MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 69, No. 1 January/February 2023
Editor/Publisher
Russell Kasselman
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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 The article will not be published with significant changes without the authorÕs approval.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.
MBSI NEWS 5 PresidentÕs Message 7 EditorÕs Notes
56 In Memoriam
Features
9 Nickel Notes by Matt Jaro
24 Virtual Player of Ariston Disc Images
29 Dulciphone ÑTo Sew or Not to Sew
33 How do they tune a music box comb?
42 Skyrock Farms hosts music video
On the Cover
Arnold ChaseÕs Blessing Kasselburg orchestrion is one of the most unique instruments in any mechani.cal music collection, but it certainly isnÕt the most popular with visitors. They all want to hear the DeCap Jazz Orchestra. Read more about Arnold and his collection in Matt JaroÕs Nickel Notes column on Page 9.
Copyright 2023. 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 Committee.
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Chapter Reports
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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.
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By David Corkrum
MBSI President
Happy New Year to you all. This past year has been a busy one and I am happy that it is over. The society has had many successes and no major failures and each year we look forward to the same. Keep your fingers crossed.
One thing that occurred during the last annual meeting was, I believe, a first. The presidents and vice presidents of the Automatic Musical Instrument CollectorsÕ Association (AMICA) and MBSI met to discuss our collective societiesÕ futures. The meeting was a couple of hours long and we discussed points related to how we will all handle the coming years.
Currently we are holding more joint MBSI and AMICA chapter meetings than ever before. Holding joint annual meetings allows us to obtain more favorable hotel rates because of the possibility of higher numbers of attendees. The most recent joint annual meeting in San Francisco, CA, exceeded the expected 150 attendees we planned for. It wasnÕt a huge increase but it did help us to make our quota for room nights. I believe that if this had been just an MBSI meeting, our final numbers might have been considerably lower and the meeting might have cost the society money.
The next step, should both societies ever decide to take it, would be a really big one. Combining the two organizations into one has been on my mind for many years and as I found out during our meeting, it has been a topic that others have considered also. This action may not happen during my time as a trustee, but I believe it will happen.
Our two organizations are getting smaller. More members are leaving than are coming in. The next gener.ation is not really interested in what we collect, and it is proving difficult to get future generations interested and involved.
Cost is a major factor. Many of us collected during the times when instruments were inexpensive. The cost of those instruments has risen, and many people do not now have the reserves to afford a fully-restored antique music box. I consider myself lucky to have become interested in these machines at an early age. My income rose faster than the value of the machines, so I was able to purchase them. Nowadays, you need a mid-level, six-figure income to afford some of them.
I apologize for any rambling here. I guess I am trying to get a lot off my mind in a short space of time. But think about it. Someday, we may all be members of a new mechanical musi.cal instrument association or society and for many of us it will be new and exciting.
We shall see!
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 March/April 2023 issue is January 30, 2023
EditorÕs Notes
By Russell Kasselman
MBSI Editor/Publisher
In October, I spent several weeks putting together MBSIÕs biennial Directory of Members, Museums and Dealers. This required me to read through many pages of contact infor.mation for our members and it served as a wonderful reminder of the wide variety of people who have joined our group to share in the joy of mechani.cal music. There are doctors, lawyers, and engineers in the group, of course, but I also came across an archaeolo.gist, the CEO of a Coca-Cola bottling plant, bowling alley proprietors, a former U.S. Senate photographer, and an acoustic piano touch designer. That last one, IÕm going to have to find out more about.
Perusing the listings itÕs fascinating to learn what types of mechanical music machines our members have to share. Our members own huge fair.ground organs, mid-size orchestrions, tiny cylinder boxes, automata and myriad other interesting collectibles.
Each listing in the by-state and by-country section also has notes about what each member has listed as his or her interests, such as Nickel.odeons, Disc, Cylinder, Phonographs, Automata, etc. Collection sizes and viewing possibilities are listed there too.
I encourage you to pick up your directory today, flip to the by-state and by-country section to just take a few minutes reading what your fellow members have shared. Perhaps you will find a way to connect over a career choice, or you may each own similar instruments and find a chance to swap repair and maintenance tips. If you are planning a trip, look to see who lives where you will be going and see if you can stop by for a visit.
This society is full of fascinating folks and the fun part is getting to know each other.
For those members who have listed
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their occupation as retired, perhaps you might consider updating your membership record in the near future. All you need to do is log into your account at mbsi.org, click the button that says ÒUpdate My InformationÓ and scroll down to the field called Òoccupation.Ó You can type whatever you would like into the field, so feel free to let people know a bit about you. Scroll down the form a bit further and you will see a section where you can list the types of mechanical music you own.
I hope you enjoy exploring more of the MBSI directory.
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Discount also applies for those who havenot been members for two years or more.Look for an updated membership sign-upform in the January/February issue that youcan copy and hand out to family, friends, neighbors, clients or anyone you think mightwant to join in the fun of MBSI.
Nickel Notes
By Matthew Jaro
For this issue of Nickel Notes we will visit the collection of Arnold Chase. His collection is absolutely breathtak.ing and Arnold has been very gracious in opening his home to groups such as MBSI and Automatic Musical Instrument CollectorsÕ Association (AMICA). The number of different topics in this article illustrate clearly how diverse ArnoldÕs interests are. They range from mechanical music to arcade games to television to radio to theatrical exhibition to engineering and each one is a story in itself.
Interest in Mechanical Music
Since there is a very large collection of pinball and other arcade games in his house, I assumed Arnold turned to collecting automatic musical instru.ments as an offshoot of his interest in coin-operated games. Turns out I was wrong. As a kid, he was always fascinated with electronics and he had a childhood dream of one day owning his own radio station. His parents had a tape recorder with which he loved to make pretend programs. He also loved sound effects records.
There was a record store in Hart.ford, CT, called Belmont Records, the largest in Connecticut. They had an extensive offering of sound effects records that were needed for his Òprograms.Ó One day, when he was about 13 or 14 he was shuffling through that section of records when he came across some of Paul EakinsÕ Audio Fidelity records. Among them was the album, ÒNickel Music.Ó The store had no idea into which section the mechanical music should go, so they placed them into the sound effects section. Arnold bought one or two, took them home, and found he loved the music. Arnold later returned to buy almost all the Paul Eakins series of albums. (As a side note, these records were also influential in my love of mechanical music, too! Many Eakins records are now available from Apple music and Amazon music. Search for ÒChris Carlisle musicÓ to find them.) As Arnold approached the age where he could get a driverÕs license, his interest in cars caused his mechanical music interest to become dormant.
The Defining Moment
Many decades later, ArnoldÕs interest was reignited when he was introduced to Jasper SanfilippoÕs collection while attending the Chicagoland (arcade) show in Chicago, IL. It would inspire a greater interest in mechanical music than Arnold had ever had before.
Arnold attended many Chicagoland shows in the 1990s. He would typically fly in late Friday afternoon, go to the flea market the next morning and then leave on an early afternoon flight. Over the years, some of the arcade people Arnold knew kept telling him about a person in the area who had an incred.ible mechanical music collection and that he should try to get a seat on one of the organized tour buses going there. Arnold, however, found that he always had some reason to run to the airport directly after the show so he never had an opportunity to go.
One year, a friend told him he had better take the time to go see the collection because there might not ever be another opportunity to do so. Not wanting to miss his chance, Arnold decided to change his reservations and joined an MBSI group headed to the Sanfilippo estate.
Up to that point, Arnold had always believed that the Paul Eakins albums represented the complete spectrum of mechanical music. This belief disappeared as soon as he saw the Imhof and Muckle orchestrion at the top of the front stairs at SanfilippoÕs, then a Hupfeld Phonoliszt Violana around the corner, and other wonders beyond the scope of anything he had been expecting. Arnold was taken by the immense diversity of the mechan.ical music instruments. Like everyone who visits JasperÕs house for the first time, Arnold was dumbfounded and speechless. He couldnÕt find adequate words to express to his wife all the wonderful things he had just seen. This experience instantly pushed Arnold over the brink from Òsomeday IÕd like
The American Fotoplayer Model 50.
to own a mechanical instrumentÓ to ÒI need to immediately start looking for mechanical music instruments.Ó
The Collection Begins
One of the instruments that really resonated from ArnoldÕs visit to JasperÕs was the Ramey Banjo Orches.tra. Arnold soon placed an order for one. It was his first mechanical music instrument purchase. The delivery time was six to eight months, since he wanted one with special glass and cabinetry. While waiting for it to be delivered, Larry Hall, from Middle.town, CT, called. Larry had a Wurlitzer 120 and a Wurlitzer 125 band organ for sale. Arnold immediately fell in love with both machines. The 125 is commonly known, but the rare 120 was hand-cranked from a pin cylinder.
Interactive Demonstrations
Since the pin barrel is inside the Wurlitzer 120, most people wouldnÕt really appreciate or even recognize this configuration. The hand-cranked feature presented unique demonstra.tion opportunities. Johnny Verbeek had given Arnold, as a present, an actual brass collection cup (used by the European street organ players). The cup has a sort of coin-slot. Arnold would ask for two volunteers. He would give the cup to one, and he would instruct the other as to the proper method of hand-cranking the
120. This brings an interactivity oppor.tunity to an instrument that other instruments donÕt really have. This
The Hupfeld Phonoliszt Violana.
The Blessing Kasselburg orchestrion.
was a lot of fun, and the cranking effort always surprises people as to how difficult it really is to hand-crank an organ while maintaining a consis.tent tempo. ItÕs a surprising amount of work, which makes for the most enjoyable cardio-workout possible!
Arnold also conducts an entertain.ing interactive demonstration using his American Fotoplayer. He asks for a couple of volunteers to put on a little skit, wherein one person pretends to throw a punch at the other person who then acts as if he has been hit and swoons like heÕs passing out. First, he has the volunteers act out their roles without any sound effects. Then he has them repeat the skit, this time with sound effects provided by the Fotoplayer. A horn sounds when the fist connects, then a chirping bird sound is heard as the victimÕs head swings around.
Just the addition of those sounds changes the whole dynamic of the action. In this way, observers can appreciate how much a Fotoplayer might add excitement and drama to a silent film. This is the type of thing
The Hupfeld Helios II-33 Orchestrion.
Arnold likes to do. Phonoliszt Violana can lend itself to
Some machines do very well as a interactivity. Arnold likes to tune the standalone demonstration featuring machine before playing a song, and he lights and moving figurines, but even always asks if there is a violinist in the a fascinating machine like the Hupfeld audience. If there is, Arnold has the
The Nederlands Boekorgel Centrum 60-key Dutch Organ.
person assist him in tuning the violin. The crowds really enjoy this. Arnold feels that the more you can draw a non-musical group into the music, the greater impression you leave them with.
Arnold has school groups that come over and he wants to make sure that at least one person in the group has a wonderful experience with deeply imprinted impressions. It reminds Arnold of himself, 40 years ago, enjoy.ing the Eakins albums.
I talked with Arnold about how, in the heyday of mechanical music, the type of songs played on the instru.ments was in regular circulation and popular with many more people. There were Laurel and Hardy movies, Betty Boop cartoons, Looney Tunes, etc. Today, these types of songs are no longer generally known by young people and I wondered if the mechani.cal music now sounds strange to them. We talked about how it might be more difficult for a younger generation to connect with the music and pondered whether this is why itÕs so difficult to interest the young in our hobby. In my view, ArnoldÕs use of his machines in interactive demonstrations is a brilliant way to attract new people to the hobby. This is a topic that I think is of paramount importance to organiza.tions with graying memberships (such as AMICA and MBSI).
Acquisition Strategy
Arnold said he never anticipated having a collection as large as he has today, but he wanted to acquire
The Hupfeld Symphonie-Jazz.
machines differently than the way Jasper and others might have done. Rather than going after every variation of a particular model (different art glass, different cabinets, etc.), Arnold wanted to approach it in a manner that might appeal to a non-musical collec.tor. Arnold realized that while he has organized groups visit several times a year, he has many more visits from people who are experiencing mechan.ical music for the first time. This led him to think that having as much representative variety as possible would be a better acquisition strategy. For example, Arnold wouldnÕt just have violin-playing instruments but he would also have a banjo-orchestra, an automatic harp, a band organ, a robot band and many other varieties of mechanical music. Looking back on the decision, Arnold said he feels it was the correct path (and I have to agree).
The Mills Bow Front Violano.
Any diverse collection of machines can play a large variety of music. For example, the European machines often play classical music. Arnold said that was a big surprise for him. In ArnoldÕs experience listening to Paul EakinsÕ records recorded on a Belgium band organ, he found most of the songs gravitated to fairground or merry-go-round music, and the arrangements were generally popular music of various eras. When he visited Jasper, Arnold experienced for the first time how wonderfully the Euro.pean instruments could reproduce classical music.
Acquiring his collection of musical instruments was not without its chal.lenges. ArnoldÕs Hupfeld Helios is a case in point. It was his most difficult and exasperating acquisition. He said the person who owned the instrument was not a moral person, playing a lot of games. For example, the machine was supposed to come with a large quantity of music, including the ones that Arnold indicated to the seller were his favorites. When the machine was finally delivered, ALL of these favorites were mysteriously missing and a message came saying, Òby the way, if you would like your favorites, itÕs going to cost you this much.Ó There was also a U.S.-based agent involved who could not make the transaction work without the extensive help of another party located in Europe, who properly expected a commission since they actually made the deal work. The American agent refused to properly share the commission with the person in Europe, despite ArnoldÕs repeated requests that the agent act honorably. After that, Arnold said he would never do business with this agent again. He said, ÒIn every bushel of apples there are inevitably a few rotten ones.Ó
Another incident happened at an auction house where a person sat next to Arnold and started talking about the items. This person did nothing but later requested a commission for ÒadvisingÓ Arnold.
His Wurlitzer 157 was advertised to him as having had a full restoration done, when in fact, it did not work when delivered. Arnold contacted restorer Tim Westman, who said, Òthis thing is barely playing and it has to be completely redone.Ó Tim pointed out many problems and it turned out that he was correct in his assessment. The original agent who brokered the deal was nowhere to be found afterward, so Tim redid the machine. It took about a year and a half, and the machine now plays superbly. Arnold fell in love with the 157 after hearing the song ÒStay as Sweet as You AreÓ played at JasperÕs. The 157 has a higher pitch than the 165 or 153, but it was perfectly matched to the song.
Arnold is quick to point out that even though there are Òbad actorsÓ in any hobby, the majority of his experiences with the people in this hobby have been great, and they far outweigh the bad.
Unique and Popular Instruments
I asked Arnold what he thought his strangest or rarest machine was. He pointed out that he has a lot of stuff that is very rare. For example, his Hupfeld Helios Series II-33 is the only one in existence. The same goes for the American Fotoplayer Style 50, which is the only one that is extant and complete. Rarity, however, does not equate to popularity! His Blessing Kasselburg orchestrion is one of the most unique instruments around, yet almost no one requests to hear it. In reality, the big 121-key DeCap Jazz organ is the number one crowd pleaser, with the DeCap Robot Band taking the number two spot.
Pinball and Arcade Games
I asked Arnold when he first got involved in pinball machines. It wasnÕt really a strange question, since many music enthusiasts also really like arcade machines and Arnold has many of them. Arnold said he got his start with pinball machines in 1962.
His father was in the commercial real business. This person wanted to place estate business and his father had a a cigarette vending machine (then friend who was in the vending machine a very popular and very lucrative
A part of pinball collection in Arnold ChaseÕs home. The Peerless orchestrion.
endeavor) in one of ArnoldÕs fathersÕ buildings. ArnoldÕs father agreed, and as a thank-you the friend delivered a Gottlieb ÒFlipperÓ to ArnoldÕs base.ment. Arnold said he couldnÕt believe what he was seeing the day he came home from school and found a pinball machine in his basement.
The Challenge of Collecting
As he got older, Arnold began acquiring additional machines. He went to college in the Boston, MA, area near many of the major coin-op distributors for the northeast. He started doing business with one of them to get access to new games. The way it worked was an operator would buy a game from the distributor and put it out on location for a couple of months. When players at that location got tired of the game or mastered it, the operator would pick it up and put it in a different location. When the operator had cycled through all of his locations, he would bring the game back to the distributor and trade it in for a brand-new game and start over.
The distributor Arnold did business with was called Robert Jones Inter.national. They had a huge warehouse filled with new and used games and other electronics. Arnold would buy used games that were new to him. These had often been installed at a series of locations and needed some maintenance. He had experience fixing pinball games because he had maintained all his own machines. He would take the machine to his parentsÕ house in Connecticut, do a complete mechanical and cosmetic restoration, then set it up in his parentsÕ base.ment. A couple of months later, after Arnold and his friends got tired of it or mastered it, he would trade it in for a newer game and he kept repeating the cycle.
A lot of the skills that went into the restoration and maintenance of arcade games were also useful when it came to mechanical music. Arnold is able to do some maintenance of the machines himself. Coin-operated arcade games and coin-op music machines share a lot of commonality. ArnoldÕs arcade collection spans approximately 1903 to 1973. ThatÕs when the last of the electro-mechan.ical arcade games were made. Arnold got the very first coin-op video game (called ÒComputer SpaceÓ) shortly after it was introduced. He felt it was kind of boring and did not collect any more video games.
Motion Pictures and Home Theater
I asked Arnold about the theater in his house. He said most of his movie viewing is done in his family room on a 90-inch TV screen. The theater is used mainly for special events or programs. Arnold has had a love for film dating back to when he was 10 years old. His parents got him a toy movie projector for his birthday. It was a hand-cranked, battery-operated unit but he was captivated by it. Since a toy projector operates in the same way as a real 16mm or 35mm movie projector (with loops and sprockets, etc.), Arnold was well prepared in elementary school when the teacher couldnÕt get their war-surplus RCA 16mm projector running correctly. Arnold knew she didnÕt have the loops set up properly, and after volunteering to operate it, he got the thing running right away. The teacher asked Arnold to operate the projector every week and he taught some friends how to run the projector as well, thus becoming the founding head of the Audio/Visual club at his school.
Growing up, Arnold dreamed of having his very own 16mm sound movie projector. Fast-forward to 1970, and Arnold got his long-dreamt-of projector. Finding copies of real ÒtheatricalÓ films was a challenge, but slowly he was able to start building a collection of them. As movies started to become available on VHS tapes, laser disks, and DVDs his attention turned from film to video projectors. He was able to set up a home theater in his former house as part of an addition.
Arnold was happy with his theater and equipment for a while, until he put a TV station on the air in Hartford, CT, and a fellow from General Electric showed up to demonstrate something from the companyÕs ÒLarge VenueÓ projection division. GE had a tech.nology called Òlight valveÓ projection (the brand name was Talaria). The salesman went into a conference room to demonstrate it, and it was the brightest, clearest picture Arnold had ever seen (even blown up on a large screen).
Arnold said to himself, ÒNow, how do I get one of these for use in my house?Ó At the time, he had a decent industrial three-CRT-based projector which he was very proud of, but the GE Talaria was a unit designed for extra-large venues (like showing boxing matches in civic centers, etc.). Arnold remembers thinking, ÒHow can I justify or even afford this for my house when the projector costs well over $100,000?Ó (We are talking about 1985 dollars here, so it would be much more expensive than that today.)
He did some research, and called one of the concert promoters in the area who also arranged large-screen boxing matches in large venues. He asked, ÒAre you interested in getting bids to do your next event?Ó The promoter said, ÒAs a matter of fact, I am. We are not happy with our existing company.Ó Arnold did a calcu.lation and found it would only take about 20 rentals to pay off the entire projector, so he negotiated a price to do just that. Arnold figured between rentals, the projector could reside in his basement. He bought the projec.tor, rented it out for a couple of years and enjoyed it at home when it wasnÕt rented out. Eventually he did the same thing again when a newer generation of equipment superseded it.
Radios and Cars
I mentioned to Arnold that I am a radio amateur with a call sign of WA3RMZ and Arnold said his call sign is WA1RYZ. What another great
The Seeburg H Orchestrion. The Popper Vindobona.
The Pierre Eich Solophone. The Link 2E Orchestrion.
connection! I asked Arnold if he collects cars, too, since many mechan.ical music collectors also like cars.
(J.B. Nethercutt and Ken Goldman are a couple who quickly spring to mind.) He said the closest he came to collect.ing cars was when he wanted to buy an original 1968 Corvette, a car he owned in his teen years. He searched, unsuc.cessfully, for 20 years to find one, but finally decided since he couldnÕt get an original, he would recreate an exact duplicate by combining parts from a couple of incomplete 1968 Corvettes. He succeeded in building himself a car, but then he said, ÒIn the end, you canÕt go home again.Ó
He said trying to squeeze behind the wheel of that car was difficult enough decades ago when he weighed almost 60 pounds less and his joints moved more freely. He said he discovered, as all of us eventually do, that as a teen you can do a lot of things you canÕt do in your 60s.
Disneyland
Many of my faithful readers will know that I first saw nickelodeons at Disneyland and KnottÕs Berry Farm. Arnold said that soon after Disneyland opened up, he and his family went on a trip to Disneyland in California. Arnold remembers spending most of his time at the Main Street Arcade, and he especially remembers the MillsÕ ÒElectricity is LifeÓ machine. He said that was the neatest and weirdest thing he had ever seen at that time. Ironically, the Wurlitzer 157 currently in his collection might still have been playing at Disneyland at that time. He could have heard it play without even knowing it!
Musical Taste and Records
I asked Arnold what music he likes best. He said his taste is eclectic. He enjoys everything from acid rock to classical to polkas and all sorts of music in between. Because Arnold has been involved with things like commer.cial haunted houses, Christmas displays and the like, he has extensive collections of Christmas-oriented CDs and Halloween-related CDs. He has complete sound effects collections, movie and show soundtracks, popular music and many others.
Arnold said the thing he hated about records is that every time you played one it would wear a little since the stylus is harder than the vinyl. Therefore each playing caused a record to sound a little worse. This would drive him crazy. Arnold said he found a product in the 1970s called ÒSound GuardÓ that would lubricate the record, thereby greatly reducing wear. He started spraying all of his records with that, but still was not happy until around 1990 when the first laser turntables came out. These only touched the records with a beam of light. Once compact discs and other digital media became available, the need for a turntable was reduced to only the few times a recording was released exclusively on vinyl. (This included dozens and dozens of early mechanical music recordings that are still not available in any other form!)
Television
In the early 1970s, Radio-Electronics magazine published an article about the earliest days of television. They showed 1920s-era mechanical disk TVs, as well as pre-World War II CRT TVs. The article resonated with Arnold.
When he was 10 years old, he said he was preoccupied with experimenting with and testing UHF antennas for the small black and white TV his parents had given him when they purchased a bigger set. He still vividly remembers looking out his window at the TV towers on Avon Mountain and saying to himself, ÒSomeday I want to put a TV station on the air in Hartford.Ó That ÒsomedayÓ came in 1984 when his company launched a television station in the town.
Arnold said he has always been interested in TV, and in 1974 when he read the Radio-Electronics article, he went wild and started to search out and collect the earliest of TV sets. He ended up with the largest collection of pre-World War II TVs in the world.
Commercial TV broadcasting
The DeCap Dance Organ.
started in 1939 with the New York WorldÕs Fair. In 1989 the Smithsonian developed an exhibit for the 50th anniversary of television. Most of the equipment featured in the exhibit came from ArnoldÕs collection. In 1939, RCA had a WorldÕs Fair pavilion where the company showcased a Lucite mirror-in-the-lid TV set. Forty years later Arnold actually owned that exact set.
Arnold sold his entire TV collection in the late 1990s to pay for an expan.sion of his former house while at the same time building a large home theater for his large-venue projectors. The collection was purchased by a broadcaster in Toronto, Canada, who visited Arnold, toured the collection, and said, ÒI want to buy the whole collection.Ó The broadcaster said, ÒI want all spare parts, books, documen.tation, basically everything you have so you canÕt compete with me in the future.Ó Arnold even had the original 1939 cards that RCA handed out to people when they were televised. I said it was a shame he had to sell the collection, but he said that after he sold it and started the mechanical music collection it felt like Òhe had been there, and now it was time to do something different.Ó
Career
ArnoldÕs formal education was in business, but heÕs been a lifelong engi.neer in reality. In high school, when Arnold was preparing to go to college, the guidance counselor recommended that Arnold go to business school rather than engineering school. The counselor said, ÒYou could go to
The DeCap Robot Band is one of the most popular in Arnold ChaseÕs collection.
engineering school and work in a laboratory or go to business school and own the laboratory!Ó
Arnold followed the counselorÕs advice. HeÕs always been an entre.preneur, so it was the right way for him to go. It wasnÕt a leap for him to simultaneously keep up his technical education by being continually trained and certified in areas such as tele.phony, Light Valve, Hughes-JVC image light amplification, and now Christie Digital Cinema Equipment.
With his knowledge, Arnold often has to resist the temptation to tell a movie theater when something is wrong and volunteer to fix it. His wife is always saying, ÒStop it. Sit down. Let them figure it out.Ó
ArnoldÕs company no longer owns television stations, but he still owns and manages ConnecticutÕs largest telecommunications facility. He is a large stakeholder in electric utilities,
A close-up of the Mortier Jazz Orchestra Dance Organ.
The Mortier Jazz Orchestra Dance Organ.
The Welte Briscovia A Orchestrion. The Popper Welte Piano Style O.
and he is on the board of directors for one of them as well. He is also still involved in commercial real estate.
I asked Arnold where he put all the items in his collection while his current house was being built. He said he had a vacant drug store in one of his shopping centers that could not get leased for years and years. All the arcade and mechanical music pieces were stored in that location, with the windows taped up and the humidity controlled. He figured if he found a tenant, then he could move the stuff. In 2009 a tenant was found so the arcade and music section of his new house then got the full completion priority. The very first MBSI tour at the new house saw a completed music/ arcade area, before Arnold could even move into the house!
Family
Arnold met his wife Sandra on a blind date. A guy he worked with told him there was a girl Arnold just had to meet. The friend said that if he wasnÕt dating someone else at that moment, he would have dated her himself. After the one blind date, Arnold never saw anyone else again. He highly resisted going forward with the blind date because he had gotten so many horrible Òfix-upsÓ and he was sick of the whole process. He said he felt like Òno more É no more.Ó The friend kept on insisting, so Arnold finally agreed. Arnold says it was a good thing he did, because itÕs coming up on 39 happy years of marriage!
With this, we end our visit with Arnold Chase and his fabulous mechanical music collection. The pictures only give the slightest idea of the scope of his collection and the beauty of his house.
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, 2017 issue of The AMICA Bulletin.
Arnold ChaseÕs home with an Automatic Musical Instrument CollectorsÕ Association tour group outside.
The theater in Arnold ChaseÕs home.
A Virtual Player of Ariston Disc Images
By Albert Lz
In November 2021, an article of mine on digitizing discs of music boxes appeared in Mechanical Music.1 In Summer 2022, Birgit Heise of the Musicological Institute of the Univer.sity of Leipzig published a book with contributions of different authors on the inventor and maker of the Ariston, Paul Ehrlich.2 This book motivated me to modify the computer program described in Footnote 1 to include images of Ariston discs. The precision required for digitizing Ariston discs is quite little compared to discs of music boxes like Symphonion and Polyphon on account of the much larger track spacing and the broader perforations. The considerably smaller number of tracks (24 in the standard Ariston model with discs of 33 centimeter diameter) is also helpful. On the other hand, a faithful representation of the music on Ariston discs must also reproduce the different lengths of the notes that are possible with this small reed organ, in contrast to music boxes whose notes decay naturally, once the corresponding tooth has been plucked.
The photo of the disc can be taken with less hassle than that of a music box. I simply place a big white plas.tic bag on the carpet near the door of my terrace where it lies in full sunlight. Then the disc is put upon the bag with the printed area up, and finally a glass pane of 8 millimeters thick from a small table is laid over the disc to press the underside of the disc firmly against the floor. This avoids making shadows from the disc perforations on the white surface. A
1.
Albert Lštz, The Digitization of Music Box Discs from Photographs, Mechanical Music Volume 67, No. 6 (November-December 2021) p. 30.
2.
Birgit Heise (ed.), Paul Ehrlich und die AnfŠnge der Leipziger Musikautomaten-In.dustrie (Paul Ehrlich and the Beginnings of the Leipzig Industry of Mechanical Musical Instruments) (Altenburg, 2022).
bamboo stick of 1.5 meters in length is set with one end onto the central hole of the disc and its orthogonality with regard to the glass pane checked from two perpendicular views. While the stick is being held with one hand, the objective of the camera, ready to make the photo, is placed with the other hand above the other end of the stick. The stick is then removed, the camera tilted for full view of the disc without changing its place, and the camera finally triggered. The zoom of the camera is set to the right value before this whole procedure. The distortions of the disc images thus taken are less than 2 percent, and can easily be compensated for with my evaluation program. With Ariston discs of 24 notes, the distance of the track spacing (4 millimeters) divided by the disc radius (165 millimeters) is
2.4 percent.
The disc image is then edited with a program called Gimp, an image editor much like Photoshop. All imper.fections on the disc, i.e. damaged perforations, are mended in the image on the computer. Because the perfo.rations are detected by their white color, any extraneous white spots on the discs are carefully located and covered with color from another part of the disc image. The four drive holes of the disc are also digitally edited out of the image since no provision for disregarding them is built into my computer program. The brightness and the contrast of the whole image is then adjusted so that the bluish-white color of the plastic bag turns into pure white and the perforations contrast as sharply as possible with the disc surface. Because I usually photograph the brown lacquered rear sides of the music box discs, but have not made any provision for a changed sense of disc rotation in the program, the image of the Ariston discs must also be mirrored at the vertical axis, for the music to play forward, not backward.
The process of image editing can take some time, but the following application of my program is quite quick. First, the name of the image file must be written into the program. The directory is always ÔAristonÕ on the Windows desktop into which also all files created by the program are written. After the start of the program, the image is loaded and shown on the screen. The user must then click into the small sector between the end and the beginning of the music in order to define a zero from which all beginnings and ends of perforations will later be given in angles (0 to 360¡). From that point on, all runs automatically except that the run stops when an image with results is shown. If all goes as expected, the button starting the next program part can be clicked. The next image with the detected perforations, their centers, and their start and end points can be checked for any faults (see Fig. 1). Sometimes it is necessary to go back to the image editing for mending a problem. The detection of the perforations and their storage was taken over from the program for the music box discs. The start and end point of each perforation is found in the following way. The image plane is divided into four equal sectors around the central hole of the disc. The perforations are treated according to in which sector their center falls. For example, two sectors range from -45¡ to +45¡ symmetrically about the verti.cal axis running through the central hole of the disc. In these two cases, the leftmost and rightmost pixels of a perforation define the angle of the beginning and end of the perforation. In the other two sectors the pixels with the lowest and highest vertical positions are used.
It should be mentioned that the curved form of the perforations leads to a small shift of the mean of the pixel coordinates in direction to the central hole of the disc, in contrast to disc musical boxes with their rectangular perforations. As a theoretical consid.eration (see Mathematical Appendix on Page 31) shows, the radius of the centers of the perforations can be calculated by multiplying the radius from the means of the pixel coordi.nates with the factor ./sin(.). In this formula, sin is the sine function, and .=.* ¹ /180, with ¹=3.141É, and .* (in degrees) being half the difference between the angles of the start and end of the corresponding perforation. For a perforation spanning an angle of 20¡, the factor is 1.0051. This case is of the magnitude to be expected for the longest notes on a disc, so that the correction factor is usually not higher, and might therefore be neglected for the assignment of the centers to the tracks. Nor are the beginning and end of the notes dependent on the center coordinates so that the correctness of the score and the audio file is not involved. Yet, the computer image of the assignment should contain the correction, because a slight radial shift of the centers can else be observed for long notes (and also for the points of beginning and end of the notes, because they are arbitrarily assigned the radius of the center in this image, in addition to their independently found angles).
The assignment of the perforations to the tracks, including the correc.tions for distortion, is done as in the program for the music box discs. At the end of the assignment part of the program, a text file, is written that lists in its first line the number of tracks (24), and in the following lines, one for each track, first the number of perforations times two, and then the perforations in the form of the angles of their beginnings and ends (the angles relate to the zero fixed at the beginning of the program by the user). On account of the small scale of just 24 notes, no provision has been made for unoccupied tracks among the three lowest notes of the scale which up to now have been occupied in all cases. Should this indeed not happen, it could be fixed by manually inserting a white dot on their track and a zero for this track in the text file.
The next program part is the formulation of the input to the music engraving program Lilypond. The core of this part had to be written completely anew. The scale used for the Ariston is:
F, G, Bes, c, f, g, a, bes, cÕ, dÕ, eÕ, fÕ, gÕ, aÕ, besÕ, bÕ, cÕÕ, dÕÕ, esÕÕ, eÕÕ, fÕÕ, gÕÕ, aÕÕ, besÕÕ
This is identical to the scale given by Kevin McElhone,3 apart from Bes, bes und bes,ÕÕ which are given there as b, but are probably a mix-up on account of the fact that b in German means the English bes (and the German h is the English b). The second scale given in Kevin McElhone, and based on A, is correct, and corresponds to the above scale except for the general shift. The music is written on two staves, with the first eight notes on the staff with the bass clef, the other notes on the staff with the treble clef. The Lilypond input is separately and independently
3 Kevin McElhone, The Organette Book (Musical Box Society of Great Britain, 2002), p. 265.
written for the two staves.
All angles in the text file are multi.plied by a constant factor transforming the angle differences to note durations. The factor was found by analyzing a score that resulted with a factor 1.0. A value of 4.0 for a note duration is defined as a 32nd note, a value of 8.0 as a 16th note, etc. The multiplied angles do not carry a tag indicating whether they are the beginning or end of a note (yet the end immediately follows the start in the text file). Nevertheless, the logic of the program does not need this information. Consider Fig. 2 that shows the three pieces of information stored for every note on the staff. After the time ti-1, when a note was switched on or off (an event), the next event is searched within the staff. This takes place at ti. If there are any further events at times less than ti plus the time of one 32nd note, these events are shifted in time to ti and go into a chord, i.e. the resolution is a 32nd note. This does, of course, not change the time of still later events, thus the duration of the whole musical piece remains unchanged. Table 1 presents the conclusions based on the three pieces of information for each note.
The Lilypond input file thus created is double clicked and writes the MIDI file and the score (as a PDF file) into the same directory. After inspection of the Lilypond input file and the score, it may be advisable for the simplicity of the score to change the key in the Lilypond input file. The music on most discs is written in F major, due to the special scale of the instrument. But I have also seen music in Bes major. The tempo of the MIDI file may also be changed. There is a command at the end of the Lilypond input file, Ò\midi { \ tempo 4=100 },Ó where a higher/lower number than 100 can be written for a faster/slower tempo.
Experience both with organ music rolls as well as music box discs has shown that it is not advisable to specify a certain time, i.e. three-quarter time, because the music does not follow a strict time, regardless of whether the music was hand-played into a punch.ing machine or drawn on a table. I
Fig. 2: Time diagram for converting on/off-times of notes to a score (see also Table 1), valid for the nth note of the staff at time ti. The variable n runs over all notes of the staff.
Table 1
Logic of converting the on/off-times of notes to a score (see also Fig. 2).
note n1 at ti-2 to ti-1 note n1 at ti-1 action
sounded? switched? after the actions stated, the ÔyesÕ or ÔnoÕ at the event ti is written into the ti-1 column (2. column) for use with the next event at time ti+1, then renamed ti
no yes note is written into a ÔchordÕ2 with duration ti Ð ti-1, then entry ÔnoÕ in the 1. column is changed to ÔyesÕ
no no transfer of ÔyesÕ or ÔnoÕ from ti to ti-1
yes yes note finished at ti-1, entry in the 1. column is changed to ÔnoÕ
yes no note continues sounding, is written into a ÔchordÕ2 with duration ti Ð ti-1 and a leading tie symbol
1 n runs over all notes of the staff, with a logic decision and action for every note n.
2 ÔchordÕ = if the number of notes in a ÔchordÕ is >1, the list of notes is enclosed in angle brackets, to be set as a chord by Lilypond. If the number of notes is 0, an ÔrÕ for rest is written. In all cases this is followed by the duration of the chord (rest, note).
therefore wrote a program ÒBarinsertÓ4 which allows an easy manual inser.tion of bars into a score at musically reasonable places without the neces.sity to count the note values in several simultaneously sounding staves. This program automatically divides notes into several parts (if necessary) and can also reverse the process. The program reads and writes Lilypond text files. For the same reason of no strict time, it is practically impossible
4. Albert Lštz, Zwei Computerprogramme zur Konvertierung von Notenrollen in Musi.knoten und MIDI (Two Computer Programs for Conversion of Music Rolls into Scores and MIDI), Das Mechanische Musikinstrument Nr. 141 (RŸdesheim, 2021), p. 34. Albert Lštz, Due Programmi per Computer per la Trascrizione di Rulli Musicali in Partiture e File MIDI, LÕantico Organetto, Anno 23 N.2 (Cesena, 2021), p. 15.
to find a factor which converts the angles of all note starts and ends into the optimum form, in which the music is represented by the smallest number of notes, as in printed scores. The note durations calculated from the angles must therefore often be represented by several identical notes of decreasing duration that are tied together. This representation is found automatically in a subroutine of the program which also keeps in memory any remaining durations less than one 32nd note that are added to the dura.tion of the next note.
For a quick check of the MIDI file, the Microsoft GS Wavetable can be used. Microsoft bought the GS Wave-table more than 20 years ago from the Japanese firm Roland, and it is now a part of the Microsoft Media Player.
The MIDI instrument Òchurch organÓ of the GS Wavetable does not sound like a typical pipe organ but like a reed organ and appears to be better suited for the representation of the Ariston than the other reed instruments in the Wavetable. For the final conversion of the MIDI files to audio with much higher quality, I use the free virtual organ software GrandOrgue that essentially is the first version of the leading but expensive virtual organ software Hauptwerk (German word for Great Division). This software was initially developed in Britain and later sold to the U.S. firm Milan Digital Audio. In addition to the virtual organ player, a sample set of the instrument to be played is required which contains a digital audio sample for the sound of each pipe, reed, string, etc. For the virtual Ariston, I use a free sample set that was recorded by Dominique Lacaud in 2015/2016 and Rev. Claude Francis in 2018 from a reed organ of the 19th century London-based firm Robertson. The sample set is a part of a bigger set combining several reed organs and published by Jean-Pierre Silvestre with the name ÒHarmonium Composite International.Ó5
The Robertson reed organ has four stops, from which the stop ÒCorAn.glaisFlute8Ó was chosen because its sound is similar to that of the Ariston. The sample set contains only the notes c, e, and g# in each octave, so
5. https://www.jepisi.re/harmoniums/
that the other notes necessary for the Ariston had to be generated from these three with the audio editing software Audacity, and the resulting wav files had to be completed with loop and release marks to be usable in GrandOrgue. This was done with the program LoopAuditioneer of the Swedish organist Lars Palo. The Robertson sample set was added to the sample set of a large organ (from the same Lars Palo) which I have already much used in connection with organ rolls. This required the neces.sary changes in the organ definition file (ODF), a detailed description of an organ, which GrandOrgue also needs for execution.
Mathematical Appendix
For symmetry reasons, the means of the x- and y-coordinates of the pixels of a circular perforation are located on the symme.try line of the perforation (see Fig. 3), yet somewhat shifted in the direction of the center of the circle instead of on the circle itself. This can easily be corrected.
The means of the Cartesian coordinates of the pixels must be independent of which Cartesian coordinate system is used. Thus, a coordinate system with origin at the center of the circle could be chosen, with one of its two axes along the symmetry line of the perforation. The pixel coordinates along the symmetry line are ri.cos(.i) (.i = angle enclosed by the symmetry line and the radius of the pixel). Averaging these pixel coordinates along the symmetry line for N pixels gives:
N ¡þ ¡þ
÷
ri á cos(¡ i) /N = r cos(¡)d¡ / d¡ = r á sin(ö)/ö
i=1 00
In this formula, . is half the angle spanned by the perforation.
The angles must be inserted in radians = angle (in degrees)
.¹/180. The integration only extends over half the perforation,
because the other half delivers the same result. For a semicircle,
the meanis located at r.sin(¹/2)/(¹/2) = 2r/¹ Å (2/3).r, whereas a circular line spanning 20¡ yields 0.99493.r. Because the center
should lie on the circular line, the ratio of the radius of the center
to that of the mean is thus ./sin(.).
Additional information presented on the following page.
Listen to the results
Three audio files of Ariston 24-note discs are available as a demonstration of the result of the process described on the preceding pages. The files were recorded with the virtual organ software GrandOrgue and a sample set of a Robertson reed organ (sample set: Dominique Lacaud (2015Ð2016) and Rev. Claude Francis (2018), Creative Commons Attribution-ShareAlike, https://www. jepisi.re/harmoniums/).
These recordings are available on the MBSI website via the QR codes and URLs at right:
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ÒNo. 12, Geschichten aus dem Wiener WaldÓ (Tales from the Vienna Woods) by Johann Strauss Jr.,
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ÒNo. 30, Elisabeth-PolkaÓ by Cl. Richter, and
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ÒNo. 888, So wie DuÓ (Such as you) by Ludolf Waldmann.
Cl. (Friedrich Clemens) Richter (1828Ð1897) was the director of music of Fabrik Leipziger Musikwerke (the firm making the Ariston).1 Ludolf Wald.mann (1840Ð1919) was a composer and songwriter of popular music who was immensely successful. In 1885 he brought charges against the directors of Fabrik Leipziger Musikwerke accusing them of having punched his very popu.lar hit ÒSuch as youÓ on Ariston discs without his permission. The District Court in Leipzig decided that the discs with the songs had to be retracted. Waldmann, however, was unsuccessful in claiming damages in a later separate suit because the experts found that the damage in the sale of scores of ÒSuch as youÓ and the later still more successful ÒLittle FishermaidÓ had practically been zero. Wald.mannÕs claims against the Berliner Musik-Instrumenten-Fabrik (formerly C. F. Pietschmann & Sons) making the Herophon and Manopan led to a long series of suits from 1889 to 1895. The composer finally received some compensation, but far less than he initially had sought. Waldmann also sued further firms of the German industry of mechanical musical instruments. All this and also the fierce quarrel between the makers of the Ariston in Leipzig and those of the Herophon in Berlin, as well as the first description of the history of the firm Pietschmann in Berlin have been published in detail.2
1.
Richard Englert, Anmerkungen zu Ariston-Noten mit 24 Tonstufen (Annotations regarding Ariston discs with 24 notes), Footnote 2 of the main text, p. 157.
2.
Albert Lštz, Musikwerke mit Hei§luftmotor, Kapitel IV. Die Berliner Firma Pietschmann und ihr Blumenreflektor-Manopan (Teil I) (Mechanical Musical Instruments with Stirling Motor, Chapter IV. The Firm Pietschmann of Berlin and the Flower-Reflector-Manopan (Part I)), Das Mechanische Musikinstrument No. 130 (RŸdesheim, 2017), p. 7.
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
To Sew or Not to Sew . . .
By Robert F. Penna, Ph.D.
Imagine doing without all your electrically powered entertainment devices. No more radio or television in our homes and our computers would be gone too. Movie houses would be non-existent as well as so many other things we have taken for granted for so long, including phonographs, tape recorders and electrically powered mechanical musical instruments. Imagine the loss of the glorious music of our carousel organs. How difficult would life be without telephones, printers, and other objects designed to make us more efficient? Yet, civili.zation flourished in the pre-electrical age.
During the mechanical age many wind-up and foot-pumped instruments brought entertainment to the masses. Before that, entertainment was of the do-it-yourself variety. Fortunately, the 19th century produced amazing non-electrified player musical instru.ments. Individuals no longer needed to be embarrassed by a lack of talent. Most anyone could turn a handle or pump a bellows and offer a tune on a music box, player organ or piano.
Inventors, understanding the desire for more and more items of enter.tainment, provided a steady stream of instruments for the home.
Parlors, foyers, bedrooms and sitting rooms easily could accommo.date music boxes, organettes, pump organs and player pianos. No room needed to be devoid of music, should there be a desire to add music to the room. Even bathrooms had a chance to shine as musical toilet paper roll holders were available. As explained in one advertisement, these toilet paper dispensers featured Òa built in Swiss music box. Each time the paper is pulled the wind-up music box plays a short melody.Ó One model featured a lovely hand-carved back and played traditional tunes. It was 7 inches wide by 7. inches tall.1
One might imagine that families of this time would have a work room set aside to concentrate on labor inten.sive projects, such as a sewing room. One might think that this type of room would be devoid of such whimsical things as musical machines. Not so; even sewing rooms could have their share of automatic music-making machines too. Fairly common, even today, are musical sewing baskets. These objects, made for the storage
That is the question
of buttons, thread, thimbles, needles, etc., were fitted with small cylinder music boxes such as the one illus.trated that was manufactured by Alois Maly in Prague, in the late 1800s. Modern versions can easily be found today. They often use the same musi.cal mechanisms that are employed in musical jewelry boxes.
A grand version of a musical sewing basket was the Seraphon. Manufac.tured in Germany in the late 1870s, this sewing basket held a mechanical reed organ which used foot pumps similar to those found on player organs or pianos. A pinned wooden cylinder was used to activate the reeds and produce the music. The Seraphon was manufactured by the famous German mechanical organ building company of Ch. F. Pietschmann & Sons. To operate it one merely had to pump the foot bellows and depress the ratchet button. ÒThe barrel had six songs which are changed by rotating a special knob on the right end of the case.Ó According to the authors, each song is approximately 50 seconds in length.2
Perhaps, because the Seraphon was difficult to master, it had very few sales. Not many were manufactured and very few remain today. According to G. Alder, who wrote in the Decem.ber 1888 publication of Zeitschrift fŸr Instrumentenbau, and cited in an article by Farmer and Goldhoorn:
ÒIt was obvious that the Seraphon would not have a bright future, because it needed a certain grade of musical knowledge… The Seraphon was a musical work which was played by keys. The air-pressure was done, like a harmonium, with foot-pressure on a valve, and a chord is held until a new pressure on the key lets the cylinder move to the next chord. In any case the player should know the exact measure of the melody to play the piece.Ó 3
Another invention arrived for the sewing room which was easily mastered and therefore became more popular. The Dulciphone employed a paper roll organette mounted atop a sewing machine. This ingenious device used the sewing machineÕs treadle to advance the roll and provide air to the instrument. According to the inventors, all one had to do was to remove the sewing machine head, detach the belt from its pulley and reattach it to the pulley of the instru.ment. Once this simple operation was done, the organette was ready to play.
The Dulciphone was manufactured by the Munroe Organ Reed Company of Worcester, MA, but invented and marketed by Garvie & Wood with offices located at 12 Union Square, New York, NY. 4
George D. Garvie and George Wood received patent No. 267,874 on Nov. 21, 1882, for Òa cover for a sewing machine provided with a musical instrument and means for transmitting motion from the shaft of the sewing machine to the operating parts of the musical instrument.Ó Although no patent model was submitted by the inventors, the ÒMusical Sewing Machine CoverÓ was first offered for sale in October 1882.5 Yet, little is known of the two inventors. GarvieÕs efforts as an instrument maker spanned only a short few years, likely less than five. Wood disappeared from publications that tracked the careers of such professionals.6
As the home sewing machine spread throughout households across the country, inventors introduced more and more attachments to add additional function to the machines. Products which enhanced sewing capabilities proliferated but other items such as the Dulciphone (cost $12) and a fanning attachment (cost $1) also grew in popularity.
Garvie & Wood realized that the sewing machine treadle offered a unique opportunity to power an automatic musical instrument. The sewing machine could serve both as an instrument for creating/mending clothes but it could also provide music
An advertisement for the Dulciphone as placed by A.G. MacDonnell & Co. pro.vided answers to common questions about the instrument.
for the family. Further, as the sewing machine provided the majority of the mechanism for the Dulciphone and the cabinet became its base, families could then rationalize the cost of the sewing machine as part of the expense of providing the luxury of music.
The marketing literature stated, ÒAs we have no treadle or cabinet to make, it will be readily understood why we can sell such a good instru.ment so cheap. Organ manufacturers, having to supply these, must charge more without giving a better musical instrument.Ó7
During this era, product information was often exaggerated. The Dulci.phoneÕs bulletin was no exception. It claimed, ÒThis is the only small automatic instrument that will render slow or sacred music with a powerful and sustaining organ tone. It has quick and powerful utterance for dance music, and will carry with distinc.tion throughout the extent of the largest dance hall.Ó Even though the Dulciphone is in fact an organette, the authors claimed, ÒDo not presuppose this instrument to be an Organette, as it is not. It is infinitely superior and very unlike anything of that kind or name.Ó
The 14-note instrument was constructed in walnut and beautifully finished. It employed paper rolls which cost approximately 4 cents per foot, making the average tune about $1. Promotional literature claimed the Dulciphone had more than 1,000 available rolls and was Òunlimited in its range of tunes,Ó citing rolls of Òpopular airs, sacred and secular, Waltzes, Schottisches, Lancers and even Quadrille sets.Ó Rolls that have been discovered provide an example of the songs of the era.
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ÒOld Folks at HomeÓ (Price: $1.04)
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ÒNellie GrayÓ
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ÒMy Old Cabin HomeÓ
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ÒThe Little Spring Beside My Cabin HomeÓ (Price: $1.08)
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ÒShe Wore a Wreath of RosesÓ
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ÒWhen the Bloom is on the RyeÓ
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ÒIn the GloamingÓ
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ÒThe RatcatcherÕs DaughterÓ8
Claiming their musical cover could readily be adapted to any sewing machine, the inventors insisted it could be installed in a few minutes and that full instructions accompa.nied each machine. Additionally, the DulciphoneÕs musical cover was Òornamental and does not interfere with its being used as a cover in the least, nor does it require any alteration to the machine.Ó 9
A.G. MacDonnell & Company, with offices at 12 Union Square, New York, NY, was likely a major outlet for sales for the Dulciphone as it occupied the same building as Garvie & WoodÕs offices. An advertisement for the Dulciphone provided useful questions and answers about the invention as well as the statement, ÒThe most perfect automatic instrument ever offered to the public.Ó
YES
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Will it fit any sewing machine?
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Can anyone who can operate the treadle of a sewing machine play?
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Will it produce really good and expressive music?
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Is it desirable and will it remain in good repair?
NO
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Can one sew and play at the same time?
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Will it injure the sewing machine?
¥
Is it an organette?
Although a logical choice for a second role for the sewing machine, the Dulciphone could not compete with the convenience and range of music offered by the phonograph. By the mid 1890s the use of the Dulci-phone declined and it was eventually relegated to a basement or attic stor.age area.
1.
Antique Swiss Music Box Toilet Roll Holder. Musical Toilet Paper Dispenser, DragonQuarry. https://dragonquarry.com/ products/toilet-roll-holder-musical
2.
Farmer, B. & Goldhoorn, L. ÒThe Seraphon, A Mystery Machine,Ó Mechanical Music, The Musical Box Society International, January/February 2009, p. 20
3. Ibid. p.25
4.
Gellerman, Robert. GellermanÕs International Reed Organ Atlas, 2nd Edition. Lanham, Maryland: Vestal Press, Inc., 1998, p. 80
5.
ÒThe Garvie and Wood Patent Musical Sewing Machine form Bulletin Ð United States National Museum,Ó Smithsonian
Libraries, https://library.si.edu/image-gallery/104001
6.
ÒThe Last of Garvie & Wood,Ó Still Stitching, Maryland: New Savvy, LLC. https://www.stillstitching.com/2018/11/dulci.phone-musical-sewing-machine-cover.html
7.
ÒThe Garvie & Wood Patent Musical Sewing Machine Cover,Ó Spinning Wheel Antiques, (May 1963, Vol. 19, Issue 5, p. 32). Reprinted in: ÒDulciphone Musical Sewing-Machine CoverÓ Bulletin of The Musical Box Society International, MBSI, (Winter 1968. Volume 14, no. 3 page 88-90).
8.
Ibid.
9.
Ibid.
How do they tune a musical box comb?
By Paul Bellamy
This article is based on a talk given at the joint 2022 AMICA/MBSI annual meeting in San Francisco, CA.
The person credited with the inven.tion of the musical box is Antoine Favre-Salomon. This is based on an account he wrote while in Geneva, Switzerland, in which he replaced a bell struck by a hammer with a tuned steel tooth that was plucked by a pinned cylinder. It was more of a clever adaptation rather than an invention but it enabled him to make smaller musical movements.
Antoine would have been familiar with the concepts that led to his innovation. Large pinned cylinders that operated hammers to strike bells powered by spring motors and controlled by rotating governor air vanes were in place years before he came up with his idea. Also, tuned steel teeth struck by miniature hammers were commonplace in chim.ing watches, an industry Antoine was involved with at the time.
AntoineÕs idea to combine the pinned cylinder with a steel tooth and pluck instead of strike, while simple as it may seem, was the key to the miniaturisation of quite sophisticated musical movements. Some were so small they could be fitted into a time piece or even a signet ring. AntoineÕs innovation allowed complex musical arrangements with a compass of several octaves. The only problem was they produced very little volume.
It was not long before this limitation was addressed. Musical movement development using AntoineÕs idea took two directions. First was the snuffbox-type movement found mostly in snuffboxes and small souvenirs and the other was called the cartel, first used in musical clocks and then developed as a separate entity to be used in full-size music boxes.
Antoine learned his watch-making skills under the apprenticeship system of master and pupil. Masters belonged to organisations that we can describe as guilds. Guilds controlled and regulated all aspects of the associated trades, not just clock and watch making but also silver and gold smiths, leather workers, printing and publishing, etc. Of course, the guilds also regulated the trade in other ways such as training, research and devel.opment. They also regulated financial aspects.
The watch and clock makers were considered the space-age technologists of their day. They devel.oped watches so accurate that ships could navigate the seas and trade all over the world because they were able to pinpoint longitude. Domestic and industrial life, including trains, telegraphy and the study of stars and galaxies, all depended on their skills.
The availability of steel of consis.tent quality to make music box combs factored heavily into the rapid devel.opment of AntoineÕs idea into what would become a burgeoning music box industry. There is little doubt that the source of comb steel, whether for segmented combs or single-piece combs, was English steel.
The next stage in the development of the music box can be credited to both Franois Nicole and his colleague and friend Franois Louis Lecoultre.
Development
Franois Nicole was the founder of Nicole Frres. His friend Franois Louise Lecoultre, the founder of Lecoultre Frres, apparently provided the technology of lead weight and spring damper that made the steel-toothed comb a viable musical instrument in its own right, able to span in excess of four octaves and produce considerable volume. Combs were initially made of single tooth segments but as larger steel stock sizes became available, they eventu.ally reached five or six segments and then became single piece combs with many teeth to a comb.
Comb design
While the harmonics of a tuned steel comb are quite different than that of a bell, it turns out that bells are tuned in much the same way as a tooth. Both require removing metal to raise the pitch. Teeth are normally designed to be raised in pitch by removing metal near the tip while bells are normally tuned by removing metal at or near the rim.
A bellÕs fundamental frequency is combined with many other harmonics induced by its shape. When a bell is struck, its mode of vibration tends to move around the profile of its rim to give a slight vibrato effect, technically called precession. A tooth has just one mode of vibration without any detectable harmonics. The music box arranger introduces harmonics by plucking more than one tooth at the same time. This can be duplicate teeth of the same pitch or a combination of teeth with compatible harmonic frequencies. The art of the tuner is to achieve the harmonic objective conceived by the arranger.
Combs were often supplied to order. They were made to match the number of teeth required by the musical programme. There could be more than 200 teeth for an extraordinarily complex arrangement, but commonly there were at least 70 teeth in a standard musical movement. There were far fewer teeth in the smallest movements.
Comb makers soon began to stan.dardize their products. It was not uncommon to find a whole range of different combs that had teeth of the same width and initial thickness. The aim was to make the target shape of the comb as near as possible to the intended frequency (pitch) of each tooth. Tuning was achieved by remov.ing metal from near the tip to raise the pitch. Rarely was metal removed from the root of the tooth.
The critical dimension is thickness. It is often just 22 thousandths of an inch. If a replacement tooth is just two thousandths thicker it can be too stiff and if just two thousandths thinner, too weak. This factor can sometimes be misunderstood when making a replacement tooth (or teeth)
Figure 1 shows the basic shape of a comb tooth without lead weights.
Figure 2 shows the profile of a tooth with a lead weight. Note the slightly rounded profile at the root.
Comb steel
Music box comb teeth made of steel include a combination of pure iron and a small percentage of carbon by weight. The iron and carbon form a complex crystalline solution where the solvent is the steel and the solute is the carbon that gets dissolved in steelÕs molten state. Steels had been produced for thousands of years but consistent quality did not occur until Englishman Benjamin Huntsman, in the mid-18th century, improved steel making at his small cottage. He used an open crucible, leading to the term crucible steel. His carefully formulated mixture and an ability to control temperature and the supply of air (oxygen) to remove impurities by the addition of fluxes was as much an art as a science. An observer secretly watched what he did and his secret was no longer.
The availability and consistent purity of crucible steel had a dramatic effect on machine quality, instrument technology and design. The watch and clock makers, amongst others, took full advantage.
A quick aside about the process of making steel. For a time in the 1950s I worked in a foundry where different steels were produced to make turbine blades, rotors, pistons, cylinders and springs. The furnace mix of graded and measured materials used an enclosed Bessemer-type furnace, not an open crucible. The Bessemer design allowed for mass production and was not used at the time comb steel was first supplied.
Unlike a craftsman making crucible steel who had to use his eyes and experience to determine when the furnace contents were ready, the iron masters of my time took samples that were rushed to a laboratory, polished to a high standard, acid etched and inspected under a microscope to examine the complex crystalline struc.ture for carbon, steel and impurities. All this was done in time for the iron masters to make whatever additions were required to the furnace, resulting in repeated tests until exactly the right crystal structure was achieved.
Hardening, tempering and stiffness of steel
It can be difficult to understand the fact that the hardness and strength of steel does not affect its stiffness. Stiff.ness can be described as the toothÕs resistance to the load applied by the lift of the cylinder pin. A correctly hardened and tempered tooth will allow its crystalline structure to absorb the energy imparted by the pinÕs lift (its potential energy) without permanent distortion. In technical terms, stiffness is the toothÕs ability to accommodate what is called elastic deformation without change to the crystalline structure.
The crystalline structure of any steel can be changed by a variety of heating and cooling processes deter.mined by prescribed different levels of temperature and subsequent rates of cooling. The object of hardening and tempering is to produce a crys.talline structure that allows the tooth to perform as a spring. The springÕs stiffness is then dependent on its dimensions. Like for like, a thick spring will be stiffer than a thinner one. The surface hardness, however, is actually the steelÕs resistance to local surface deformation and not directly related to its stiffness.
The late HAV Bulleid did a number of experiments on comb stiffness as recorded in his book ÒCylinder Musical Box Technology, Appendix 1Ó (still available from Nancy Fratti). For the given lift of a tooth tip, the volume of sound produced increases with stiffness. Early movements tended to have a more mellow sound. Bulleid wrote that there was a demand for greater volume so that by the 1880s comb tooth stiffness was increased. He wrote: ÔThis condition sometimes introduced a certain stridency in playing unless the combs were most carefully set up to avoid excessive lifting of the stiffer teeth.Ó Any comb tooth restorer should take this into account when tuning a tooth.
In separate writings Bulleid also noted that the overall surface hardness of a comb will likely not be consistent. This is a natural result of different cooling rates in different parts of the comb. The bulkiest part of comb steel does not lie in the area of the teeth, which are the focus of the hardening and tempering process. This can result in the fact that the bulk of the comb may not be as hard as the teeth due to slower rates of cooling. This situation may be exploited in several ways. Specifically if the bulkier part of the comb is softer, it is easer to stamp a name on a comb or to drill it to fit dowels.
Before tuning a comb
The extent of tuning should be limited to those parts of the comb that have suffered sufficient damage to warrant retuning. No attempt to retune should take place unless:
1.
The comb is thoroughly cleaned of all loose debris such as lead corrosion, rust, oil and dirt.
2.
The pitch of all undamaged teeth has been recorded and/or the fact that they show no signs of damage is noted.
In addition, the following types of damage must be assessed:
1.
Rust. Light surface rust may be so slight as not to require retuning. Rust solvents and light mechan.ical cleaning may be sufficient. Over-polishing to remove all signs of pitting can severely affect tuning.
2.
Pitting. Extensive rust pits can affect pitch. If near the roots they may lower the pitch; if near the tips they may raise the pitch slightly; if fairly extensive over the length of the tooth the result on pitch can be initially indeterminate.
3.
Corroded lead weights. A light dusting of corrosion may raise the pitch either slightly or be virtually unnoticeable. Extensive corrosion can lock two adjacent teeth together. When removed, the effect on pitch may still be negligible. When corrosion results in loss of lead the pitch will rise.
4.
Completely snapped off teeth.
5.
Broken tooth tips. A replaced tooth tip should not change the pitch and tuning may not be necessary.
6.
Missing dampers. A replaced damper and its wedge should not affect the pitch but always best to make sure the original wedge is re-used if possible or use one of equivalent size. Damper replace.ment will have insignificant effect on teeth with lead weights and may have insignificant effect on unleaded teeth.
7.
Worn tooth tips. All teeth suffer
wear and it rarely has any noticeable effect on pitch. It is good practice to hone tips of all teeth to a uniform straight line on a surface plate and then to hone the chamfer. The need for retuning may then be a matter of judgment.
8.
Displaced teeth. Teeth can be displaced sideways or vertically particularly if the movement has suffered a run. Bent teeth that have suffered no other damage can sometimes retain their initial stiffness. Retuning may not be necessary. Some teeth lose frequency when bent and may either have to be retuned or replaced. It is a matter of judgment. Tooth tip wear is often accompanied by cylinder pin wear. So, both may have to be re-honed.
9.
Metal fatigue. Teeth may just snap off for no apparent reason. The cause will usually be a result of metal fatigue. This is where the crystal structure degenerates over time usually as a result of poor hardening and/or tempering. Fatigue is accelerated at any point of weakness such as a sharp edge left by machining or filing. It creates a notch, as can a rust pit or an inclusion such as slag. The tuner should not create even the slightest notch, particularly near the root of the tooth.
Replacement steel and steel quality
The basic requirement for replace.ment steel is that it can be hardened and tempered to form a spring. The composition of Hunstman steels has never been documented and there would have been variations within the mix of iron and carbon. The mix possi.bly ranged from about 0.6 percent to
0.9 percent by weight, even up to 2 percent for high-carbon crucible steels with smaller amounts of other elements within the mix. Replacement teeth can be made from scrap comb steel. Suitable modern spring steel, however, will have about the same carbon to steel ratio with prescribed limits of other elements such as manganese, sulfur, phosphorous and silicon. Provided the replaced tooth is made to the same dimensions and then hardened and tempered to within the same recommended limits and rates of cooling, the resulting stiffness and flexibility of the final tooth, if made to the exact same dimensions, should closely match that of the replacement.
Hardening and tempering
In the early days of music box manufacture, this was done mostly by experience. That can still apply today irrespective of re-used comb steel or, preferably, modern steel. Hardening requires the steel to be raised to between 880 and 920 degrees Centi.grade, followed by rapid quenching. Tempering requires between 400 and 580 degrees with much slower rates of cooling. If done by eye it sounds quite imprecise and sometime it is. Colour charts are available to select the target colour of steel for both hardening and tempering.
Greater certainty is achieved when using controlled measures such as a muffle oven to control the rates of heating. Cooling rates will be quick for hardening and much slower for tempering. One of the magical qual.ities of steel is that there is quite a wide range of tolerance both in time and temperature.
Tuning
Originally, combs were tuned by ear in the same way as for any other instrument. Unlike other instruments, however, the pitch of a tooth rarely changes over time unless it has suffered damage or is subject to a condition called metal fatigue. Metal fatigue is a condition whereby the granular structure of the steel changes and deteriorates. It can take years to develop and result in either slow detuning or sudden breakage. The point of failure is often an inclusion within the body of the steel such as a minute particle of slag. It can start as a surface defect such as a notch created by machining or filing.
Figure 3 shows how metal removed from near the tip, whether comb steel or lead weight, will raise the pitch. Metal can also be removed near the root of the tooth to lower the pitch but it may also reduce the volume and therefore is not normally recom.mended as an alternative method.
Figure 4 shows marks on the lead weights and comb base that were used as an aid by the tuner. A collecting and restoration book I own showed a whole range of different codes and symbols used by different tuners. They were used to identify octaves if the scale root, the tonic, the inciden.tals (the sharps) and the teeth tuned to the same pitch. The actual pitch was not defined.
Both the leads and the comb base are stamped with numbers and these can be of considerable help to the comb restorer and tuner. A complete sequence of numbers 1-7 is probably a major scale. The stamped figures 1 are the tonics of the scale at various octaves. The 4 stamped sideways is sharpened to its adjacent 4. The width of the vertically scratched lines encompasses teeth tuned to the same pitch as indicated by the number between the lines. Note how one of the pair marked 1 has been replaced and soldered into the body of the comb.
The original pitch of a tooth should never be altered. It is best to mark damaged teeth with an ink pen and record accurately the actual frequency of undamaged teeth using a tuning meter. The results can be surprising.
Unlike a piano, the scale is not strictly chromatic. Some notes are not required for the musical programme pinned on the cylinder, particularly towards the bass and the treble.
The next task is to identify the scale that was used, then the octaves, and then the teeth tuned to the same pitch. These will usually be adjacent to each other. Using a marker pen helps to identify the root of the scale, the tonic, from bass to treble. Marks on the comb base were used by tuners to identify octaves and incidentals (the sharps). My collecting and restoring book transcribed most of these.
Pianos are tuned with the A above middle C at 440 cycles per second. Its next higher octaves are 880, 1760 and 3520. Below middle C they are 220, 110 and 55.5, sometimes even as low as 27.77. A piano ranges seven octaves but the comb rarely stretches to five octaves. This is called standard or concert pitch and it enables different instruments to play in harmony. The intervals between each note on a piano progress in equal frequency steps called equal temperament. The frequency interval between each of the 12 notes in an octave is 12 times the square root of two.
By about 1840, Alfred Hipkins stan.dardised the tuning of Broadwood pianos to this equal temperament progression. Combs post that date may or may not broadly comply with this method of tuning. Before that date, a different system called mean tone was used and the frequency intervals were not equal. For this reason the tuner should never rely on or attempt equal temperament tuning. Also, the root of the scale can be of any chosen frequency and may not match any actual frequency of a modern piano. Instead, damaged teeth should be tuned sympathetically to match the octaves of undamaged teeth.
Although the tuning fork was invented in 1711 by Englishman John Shore, it was probably not used for tuning combs. Instead, it is thought that a master comb was produced and tuned chromatically.
Few master combs have survived and none have ever been accurately tested for frequency so the actual pitch is not known, nor is it known if all master combs were tuned to the same scale. For this reason the undamaged teeth of a comb under repair should be treated as the master for tuning repaired teeth.
Comb harmonics
The upper and lower octaves of a piano and a comb are gradually widened in frequency. It is called stretching and is a tunerÕs decision as to the amount. The equal temper.ament steps will widen incrementally through the 12 notes of the octave at treble and bass ends. For a comb it can be as much as a semitone. The reason is that each octave is also a harmonic of the fundamental lower one and of different intensity. The ear will hear it as being the same pitch but the slight increase in frequency makes it more distinguishable. Tuners should never change the inherent frequency of an undamaged tooth.
Teeth, being simple cantilevered springs, have one fundamental frequency. A piano, which has up to four strings for each note, will have several harmonics at different intensities.
Stretching and pitch
The late John Powell, a friend of mine who worked in the scientific service department of the same company as me, did a lot of research on the tuning scales of a wide assortment of combs. He recorded the frequency of each tooth. He plotted frequency against a base of average frequency for each note of the same notional pitch. The result is known as a non-dimensional number. The numbers are quite low in magnitude compared with plotting frequency, which will range from the tens to thousands.
The results showed that the amount of stretching varied considerably even for two apparently similar combs. This is because they were hand tuned. No doubt the same tuner would create slightly different results even on an identical comb. Different tuners would each have their own approach to estimating actual pitch as well as the amount of stretching. It is the same as one would expect if a different person tuned the same piano. John Powell also found that teeth of the same pitch were not of identical frequency. It might seem odd but a few cycles per second on teeth pitched at high frequencies makes very little detect.able difference. More so, though, at the much lower frequencies.
Figure 5 shows a rare Reymond Nicole, circa 1850. The degree of displacement looks big but mostly equates to Òa few centsÓ from the target pitch. Notice that the bass end is stretched upwards, not down but the resulting effect of stretching is similar. Severe irregularities may indicate damage to the tooth either by lead corrosion or steel pitting. The decision to retune is a delicate one but, without good reason otherwise, should be left untouched.
Figure 6 shows that bass and treble stretching is considerable, probably deliberate because of being mounted in a clock and meant to be heard in a much more open environment.
Figure 7 illustrates that even with a large number of damaged teeth, effectively completely missing, the residual stretching profile also gives a good indication of the pitch of missing teeth as well as the degree of stretch that was applied.
Figure 8 is an excellent demonstra.tion of how the pitch of teeth with lead weights is raised. Replacement teeth can be tuned not just to pitch but with a degree of stretching suggested by the dotted part of the curve.
In Figure 9 (Page 40) the comb appears to be in good order with little sign of damage. Even where devia.tions appear excessive there may be no sign of damage.
In Figure 10 (Page 40) it is difficult to explain why stretching at the bass and treble ends are inconsistent, with pitches approaching normal at the ends of the stretches.
Figure 11 (Page 40) shows that provided the teeth of those with extreme variance are sound, it is a matter of judgment whether or not some teeth should be re-tuned.
Sublime Harmonie combs
This is a comb arrangement that effectively superseded the two-comb forte piano movements. Sometimes, the two combs have the same number of teeth. Often, to save money, but also to give a wider scale range for the same length of cylinder, the second comb is shorter and duplicates only the middle range of the first comb.
The harmonic difference for teeth of the same pitch on each comb is skillfuly achieved by the tuner, who will tune the first comb to the desired pitch, including stretching. The second comb is tuned to the same pitch but with a slightly different frequency, usually slightly higher but sometimes slightly lower. The object is to combine the frequencies. The result is similar to the effect a violinist achieves when rocking the finger when playing a string. The frequencies of two teeth interact to produce a slight oscillating frequency overlaying the fundamental pitch. The frequency difference is not necessarily a fixed percentage but has to be sufficient to create this vibrato type of effect. Of course the higher the pitch the greater the frequency difference but it will still be within just a few ÒcentsÓ of the pitch.
Some points to ponder
In the past, most design knowledge came from experience and judgment rather than by mathematical design and analysis, often by trial and error. It was not the universities that led the way but the guild and apprenticeship system that passed on that knowledge. Vibration theory, the complex math.ematics that go with it and the study and analysis of materials came much later. But we can use that subsequent knowledge to look into the past and ask the question, how did they do it?
I hope this article may go some way to answering that question.
My advice to the prospective comb tuner is not to make any changes to the tuning scale of a comb. Replacement teeth should be tuned sympathetically to match the intervals of adjacent teeth in good original condition. Teeth at the treble and bass ends should be matched in incremental frequency to the progression of stretch that was original to the comb. This is where the art, knowledge and experience of the expert comb tuner become a signif.icant factor in restoring a repaired comb.
Of course, an old comb will approx.imate to modern equal temperament
and if the whole comb was tuned with that in mind. Who would know the difference? There would be nothing to compare it with! To modern ears it may even sound better. I often wonder what the composers of the past would say when their music is played on modern instruments to modern scales and pitch. My personal view is that we should try to preserve the past, otherwise that past performance of the musical box and the skill of those unknown tuners is lost forever.
The human ear, when in good receptive condition, can distinguish the slightest difference in sound frequency and colour. Colour is a non-scientific term that attempts to explain and distinguish between the whole range of frequencies it receives, all at the same time. We identify every nuance of the human voice and can distinguish a person just by the sound of the voice. We can identify a bird by the sound of its song. We can identify a piano, a violin, a tuba and every other source of sound when playing either alone or in unison. It is these apparent frequency imperfections that make the sounds unique. It is like a fingerprint.
Finally, however well the music box is tuned, the sound has to transmit effectively. Transmission is mostly by radiation of waves from comb to ear. A cracked or loose soundboard can ruin the sound. Even a perfect soundboard is best served when the instrument is placed on a good resonating surface. The acoustics of the room can also enhance or diminish sound quality. The vibrating teeth transmit through metal, wood and air until it reaches the ear. Firstly, down the outer chan.nel to vibrate the ear drum and the enclosed air-filled channel behind it called the tympanic cavity, then via three little bones called the ossicles. After a lot more bits and pieces with Latin names, the nerves connecting to the brain is the final pathway that result in what the tuner and then you will hear.
So, sit back and enjoy the music that the arranger, the maker and tuner so skillfuly applied to the magical steel comb.
Skyrock Farm Hosts Nashville Music Video
Lake & Lyndale band members staged a photo shoot in 2018 in front of SkyrockÕs 77-key HooghuyÕs Dance Organ. Seen left to right are guitarist Jonathan Krentz, vocalist Channing Marie Himes, the bandÕs local costumer, drummer Tyler Kloewer, bassist Eric Clifford, and Skyrock Farm owner Bill Nunn, with the bandÕs photographer crouching in front. (Photo by Stacy Nunn)
By Tracy M. Tolzmann
A popular young band with a satis.fyingly twangy sound and genuine warmth in a blend of Americana, Rock, and Country-Blues needed a place to film their newest music video titled ÒCircus.Ó What better place, they thought, than a room filled with automatic music machines so often associated with county fairgrounds and circus atmospheres.
The quartet, called Lake & Lyndale, approached Bill and Stacy Nunn, who own Skyrock Farm in the Minneapolis suburb of Hamel, MN, about using the NunnsÕ mechanical music collection as a set for the video. The Nunns, who are members of the Snowbelt Chapter of MBSI, agreed and planning started in Spring 2022.
The bandÕs 5-minute 25-second long video features a hazy, ethereal world of rococo circus memorabilia, carousel animals, and fairground organs. Many of the NunnsÕ machines are featured prominently in the video. The song and video were released worldwide on Oct. 28, 2022.
Lake & Lyndale knew about the NunnsÕ splendid collection because in 2018 they had been hired by a neighbor of the Nunns to entertain at a surprise 40th birthday party. Prior to the party, the hosts needed a way to keep Lake & LyndaleÕs appearance a secret, which meant they needed someplace to park a large touring truck. The Nunns, who were invited to the party, offered their spacious property as the perfect place to hide the truck. Bill said, ÒAfterward, we showed the band our collection and that was the start of a friendship.Ó
The band did a promotional photo shoot at Skyrock Farm later in 2018.
The ÒCircusÓ video production got underway early on a Monday in August when two videographers from Nashville, TN, met the band at Skyrock Farm. Lake & Lyndale had been play.ing a booking in Des Moines, IA. With a script in hand and vivid imaginations, the band and crew were in for a long day of shooting. The magical dŽcor of SkyrockÕs Carousel Building provided plenty of inspiration for impromptu additions to the sequence. A local costumer was on hand with an array of apropos attire for the dayÕs action. Band members played multiple roles in the video, dressed as clowns, wear.ing fanciful make-up, and in animal costumes. Lead vocalist Channing Marie Himes played the Ringmaster of the operation, with a small cast of extras on hand for support in the finalŽ of the video.
The surreal musical-video experi.ence ranges throughout the sprawling Skyrock facility, with the musicians lip-syncing and miming to the pre-re.corded music soundtrack in a hazy atmosphere of mist produced by BillÕs fog machine. (The band came prepared with their own fog-making device but ended up using BillÕs!) The production was recorded over the course of the entire day and well into the evening. The amusement park train that encircles Skyrock Farm was an intended part of the shoot, but the abundance of mystical backgrounds inside the Carousel hall gave the production crew ample spectacular footage for the ethereal, ÒcircusyÓ presentation. Having watched the innumerable hours of video shot by the videographers during the session, Bill remarked, ÒThere is certainly a lot of footage on the cutting room floor!Ó after the Oct. 28 release party for the finished video.
None of SkyrockÕs fairground organs are heard on the soundtrack, but the instruments are prominently featured. The video begins with Channing dreamily sitting in a dark, candlelit room. As the song ÒCircusÓ starts, the scene morphs to her entering Skyrock FarmÕs Carousel Building. The scene jumps to another version of Chan.ning, now dressed as a Ringmaster, singing in front of the 1914 79-keyless Richter Fair Organ accompanied by a guitar-playing bear, bass-playing lion, and drum-playing tiger! The scene shifts to show a dreaming Channing gazing at the 1905 89-key Gavioli Fair Organ, then back to the Richter, which is Òcenter stageÓ for the bandÕs performance. The dreaming Channing explores the room, next seeing the large Mortier fair organ (converted to Wurlitzer 165 music), and the 1902 45-key Limonaire fair organ, with a quick glance of the hand-turned 45-key Thijs Gravendaal street organ in the background. The sequence continues to cut back and forth between the Ringmaster Channing and a dreaming Channing as we see a wide view of the room with the Skyrock Carousel at the far end. She sees the faade of a 48-key Gebruder Wellershaus fair organ (the chassis is in restorer Dick LokemoenÕs Merrill, WI, shop), the 1914 77-key Hooghuys Dance Organ, and the 1905 81-key Marenghi Dance Organ, all in SkyrockÕs Le Gilded Horse Ballroom.
Three life-sized, automaton-like figures move mechanically in front of a Wurlitzer PianOrchestra in the ballroomÕs balcony, followed by the dream Channing riding the carousel.
SkyrockÕs carousel contains a fairly recent running gear framework adorned with a portion of Bill and StacyÕs collection of antique carousel figures. The Nunns broke their usual rule of restricting riders to only those under 100 pounds when Channing and a videographer rode the carousel for action shots. As the ride turns, we see the collectionÕs three Wurlitzer organs, a 106, 125, and 146, along with a blurry glimpse of a 52-keyless Bruder Fair Organ. SkyrockÕs 57-key Gavioli Fair Organ is seen next, with a clown menacingly lurking behind the Wurlitzer 146 and another clown behind the Bruder. As the three male members of the band, clad as clowns, dance in front of the carousel, the action cuts back and forth to the ÒanimalÓ band and close-ups of the many eclectic carnival decorations and automata throughout the building. We then see the lion playing SkyrockÕs 3-manual Barton Theater Pipe Organ console (although we donÕt hear the organÕs 14 ranks), with the frightened ChanningÕs dream now turning into a nightmare as she runs past the lion and tiger sitting in a Denzel carousel chariot, with clowns and animals giving chase. We see the faade of the only known Mahauden instrument in existence, an 80-key Dance Organ from 1905 (now up and playing as the collectionÕs newest addition following expert restoration by Dick Lokemoen), all as Channing makes her running escape before the action shifts back to the candlelit room from the opening where the dozing girl awakes with a start, blowing-out the candle for a finalŽ.
The Nashville-based Lake & Lyndale started out in Minnesota, where vocalist Channing Marie Himes, a native of Assumption, IL, drummer Tyler Kloewer from Defiance, IA, and Minnesotans Jonathan Krentz, a guitarist from Watertown, and bassist Eric Clifford from Saint Paul, met at Saint PaulÕs now-closed McNally Smith College of Music. Himes and Krentz collaborated as songwriters and in 2011 formed a Twin Cities-based country band called Maiden Dixie, with Kloewer on board as drummer. As time passed, Clifford joined the group and the quartet split from Maiden Dixie and reorganized as Lake & Lyndale. They took this name from a prominent intersection in Minneapolis where much of their early success was found.
With over a decade of friendship and hundreds of live performances touring the Midwest across thousands of miles on the road, the band has a unique chemistry and vibrant energy that is evident in their ÒCircusÓ perfor.mance. They traveled frequently to Nashville and made the Music City their home base in 2018. Their debut recording, ÒHabits,Ó was released shortly thereafter, and they have had continued success with their blend of part roots-rock, part country-soul music. Lake & LyndaleÕs enthusiasm for songwriting has brought them attention in nationally broadcast TV shows and commercials, including appearances on The Golf Channel, Top Chef, and with the NBA.
To watch the YouTube upload of Lake & LyndaleÕs music video ÒCircus,Ó go to: https://bit.ly/3HAbZRo.
You can experience the NunnsÕ ever-growing collection in person as a prominent part of the upcoming 74th MBSI Annual Meeting scheduled for Aug. 29 through Sept. 3, 2023, in Saint Paul, MN. YouÕll see all the fanciful decorations and actually hear the instruments seen at Skyrock Farm in the Lake & Lyndale music video ÒCircus.Ó No clowns or costumed animals will harass you!
Mid-America Chapter
Chair: Rob Pollock Reporter: B Bronson Photographer: B Bronson
Oct. 7Ð9 Ñ Marion, OH
A crisp, beautiful fall weekend was the backdrop for the Mid-America Chapter and the Automatic Musical Instrument CollectorsÕ Association (AMICA) Midwest chapter combined meeting in Marion, OH, Oct. 7Ð9. Organizers Mike and Linda Perry had a nice line-up of interesting area attractions for the attendees to visit.
The first stop on the list was Marion Union Station. It has a large collection of railroad memorabilia including switching apparati from area towers, including Atlantic Cross.ing. A retiree from the system spoke about operating the signals and gave a live demonstration of how it used to be done, using the actual vintage equipment. An original semaphore was inside the building and as the switch was actuated, the signal moved in response.
The next place of interest was the Huber Manufacturing Museum. The company began circa 1875, by Edward Huber and started by making steam engines and agricultural threshing equipment. As time went on, they added additional farm implements and then got into very large power shovels (which were used in the digging of the Panama Canal) and commercial road maintaining machines. Their prized project was building the NASA crawl.er-transporter that moved numerous Apollo rockets into launch position and is still in use today.
Saturday started off with the opening of the Marion County Histor.ical Society and Wyandot Popcorn Museum. Several rooms held various displays including a President Harding room, a Rod Serling room and a space dedicated to Jim Thorp, the Olympian and famous football player. A very large area is devoted to popcorn
memorabilia. An evolution of popcorn split into two groups. They alternated machines is on display with some very between the Perry collection and the complicated mechanics to pop and VanOosten collection. Mike and Linda butter the kernels. There are also have a ÒsecretÓ room where the music some beautifully restored popcorn resides. Mike demonstrated his instru.and peanut wagons. ments which included a Wurlitzer At this point the attendees were Pianino, an Edgerton/Seeburg KT
Greatly detailed models of the power shovels built by Huber. More models of the Huber farm machinery line.
Mike Perry (standing) demonstrates his collection. The crowd enjoys a video on the Scopitone. A beautiful example of an original peanut/popcorn wagon.
The row of automatic corn poppers; each a mechanical marvel.
Jim Althouse and Dave VanOosten in their lovely Victorian Members enjoying the Link 2E. home.
David Ramey Jr. in a sea of Seeburgs!
Special, a Banjo-Orchestra, an Arburo Dance Organ and a 68-key Bursens Street Organ.
Dave VanOosten has a nicely kept and well appointed Victorian house, a showpiece in itself and an ideal setting for several musical machines by the likes of Regina, Link and Seeburg. His showpiece was a recently finished, reproduction Coinola SO.
Later in the afternoon, the groups toured both the Harding Presidential Library and Museum and the Harding home. The museum is the official repository of Harding artifacts and presidential documents. It also has an A. B. Chase Artecho reproducing piano which was restored with finan.cial help from the Mid-Am Chapter. The home is also in continuous resto.ration, with the plan being to return it as close as possible to the state it was in during HardingÕs announcement of his candidacy for president. That evening, dinner was held in the Library followed by a business meeting and a presentation by Sherry Hall, the site manager, highlighting the accomplish.ments and future goals of the facility.
An open house was held Sunday at the D. C. Ramey Piano Company. David was on hand to welcome guests, swap old-timer stories about his Dad and the restoration business in general. We were also invited to visit the Brad McClincy/David Ramey collection in downtown Marysville. The 20-step, narrow staircase was worth the climb to see a long row of American nickelodeons formerly owned by Bart Off.
Thanks again to Mike and Linda Perry for all the footwork and time put in to organize the meeting.
The reproduction Coinola SO and a fan Ñ the strong, silent type.
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
National Capital Chapter
Chair: Ken Gordon Reporters: Donna and Gene Borrelli Photographers: Gene Borrelli and Paul Senger
Oct. 30, 2022 Ð Gaithersburg, MD
The National Capital Chapter held its fall meeting at the home of Beni and Matt Jaro in Gaithersburg, MD, on Oct. 30, 2022. There were 31 members in attendance and one guest.
Chapter President Ken Gordon thanked our hosts and then welcomed guests, new members and some members whom we have not seen in a while. Marty and Sandy Persky trav.eled the furthest distance to attend, from Chicago, IL. Cynthia Myers was a guest of Sally Craig.
Our next meeting will be at the home of Dick and Cheryl Hack in Annapolis, MD, on Dec. 4. A meeting is planned in the spring, tentatively on Mar. 5. Our annual visit to the C&O canal next year will most likely be on the Sunday preceding Memorial Day weekend.
Immediately following the meeting, Martin Zhu treated us to a violin solo of ÒMy Way.Ó
Matt and Beni have an extensive collection including a Seeburg K with xylophone and another with pipes, a Seeburg G, and a Seeburg H (into which he recently added a MIDI system), a Nelson-Wiggen 4x Orches.trion, a Wurlitzer 153 Band Organ, a 1926 Chickering AMPICO piano and a Western Electric Mascot C. The JarosÕ home also features a modern film movie theater, specially designed to enhance Technicolor movies. There is an extensive film, roll, and 78-rpm record collection.
Matt played the various nickelode.ons in his music room, with particular emphasis on the Seeburg H. He has written software that will convert Wurlitzer APP rolls into MIDI files so tunes from a Weber Maesto or a Cremona M can now be played on a Seeburg H machine.
He now has more than 7,000 tunes requests! See Mechanical Music Vol. available to play on his Seeburg H 68, No. 6, Page 53 to get more informa.and was having a great time taking tion on this project.
Matt demonstrates the Seeburg KT with xylophone. The Western Electric Mascot C is in background.
Attendees Cynthia Myers, Jessica Holden, Justin Mackay-Smith, Richard Simpson, Robert Barnett, and Art Mueller Jessica Holden, Art Mueller, Alan Genteman, Robert Barnett, listen to one of the nickelodeons. The Seeburg K with pipes and Terry Bender enjoying the music. and Seeburg G are in background.
Bob Goldsmith, Knowles Little and Terry Bender at the col-Dick Hack, Matt Jaro, and Mike Falco probably discussing the lection demonstration. The Wurlitzer 153 band organ is in the next improvements to MIDI technology. background.
Matt starts up the Western Electric Mascot C. Ryan and Rory Lehman look on.
Matt demonstrates the Gem roller organ. The Western Electric Mascot C and Seeburg KT with xylophone in the background.
Paul Senger studies the workings of the Seeburg K with pipes
Martin Zuh treats us to a violin solo of ÒMy Way.Ó
Alan Genteman, Ryan Lehman, Art Mueller, Rory Lehman, Gene Borrelli and Bob Goldsmith listen to a tune.
Marty Persky peeking in on the demo while the very loud Wurlitzer 153 plays.
Southern California Chapter
Chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Tehachapi, CA Ñ Oct. 8, 2022
We combined with the Automatic Musical Instrument CollectorsÕ Asso.ciation (AMICA) chapter members to hold a wonderful Oktoberfest meeting at the home of Connie and Dieter Brehm in Tehachapi, CA, which is a rural town with many generations of German folk who have preserved the old-world accouterments of German traditions. In particular, the food, beer and music were a tradition that we could all appreciate.
It was a long drive for most of us, but the home and property was appro.priately decorated with balloons and welcome signs that set the feeling of joy and cheer. German music and general hospitality was the rule of the day.
A dual MBSI/AMICA business meeting was held in the Musikhause, where there was a nice exhibit of musical boxes and other mechanical machines for our enjoyment. There was a Lšsche Orchestrion, a 20.-inch Regina changer, an Alan Pell organ, a Wurlitzer 105 band organ, and a Seeburg KT. A wonderful Phalibois French automaton (circa 1880), brought by a member after restoration was demonstrated.
We discussed the necessity of scheduling future meetings as combined groups because the number of collections have diminished, and other venues are no longer available.
Arrangements for the 2024 joint MBSI/AMICA annual meeting are not progressing quickly enough and volunteers are needed for most of the important positions.
Sincere appreciation was extended to our hosts and their helpers for a most enjoyable meeting.
Guests enjoyed German food and hospitality on the patio.
The BrehmsÕ Regina 20.-inch changer.
Dieter with the Alan Pell organ.
The BrehmsÕ Seeburg KT was in prime condition.
The display of musical boxes and clocks in the Brehm home.
Robin Biggins and Diane DeTar conduct the business meeting. Robin describes the Phalibois automaton.
Members gathered for a group photo during the enjoyable afternoon.
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
Chet Ramsay Ñ 1937Ð2022 and Jean Ramsay Ñ 1939-2020
By Paul Senger
Richard Simpson called in the after.noon of Nov. 29 to let me know that Chet Ramsay (William Chester Ramsay III) passed away at his home in East Fallow-field Township, PA, on Nov. 27. Services were held on Dec. 6.
Chet had been collecting music boxes since 1950 and was an independent antique dealer. Chet was very skilled in music box repair.
I asked about ChetÕs wife, Jean, and Richard informed me that she had passed a while back. I found her obituary from 2020, which was in the height of the COVID pandemic.
Chet and Jean were founding members
of the Musical Box Society International.
They lived in a house bought by Robert
Bruce Ramsay in 1860. Chet was the
fourth generation property owner. They were married 63 years at the time of her passing. He faithfully supported her during her long illness.
They were famous for the Annual Chet and Jean Ramsay Tailgate and Swap Meet and pancake breakfast every Fall. At many MBSI annual meetings Chet and Jean presented a comical skit on workshop day about music boxes. They were longtime members of MBSI and the National Capi.tal Chapter. As part of a chapter meeting in Lancaster, PA, in 2010, they held an open house and gave us demonstrations of all their interesting instruments and a visit to ChetÕs workshop.
The Ramsays were always helpful and friendly, and welcomed people into their home. They were both active in commu.nity organizations and will be missed by friends in the area.
We will greatly miss them both for their friendship, help and giving.
Some additional notes from obituaries posted online reveal that Chet was born in Coatesville, PA, to William Chester Jr. and Edith Wood Ramsay.
He was a member of the Fallowfield Friends Meeting House. He was Past Master of Masonic Lodge #564 in Coates-ville. He was a Boy Scout leader, member of the Chester County Trail Club, Friends of Hibernia, as well as the Musical Box Society International.
He is survived by his daughters, Dianne Caldwell of Gap, PA, and Connie Ramsay of Lancaster, PA, six grandchildren, and nine great-grandchildren.
In lieu of flowers, memorial donations can be made to Brandywine River Valley Hospice.
Jean Ramsay was born in Nampa, ID, to Richard Mealey and Darlien Morris Holland. She was a graduate of the former Scott High School in Coatesville. She was employed alongside her husband operating the Chet Ramsay Antique Shop.
Jean was an active member of the Ercildoun Friends Meeting where she helped teach Sunday School. She also volunteered as a Girl Scout leader and a PTAmember. She was past Matron of the Order of the Eastern Star, a member of the Friends of Hibernia, and a member of the Chester County Trail Club.
Memorial donations may be made in JeanÕs memory to the Alzheimers Associ.ation, 2595 Interstate Drive, Harrisburg, PA 17110.
Jean demonstrates a bird box during an open house at their home in 2010. Photo by Paul Senger. Our Condolences
MBSI has learned that the following member has passed away:
Ruth E Ramey of Burien, WA, passed away on Feb. 28, 2022.
Vital Spark. The late Roy Ison.
By Mark Singleton.
It is with great sadness, I report the passing of collector Roy Ison, a gentleman, scholar and great friend to many within our mechanical music fraternity.
Roy most certainly exhibited a good lesson for others in grace and humil.ity. He was a kind and generous man, with an insatiable curiosity that was evident in his erudite understanding of plenty of topics.
A quiet man, and an extremely good listener, who would carefully reflect on what he was hearing before responding with just enough words, he was also in possession of the most remarkable ability to subtly deliver nuanced considerations with a deft and most tactful skill of facial expression.Ê
RoyÕs interests in mechanical music would resonate with other like-minded collectors who appreciated the aural qualities of a box over aesthetics.Ê
It was this critical ear that pushed him to seek out not only the finest sounding instruments but also those demonstrating a skillful arrangement. It was these defining qualities that no doubt drove his most passionate quest.Ê
He paid particular attention to organ music of the self-playing type. Indeed, various articles penned by him on the subject may be read in magazines and Musical Box Society of Great Britain (MBSGB) archives.
By far his greatest love was for early cylinder boxes. Roy felt the spirit and timeless expression of these pieces. He undertook a lifetime of research in an attempt to further his own under.standing. Full of energy and requisite ÒDerring doÓ he would travel the world to document his findings. All this hard work, a lifetime of dedication, he will.ingly and quite selflessly shared with anyone so enthused.
Ultimately, his focus would be concentrated on the work of the grand master Franois Nicole, along with Frers Nicole, and their contem.poraries in the golden age of the art. He made contributions to ÒThe Nicole Factor in Mechanical Music,Ó written by Paul Cunliffe published by the MBSGB.Ê
A tale that reveals RoyÕs character is the story of his attempt to obtain a ÒHoly Grail of music boxesÓ that was being offered for sale back in the mid 1980s, a time when communications were limited to telephone landlines, pen and paper.Ê
The owner of said box had relocated from the U.K. to Portugal, informing interested parties that the music box was for sale but the deal was strictly first come, first served. Roy imme.diately made travel arrangements and turned up at the sellerÕs house in Portugal only to find heÕd been pipped to the post by a matter of a few hours by the late Olin Tillotson, who, similarly focused and driven, had flown across the Atlantic to secure the hallowed prize.Ê
All was not lost for Roy, however, since as a result of this competitive effort to obtain a singular musical box both men went on to establish a strong friendship and regular corre.spondence on the subject of these elusive boxes.Ê
In the true spirit of Indiana Jones, all these two gentlemen were lacking were the hat and the whip.Ê
In more recent decades, one of RoyÕs favourite pieces was a fine Franois Nicole overture box. Its repertoire includes the interesting and once popular HymnÊÒVital SparkÓ (of heavenly flame).
The words were written by Alexan.der Pope in 1712 as an ode from the dying Christian to his soul, a poem based on the poignant final words of Roman emperor Adrian that were later set to music.
It is now RoyÕs ÒVital Spark,Ó charged and full of positive energy that we remember.
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 100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
colour throughout;Additional Illustrations of Models; Additions to Lists of
The Organette Book
Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards;Compiled and Edited by Combined Index of Images in the original book and its Supplement.
Kevin McElhone
ISBN 978-0-9557869-5-2 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
Stanton’s would like to thank everyone
for their interest and participation in ourrecent November music machine auction. Buyers from all over the United States,as well as Canada and Worldwide were successful bidders in this recent event that saw a wonderful Edison Idealia cylinderphonograph sell for $24,150, and a Regina15-1/2″ automatic changer music box withclock top and and stained glass selling for$32,200. Everything from band and street &roller organs, as well as records, music boxes,clocks, coin operated examples and more sold to interested buyers who will give themgood homes.
We are presently scheduling our travel for trips all over the United States and Canada gathering machines and collections fromindividuals, estates and museums for our upcoming event in May. Call us to discuss a pickup and including your items in this well publicized eventthat has been conducted for the past 42 consecutive years.
Call Steven E. Stanton, 517-331-8150, Email – stevenEstanton@gmail. com or Michael C. Bleisch, 517-231-0868, Email -mcbleisch@gmail.comfor more information.
Again, thanks to everyone for their interest in our auctions, and we hope to hear from you
regarding our upcoming Spring Event. Also, keep in mind that StantonÕs conduct nearly 150 auctions
of all types throughout the course of each year selling antiques, collections, machinery, real estate, coins, guns and more. Contact us to discuss the sale of any of your collections, estates and personal property.
144 South Main St., P.O. Box 146
Phone 517-726-0181 ¥ Fax 517-726-0060
Michael C. Bleisch
e-mail: stantonsauctions@sbcglobal.net
(517) 231-0868
website: www.stantons-auctions.com
StantonÕs sell all types of real estate and personal property at auction, anywhere. Whether you have real estate, farm machinery, antiques, guns, coin collections, or general personal property, we would like to work with you. Call us to discuss and schedule your sale without obligation. StantonÕs Auctioneers & Realtors Ð established in 1954.
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
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Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
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RESTORED MUSICAL BOXES Offering a 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
WEBER MAESTO tunes adapted for G-Roll orchestrions. 10 Tune roll $100 ppd. More genres coming soon. Additional info/orders
-https://old-man-music-rolls.square.site TIMOTHY WESTMAN, at oldmanmusicrolls@ gmail.com
SELF-PLAYING DECAP ACCORDION model #1 with midi-system, Carousel horse carved by Tom Wade. Stander in armour, pedestal carved by Ray Jones, Gazo clock ÒCalifornianÓ 8-foot 1-inch, plays Ave Maria. Reproducing piano restored by Don MacDonald. Pictures available MARILYN BUECHNER (608) 334-8518 marjerb01@gmail.com
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
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PORTER BAROQUE MUSIC BOX with match.ing storage cabinet. It plays 15.in disc. The box has 2 musical combs w/76 teeth (152 playing teeth). It has a 5 octave range and will play 20 min on a single wind. The wind up motor is a clock works type made of cast iron and brass gears machines at Porter Music Box Co. Included is an assortment of 15 discs. $15,000 or best offer (owner will cover 1/2 of packing shipping costs). Contact STAN WILLIS, at pstan.willis@gmail.com or (707) 975-2727
AEOLIAN STYLE 1500 player reed organ lot 90, #12437. The organ needs a new custodian. I believe it is complete except for a broken stop knob. Valve leather has been replaced on exhausters only. I have $800 invested and would like to recover this. (NJ). Contact KEN CLAYTON, at kenclayton11@ gmail.com or 732-530-1398
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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.
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OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS COMMITTEES Membership Committee Nominating Committee
Chair, TBD Judy Caletti, 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 145, TBD, Sunbelt Publications
Dave Calendine, Trustee
Sub-Committee
Kuna, ID 83634
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
Judy Caletti Golden Gate
Rob Pollock, Mid-America
TRUSTEES Don Caine 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.
CALENDAR OF EVENTS
Date Event Location Sponsor
May 20-21 2023 Mid-Am Chapter meeting & 46th Annual Band Organ Rally Urbana, OH Mid-America Chapter
Aug 29-Sept 3, 2023 MBSI Annual Meeting St. Paul, MN Snowbelt Chapter
Send in your information by Feb 1, 2023, for the March/April 2023 issue. Ask your questions on our Facebook discussion group Ñ the Music Box Society Forum.
Please send dates for the Calendar of Events to 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 $5 to Bill Nunn 2825 Willow Drive Hamel, MN 55340
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: Judy Caletti jeeperjudy@gmail.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: Mark Pichla (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: Vacant Dues $10 to Diane Caudill 14015 Spindle Arbor Road Cypress, TX. 77429
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 at its Best -www.Mechmusic.com
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