean War. Diane went to church with BobÕs cousin, Deloise. She was always trying to fix Bob up with a gal, since Bob would always bring a sailor for Deloise. After about seven or eight girls, Bob said, ÒYour taste is different than mine.Ó
Deloise said, ÒI know a girl you will like. She works in a bird aviary and we could go over and see her now.Ó (DianeÕs father raised parakeets.)
Bob said, ÒOK, but this is the last one. If this one bombs, this is it.Ó After meeting Diane, Bob thought, ÒThis is the girl IÕm going to marry.Ó
Deloise exclaimed, ÒI see I scored a bullseye with this one.Ó
Bob went home to tell his mother, who promptly said, ÒWhat if she says no?Ó
Diane had just moved to Buena Park, CA, from Iowa. Their first date was at The Pike (an amusement park, now closed and demolished) in Long Beach, CA. For DianeÕs first, only and last ride, Bob took her on the roller coaster. She says, ÒI never got on another one!Ó Bob had one year left in the Navy. They met in October and got married in March.
Career
Before Bob was in the Navy, he had his own motorcycle and bicycle shop. When he left the Navy, four years later, it was gone. Bob had no job. Diane had a relative who said, ÒI can get you into General Motors.Ó After GM, BobÕs next job was selling swimming pools. He was appointed general manager for Orange County, even though he was the newest member of the staff. He hired a crew of 12 salesmen. Bob held that position for five or six years.
He went to church with a man named Hubert Hall, who told Bob, ÒIÕm in the house-moving business now and I need more help.Ó They became partners. This was a good business since construction of the freeways necessitated moving a number of houses. Within a few years they were moving more houses than the eight other moving companies and they were number one. By the time they dissolved the business, Bob had more than 50 rental apartments. Bob retired after the house-moving business.
Collecting
In 1971, the Lloyds took a three- or four-week vacation with the idea
10 MECHANICAL MUSIC March/April 2022
of eventually winding up at DianeÕs parentsÕ house in Iowa. Bob was always mechanically-minded and fell in love with some clocks he found in an antique store. They probably came home with nine or 10 clocks. This provided a start for a continuing hobby. Not too long after this, Bob joined the National Association of Watch & Clock Collectors, and he is still a member. Bob and Diane have some clocks that were made in the 1500s.
Bob took a class to learn how to work on clocks, but later, he had so many other things going on, he used a professional restorer who lived nearby.
AMICA and MBSI
Around 1980, the Lloyds went to a clock mart in Scottsdale, AZ, and were introduced to MBSI and the Automatic Musical Instrument CollectorsÕ Associ.ation (AMICA) after meeting members Erwin and Betty Canada. The Lloyds found that the MBSI meetings were a lot more fun than clock marts since you could go to peopleÕs houses and actually listen to instruments.
Bob said that in Southern Califor.nia, the MBSI and AMICA crowds are pretty mixed. Frank and Shirley Nix were influential in AMICA and became good friends with the Lloyds. Bob noted that the people in both organizations were so friendly and nice compared to other organizations to which he belonged.
The professional restorers espe.cially impressed Bob. For example, Bob was hesitant to call Mike Argain since Mike is one of the top restorers in the hobby. Rudy Edwards talked Bob into calling Mike. When he did, Bob found Mike to be wonderful and very helpful.
Another person who welcomed the Lloyds into the hobby was Bob Gilson. When Bob Gilson found out that Bob Lloyd had purchased a 32-inch Regina changer, but only had a few discs, he mailed the Lloyds a whole pile of discs. He also helped answer the many questions that Bob had and was very generous with his time.
Sometimes, meeting people felt a bit strange, said Bob. For example, the Lloyds were on a tour of the Sanfillipo
The Arburo dance organ was the first piece of mechanical music acquired. Bob ended up restoring it himself when he faced a
three-and-a-half-year wait to get into a professional restoration shop.
estate and were walking across the lawn towards the Victorian Palace near the willow tree and lake with swans, when they come across this fellow in jeans and a white t-shirt. He says, ÒHi, how are you doing?Ó
Diane said, ÒIsnÕt this the most beau.tiful place youÕve ever seen?Ó Bob said, ÒIÕm Bob Lloyd,Ó and Jasper said, ÒIÕm Jasper Sanfillipo.Ó Bob, surprised, then said, ÒIÕm sorry,
IÕve never been here before.Ó
Restoration
The first mechanical music instru.ment Bob obtained was an Arburo dance organ. Before buying it, he called a local restorer who gave him a rough idea of the cost to rebuild it. Bob bought the instrument, called the restorer and said, ÒI have it loaded in the truck, IÕll bring it over.Ó The restorer replied, ÒWhy would you do that?Ó
Bob said, ÒWell, you told me you could restore it.Ó The restorer replied, ÒIÕm three years behind. The best I could promise you is three and one-half years.Ó
Bob said, ÒIÕm not a patient man. God gave me a mechanical mind and IÕll learn how to do the resto.ration myself.Ó I asked Bob if he got
12 MECHANICAL MUSIC March/April 2022
The Seeburg ÒBL,Ó a former mortuary organ modified to be a Seeburg H with MIDI installed.
someoneÕs help to get started. He said it wasnÕt long before he recalled how, at an earlier MBSI meeting, he met Rudy Edwards and RudyÕs son, Steven. Bob remembered hearing Rudy was good at restoring mechanical music instruments, so he drove over to ask some questions. It turned out Rudy was away in Atlanta, GA, but Steven was staying at the house. Steven said he knew how to restore instruments, so he started coming over to BobÕs house each Sunday to show Bob what to do. After about a month, Steven said, ÒYou really understand mechan.ics.Ó Steven kept coming over and in about two months they had the Arburo restored and running. It needed to be repainted, but Bob was able to do that himself. Steven is an engineer and has the same degrees as BobÕs son, Rick, so they had plenty to talk about in addition to mechanical music. Bob restored most of the instruments in his collection. He enlisted the help of Robin Biggins for the music boxes. Bob once mentioned to Mike Ames that he wasnÕt too fond of the music that came with the Arburo. (It only played European dance music.) Mike suggested Bob could install a MIDI system in the instrument and offered to do it especially for Bob. This was probably around 2000 and not too many instruments at that time had MIDI capability.
Another machine Bob modified with a MIDI player is one that Bob calls a Seeburg ÒBLÓ (which stands for Bob Lloyd). It was a mortuary organ that Bob modified to be a Seeburg H. He built the entire top, the xylophone and added the MIDI capability.
Acquisitions and Projects
For Bob, acquisitions and projects are the same thing. Each machine he purchased had to be lovingly restored.
The second machine Bob obtained was a Wurlitzer Style C orchestrion that had been spray-painted. Bob said it was the ugliest thing he had ever seen. Bob asked Rudy questions as they came up during the restoration. BobÕs work on the Wurlitzer kicked off a series of acquisition and restoration projects that included restringing everything (including his Steinway in the living room) in their collection. The Lloyds have more than 100 pieces of mechanical music, including music boxes.
One of the more interesting stories is the one about how Bob acquired his Regina changer. A friend told the Lloyds about it. They went to see it and the little old lady said she got it as a wedding gift from her husband. She was in her nineties. She had outlived her three daughters and her sons didnÕt care anything about mechanical music. It was in really bad shape. She wanted to sell it and go back east to Boston, MA, to see her older sister. A friend at a local meeting said that Òyou will be lucky if you ever get that playing.Ó That made Bob just want to try that much harder. Now it plays quite well.
The acquisition of the LloydsÕ Seeburg K was through a referral by Rudy Edwards. Rudy once sold the Seeburg to a doctor who had now passed away and the manÕs wife was reselling it. That machine was in rela.tively good condition.
The only machine the Lloyds ever bought sight-unseen was a Cremona G with a bullet hole in the front and a sign that said, ÒPlease donÕt shoot the piano player, heÕs doing the best he can.Ó The Lloyds had to promise the previous owners that they wouldnÕt fill in the bullet hole. The stained glass was in great condition and the machine plays beautifully.
They obtained their Mills Violano from Rudy Edwards. ItÕs a very early Mills.
The 27-inch Regina changer was a basket case and needed extensive woodwork. Robin Biggins did the mechanical work on the machine.
They also have a Capehart changer. It was David Reidy who told Bob to only buy a late model Capehart, like the 1948 model. Bob found one. It was beyond disaster. Diane told Bob, ÒIt will never go in my house.Ó ThatÕs how bad it was. Now it looks brand new.
The Regina Concerto was one of the most challenging projects. Bob said, ÒI canÕt count the number of times Robin was here.Ó It was almost impossible to keep the 32 discs that moved into playing position from hanging up.
The Western Electric Style O Orchestrion
The last machine Bob and Diane acquired was a Western Electric from Mike Ames. This machine is so rare
14 MECHANICAL MUSIC March/April 2022
The Western Electric Style O, which is one of five known to exist. Above is a detail shot of the art glass and playlist.
that the Encyclopedia of Automatic one-of-a-kind machine, I turned, as describes the machine as containing Musical Instruments (Page 659, lower-I always do, to my trusted source on a piano, mandolin, xylophone, trian.left corner), couldnÕt even identify the these matters, Art Reblitz. Art knew gle, tympani, cymbal, bass drum and machine. The LloydsÕ machine is the every detail about the machine. First, Indian block. one pictured in the encyclopedia. Bob he said it is a style O, serial number The machine plays 4X and G rolls replaced the bottom glass with a much 165528, manufactured in 1927. There and was meant to be competition more attractive design. Bob had no are only five known examples of for the Seeburg KT Special. It was idea of the model number either. this machine in existence today. The once owned by Al Nielsen and then
Wanting to know more about this Music Trade Review, May 21, 1927, Mike Ames and now it belongs to the
This Cremona G features a bullet hole in the case. Bob had to promise not to fill it in before he bought it. The sign says ÒPlease donÕt shoot the piano player. HeÕs doing the best he can.Ó
Lloyds. It was so interesting for me to run into something that I had never seen before.
Vogue Picture Records, Steam Engines, Tools and Radios
Vogue Picture Records are 78 rpm phonograph records made out of clear plastic that had pictures under the plas.tic. These were issued in small quantities and are now quite rare. There was a Vogue Picture Record club. Bob bought about a dozen from one person and then joined the club. A friend from the club said that he had a book which described all of the records. Bob immediately bought the book and after looking through it discovered that there were only five records he didnÕt have. He searched for more on eBay and found them. Finally, he was down to needing only one more record. When it came up for sale on eBay, Bob knew he had to bid high. He sent the seller a cashierÕs check for $420. Diane almost killed him for spending so much money on a record. Since the records were so hard to find, many people gave up and the club just sort of ended.
Rudy Edwards was also into steam engines and Bob was fascinated by this. One day, Rudy wanted to sell some and Bob said he would be interested. Over the years he bought a number of them. Almost every single one came from Rudy Edwards.
The Lloyds would go to Iowa to visit DianeÕs relatives.
16 MECHANICAL MUSIC March/April 2022
BobÕs wall of antique tools purchased over many road trips. A Wurlitzer 1015 ÒBubblerÓ jukebox from 1947.
In the winter there was nothing to do, so they went to auctions. Bob would bid $5 on a box of old tools and now he has a whole wall filled with vintage tools.
Bob has a complete machine shop so he can do restoration projects. He has a metal lathe which he uses for both metal and wood projects. He also has a milling machine. He made a lot of finials for the clocks (almost one hundred) since these are frequently missing.
As if Bob didnÕt have enough inter.ests, he started a collection of old radios. He joined the local radio club and once he got into radios he bought them very fast. He had more radios than five or six members of the club. His Coca Cola radio is one of those that is very hard to get.
Diane also collects phonograph dolls where you turn a crank and a phonograph record inside plays. She has Madame Hendron, the Baby Doll and the Little Girl Doll.
Summary of Machines in the Lloyd Collection
The following is a list of some of the machines in the collection with additional details:
¥
Wurlitzer Style C Orchestrion. Mandolin, piano, flute and violin pipes, bass and snare drums, xylophone and triangle. It plays Wurlitzer APP (Automatic Player Piano) rolls.
¥
Arburo Dance Organ (made by Arthur Bursens, Belgium).
This large instrument (modified for MIDI operation), has organ pipes, drum set, accordion and saxophone.
¥
Western Electric Piano Co. Style O Orchestrion. Piano, mandolin, xylophone, triangle, tympani, cymbal, bass drum and Indian block. Plays 4X and G rolls.
¥
Nelson Wiggen Style 8. Piano, mandolin, xylophone and orches.tra bells. Plays style A rolls.
¥
Nelson Wiggen Style 4X. Piano, mandolin, xylophone, snare drum and triangle. Plays 4X and G rolls.
¥
Seeburg Style KT. Piano, mando.lin, xylophone, triangle and tambourine. Plays 4X and G rolls.
¥
Lšsche Flute and Violin Solo Piano. 85-note piano, mandolin, flute and violin pipes, bass and snare drums, orchestra bells, triangle and wood block. Modified to play O rolls.
¥
Seeburg ÒBLÓ (Bob Lloyd) Deluxe. Piano, violin, flute, quintadena and stopped diapason pipes, bass and snare drums, xylophone, castanets, tambourine and triangle. It plays MIDI and style H rolls. This machine was built from a Seeburg mortuary organ to resemble a Seeburg Style H.
¥
Cremona Style G. Piano, mando.lin and flute pipes. Plays style A rolls.
¥
Mills Violano-Virtuoso (Single Mills) (1913 era). Violin and piano.
¥
Regina Concerto Style 300 (32-inch diameter disc) changer.
It plays on piano strings, bells, cymbals and drums, all together or separately. It weighs 950 pounds, and stands 8 feet 2 inches high.
¥
Regina Corona automatic disc changer with 15.-inch discs.
¥
Regina 27-inch disc changer (Style 34).
¥
Wurlitzer 1015 Jukebox (ÒBubblerÓ) 1947. This is the famous bubbler jukebox, where bubbles appear to rise from the columns.
¥
Scopitone Video Jukebox (French). The Scopitone is a machine that projects a short music video after a coin is deposited. They used 16mm films. Bob has all of the Technicolor films made for this machine.
Final Notes
Bob and Diane Lloyd are wonderful people who can keep you enthralled for hours with their wonderful stories and anecdotes. The quality of work that Bob accomplished on his machines is truly amazing. I hope you enjoyed this visit to the Lloyd household.
Email Matt Jaro at mjaro@verizon. net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the July/ August 2016 issue of The AMICA Bulletin.
2021 MBSI Award Winners
MBSI Awards are given at the busi.ness meeting or awards luncheon at each annual meeting. Members wish.ing to have someone considered for an award may forward their suggestion, with the rationale, to the contact person noted for each award.
The Lifetime Service Award is given for a lifetime of service to the ideals and goals of MBSI. This is a special award given infrequently by the Board of Trustees. Award suggestions may be sent to the vice president.
The TrusteesÕ Award is given to the person who has made the greatest contribution to the society and/or the field of automatic musical instruments in general. This award is given at the discretion of the Trustees. Award suggestions may be sent to the vice president.
The Q. David Bowers Literary Award is given to the person who, in that year or any previous year, has contributed greatly to the fund of literature: either articles or books or other graphic contributions in the field covered by the society. The award recipient is chosen by the MBSI Publications Committee, subject to the concur.rence of the Board of Trustees. Award suggestions may be sent to the chair of the Publications Committee.
The Darlene Mirijanian Award is given for creativity in the field of mechanical music, to stimulate and encourage interest in producing new items of interest. Award recipients are chosen by the Nominating Committee, subject to the concurrence of the Board of Trustees. Award suggestions may be sent to the chair of the Nomi.nating Committee.
The Roehl Ambassador Award is given to an individual, group, or couple for promoting interest in and appreciation of automatic musical instruments. The award recipient is chosen by an Award Selector appointed by the Board of Trustees. The Award Selector chooses from nominations submitted by MBSI chapters and members, subject to the concurrence of the Board of Trustees.
TrusteesÕ Award
Robbie Rhodes, Jody Kravitz and Matthew Caulfield received the Trust.ees Award for their online publication, Mechanical Music Digest (MMD). Their work has provided a platform for enthusiasts to post information about mechanical musical instruments, ask questions and buy, sell, or trade instruments. Their archives reach back to 1995 and they conduct research on articles before they are published. Robbin Biggins accepted the award for these three men.
Jody Kravitz Matthew Caulfield
Award suggestions may be sent to the the discretion of the President for Vice President for forwarding to the outstanding work or service, subject current Award Selector. to the concurrence of the MBSI Exec-
The PresidentÕs Award is given at utive Committee.
TrusteesÕ Award
Sally Craig received the Trustees Award for her service to the society as a trustee and her continued service as the Museum Committee Chair where she spends countless hours adminis.tering the museum collection. Trustee Mary Ellen Myers accepted the award for Sally.
TrusteesÕ Award
Jim and Sherrie Krughoff
received the Trustees Award
because of their many contri.
butions to the society over the
years. They helped to found the
Lake Michigan Chapter and have
hosted many visits to their home.
In the past, they have received
the AMICA International Award and the MBSI Roehl Ambassador Award.
Sandy Persky accepted the award on SherrieÕs behalf.
18 MECHANICAL MUSIC March/April 2022
Literary Award Q. David Bowers and Art Reblitz received the Literary Award for their newest work, ÒAmerican Coin-Operated Pianos and Orchestrions and Related Instruments.Ó Because of the pandemic, neither recipient was able to travel to the MBSI Annual Meeting in Florida to receive their award. Vice President David Corkrum accepted the award for Q. David Bowers and Marty Persky accepted the award for Art Reblitz. Q. David Bowers Art Reblitz PresidentÕs Award Ed Kozak received the Pres.identÕs Award for his work as treasurer of the society. An old phonograph and an MBSI member brought Ed into the MBSI family. His background in accounting and his work with financial insti.tutions made him a perfect choice for the societyÕs treasurer posi.tion. The award was presented to him by President Tom Kuehn.
Darlene Mirijanian Award David Burritt received the Darlene Mirijanian award this year for his invention of the Visual/Virtual Roll Reader (VRR). This program allows anyone with an iPad, tablet or other modern camera device to preserve music from a music roll simply by making a video recording of the song. The software has been tested on music rolls and even a 15.-inch music box disc with remarkable results. Vice President Corkrum accepted the award on DavidÕs David Burritt behalf.
Unsung Hero Award The Unsung Hero Award is given to the person or persons who has worked behind the scenes without any recognition. Lowell Sundermann applied his expertise in woodworking and 3D printer technology to the manufacture of the 2021 table favor. His dedication surpassed all expectations.
Roehl Ambassador Award Aaron Muller received the Roehl Ambassador Award this year. Aaron has a permanent display of instruments at his Barrington Resale store in Barrington, IL, where visitors and shoppers are welcome to view and hear the machines play. He also holds classroom events to educate those who might be interested in these machines. Due to a small mix-up, Aaron received his award at his home instead of at the awards luncheon which he attended.
MBSI Award Nomination Form
Name of Award: Name of person you are nominating: Reasons the person deserves this award:
Your name:
MBSI Awards are given at the business meeting or awards luncheon at each annual meeting. Members wishing to have someone considered for an award may forward their suggestion, with the rationale, to the contact person noted for each award.
THE LIFETIME SERVICE AWARD is given for a lifetime of service to the ideals and goals of MBSI. This is a special award given infrequently by the Board of Trust.ees. Award suggestions may be sent to the vice president.
THE TRUSTEESÕ AWARD is given to the person who has made the greatest contribution to the society and/or the Øeld of automat.ic musical instruments in general. This award is given at the discre.tion of the Trustees. Award sugges.tions may be sent to the vice president.
THE Q. DAVID BOWERS LITER.ARY AWARD is given to the person who in that year or any previous year, has contributed greatly to the fund of literature either articles or books or other graphic contribu.tions in the Øeld covered by the society. The award recipient is chosen by the MBSI Publications Committee, subject to the concur.rence of the Board of Trustees. Award suggestions may be sent to the chair of the Publications Com.mittee.
THE DARLENE MIRIJANIAN AWARD is given for creativity in the Øeld of mechanical music, to stimulate and encourage interest in producing new items of interest. Award recipients are chosen by the Nominating Committee, subject to the concurrence of the Board of Trustees. Award suggestions may be sent to chair of the Nominating Committee.
THE ROEHL AMBASSADOR AWARD is given to an individual, group, or couple for promoting interest in and appreciation of automatic musical instruments. The award recipient is chosen by an Award Selector appointed by the Board of Trustees. The Award Selector chooses from nominations submitted by MBSI chapters and members, subject to the concur.rence of the Board of Trustees. Award suggestions may be sent to the Vice President for forwarding to the current Award Selector.
THE PRESIDENTÕS AWARD is given at the discretion of the President for outstanding work or service, subject to the concurrence of the MBSI Executive Committee.
20 MECHANICAL MUSIC March/April 2022
Interesting Tidbits
Start Õem young
Publications Committee Chair Bob Caletti sent in these images of his granddaughters enjoying instruments in his collection. The top image shows them playing along with a song on a Cremona K, while the image at left is a Seeburg H.
Introducing young people to the wonderment of mechanical music is a great way to inspire a lifelong love of both music and mechanical workings. How many of us developed a love for these things the first time we saw an instrument like this, or a band organ at the fair, or a cylinder musical box in a museum or antique shop.
Take the chance to show younger people around you why you so enjoy the musical machines in your collection. Who knows, you might just inspire a passion that could last a lifetime.
Music box disc repairs
By Charles Wilson
Disc music box lovers have all expe.rienced this problem. We get a really great disc with a well-known tune and fantastic arrangements. Unfortu.nately, the disc is missing a significant number of projections.
If the projection is still attached to the disc, I have learned that these can be reshaped on most steel discs with the proper tools. Zinc discs are more difficult, but it can still be done.
When it came to replacing a completely missing projection, however, I was never able to find anyone who was or is producing replacements. I spent time imagining various ways to make new projec.tions that could fill these gaps, but I had not been able to conjure a way to efficiently produce them in large quantities until now.
The solution struck me recently, out of the blue as I was browsing through my stack of uninteresting or damaged discs. (Seems like we all have some of these.)
I thought to myself, ÒLook at all of those available projections!Ó
I selected a zinc disc of ÒMonastery Bells,Ó my favorite tune, for repairs. It had a lot of missing projections. Then I followed this procedure to get it back into playing condition.
1.
Find a ÒdonorÓ disc of the same material in your damaged discs pile.
2.
Rough up the seating area on the disc you want to repair.
3.
Grab a projection on the ÒdonorÓ disc with locking forceps, gripping the top of the projection and rock the projection sideways till it breaks off.
4.
Grind the edges of the projection to a flat surface.
5.
Apply a small drop of gel type Super Glue to the projection and the seating area on the disc. (I also tried JB Weld, but it didnÕt bond well with a zinc disc.)
6.
Carefully release the tension to the proper position. on the forceps and place the projection in the same place as After replacement of about 70 the original. projections, I now can play a perfect
7.
Gently adjust the new projection version of ÒMonastery Bells.Ó
22 MECHANICAL MUSIC March/April 2022
Grind the edges of the replacement pro.jections to make them smooth.
Apply Super Glue gel to the replacement projection and the surface of the disc to be repaired and gently position the new projection in its place.
Fine-tune the placement of the replace.ment projections before the glue is completely dry. Once complete, enjoy your newly-repaired disc.
An unusual 44-note Chordephon Zither model with its detachable clockwork motor in its original cardboard box.
Author seeks help with Chordephon Zither catalogue project
By Kevin McElhoneÊ
For those who might not know me, I am the New Members Secretary for the Musical Box Society of Great Britain (MBSGB) and author of five books about mechanical musical Instruments. As I am not currently writingÊany books at the moment, I am making a final push and working with renewed interest on several roll and disc music catalogues I have been compiling for 30-plus years. I make these music catalogues available on both Mechanical Music Digest (www. mmdigest.com) and the MBSGB website in the tune lists section. Follow this URL to learn more: www. mbsgb.org.uk/look-learn/tune-lists/
There are many thousands of tune titles here of all kinds of instruments so please have a look and add any titles you can to fill in the gaps.
Most recentlyÊI found an origi.nalÊtune catalogue for a 14.-inch (36.2cm) 44-string Chordephon zither. This is the size instrument most often found by collectors.
I list below the missing numbers and wonder if anyone can fill in some blanks or make any corrections please?
The missing numbers are:
¥ 39-45Ê¥ 47-49 ¥ 51-60 ¥ 61-64
¥ 66-70 ¥ 71Ð99 ¥ 151-152 ¥ 154 ¥ 159 ¥ 161 ¥ 166 ¥ 172-174 ¥ 176Ê¥ 178-180 ¥ 189Ð199 ¥ 326-327 ¥ 355Ê¥ 357 ¥ 363-364 ¥ 368-370 ¥ 371-373 ¥ 375 ¥ 380
24 MECHANICAL MUSIC March/April 2022
A 44-note Chordephon Zither disc.
¥ 382Ê
¥
384Ð599 (if issued) ¥ 621-625 ¥ 630-632 ¥ 634Ð800
¥
802-803 and higher
I have a record of these titles but I have no disc numbers or composers given:
¥
ÒEs Murmeln die WellenÓÊ
¥
ÒGschichten aus dem Wiener WaldÓ
¥
ÒKlarinetten MuckelÓ
I would, of course, be interested in details of the smaller 11.-inch (28.5cm) discs and the 20-inch (50.7cm) 60-note size discs.
I do not know of any 11.-inch machines in existence, but these are the titles I have found so far for this model.
115 ÒMorgenblatter WalzerÓ
132 ÒFaust WalzerÓ
201 ÒS MailŸfterlÓ
206 ÒLang, lang istÕs herÓ
215 ÒHoch vom Dachstein
244 ÒIn einem kŸhlen GrundeÓ
280 ÒWeisst du Mutter was i
trŠumt hatÓ
292 ÒDas Lied des RattenfŠngersÓ
Please contact Kevin by email at this address kevinmcelhone@live. co.uk with any information you can provide
The Chordephon Automatic Zither
EditorÕs Note: The following article was printed 24 years ago, in the Winter 1997 issue (Vol. 43, No. 3, Pages 13-19) and is reproduced here as an excellent introduction to this instrument. It is my sincere hope that those who have never read about a Chordephon Automatic Zither learn something new and those who may remember this article in its original printing enjoy reading it once again. Some photos from the original article have been enhanced, when possible, with todayÕs software tools in an attempt to bring out more details and allow readers to better enjoy the views of the instruments that are presented.
By Larry And Erin Karp photos by the authors
Lovely to look at, a delight to the ear, the Chordephon Automatic Zither is also a wonder of mechanical design (Photo 1). Nevertheless, the Chordephon has been sadly neglected in the English-language literature of mechanical music. Aside from a small number of photo-and-caption.quickies,1-5 we were able to find only two short historical pieces6,7 and a moderately descriptive sales catalog.1 There was virtually nothing on the mechanics of operation and nothing whatever on restoration techniques.
The Chordephon came into being late in 1895, the invention of three Germans: T.B. Puttman, M.O. Claus, and P.R. Puttner. With industrialist
H.E.C. Felix, these gentlemen formed the Fabrik Mechanischer Zithern Chordephon Claus and Co. in Leipzig.7 At least four British patents were obtained in relation to the Chorde.phon, and the company operated until some short time prior to World War 1.7 A 1912 advertisement showed Weissbach of Leipzig (the manufac.turer of the Komet music box) as the maker of the Chordephon at that time.6 The Peters and the Hupfeld companies, both of Leipzig, were the principal wholesale distributors of the Chordephon.6
The instruments were manufactured in at least three sizes: 30, 44, and 60 strings, with a goodly number of case variations,6,8 all of which, according to the catalog, produced music far supe.rior to that played by other mechanical zithers. ÒThe ÔChordephonÕ is the only mechanical Zither fully equaling the Concert-Zither in sweetness and qual.ity of tone while it greatly surpasses the latter in richness and range of tone owing to its ability of rendering the most elaborate musical arrangements. On the Chordephon, the greatest tech.nical difficulties are performed such as the most expert Virtuoso could not possibly execute on the Concert.Zither.Ó1 The catalog writer then goes on to explain this amazing capability on the basis of the instrumentÕs special double-dampering system Òwhereby the duration of sounds is regulated strictly according to the true value of each note and in accordance with the musical inspirations of the artist arranging the music. Of course, this is very delicate and difficult work which requires first class musical taste and, at the same time, the utmost exacti.tude in transferring the music on the note-discs.Ó1 These Ònote-discsÓ were said to measure 11.-inch diameter for 30-stringed Chordephons, 15-for 44-stringed instruments, and 21-inch for the 60-stringed machines.1
The smallest instrument in the cata.log, the 30-stringed Number 9 ÒBijou,Ó was a manivelle with an ebonized, single-piece pin block and sounding board set atop three short, turned wooden feet.6,8 Whether Numbers 1 through 8 represented prototype machines, discontinued models, or simply never were used, we canÕt say.
The 44-stringed instruments were by far the most common models; they were manufactured in both horizon.tal (tabletop) and vertical formats. Chordephon Number 10 was an attractively shaped upscale version of Number 9, but with a small, six-minute clockwork motor which was placed beneath the sounding board to play the instrument; the motor needed to be removed for winding. Number 11, the ÒSalon-Chordephon,Ó represented yet another step upward in automatic zither evolution: the combined pinblock/sounding board stood on the rear of a rectangular wooden base, with a 10-minute clockwork motor mounted in front and to the right so as to avoid the nuisance of having to remove the motor for winding, as with Number 10. Numbers 12 and 12A were coin-operated versions of 11. Number 16, another ÒSalon-Chordephon,Ó appears to have been identical to Numbers 11, 12, and 12A, but with the smaller, six-minute clockwork motor of Number 10 mounted on the wooden base.6,8
With Chordephons Numbers 15 and 15A (the ÒHand cranked ChordephonÓ and the ÒAuto-ChordephonetteÓ we see a major change in construction. The pinblock and sounding board, now separate structures with a felt-cov.ered metal bridge between them, are mounted within a rigid, decorative rectangular cast-iron frame. This iron frame in turn is screwed into an attractive aniline-red stained wooden cradle. The hand crank of Number 15 extends from the right end of the
The plectra are thin L-shaped fingers of mild spring steel, and although the Chordephon has been described as a plucked-string instrument, the manner in which the strings are plucked is unique . . . In the Chordephon … rotation of the starwheel results in the plectrum being pushed down against the top surface of the string, stretching the string; then, further starwheel rotation causes the plectrum to be very rapidly released, such that the string is set into vibration.
instrument, while the five-minute lever-wound clockwork motor of Number 15A is mounted beneath the right front comer of the cradle.
Reading the catalog reminds the reader that these instruments, with Òstrong iron-framesÓ and Òinde.pendentÓ sounding boards Òkeep extremely well in tune.Ó8 This may be more than manufacturersÕ hype: Alan Bies and Steve Boehck believe that these iron-framed Chordephons do in fact maintain their tuning far better than the unframed models.9
Numbers 17 through 20 are 44-note,
26 MECHANICAL MUSIC March/April 2022
Photo 4. Motor components, cleaned and reassembled on Photo 5. Brass control levers, restored.
lower motor plate.
Photo 6. Wooden cradle with metal frame removed.
,
vertical, coin-operated Chordephons. Number 17 is equipped with a 10-minute clockwork motor, while 18, 19, and 20 have motors capable of playing 20-24 minutes. All four have cases of Òimitation walnut.Ó Numbers 17 and 19 are smaller and tend toward art nouveau design; they feature a rectangular glass door panel with an Alpine scene. The larger Numbers 18 and 20, with their heavier Old German-style case design, resemble vertical Polyphons and Symphonions, and have clear glass door panels so viewers can see the mechanism and rotating Chordephon disc within.6,8 The catalog tells us that the Òsolid, strong square iron framesÓ on which the strings are mounted Òkeeps (the instruments) well in tune for unlim.ited time.Ó8
Number 21s, the imposing ÒStand-Automat,Ó is a 44-note Chorde.phon mounted within a heavily carved case of genuine walnut (similar but not identical in appearance to Number 20), which in turn stands upon a disc bin, such that the combined height is 8 feet and the weight 193 pounds. This model was also available without the disc bin, as Number 21.6,8
At this point the model numbers jump to 60 to define the 60-note, top-of-the-line Chordephons. Number 60s is a vertical instrument in an art nouveau style case atop a disc bin; according to the manufacturers, the Òextensive scaleÓ and the Òadmirable mannerÓ in which the music was arranged made it Òpossible to procure music of ideal beauty and perfec.tion.Ó8 Number 63, the ÒSuspended Zither,Ó was a 60-stringed Chordephon mounted vertically on a carved, art nouveau wooden panel; the coin-op.erated clockwork motor stood at the lower end of the panel, at a right angle to the zither. According to the cata.log, this model Òrequires little space and creates quite a novel and good impression.Ó8 Another 60-stringed Chordephon (reputed to play a 20-inch disc) is pictured in BowersÕ Encyclo.pedia; it appears to be a horizontal table model.6 An unusual 60-stringed model was Der Musikalische Starn.mtisch mit Geldeinwurf (The Musical Table for Regular Guests, with Coin Slot); here, the Chordephon mecha.nism is contained within the drawer of a cafe-table.2,6
The tuning scale for the 44-note Chordephons is as follows:
a, c, c, d, e, f, f#, g, a, a, b, b, c 1,c 1, c# 1, c#1, d1, e1, f#1, g1, d1, e1, f1 , f#1, g1, g1, g#1, a1, a#1, b1, b1, c2, c#2, c#2, d2, d2, d#2, e2, f2, f#2, g2, a2, b24
Note the odd break in the scale at the 20th note – weÕre uncertain of the reason for this. The lowest 18 strings are wound; replacements of the proper measured diameters can be obtained from ghs Strings. Replacements for the unwound 24 upper strings can be purchased from Schaff Piano Supply Company. (See resources listed at end of article for all referenced restoration materials.)
Having looked for years for a Chor.dephon to add to my collection, I (LK) was blessed four times over when I finally found one. For one thing, the model that Jere Ryder had for sale at the Bound Brook, New Jersey, Mechanical Music Show last April was the ÒAuto-Chordephonette,Ó Number 15A, with its separate pin block and sounding board within an iron frame; for a second thing, it was not in need of extensive restoration. A third advan.tage was that just a few booths down the aisle, Marty Roenigk had for sale another 15A, this one in worse condi.tion, but still eminently restorable. Thus, it would be possible to have a reference Chordephon fully assem.bled while the other was in pieces. But probably the greatest break of all was the fact that Alan Bies and Steve Boehck were at that particular show; having already restored Chordephons, they sat down with me over my new acquisitions and patiently walked me through the entire restoration process. Without that help, we wouldnÕt have even known where to start.
Where to start is to remove the cotter pin and release the motor winding lever (Photo 2); then loosen the screw atop the disc drive wheel and slide the wheel off its arbor (Photo 3). Now the motor cover and motor (with attached on/off and speed control levers) are easily unscrewed and removed from the underside of the wooden cradle. The upper motor plate remains attached to the cradle; it can be easily cleaned in place. The lower plate and motor components are disassembled and cleaned in an ultrasonic bath, then put back together and lubricated (Photo 4). The brass control levers are cleaned ultrasonically, polished, and lacquered. Before lacquering, the black ink of the incised letters and directional arrows on the levers (Photo 5) can be replaced, using Black Background Antique.
Next, the decorative metal frame containing pin block and sounding board is separated from the wooden cradle by removing the large screws on the underside of the cradle (Photo 6). To clean the cradle we used Williamsville aerosol wood cleaner. This product removes dirt and grease vigorously from wood or metal surfaces but does not harm paint or even decals. (It does dissolve inks, however, such as those used on some clock dials).
Then, the disc pressure bar is unscrewed from its brass mounting surface; the mounting block is unscrewed from the outer side of the
28 MECHANICAL MUSIC March/April 2022
Chordephon No. 9. ÒBijou.Ó Size
20 x 9 x 4.Ó – 11 pounds.
Chordephon No. 10. Size 24 x 12 x
4.Ó- 25 pounds. Also available as
coin-op in Model No. 12.
Salon-Chordephon No. I 1. Size Chordephon No. 15. Size 26 x 10 x 5Ó-
22. x 22 x 9Ó- 3 pounds. 15 pounds.
Chordephon. No. 16. Size 26 x 19 x 7.Ó – 26 pounds.
These photocopies are from an
original Chordephon catalog.
Chordephon Cabinet Automaton Chordephon No. 63. Suspended
No. 18, to be suspended from wall. Zither, 60 notes, coin-operated.
Size 5Õ x 2.Õ x 5.Ó- 108 pounds. Size 24 x 12 x 4.Ó – 25 pounds.
With Chordephons Numbers 15 and 15A (the ÒHand cranked ChordephonÓ and the ÒAuto-ChordephonetteÓ we see a major change in construction. The pin block and sounding board, now separate structures with a felt-covered metal bridge between them, are mounted within a rigid, decorative rectangular cast-iron frame.
metal frame; the central pressure bar post and the left disc roller wheel are unscrewed, and the right disc support roller wheel is carefully unscrewed from its threaded setting in the right end panel of the metal frame. The starwheel/ damper/plectrum assembly is unscrewed from its two mountings, and the decorative brass cover is unscrewed from the rear (Photo 7). At this point of disassembly we cleaned the strings with a fine brass brush, taking care to avoid damage to either the blue felt between pin block and sounding board or the attractive brass bridge. Similarly, a steel wire-brush carefully applied by hand did a good job of removing the dirt and light rust from the 44 tuning pins. Then we cleaned the sounding board and pin block by first blowing compressed air over the surface and then working a long, narrow strip of steel with a rag attached to the end (such as used by piano tuners) back and forth under the strings. Thus, restringing was not necessary on this instrument; unfortunately, this was not true of the second Chordephon. Soot and grease had worked its way entirely through the finish and into the wooden surfaces of the pin block and sounding board; in addition, the tuning pins were entirely covered with heavy rust. Therefore, we unscrewed the right side of the metal frame to uncover the pins for the looped string ends (Photo 8) and – with no little reluctance – we removed all the strings, separated the pin block and sounding board from the metal frame, and had the two wooden components professionally cleaned and refinished. We cleaned, polished, and lacquered the brass bridge and cleaned the tuning pins with a very fine wire brush on a 1,750 rpm motor (Photo 9); as the final step in the restoration of this instrument, MBSI member Carl Kehret reseated the tuning pins and restrung the instru.ment. We cleaned the florally decorated metal frame with the Williamsville wood cleaner; then we cleaned, polished,
No. 21s. Upright Concert-Automaton. Size 8Õ x 2Õ9.Ó X 1Õ11Ó, 198. pounds.
30 MECHANICAL MUSIC March/April 2022
Photo 7. Top view of Chordephon show.ing removable components as in text.
and lacquered the brass parts: the two disc roller wheel assembly, the latch end of the disc pressure bar, the pres.sure bar center post, the pressure bar mounting block, the decorative shield for the starwheel/damper/plectrum assembly, and the disc drive wheel. At that point we turned our attention to the pressure bar and the starwheel/ damper/plectrum assembly.
Except for its brass latching portion, the pressure bar is unplated, polished steel (Photo 10). The five rollers corre.spond with circumferential notches in the bar; small springs set into these notches hold the rollers in place via pressure against the apices of V-shaped circumferential groove in- side the rollers, exerting pressure outward to hold the rollers in place. Steve and Alan suggested careful removal of the rollers, followed by cleaning and polishing of the bar with fine emery paper, then replacement of the rollers. In our inexperienced hands, though, this seemed a dicey proposition, so instead, we gave the intact pressure bar an ultra-sonic cleaning. Then we placed the bar upright in a nylon-jawed vise and polished it by looping thin strips of fine emery paper around the bar and moving them back and forth in shoe-shining fashion, taking great care to not abrade the surfaces of the rollers. To our delight -and relief -this worked perfectly: the steel surface was below the roller surfaces through a left clean and gleaming, and the rollers #26 needle on the end of a small hypo-were unscratched. Another ultrasonic dermic syringe left the rollers moving bath removed the fine particles of grit, freely on their arbor. and a small drop of light oil injected The starwheel/damper/plectrum assembly was the most critical and interesting component (Photo 11). Remember all that hoopla in the catalog about the ChordephonÕs double-dampering system? Each string is supplied with two starwheels: one wheel moves a leather-faced steel-strip damper against the side of a string to silence it, then activates a steel plectrum to sound the string. So far, the process is similar to what occurs in most disc music boxes. But then the second starwheel can be activated to move a second damper against the string, the result being a note sounded only briefly, rather than one allowed to ring out until the natu.ral processes of sound decay have their effect. A glance at a Chordephon disc helps to illustrate this principle (Photo 12): a relatively small number of projections are followed directly by second projections punched immedi.ately inside their predecessors tracks. The single projections produce long, ringing notes; the doubles produce short notes.
Since Chordephons were first manufactured in late 1895 and the British patent of 1897 seems to be related to the double-dampering system,7 it would be interesting to know whether Chordephons with single starwheel and damper systems exist today: presumably these would be the earlier models. Depending upon the manner in which these assemblies were put together, earlier and later Chordephons might or might not be able to play discs made for the other.
The plectra are thin L-shaped fingers of mild spring steel and, although the Chordephon has been described as a plucked-string instru.ment,7 the manner in which the strings are plucked is unique. The familiar string-plucking technique for hand-played string instruments and for automatic banjos and harps involves drawing the plectrum – whether the fingernail of the player or a pick made of metal or plastic – across the string so as to first stretch, then release it, thereby setting it into vibration. In the Chordephon, however, rotation of the starwheel results in the plectrum being pushed down against the top surface of the string, stretching the string; then, further starwheel rotation causes the plectrum to be very rapidly released, such that the string is set into vibration (Photo 13).
At rest, the plectra lie against a bed of 100-year-old rubber, considerably hardened and susceptible to breakage. Because of the possible harmful effect of the ultrasonic cleaning and rinsing solutions on decomposing rubber, we decided to clean the starwheel/ damper/plectrum assembly by hand. Compressed air was useful in blowing away a great deal of the accumulated dust and dirt, and patient application of small brushes did a good job of cleaning out the spaces between the dampers and the starwheel channels. After taking care to adjust all starwheels to the rest position, we saw that some plectra were bent downward, away from the rubber pad; by using dental picks with jewelerÕs screwdrivers for counter-pressure, we were able to straighten the plectra with relative ease. All plectra were
32 MECHANICAL MUSIC March/April 2022
present on one Chordephon, but two were missing on the more seriously damaged instrument. These were replaced by shaping steel strips to form, using a vise and wire-bending pliers, then soldering the new plec.trum into place in overlapping fashion onto the original remnant.
Crooked dampers, whether primary or secondary, were straightened by careful use of small needle-nose pliers.
Before re-seating the starwheel/ damper/plectrum assembly we sprayed the stained surfaces of the wooden cradle and the entire top surface of the metal frame/pin block/ sounding board with high-grade clear lacquer. This brought the instrument to a nearly factory new appearance, largely covering over the defects in the original finish on the wooden surfaces.
Photo 13. Starwheel/damper/plectrum assembly removed from frame, showing height-adjustment posts.
Tuning the instrument turned out to be a bit more of a challenge than weÕd anticipated: small adjustments of the tuning pins produced significant changes in pitch of the strings, and our attempts using a tone emitter left both the Chordephon and its attendants unpleasantly out of temper. However, a Peterson Model 320 strobe tuner, with a microphone pickup attached to the underside of the wooden cradle, gave excellent results.
The last step was to screw the star.wheel/damper/plectrum assembly into place, giving attention to the small, square headed screw posts in both mounting blocks (Photo 14); adjusting these posts downward increases the volume of play, while moving them upward softens the sound. Compen.satory adjustments then needed to be made in the height of the pressure bar latch, via a set screw for its post as shown in Photo 14.
Voila! The restored Chordephon Automatic Zither.
Thanks to Steve Boehck and Alan Bies for their generosity and patience in explaining both the mechanics of the Chordephon and their own restoration techniques – a fine exemplification of MBSI friendship and cooperation.
References
1.
Buchner, A., Mechanical Musical Instru.ments, Batchworth Press, London, p 166.
2.
Friberg, Claes 0., The Music Box 7(4), 1975, pp 165-166.
3.
Haspels, J.J., Musical Automata, Zwolle, The Netherlands, 1994, p 158.
4.
Weiss-Stauffacher, H., The Marvelous World of Music Machines, Kodanska, Intl., Ltd., Tokyo, Japan, 1976, p 124.
5.
Wendel, S., The Mechanical Music Cabi.net, Dortmund, Germany, 1984, p 156.
6.
Bowers, Q. David, Encyclopedia of Auto.matic Musical Instruments, Vestal Press, Vestal, NY, 1972, pp 357-358.
7.
Ord-Hume, Arthur, The Music Box 6(5): 1974, pp 320-323.
8.
Anon., Chordephon Sales Catalog, un.dated.
9.
Bies, Alan and Boehck, Steve, personal communication.
Sources
¥ ghs Strings, Battle Creek, Michigan.
¥
Schaff Piano Supply Company, 541 Oak.wood Road, Lake Zurich, IL 60047.
¥
Black Background Antique (Product #PM130), Vigor Company, 1218 Six Flags Road, Austell, GA 30001.
¥
Williamsville Aerosol Wood Cleaner, Antique Phonograph Supply Company, Rt. 23, Box 123, Davenport Center, NY 13751.
The authors, father and daughter, are eclec.tic collectors who reside in Seattle, WA
Hope and Despair:
The Organ Grinder and The Concentration Camp
In this screen capture from a YouTube video, the main character of Brundib‡r with his barrel organ is clearly seen. The full video (source at end of article) shows footage of the finale of the play from the Nazi-produced propaganda film that was shot
at Theres’enstadt concentration camp in 1944.
By Dr. Robert Penna
Organ grinders are often charac.terized as jolly old men cranking a mechanical device surrounded by smiling adults and singing/dancing children. Yet, reality tells a different and at times a sad story. Many indi.viduals were tricked into leaving their homelands by scurrilous individuals and forced to live in substandard conditions. They were often victims of prejudice and intolerance. Struggling to carry or push a heavy instrument in all types of weather and bored by the repetitious playing of tunes, it was a job few would envy.1 There were many times that these hard-working poor individuals were considered little more than nuisances, often chased and ridiculed by the people they tried to entertain.2
Organ grinders and their barrel organs were still a common sight on our streets in the early 20th century. In the cartoons of this era, grinders are shown demonstrating almost all emotions from joy to anger. Their purpose in these comedic cartoons was to entertain the audiences with colorful antics. Cartoons such as ÒTail of the MonkeyÓ (1926), ÒHurdy GurdyÓ (1929), ÒMariutchÓ (1930), and ÒHurdy-Gurdy HareÓ (1948) clearly demonstrate this.3
However, there is so much more to the role of the organ grinder and his musical device than comedy. In some instances, the organ grinder and his instrument were used to send a political message. In ÒOrgan GrinderÕs SwingÓ (1937), Popeye and Pluto combat over the organ grinderÕs right to entertain. This was a clear message sent to Mayor LaGuardia of New York railing against his decision to ban organ grinders from the city. This cartoon demonstrated the publicÕs fondness for
34 MECHANICAL MUSIC March/April 2022
A poster advertising the performance of ÒBrundib‡rÓ at Another poster announcing ÒBrundib‡rÓ and featuring the bar-
Theres’enstadt concentration camp 1944.
the organ grinder and his monkey. Set in New York and chronologically close to La GuardiaÕs legal action, it helps us gauge the publicÕs attitude toward the ban on street organs.4
But the role of the organ grinder has never been more powerful and polit.ically important as in the childrenÕs opera ÒBrundib‡r.Ó Written at the start of World War II as Europe was prepar.ing for war, it is considered a work of resistance against the forces of evil. The power of this opera stems in part from its tragic history as well as its story of victory against overwhelming odds.
Performed by children from Terez’n (Theres’enstadt Concentration Camp) for children and adult prisoners, this simple story takes on special meaning for the members of the audience. Simple characters that children would have readily recognized such as an organ grinder, policeman, and
rel organ prominently.
merchants take on meaningful often insidious roles.
The ordinary policeman becomes a symbol of the oppressive Nazi police and Brundib‡r, the simple organ grinder, assumes the role of the chief oppressor from the Nazi regime. Commerford writes, ÒThe Brundib‡r character symbolized Hitler himself, a bully and tyrant who would stop at nothing to get his own way, including threatening the innocence and needs of small children.Ó5
The opera was composed by Hans Kr‡sa in 1938. A few months after the opera was completed, the German army invaded and occupied Czecho.slovakia. Kr‡sa, who was Jewish, was barred from performing his opera before a general audience according to Nazi race laws. ÒBrundib‡rÓ was not given its premiere until 1942 at the Vinohrady Jewish BoysÕ Orphanage, which had become a recital hall for the Jews of the Prague ghetto. Before the first performance, Kr‡sa was arrested and sent in the first transport of Prague Jews to Terez’n, the NaziÕs Òmodel ghettoÓ for the Jews of Central Bohemia. In reality, it was a concen.tration camp and a way station for the death camps of Auschwitz. After only three performances, the all-boy cast, the conductor and accompanists were arrested and sent to Terez’n.
Using a smuggled script, the opera was re-orchestrated for the 13 adult instrumentalists on hand in Terez’n. Some improvements in the production took place at the camp. A co-ed cast was assembled, new scenery was designed, a new finale engineered and importantly Òthe boy playing Brundib‡r is wearing a mustache, which, though more of the handle-bar than toothbrush variety, surely made its point.Ó6
The plot of ÒBrundib‡rÓ is basically
Photo of cast taken at Theresienstadt Concentration Camp (Terez’n). Research indicates the last surviving member of the main cast is Ela Stein. She was the Cat in every performance that was staged between September 1943 and September 1944. She is likely the tall child to the right of the organ grinder.10
a folk tale set to music and told from the perspective of two young children, Aninka and Pep’.ek, who are in need of milk for their ailing mother. As the doctor has prescribed milk for her health, they go to seek it in the town marketplace. Unfortunately, they have no money to purchase any. Three trad.ers hawk their wares: an ice-cream man, a baker and a milkman. The children engage the milkman in song, but he tells them that they need money to purchase the milk. A gruff and overbearing policeman threatens the children with his club in case they are considering taking some without paying.
Frightened but determined to buy some milk, the children sit in the street to discuss their options. Suddenly they hear the beautiful music of a barrel organ (actually the orchestra). It is the organ grinder, Brundib‡r, playing his instrument. All the townsfolk seem mesmerized by the melodious sounds and begin dancing. The townspeople give money to the organ grinder as he continues to play.
Aninka and Pep’.ek are surprised and question, ÒBut why give money to him? … What has he done to deserve it?Ó At that, the policeman responds providing justification for all grinders, ÒMusic is what you get. Where thereÕs music, thereÕs dancing, and good cheer and thatÕs worth anyoneÕs money.Ó
Aninka and Pep’.ek decide to entertain the townsfolk by singing. Of course, Pep’.ek puts his hat on the ground hoping the townspeople will donate some coins. Singing a childish song about geese flying away, they annoy the townsfolk, the merchants, Brundib‡r, and the policeman who chase them. Accusing them of greed, Brundib‡r states, ÒTwo beggars, we donÕt like your sort.Ó Pushed and hit with a truncheon, the children fall to the ground. The grinder asks, ÒDo you know who I am?Ó When the children say they donÕt know, Brundib‡r takes the officerÕs club and hits him over the head, saying ÒThey donÕt know who I am.Ó Then in song, Brundib‡r describes himself Òas the greatest organ grinder in the worldÓ and brags, ÒAll obey me! Ha ha ha.Ó
Night falls and the children sit
36 MECHANICAL MUSIC March/April 2022
A photograph from ÒBrundib‡rÓ showing the full cast, audience of children and the set of the opera. Ela Stein is to the left of
the organ grinder in this photo.
alone on the stage. Aninka, who is frightened asks, ÒWhy does Brundib‡r so hate us?Ó Her brother responds, Ò Brundib‡r has got no reason.Ó Discuss.ing their plight, they decide, ÒWe are helpless.Ó [this is clearly the question and thoughts of the Jewish children who watched this opera in the Terez’n Concentration Camp where it was performed].
Coming to them late at night when the childrenÕs feelings are at their lowest, three animals Ð a sparrow, cat, and dog Ð volunteer their help. The dog explains, ÒBullies always think theyÕre tough, itÕs all boasting, wind and bluff.Ó The sparrow claims, ÒNever give up; never give in; never lose hope that we can win. Yes, we can win.Ó Whispering on stage, the characters vow to work together and promise Òjustice will soon be doneÓ and Òfreedom will soon be won.Ó
The next morning when all the chil.dren of the village begin their morning exercises, the three animals convince them to aid Aninka and Pep’.ek saying in part, Òif we stick together, we can win the childrenÕs struggle against an evil dictator and teach all the world a lesson.Ó All agree including the police officer.
The plan goes ahead: the animals and children drown out Brundib‡r; they then join in a beautiful lullaby. The townsfolk are very moved and give Aninka and Pep’.ek money. Suddenly, Brundib‡r sneaks in and steals their takings. All the children and the animals give chase and recover the money. The opera concludes with a victory march sung about defeating the evil organ-grinder.7
It is impossible to miss the parallels between the characters in this opera and the situation that these inmates found themselves. The audience members identified with Aninka and Pep’.ek and recoiled from the mean-spiritedness of Brundib‡r. To them, it was a clear distinction as to who was the innocent and downtrod.den and who was the evil dictator.
Yet, the Nazis realized that there was a propagandistic potential to the play. They could mislead the world into believing that the interned Jews were not mistreated and lived in a pleasant and creative atmosphere. Therefore, the film ÒTheres’enstadt -eine Dokumentarfilm aus den jŸdische SiedlungsgebietÓ (Theres’enstadt
-A Documentary from the Jewish Settlement Area) was produced to purposely provide misinformation on the plight of the Jews. Also, when the International Red Cross inspected Terez’n in September 1944, the play was featured in order to mislead how the children were treated. It would be the last performance as all artists were then sent to Auschwitz and other eastern destinations within the next two weeks.7
While only a half hour long, the story of the evil organ grinder quickly grasped the attention of the audience. The allegorical nature of the story of victory over a tyrant could be extrapolated to include the political oppression suffered by the inmates. They understood that the simple plot of ÒBrundib‡rÓ represented all that the Nazi regime stood for. When the children sang their final song of victory over the cruel Brundib‡r, there was no doubt about the evil he personified. This was the very evil that caused the young performers of the opera to be deported to Auschwitz and the gas chambers.8
The organ grinder has many roles in literature and the media, from the comedic to the heroic, from the altruist to the tyrant. Although gone from our streets, the grinder and his music still hold a special place for us all. At times, he and his instrument can be viewed as valiant: saving a damsel in distress or summoning the police to thwart a crime.9 But in ÒBrundib‡r,Ó the organ grinder is the ultimate villain. Yet, his defeat provided hope and promise for the frightened and persecuted children of Terez’n. ÒBrundib‡rÓ offers one addi.tional perspective in understanding the role of the organ grinder and his impact on society.
The BBC broadcast ÒBrundib‡rÓ in 1995 with Ronald CorpÕs New London ChildrenÕs Choir. It was stage directed by John Abulafia and directed for TV by Simon Broughton. It can be found at: https://holocaustmusic.ort.org/ places/Theres’enstadt/Brundib‡r/
Footage of the finale of the play from the Nazi-produced propaganda film (performed at Terez’n) can be found at: https://www.youtube.com/ watch?v=fMiuQfaysrE
Footnotes
1.
Penna, Robert. ÒThe Italian Organ Grinder: His Life Revealed,Ó Mechanical Music, Musical Box Society International, Septem.ber/October 2021.
2.
Penna, Robert. ÒJoy and Suffering: The Organ Grinders of Lon.don and Manchester,Ó The Music Box, Musical Box Society of Great Britain, Autumn 2020.
3.
Penna, Robert, ÒCartoon Crankers,Ó Mechanical Music, Musical Box Society International, July/August 2019
4.
Penna, Robert. ÒOrgan Grinders, the Mayor and Cartoons of the 1930ÕsÓ Mechanical Music, Musical Box Society International, January/February 2018.
5.
Dougherty, Tim. ÒChildrenÕs Opera ÔBrundib‡rÕ Sends Message of Resistance,Ó Noozhawk, Noozhawk, Santa Barbara, CA, May 31, 2021.
6.
Kushner, Tony. ÒHans Kr‡sa,Ó Music of Remembrance, Seat.tle, WA, 2020. https://www.musicofremembrance.org/work/ brundibar
7.
Toltz, Joseph. ÒBrundib‡r: Introduction and Brief History,Ó Music and the Holocaust, Ort House, London, 2021. https://holocaust.music.ort.org/places/theresienstadt/brundibar/
8.
ÒBrundib‡r Study Guide,Ó Manitoba Chamber Orchestra, Mani.toba, Canada, 2021.
9.
Penna, Robert. ÒThe Hurdy Gurdy to the Rescue: An Example of Cinematic Music,Ó Musical Box Society International Bulletin, Musical Box Society International, Summer/Spring 1984.
10.
Rubin, S. & Weisberger, E. The Cat with the Yellow Star: Coming of Age in Terez’n, Holiday House Publishing, New York, 2006.
38 MECHANICAL MUSIC March/April 2022
Interesting Tidbits
Bill Wineburgh sent in this image of an old tintype photograph that may have been staged for some promotional purpose. Based on the clothing, the image was likely made around the year 1900.
One of the men is holding his hat out as if he is pretending to panhandle while another of the men plays the organette.
The organette may be an Ariston.
Tune card restorations from an unusual source
By Bob Caletti
Recently, while restoring a few music boxes, I found myself in a situation where the tune cards on the boxes were in tatters. The paper was torn, faded or pieces were just miss.ing. The owners wanted a restored look presented to match the rest of their restored music box.
In each of the before and after examples on these pages, I removed the original tune card that was attached to the music box lid, then searched for similar tune card pictures on the internet that showed the missing parts of each.
I gave all these digital photos to my local professional camera service shop (most towns will have at least one shop like this). They used a scan.ner to make high-resolution images of the original tune cards and compared them with the pictures I provided them of similar complete tune cards so they could see what was missing from each one.
The results, in my opinion, were fantastic. They were able to produce new tune cards on heavy card stock paper for me that, while not exactly like the originals, certainly matched the look very closely.
In one case I had the outside design but needed the tune list restored, so I printed the outside design with a blank area where the tune titles go. I then had a calligrapher fill in the titles and composers.
40 MECHANICAL MUSIC March/April 2022
Model B Steinway Duo-Art
And a Royal Connection?
The music room in the authorÕs home with the Steinway Model B reproducing piano at left.
Model B Steinway Duo-Art
By Mark Singleton
I have the pleasure of being the current custodian of a fine Steinway Model B, Pedal and Electric Duo-Art Reproducing Piano. The ÔBÕ was made in 1927 as (so IÕm told) a special order for the former King of Portugal, Manuel II, who was in exile in West London. Manuel II never took delivery, however, and the piano ended up at the Eton School for Boys, Berkshire. The ÔBÕ was eventually purchased by The Auto Piano Company in Slough and they used it for demonstrations and as a recording piano for their piano roll enterprise.
As a regular visitor to The Auto Piano Company in the early 1980s, I had the opportunity to play rolls on the piano and also witness the recording sessions. These performances were recorded on an Apple 2 computer and (after editing) these files were used to control the perforating machine and produce new rolls. Tragically, in 1989, the owner of the shop was killed in a motorway accident and the business was closed and the piano was sent to auction.
I was not in a position to bid at the auction and it was purchased by another keen collector and enthusiast. He set about a full and comprehensive pneumatic restoration and had the instrument restrung and frame refin.ished. Many years later (in 2005), I had the opportunity to buy it and IÕve not had a momentÕs regret since. It is played every day and still puts a smile on my face from ear to ear. Over the years, I have continued the restoration process, including pneumatics and piano action. I did a full strip and French polish of the case and, with the help and encouragement from other enthusiasts and members of sister societies, the piano is performing well.
Only a small number (we think 12) of Steinway pianos of this size (about 7-feet-6-inches) were built and there are very few surviving today. To my knowledge, there are three in the UK (including this one), a couple in the USA and one in Russia. (If others are known of, IÕd be pleased to hear.)
I was introduced to a clever guy (and now sadly late) Bob Hunt and his Virtual Roll System by an Australian enthusiast a few years ago. The virtual roll is an easily installed MIDI e-valve system. It enables roll operated mechanical musical instruments to be played by digital files as well as paper rolls. All roll data, including expression, is conveyed to the e-valve system via MIDI where it controls the instrumentÕs pneumatic valves exactly and precisely as the original roll would have. Purists may cringe at the thought but rest assured Ð it can be removed in minutes. The valves are connected to the tracker bar tubing with a simple ÔTÕ piece. The computer sends instructions to open and close
Ð just like the perforations in a roll. The pianoÕs pneumatics operates in exactly the same way. I now have several thousand scanned music rolls on one CD, opening up a new world of music and solving a serious roll storage problem.
The note mapping of each decoder chip on the processor board allows any valve to be programmed to respond to any MIDI note/channel instruction. In an e-roll, the entire tracker bar signal information is stored as MIDI note on-off data including the expression data. The musical notes and expression codes are in the same order in MIDI as they are on the tracker bar. The actual valve that responds to each ÔnoteÕ is programmable by following the note mapping procedure, and is pre-set for the particular installation when the virtual roll is prepared initially.
My musical tastes are rather eclectic and this piano has given me the opportunity to listen to historic performances, as recorded by some of the greatest pianists of the age, and reproduced by the Duo-Art system and also, being both pedal and elec.tric, it allows me to play 88-note rolls and give my own interpretation on the music (or thoroughly murder it!).
One of the joys of our hobby is the ability to share and the ÔBÕ is usually the Star Turn at our musical soirŽes and society meetings. I am currently experimenting with video and sound recording techniques to promote mechanical music of all types.
Early tests can be seen atÊhttps://bit. ly/3sDfsp3Êand https://bit.ly/3JrwmOf.
LetÕs keep the music playing
Have you solved a problem while repairing, restoring or maintaining a mechanical music box?
Cylinder boxes, disc boxes, band organs, orchestrions and nickelodeons each have their own special needs.
Share your restoration or maintenance tips with other mechanical music enthusiasts.
Email editor@mbsi.org, call (253) 228-1634
or mail to: Mechanical Music 130 Coral Court Pismo Beach, CA 93449
44 MECHANICAL MUSIC March/April 2022
Originally Published in The Music Trade Review Vol. 56, No. 12 (March 22, 1913)
String Tensions Again
By William Braid White
I have had a letter from a Milwau.kee correspondent which makes me think that perhaps I had better go a little deeper into the matter of string tensions, concerning which, it will be remembered, Mr. Wenzel-Schmidt recently addressed this department. My Milwaukee correspondent says:
ÒEditor Technical Department: Dear Sir ÐÊI have been very much interested in reading the items in your Technical Department. The other day I happened to run across your explanation as to string tension, and was a little bit confused in the figures, and I will thank you very much for further explanation on the subject.
ÒI should like to have you figure out for me how I can arrive at the tension of a steel string six inches long, strung with No. 16 Poehlmann wire and sounding the second E in the treble (the twenty-first note).Ó
The mathematical calculation for string tension is arrived at by comparison of the factors which enter into the composition of the complete string when stretched and sounding its appropriate pitch. These factors are the speaking length, the weight, and the frequency of vibration. All are interdependent, and if we know them, the tension can be readily calculated. Conversely, any one of the facts can also be calculated if we know the rest. Thus, if we know tension, pitch and weight, length can be calculated; and so on for all of them.
The process of obtaining a formula for calculation of tensions need not be demonstrated here. It will be enough for present purposes to give the formula and show how they may be applied.
The general formula for calculating tension is as follows:
V2 L M
T = ————————–
675,000
where T stands for tension in pounds, V for frequency of vibrations per minute, L for speaking length in inches, and M for weight of speaking length in grains troy. To put the matter in the form of a rule: The tension in pounds of a given string is equal to the product of the square of the Vibration frequency, by the speaking length in inches, by the weight of the speaking length in grains troy, divided by 675,000.
Let us now take the example furnished by our correspondent: The string E to which he refers as the twenty-first from the top is E 5, and at international pitch its frequency is approximately 1,303 vibrations per second. No. 16 wire weighs about 2.17 grains troy per inch. The length of the string is 6 inches. Hence its weight will be 6 X 2.17 grains troy. Hence tension equals:
13032 X 6 X 6 (6 X 2.17) —————-lbs. or 196.5 lbs 675,000
Obviously, this is too high a tension at the given pitch and for the given length. Either the string is too long or else the wire number should be reduced. I think the latter is the more probable solution.
Now, it should be understood that these calculations are valuable only in so far as the various factors are abso.lutely maintained. If the pitch is below international, even to a slight degree, the tension will be markedly less. Again, not all steel wire is of identical weight for a given number. I have some time since compiled a table of weights from figures given by manufacturers of the number of feet to a pound avoirdu.pois. Of course, the best plan would be to weigh on a delicate balance a piece of wire of the exact given speaking length and taken from the same coil as is to be used afterwards. Then there would be no danger of making a gross error in weight.
Mr. Wenzel-Schmidt, in his recent comments on this formula, made the point that the stretching of the string over the bearing-bar and bridges reduces its ÒdurabilityÕÕ by something like 10 percent. This means, I suppose, that the breaking limit of a string is lowered by 10 percent when it is stretched over the bearing-bar and bridge of a piano. I cannot see, however, just why this should be so, nor do I see why the fact that a string has waste ends, limited by points where the stretching force, as at the bearing-bar and bridge, is of course higher than elsewhere, should I in the least have the assigned effect. So far as concerns the actual formula here set forth, it must be remembered that l have to deal with conditions on the assumption that they are fixed. For instance, if I undertake to calculate the tension on a string in certain given conditions, l have to assume that the given pitch is actually attained and maintained. If the piano be later tuned to a different pitch, or if it be out of tune, the calculated tensions will no longer serve to represent the actual condition of things. The same thing is true of the lengths and weights. But if all the conditions be observed, the mathematical calcu.lation will be found correct, as nearly as possible.
At this point, I should like to say that with the data here given anyone can calculate the tension of the strings in any scale. In addition to the formula which I give, the investigator should provide himself with a table of weights showing the number of grains per inch in every number of wire used by him, and also with a table of the lengths showing the precise speaking length of his strings. By these means he can obtain the weights of each. He should also have a table of the pitch of each note according to whatever diapason he uses in tuning. The international pitch is best, and can easily be calculated for every note in the following manner: The middle C at
international pitch has a frequency of 258.65 vibrations per second. From this, by doubling at each ascending octave, we may obtain the pitch of the highest note on the piano (C 7), which is 4138.44. Now, the equal temperament assumes that each octave contains 12 equidistant semitones, and the semitone proportion therefore is 1-12th root of 2, or 1.1059. Hence, if the pitch number of C 7 be divided by this factor (1.059) the result will be the pitch or the semitone next below, or B 6. From this again can be calculated B flat 6, and so on. When twelve semitones have thus been calcu.lated from C 7 to C sharp 6, the lower octaves can be had by the simple process of halving the pitch of the highest octave for each octave descending. Thus, a table of frequencies at the international pitch can be easily compiled. With these at hand, together with the other table of weights and the formula given above, the tension on strings can be calculated with a close
approach to absolute correctness. It is very important that the tension calculations should be
made as accurately as possi.ble, since the problem of designing a plate becomes a comparatively simple matter only when the strains in all directions are known. As things stand, many plates are made more or less by guesswork, and the result often is that weights are made excessive, Moreover, a thorough understanding of the nature and amount of the strains on the plate at all points enables us to judge with
46 MECHANICAL MUSIC March/April 2022
approach to accuracy the exact condi.tion of the scale during the process of tuning, and this assists us in designing in such a manner as to promote the quality of standing-in-tune, which in itself is largely one of equalization of strains.
The Wenzel-Schmidt tension-meter does the same thing mechanically, by actually registering the stretching force required to make a certain string of a certain length and weight give a certain pitch,
The whole subject of string -tensions could with advantage be restudied, and it would be a very good work to publish a set of tables showing the strains on plates under various conditions of stringing. Readers will have heard of the wonderful work in this direction done by the late Major McChesney, of the George P. Bent Co. His researches into the mathematical physics of piano building are classic, and it is only to be regretted that they have never been published to the world. Of course, one can hardly blame the George P. Bent Co. for holding this splendid piece of work strictly to itself, for it puts in their hands vast powers for improvement and refinement in the art. At the same time, the methods used are plain to all, and the same work can be duplicated by anyone who has the brains, the patience and the desire.
Seeking your stories for ….
Did you once spend time finding the perfect musical antique to round out your collection? What was it? How did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique instrument then found a way to acquire it and restore it so that you might display it and tell the story to all who visit your home?
Answer these questions and you will have the perfect story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story behind it and the readers of Mechanical Music love to read them all.
Editing help is available if you have a story, but you are not sure how to organize it or present it. The important thing is to get it down and pass it on for the enjoyment of others.
We look forward to hearing from you.
The Hunt
Email your story to editor Russell Kasselman at editor@mbsi.org or mail a copy to:
MBSI Editorial Offices 130 Coral Court Pismo Beach, CA 93449
A Lasting Legacy
Throughout its history, MBSI has fostered an interest in and preservation of automatic musical instruments. Your gift to the Endowment Fund will support programs that will help future generations appreciate these achievements of human creative genius. Visit www.mbsi.org to learn more.
In order for anything once alive to have meaning, its effect must remain alive in eternity in some way
Ð Ernest Becker, Philosopher
The Musical Box Society International is a 501(c)(3) nonproÞt organization. All donations to the Endowment Fund are tax deductible. A gift of any size is welcome.
Interesting Tidbits
A player piano factory in full swing
These images are from the The Music Trade Review Vol. 56, No. 12 (March 22, 1913) accompanying an article about the Bjur Bros. 50,000 square-foot factoryÕs innovations including a sprinkler system and an elevator able to transport pianos and people to all four floors.
National Capital Chapter
Chapter Chair: Ken Gordon Reporters: Donna and Gene Borrelli Photographers: Gene Borrelli, Mike Falco, and Ginny Little.
Dec. 5, 2021 Ð Annapolis, MD
The National Capital Chapter held its holiday meeting on Sunday, Dec. 8, at the house of Cheryl and Dick Hack which is on the Western shore of the Chesapeake Bay in Annapolis, MD. There were 50 in attendance including eight guests and three new members. We were treated to a catered luncheon followed by a brief business meeting.
At the meeting, newly-elected Chap.ter President Ken Gordon thanked Matt Jaro for his past service as chap.ter president and also congratulated him for his new role as MBSI Vice President.
Paul Senger advised that the chapter Dick Hack demonstrates the Hupfeld Phonoliszt Violina.
New Chapter President Ken Gordon conducts the business meeting.
Donna Borrelli, Florie Hirsch, Knowles Little and Joe Orens enjoy lunch together.
Matt and Beni Jaro have a great time after a great lunch.
Listening to the DeCap Organ before lunch. Front: David Gene Borrelli and Knowles Little relaxing after the collection Burgess, Richard Simpson. Middle: Theresa Kraus, John King, demonstration. Laura Bates. Rear: Dick and Ann Maio.
50 MECHANICAL MUSIC March/April 2022
received a Certificate of Recognition from the Bowie City Council in appre.ciation for the mechanical music demonstration given by the chapter in October. The certificate was signed by the mayor.
Following the business meeting Dick and Cheryl demonstrated their collec.tion to members. The Hacks have an extensive collection of mechanical music. It includes a variety of nickel.odeons, organs, orchestrions, pianos, music boxes, phonographs, and a few jukeboxes and movie jukeboxes spanning from 1836 to 2005. Some of the pieces played were a Weber Unika, Hupfeld Phonoliszt Violina, Seeburg G Orchestrion, Welte Orchestrion, Wurlitzer CX Orchestrion with added bells, Wurlitzer 153 Band Organ,
Phyllis Krochmal and Ginny Little rest after a busy afternoon helping Cheryl.
Jack Hardman, Al Zamba and Bob Yates catch up on old times and future days.
Davrainville Clockwork Barrel Organ, Regina Hexaphone Phonograph, Decap 92-key Dance Organ, Mortier Organ, Bursens CafŽ Organ, Ramey Banjo Orchestra, Mills Violano with Drum box, Mills Panoram movie jukebox, Polyphon 15.-inch musical tall clock, Wurlitzer Model B Harp (Reproduction built by Dick), Link 2E nickelodeon, Ruth 36 Organ, and a variety of other mechanical music machines. Cheryl also displayed her collection of modern and antique quilts.
We thank Cheryl and Dick for again hosting our holiday party.
The Seven Dwarfs ready to perform with the Regina Hexaphone.
WE WANT YOUR STORY!
Every mechanical musical instrument has a tale to tell. Share the history of people who owned your instrument before you, or the story of its restoration, or just what makes it an interesting piece. Send stories via email to editor@mbsi.org or mail your story to Iron Dog Media, 130 Coral Court, Pismo Beach, CA 93449
52 MECHANICAL MUSIC March/April 2022
Joseph Berman, 1942Ñ2021
By Carol Beck
Joe Berman, a member of MBSI passed away on Dec. 12, 2021. Joe, along with his wife, Lynda, was a member of the society from 1968Ð 2014. In the early years he exchanged correspondence with Ruth Bornand and wrote several short articles for early publications. He served as Museum Committee Chair from March 2011 to March 2014. In this position, he identified 17 specific instruments from the MBSI collection, which were then housed in Oaks, PA, and arranged for their transportation to and subse.quent display in Scottsdale, AZ, at the Musical Instrument Museum. He also worked on the 2014 annual meeting committee.
In addition to collecting and appre.ciating antique music boxes, Joe enjoyed and collected antique pocket watches, and antiquarian books. He had many interests including amateur radio, the performing of and history of magic, early telegraphy, history of broadcasting, photography, Egyptol.ogy and pop-up books.
Joe was a retired professor and Dean Emeritus from Ohio University. He founded the J. Warren McClure School of Communication Systems Management in 1989, before the days of internet. Many former students credit their successful careers to the generous guidance ÒDr. JoeÓ provided. Joe and Lynda established the Berman Family Dance Scholarship at Ohio University and enjoyed following the training and advancement of its recipients.
Joe made many friends from all over the world and enjoyed sharing cultures, cooking and languages. He spoke French, Spanish and Russian. Joe always had a ready smile and was a true friend to all those around him. He will be missed by those who knew and loved him.
For more, visit https://bit.ly/3Jp.GlU7. To contact Lynda, 52 Charles St., Athens, OH 45702.
Sandra Kay Pittman Smith, 1939Ñ2021
Sandra was the second child born to Ouida Griffith Pittman and Daniel Nelson Pittman on Jun. 17, 1939 in San Angelo, TX. They lived in multiple states before settling in Midland, TX, where she graduated from Midland High School. She attended the Univer.sity of Houston, graduating with a degree in business. She worked at Exxon in the Houston area. Subse.quently, she met Philip S. Smith and they married in April 1963.
When their only child Gregory Scott Smith was born, Sandra became a full-time mother. Later she became a licensed Realtor dealing in residential sales. Philip and Sandra traveled extensively. They developed a passion and expertise for Victorian antiques, which led to her opening an antique business.
She also pursued various volunteer opportunities. She continued her affil.iation with Delta Gamma Sorority as an alumna with the Houston chapter. She did extensive family genealogy research. Other interests included obtaining her pilotÕs license and scuba diving certification. She was a gourmet cook and particularly enjoyed hosting family gatherings for the holidays. Sandra will be dearly missed.
Sandra is survived by her loving husband, Philip; son, Gregory Scott Smith; granddaughters, Monserrat Sandra Smith and Stephanie Ariana Smith; grandson, Brandon Edward Smith; great-granddaughter, Jocelyn Antonio-Smith; her only sibling, Nelda Pittman Seiver; and nieces, Vivian Seiver Heinrich and Deborah Seiver Gernentz.
In lieu of flowers, the family suggest contributions to ÒThe Lighthouse of HoustonÓ at www.houstonlighthouse. org.
Fond memories and expressions of sympathy may be shared at www. mcpetersfuneraldirectors.com for the Smith family.
Ñ Compiled from internet resources
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Go online to place your advertisement at www.mbsi.org, fill out the form in the Mart section, or contact Russell Kasselman at (253) 228-1634 to get started. You may also email advertisements to editor@mbsi.org
A Lasting Legacy
Throughout its history, MBSI has fostered an interest in and preservation of automatic musical instruments. Your gift to the Endowment Fund will support programs that will help future generations appreciate these achievements of human creative genius. Visit www.mbsi.org to learn more.
In order for anything once alive to have meaning, its effect must remain alive in eternity in some way
Ð Ernest Becker, Philosopher
The Musical Box Society International is a 501(c)(3) nonproÞt organization. All donations to the Endowment Fund are tax deductible. A gift of any size is welcome.
54 MECHANICAL MUSIC March/April 2022
58th Annual Meeting of the Automatic Musical Instrument CollectorsÕ Association & 72nd Annual Meeting of the Musical Box Society International
Hosted by the AMICA Founding Chapter and the MBSI Golden Gate Chapter
San Mateo Marriott, near the San Franciso Airport in San Mateo, California
Ride the train through the redwoods to the top of the mountain
Consignments Invited for StantonÕs Next Music Machine Auction
Sold, Rare Berliner ÒTin CanÓ
We are actively seeking collections as
Disc Gramophone –
well as individual articles for our next
$63,500
Music Machine Auction Event.
Having completed our January 6, 7, & 8th auction we are now preparing for our next event. The recent sale generated nearly $1,000,000 with
the top machine bringing over $63,000. Our recent sale consisting of Estates and Collections from all over the Country saw us traveling over 27,000 miles to gather the items sold. We are now scheduling our travels for the East and West Coast, Midwest, and southern states. Call us to get on our schedule.
Sold, Rare Edison Ajax coin operated phonograph –
$34,500 $9775
Sold, Regina Automatic Changer w/ stained glass & clock top – $26,500
Sold, Reginaphone 20.Ó music box w/ base cabinet – $8,050
Sold, Rare Lenzkirch Perpetual calendar musical clock – $9,200
Steven E. Stanton
144 South Main St., P.O. Box 146 ¥ Vermontville, MI 49096
(517) 331-8150
Phone 517-726-0181 ¥ Fax 517-726-0060 e-mail: stantonsauctions@sbcglobal.net Michael C. Bleisch website: www.stantons-auctions.com (517) 231-0868
StantonÕs Auctioneers & Realtors conducting auctions throughout Michigan and across the United States since 1954. Over 7500 sales conducted and 4,000 parcels of real estate sold at auction. Call us to discuss your sale with a firm has the experience to properly handle the job right for you. Steven E. Stanton, (517) 331-8150, Email Ð stevenEstanton@gmail.com
Over 65 years of experience in the auction business marketing collections and property of all types. Reference available.
Music Box Company, Inc.
We restore Swiss cylinder and disc music boxes.
¥
Cylinders are repinned if necessary and all worn parts are rebuilt to original specifications or better.
¥
Combs are repaired and tuned. Nickel plated parts are replated as needed.
Trust your prized music box to the finest quality restoration available. We have been accused of over restoring! Better over than under I say!
We will pick up your music box anywhere east of the Mississippi River, and transport it to our shop in Randolph, Vermont, where it will be stored in a climate-controlled area until itÕs finished and returned.
We have a complete machine shop where we build Porter Music Boxes, more than 3,000 so far. We are unique in the industry in that we are capable of manufacturing any part needed to restore any music box.
See our website, www.PorterMusicBox.com, to read letters of recommendation and browse a selection of the finest disc boxes currently being manufactured anywhere in the world. We have twin disc models, single disc models with 121/4Ó or15 1/
Ò discs, and table models with beautiful cabinets created for us in Italy. Also we can
occasions.
P.O Box 424 Randolph, VT 05060
support.
Call (802) 728-9694 or email maryP@portermusicbox.com
The Musical Box Society of Great Britain announces the publication of two new books Published in September 2018
100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
Supplement to
colour throughout with Additional Illustrations of Models, 89 Additional Lid The Disc Musical Box Pictures Additions to Lists of Models, Patents, Tune Lists & Serial Numbers; Combined Index of Images in the original book and its Supplement.
Compiled and Edited by Kevin McElhone Originally published in 2012 and still available The Disc Musical Box
ISBN 978-0-9557869-6-9
is a compendium of information about Disc Musical Boxes, their Makers and their Music; profusely illustrated in colour throughout with Illustrations of each Disk Musical Box Model, and with Catalogue Scans, Lists of Models, Patents & Tune Lists.
Supplement to
Compiled and Edited by Kevin McElhone
100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards; Combined Index of Images in the original book and its Supplement.
The Organette Book is a compendium of information about Organettes, their Makers and their Music. Originally published in 2000 but now out of print although second-hand copies are occasionally available in online auctions.
************************************************************************************************************************ For all MBSGB Publications, please refer to the Musical Box Society of Great Britain website for further details including latest availability, discounted prices and information on how to order. -www.mbsgb.org.uk
58 MECHANICAL MUSIC March/April 2022
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. Or, go to www.mbsi.org and place your ad online!
Name Phone
Email
Text of ad
This first-class tour will be conducted at a slow pace to give you time to enjoy every day of the 12-day program.
The tour will include outstanding collections and the following highlights:
The tour will begin and end in Frankfurt, Germany. We will start with a scenic Rhine River Cruise along medieval fortifications and castles. Then we continue onto Waldkirch in the Black Forest. The highlight will be the 13th International Waldkirch Orgelfest for 3 days with visits to the JŠger & Brommer Organ Factory, and the Elztal Museum. We will also explore Triberg and the Schwarzwald Museum. Our next destination is Ueberlingen, where we will visit the Raffin Organ Factory, take a cruise on Lake Constance and explore the beautiful Island of Mainau. On our way to Speyer, we will stop at Bruchsal to visit the German Museum of Mechanical Musical Instruments. During our stay in Speyer, we will explore the Wilhelmsbau and the Technic Museum. We then depart to Ruedesheim to visit Siegfried’s Mechanical Music Cabinet and end the tour with the last overnight in Frankfurt. First-class hotels and deluxe bus transportation throughout the tour are guaranteed. A tour escort with 35 years of worldwide travel experience will make sure you can enjoy an unforgettable tour.
For further information please contact: Narrow Gauge Paradise Ð John Rogers -Musical Instrument Tours Dept.
P.O. Box 130807, Tampa, Florida 33681-0807 Tel: (001) 813 831 0357, Email: NGPAmerica@aol.com, Web: www.lgbtours.com
Due to the world situation with Covid, we have updated our tour program. It will include travel only within Germany.
LetÕs keep the music playing
Have you solved a problem while repairing, restoring or maintaining a mechanical music box?
Cylinder boxes, disc boxes, band organs, orchestrions and nickelodeons each have their own special needs.
Share your restoration or maintenance tips with other mechanical music enthusiasts.
Email editor@mbsi.org, call (253) 228-1634
or mail to: Mechanical Music 130 Coral Court Pismo Beach, CA 93449
Advertise in The Mart Email your ad to editor@mbsi.org or call (253) 228-1634 to place your
ad for the March/April 2022 issue. Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Get the word out to other Add a photo to your ad! collectors by advertising in The Mart, an effective advertising tool at an inexpensive price. Photos are only $30 extra per issue.
Email editor@mbsi.org or call (253) 228-1634 for more details.
60 MECHANICAL MUSIC March/April 2022
New Arrivals!
Capitol Cuff Box ÒCÓ,
Mahogany, pristine finish & lid picture; with 10 mint cuffs (more available)!
Plus: ÉOLYMPIA 15 .Ó double comb, mahogany, on
matching base cabinet. Impeccable finish! ÉEUPHONIA 20 .Ó, short bedplate, oak, great sound! ÉMandoline arrangement cylinder box. ÉGRAND ROLLER ORGANS Ð Nine in stock! ÉGrand Roller Organ cobs Ð over 50 in stock! ÉREGINA 27Ó Accordion top in mahogany ÉREGINA 20 .Ó mahogany cupola top, short
Bedplate. Full rich sound! ÉORGANETTES Ð over 50 in stock in working or
do-it-yourself project condition. Over 1000 6Ó cobs! ÉPIANO MELODICA Ð 30 note, lots of music for it! ÉMANOPAN with lots of music strips! Éand much more!
NANCY FRATTI MUSIC BOXES
P.O. Box 400 Ð Canastota NY 13032 USA
315-684-9977 –musicbox@fron
ernet.net
MILLS VIOLANO -Very choice condition,
THE MART
professionally well maintained, one of the RESTORED MUSICAL BOXES Offering a best sounding violins and nicest youÕll ever
Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $246
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING DEADLINES:
The 1st day of each even month: Feb., Apr., Jun, Aug., Oct. and Dec.
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
CLASSIFIED ADS
¥
47¢ per word
¥
ALL CAPS, italicized and bold words: 60¢ each.
¥
Minimum Charge: $11 per ad.
¥
Limit: One ad in each category
¥
Format: See ads for style
¥
Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services
¥
MBSI memberÕs name must appear in ad
¥
Non-members may advertise at the rates listed plus a 10% surcharge
PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.
variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSI.CAL INSTRUMENTS By ART REBLITZ. Award-winning classic that brings historical, musical, and technical information to life with hundreds of large, vivid color photos. We guarantee youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor your money back. Everyone has been delighted, and some readers have ordered several copies. Get your copy today for $99 plus S/H. MECHANI.CAL MUSIC PRESS-M, 70 Wild Ammonoosuc Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
find. Rare walnut cabinet. Roll library. Priced for quick sale. $17,950. LARGE CONCERT FAIR ORGAN – ornate facade, nine carved figures, plays the best 89 keyless GAVIOLI music. $99K. Contact HERB BRABANDT, at johebra3@twc.com or (502) 425-4263
LOVELY 1928 CHICKERING AMPICO (A) 5Õ4Ó Grand Reproducing Piano with seat bench. Completely restored by Don McDon.ald with new strings and pins, and with a spool frame that will accommodate B rolls. 18 rolls included. Midi system later installed by Bob Hunt with files on included laptop. $19,500. ALLAN HERSCHELL (WURLITZER) 105 Carousel organ, circa 1926. Complete owner history known. Powerful and runs great. 11 rolls. $20,000. SEEBURG KT ORCHESTRIAN with violin pipes, tambourine, castanets and triangle. Completely restored
SUBMIT ADS TO:
MBSI Ads 130 Coral Court Pismo Beach, CA 93449 (253) 228-1634 Email: editor@mbsi.org
62 MECHANICAL MUSIC March/April 2022
by Don McDonald with new hammers, felts, pins, strings, pneumatics and tubing. Has original Seeburg motor. 7 rolls. $26,000. All reasonable offers considered. Contact BOB ANDREN, at bobkandren@verizon.net or (805) 630-2187
MARVELS OF MECHANICAL MUSIC – MBSI Video. Fascinating and beautifully-made film which explains the origins of automatic musical instruments, how they are collected and preserved today, and their historic importance, MBSI members and collections are featured. $20 USD. Free shipping in the continental U.S. Additional postage charges apply for other locations. Purchase now at www.mbsi.org
WURLITZER 153 with lights in good playing condition for Broome County Historical Society. Contact DENNIS, at dcamarda@stny. rr.com or (607) 778-9085
REPRODUCO PIANO/ORGAN and rolls. Contact DONALD KRONLEIN at fbac@ one-eleven.net or (217) 620-8650.
Display Advertisers
REGINA STYLE 36 autochanger music box. Contact KEITH AMUNDSON, at geela@ comcast.net or (218) 742-7111
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
3………. Renaissance Antiques 54…….. Music Box Restorations 54…….. Miller Organ Clock 55…….. Golden Gate Chapter 56…….. Stanton Auctions 57…….. Porter Music Box Company 58…….. MBSGB 58…….. American Treasure Tour 59…….. Reeder Pianos 59…….. Cottone Auctions 59…….. BenÕs Player Piano Service 59…….. 4-4Time.com 60…….. Musical Instrument Tours 61…….. Nancy Fratti Music Boxes 67…….. Marty Persky Music Boxes 68…….. Breker Auctions
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Email your ad to editor@mbsi.org or call (253) 228-1634 with questions. Ads must contain the following information:
¥
Name
¥
Phone or Email Address
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Text of ad
ORDER EXTRA COPIES
The 2020-2021 Directory of Members, Museums and Dealers is only $10 for members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at
(417) 886-8839 or send a check to: Musical Box Society International P.O. Box 10196 Springfield, MO 65808-0196
OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS COMMITTEES Membership Committee Nominating Committee
Chair, TBD Dan Wilson, Chair
President Audit
David Corkrum, President Tom Kuehn, Immediate Past Pres.
David Corkrum Edward Cooley, Chair, Trustee Richard Dutton, Trustee Bob Caletti, Golden Gate, Trustee 5826 Roberts Avenue Dave Calendine, Trustee Mary Ellen Myers, Trustee, Mary Ellen Myers, Trustee, Oakland, CA 94605 Matt Jaro, Vice President Southeast Southeast
musikwerke@att.net
Endowment Committee Robin Biggins, Southern California Jonathan Hoyt, Golden Gate Edward Kozak, Treasurer, Chair Judy Caletti, Golden Gate Robin Biggins, Southern California Vice President Edward Cooley, Trustee Gary Goldsmith, Snowbelt Aaron Muller, Lake Michigan Matthew Jaro Dave Calendine, Trustee Julie Morlock, Southeast
Publications Committee
24219 Clematis Dr B Bronson Rob Pollock, Mid-America Bob Caletti, Chair, Trustee Gaithersburg, MD 20882 Wayne Wolf Florie Hirsch, National Capital Richard Dutton, Trustee mjaro@verizon.net Dan Wilson, Piedmont
Executive Committee Steve Boehck
Gerald Yorioka, Northwest IntÕl
David Corkrum, Chair, President Christian Eric
Recording Secretary TBD, East Coast
Matthew Jaro, Vice President Kathleen Eric
Linda Birkitt TBD, Lake Michigan
Tom Kuehn, Immediate Past Pres.
PO Box 541 TBD, Sunbelt Publications
Dave Calendine, Trustee
Sub-Committee
San Juan Capistrano, CA 92693
Bob Caletti, Trustee Museum Committee
Website Committee scarletpimpernel28@yahoo.com Sally Craig, Chair
Finance Committee Rick Swaney, Chair
Matt Jaro, Vice President
Treasurer Edward Kozak, Chair, Treasurer B Bronson
Glenn Crater, National Capital
Edward Kozak Wayne Wolf, Vice Chair Knowles Little, Web Secretary
Ken Envall, Southern California 3615 North Campbell Avenue Edward Cooley, Trustee
Julian Grace, Sunbelt Special Exhibits Committee
Chicago, IL 60618 Peter Both Richard Simpson, East Coast Chair Mary Ellen Myers, Trustee, ekozak1970@gmail.com
Marketing Committee Southeast
Museum Sub-Committees
Bob Smith, Chair David Corkrum, President,
Ohio Operations
Dave Calendine, Trustee Golden Gate
Rob Pollock, Mid-America
TRUSTEES Judy Caletti Donald Caine, Southern California Dave Calendine Jack Hostetler, Southeast
Meetings Committee
Bob Caletti SPECIAL ACTIVITIES Knowles Little, National Capital
Matt Jaro, Chair, Vice President
Edward Cooley Judy Miller, Piedmont
Judy Caletti Publications Back Issues:
David Corkrum Aaron Muller, Lake Michigan
Tom Chase Jacque Beeman
Richard Dutton Wayne Myers, Southeast
Cotton Morlock
G.Wayne Finger Regina Certificates: Rick Swaney, Northwest IntÕl
Rich Poppe B BronsonMatt Jaro
MBSI Editorial Office: Tom Kuehn MBSI Pins and Seals: Iron Dog Media Mary Ellen Myers Jacque Beeman 130 Coral Court
Pismo Beach, CA 93449
Librarian:
editor@mbsi.org
Jerry Maler
Historian:
Bob Yates
MBSI FUNDS
Members can donate to these funds at any time. Send donations to: General Fund (unrestricted) MBSI Administrator, Endowment Fund (promotes the purposes of MBSI, restricted) PO Box 10196, Ralph Heintz Publications Fund (special literary projects) Springfield, MO 65808-0196. Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the authorÕs personal opinion. Articles submitted for publication may be edited The article will not be published with significant The author may be asked to substantiate his/her or rejected at the discretion of the Publications changes without the authorÕs approval. All articles statements.
64 MECHANICAL MUSIC March/April 2022
CALENDAR OF EVENTS
Date Event Location Sponsor
Aug. 31-Sept. 5, 2022 Joint MBSI / AMICA Annual Meeting San Mateo, CA Golden Gate Chapter/ AMICA Founding Chapter
When will your chapter meet next? Holding a Òvirtual meeting?Ó Let us know! Send in your information by April. 1, 2022, for the May/June 2022 issue. DonÕt hold your questions until the next chapter meeting.
Ask them today on our Facebook discussion group – the Music Box Society Forum.
Please send dates for the Calendar of Events to Russell Kasselman (editor@mbsi.org)
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6; damaged or issues not received, address changes, MBSI Directory listing changes, credit card charge questions, book orders, status of your membership, membership renewal, membership application, and MBSI Membership Brochures. P.O. Box 10196 Springfield, MO 65808-0196 Phone/Fax (417) 886-8839 jbeeman.mbsi@att.net
Traveling MBSI Display Bill Endlein 21547 NW 154th Pl. High Springs, FL 32643-4519 Phone (386) 454-8359 sembsi@yahoo.com
Regina Certificates: Cost $5. B Bronson Box 154 Dundee, MI 48131 Phone (734) 529-2087 art@d-pcomm.net
Advertising for Mechanical Music Russell Kasselman Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 Phone (253) 228-1634 editor@mbsi.org
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann (651) 674-5149 Dues $10 to Gary Goldsmith 17160 – 245th Avenue Big Lake, MN 55309
Southeast
Chair: Wayne Myers (407) 333-9095 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
MBSI website Rick Swaney 4302 209th Avenue NE Sammamish, WA 98074 Phone (425) 836-3586 r_swaney@msn.com
Web Secretary Knowles Little 9109 Scott Dr. Rockville, MD 20850 Phone (301) 762-6253 kglittle@verizon.net
CHAPTERS
East Coast
Chair: Elise Low (203) 457-9888 Dues $5 to Roger Wiegand 281 Concord Road Wayland, MA 01778 or pay via PayPal, send to treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Jonathan Hoyt jenjenhoyt@yahoo.com Dues $5 to Dave Corkrum 5826 Roberts Ave. Oakland, CA 94605
Japan
Chair: Naoki Shibata 81-72986-1169 naotabibito396amb@salsa.ocn.ne.jp Treasurer: Makiko Watanabe makikomakiko62@yahoo.co.jp
Lake Michigan
Chair: Aaron Muller (847) 962-2330 Dues $5 to James Huffer 7930 N. Kildare Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock (937) 508-4984 Dues $10 to Harold Wade 4616 Boneta Road Medina, OH 44256
National Capital
Chair: Ken Gordon (301) 469-9240 Dues $5 to Florie Hirsch 8917 Wooden Bridge Road Potomac, MD 20854
Northwest International
Chair: Rick Swaney (425) 836-3586 Dues $7.50/person to Kathy Baer 8210 Comox Road Blaine, WA 98230
Piedmont
Temp Chair: Dan Wilson (919) 740-6579 musicboxmac@mac.com Dues $10 to Dan Wilson 4804 Latimer Road Raleigh, NC. 276099
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Diane Lloyd 1201 Edgeview Drive Cowan Hgts, CA 92705
Sunbelt
Chair: Ray Dickey (713) 467-0349 Dues $10 to Diane Caudill 4585 Felder Road Washington, TX 77880
Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
MECHANICAL MUSIC
Journal of the Musical Box Society International
MECHANICAL MUSIC
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 3 May/June 2017
MECHANICAL MUSIC
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017
CIRCULATION
Mechanical Music is mailed to more than 1,500 members of the Musical Box Society International six (6) times per year.
ALL ADS MUST BE PREPAID
The Musical Box Society International
accepts VISA, Mastercard and online
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Devoted to All Automatic Musical Instruments
DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Non-members pay a 10% surcharge on the above rates
Display Discounts shown above are calculated as follows:
3 consecutive ads
10% Discount 6 consecutive ads
15% Discount
EIGHTH CLASSIFIED ADS PAGE
QUARTER
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PRODUCTION SCHEDULE
ISSUE NAME ADS DUE DELIVERED ON
January/February December 1
January 1 March/April February 1
March 1 May/June April 1
May 1 July/August June 1
July 1 September/October August 1
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November 1
PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is printed on 70 lb gloss Email fi les to: paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com dle-stitched. Trim size is 8.25Ó x 10.75Ó.
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Mechanical Music at its Best – www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Welte Style 4 Monster Paganini Orchestrion Welte Style 3 Welte Brisgovia C Concert Orchestrion 45Õer Niemuth Bacigalupo & Marty Cottage Orchestrion Luxus Orchestrion
Weber Maesto with Weber Otero with Violina Orchestra Hupfeld Helios II/25 Automaton Diorama Moving Scene
Offerings from the Jerry Cohen Collection
J. P. Seeburg Mills Novelty Co. KT Special Bowfront Violano
Jaeger Brommer Nicole Overture
20Õer Automaton Musical Chalet Nodding #23288 176 Teeth Musical Chairs Anniversary Organ Cat
Munson Model 2 Typewriter,Munson Typewriter Co., Chicago, 1895
Estimate: 1.500 Ð 2.000 ÷ /1,700 Ð 2,300 US$
Carousel Horse, probably Friedrich Heyn, c. 1900 Estimate: 2.000 Ð 3.000 ÷ /2,260 Ð 3,420 US$
2-inch Scale ÒBurrellÓ Traction Engine
Working model Estimate: 4.000 Ð 5.000 ÷ / 4,560 Ð 5,700 US$
French Desk Timepiece with Barometer and Thermometers, c. 1890
Estimate: 700 Ð 1.000 ÷ /790 Ð 1,140US$
Sholes and Glidden Typewriter,
E. Remmington & Sons, 1873
Estimate: 15.000 Ð 20.000 ÷ /17,100 Ð 22,800 US$
WorldÕs Leading Spring 2022 Sales:
ÈScience & TechnologyÇ ÈMechanical MusicÇ ÈOffice AntiquesÇÈPhotographica & FilmÇ
26 March 2022 14 May 2022
Rare Deluxe Telephone by Elektrisk Bureau Kristiania, c. 1894
Estimate: 6.000 Ð 8.000 ÷ /6,840 Ð 9,120 US$
Kretzschmar Kinematograph,Kinematographen-BauanstaltFridolin Kretzschmar, Dresden, c. 1902
Estimate: 9.000 Ð 14.000 ÷ /10,170 Ð 15,820 US$
Thomas de Colmar ÒArithmomtreÓ, c. 1870 Estimate: 3.500 Ð 4.500 ÷ / 3,960 Ð 5,130 US$
ÒPascalineÓ
(or ÒArithmatiqueÓ) Replica Estimate: 12.000 Ð 15.000 ÷ /13,560 Ð 17,100 US$
Emerson H4 ÒOriental GardenÓ Chinoiserie Cabinet Radio, c. 1933
Emerson Radio & Phonograph Corp., New York. Five-tube receiver. Estimate: 800 Ð 1.200 ÷ / 920 Ð 1,380 US$
ÒThe Fitch TypewriterÓ, Fitch Typewriter Co., Brooklyn, 1891 Estimate: 12.000 Ð 16.000 ÷ /13,560 Ð 18,080 US$
Art-Deco ÒBulletÓ Radio in Catalin Case, Hupfeld Helios Farnsworth Television & Radio Corp., c. 1948 Orchestral Piano,
Estimate:800 Ð 1.200 ÷ / 910 Ð 1,370 US$ Ludwig Hupfeld AG, c. 1925 Estimate: 35.000 Ð 45.000 ÷ /39,900 Ð 51,300 US$
Deluxe ÒEdison OperaÓPhonograph, c. 1913 Estimate: 6.000 Ð 7.000 ÷ /6,840 Ð 7,980 US$
Éand many more !
For more information and large colour photographs of some more of the upcoming Highlights please visit our website at: www.Breker.com / New Highlights and youtube.com/auctionteambreker
Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only: Euro 28.Ð (Europe) or elsewhere Euro 39.Ð (approx. US$ 45.Ð / Overseas)
. Consignments are welcome at any time!
ÒZoltar SpeaksÓ Fortune Teller,
Polyphon Style 105
Characters Unlimited,
Disc Musical Box, c. 1900
Boulder City, Nevada
Estimate: 5.000 Ð 7.000 ÷ / Ð The Specialists in ÈTechnical AntiquesÇ Ð Estimate: 12.000 Ð 15.000 ÷ /
13,680 Ð 17,100 US$
5,650 Ð 7,910 US$ P. O. Box 50 11 19, 50971 Koeln/Germany á Tel.: +49 / 2236 / 38 43 40 á Fax: +49 / 2236 / 38 43 430 Otto-Hahn-Str. 10, 50997 Koeln (Godorf)/Germany e-mail: Auction@Breker.com á www.breker.com á Business Hours: Tue Ð Fri 9 am Ð 5 pm
PLEASE FEEL FREE TO CONTACT OUR INTERNATIONAL REPRESENTATIVES: Japan: Murakami Taizou, Tel./Fax (06) 68 45 86 28 * murakami@ops.dti.ne.jp á China: Jiang Feng, Tel. 138 620 620 75 * jiangfengde@gmail.com Hong Kong, Taiwan, Singapore: Alex Shih-Chieh Lin, (HK), Tel. (+852) 94 90 41 13 * alexsclin@gmail.com England: Tel. +49 (0) 176 991 40593 * AuctionTeamBrekerUK@outlook.de á France: Pierre J. Bickart, Tel. (01) 43 33 86 71 * AuctionTeamKoln@aol.com Russia: Maksim Suravegin, Tel. +7 903 558 02 50 * Maksim-ATB.ru@gmx.net á U.S.A.: Andrew Truman, Tel. (207) 485 8343 * AndrewAuctionTeamBreker@gmail.com
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